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Found 21 results

  1. Hi All, I'm selling 35mm short end recans. I came into this stock a few years back, a friend worked on the Wolf of Wall Street and was able to get me there recans. I thought I would use them on a project by now but haven't got around to it and they have been kept in safe storage. I'm looking to sell footage at below price points: Kodak 5219 Vision 3 500T Color Negative - 5,817ft (Price = .25/ft) Kodak 5260 Vision 2 500T Color Negative - 400ft (Price = .20/ft) Kodak 5212 Vision 2 100T Color Negative - 3,687ft (Price = .20/ft) Kodak 5201 Vision 2 50D Color Negative - 400ft (Price = .20/ft) Kodak 5217 Vision 2 200T Color Negative - 1,395ft (Price = .20/ft) Fuji 8583 - 400ft (Price = .20/ft) Fuji 8563 - 400ft (Price = .20/ft) All recans have over 250 ft of film, some are full 400ft recans. Please PM me or email hschleiff@gmail.com if interested in purchasing. I am based in NYC, but can ship if needed. Best, Harry
  2. Im am curious to gather some opinions. I plan on shooting a short in the near future on 16mm. Naturally my choice of stocks are limited to Kodak, and for production purposes 250D would be my best option. Now, really hate doing color correction and DI. I dont like doing it myself, and I dont want to pay to get a colorist to do it for me. I am wondering, how accurate are the colors of 250D, raw out of the stock? What sort of work would I have to do in post to make them accurate. Are there options for me in filtration to normalize the stock? My thought process is, that I want the stock to have an accurate color baseline for me to modify to fit my story. I am looking for a warm, medium contrast, and slightly diffused look. Something in between George Washington (2000) and The Long Goodbye (1973). For this, my idea of was to shoot with some TLS Rehoused Super Baltars, and apply a Tiffen Warm Black Pro-Mist 1/4. What do you think?
  3. Hello folks. I'm reading conflicting stuff about the rating of 16mm stock. Do you guys rate your stock a full stop over or 2/3 for day exterior? How about night exterior? I'll be shooting 250D and 50D mostly for now, on regular 16. I'm already compensating for the prism light loss on my Bolex Rex5 so I don't want to overexpose too much. What are your experiences? Thanks for your input!
  4. ...I've been shooting Tri-X since my student days in 1992. I love it's qualities and nothing quite compares to it. I'm beginning to wonder just how long Kodak will continue to produce this B&W reversal stock. Should I be bulk buying it or am I just a bit paranoid after 'losing' K40, 64T and 100D ???
  5. Hi All, We were the official Fuji Distributors from Motion Picture Film in Argentina until Fuji stopped manufacturing Film Stock last year. We still have a batch of 35mm 400ft stock we would like to sell. All of the stock has been recently tested (March 2014) by our local lab and they informed us it is good conditions to be used. Our current stock is: - Eterna 500 (8573) 400ft: 600 rolls - Eterna 250T (8562) 400ft: 180 rolls - Eterna Vivid 160T (8543) 400ft: 120 rolls - Eterna 250D (8563) 400ft: 69 rolls Please contact me at nrubinstein at ultravision.com.ar so we can offer a quote based on the quantities needed. As we need to export the goods, we will need to know the shipping address so we can quote the freight costs. Thank you all Nicolas Rubinstein.
  6. Is there on the market some sort of film dispenser, allowing us to keep large spools of 2000' film stock, and transfer lengths of 100 ft on a smaller spool for shooting? Occasionally I see good deals on larger film cans but my camera only use 100 ft spools so I was wondering if there's a way I could buy these large reels, and conveniently transfer on 100ft spools. sv
  7. We are a new exciting CGI based stock company specializing in advertising. We are looking for Camera Operator/ owners, Cinematographers who have existing 4k footage. Let us sell it for you. if your footage is siting somewhere on a hard drive it's not bringing you revenue it should. We are extremely established in advertising and can sell your existing clips. We are looking for roads, cities, skylines, water, beaches, dirt roads, parking garages and anything you can think of as long as the quality is there. WE WILL TEACH YOU TO SHOOT FOR CGI sharing our vast knowledge of cgi and how to create it for free This is a golden opportunity if you want to broaden your skill set. ZERO cost to you. If you have a camera that shoots 4k and or have existing content this is your golden moment. Please send a reel or samples of your work. The way stock works for pay is we post it to our site and if it sells we take a commission. This is not a scam so please do not accuse of being scammers.. I'm happy to personally respond to any email inquiries. fell free to call me 323-337-4295 during normal office hours Los Angles time.
  8. Hey! So I am really excited because I got my grandads BEAulieu 4008 ZMII for Christmas. The thing is that it hasnt been used in 15 years. He took great care of it but the batteries are not in great shape. Does anybody now about where and how to get new batteries? Or any good servicing in London as well to look over it? Any help will be appreciated. I have shot a ton on a Bolex but I'm new to 16mm! x
  9. Hello Folks, I'm looking for any type of shortends for testing few of my cameras and also doing some experimental stuff. I'm really tight on budget so cheaper for me is better. I'm intrested in Kodak, Agfa, Orwo, Svema, Fuji, and others. B&W, Color, Reversal and Negative.if shipping to Vilnius, Lithuania is ok for you. Thanks. Nojus nojusdra at gmail dot com
  10. Hello all, I just recently shot a roll of Kodak 35mm color film, 24 exposures 400 ISO, on a Canon AE-1. However, I brought the camera into a dark room to check and see if the film had been entirely used (for there have been times in the past when the film didn't catch onto the spindle) and I noticed that the film was completely severed from the cartridge. This is my first time to use this particular camera, so I'm wondering how could this happen? I thought I had rolled all the film back into the cartridge after taking all 24 exposures. Thanks, John
  11. WOODLAND HILLS, Calif. (June 26, 2015) - Panavision, the entertainment industry's most respected designer, manufacturer and provider of state-of-the-art cinema lenses and high-precision camera systems, today announced the recapitalization of the company. With the recapitalization, Panavision's senior lenders unanimously agreed to convert a majority of the company's long term debt into common stock of the company. This major reduction in Panavision's debt enhances its capital structure and enables the company to explore growth opportunities. "This transaction is very positive news for the company and gives Panavision more fiscal flexibility for the future," said Panavision CEO and President Kim Snyder. "We now have a very healthy balance sheet, allowing us to accelerate our investment in equipment, technology and resources and further focus our efforts on meeting the needs and expectations of our customers." Panavision has recently extended its industry reach into the post production realm with the acquisition of Light Iron, a leader in digital workflow solutions. The recapitalization was a private transaction that was formally completed on June 12, 2015. Panavision's major shareholders have not changed, and the company's Board of Directors and executive leadership team led by Snyder remain committed to the long term growth and success of the company. # About Panavision Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its world-wide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions. For more information, visit www.Panavision.com, or join the company on Instagram (panavisionofficial), Twitter (@Panavision), Facebook, LinkedIn, Vimeo, and YouTube.
  12. Hi Guys, I just wanted to draw your attention to www.videvo.net - after making a free account you have unlimited access to thousands of free HD stock footage and motion graphics clips. This will be of particular interest to student filmmakers and anyone on a zero budget who wants to enhance their output. I've been working here for a few years now and have had great fun shooting stock! Here's an article I wrote about our trip over London in a helicopter: http://www.videvo.net/blog/aerial-stock-shooting-over-london/ Enjoy!
  13. Hi all, I have recently been trying to practice loading film into a super 16mm modified krasnogorsk k3 and am coming up against some odd problems. Firstly I was not the one who performed the modification and the loop formers are removed. From what I understand this is to stop the film from getting scratched. When loading the film and feeding it through everything seems to be fine at first and I run off a good few feet to make sure it is going through okay. But then once the lid goes on and I press the trigger the film immediately jams. Here is a video of the issue. https://www.youtube.com/watch?v=HGuALakdNQY Can anyone make sense of this? Regards, Josh
  14. Hello, We have 35mm film stock to sell: 760ft of short ends - Kodak 500 T / 5219. Purchased direct from Kodak. Available for £20 total. . 4 x 400ft rolls of Fuji Eterna 250D. Purchased from Bwark Films. Available for £80 total. The film is being kept in a fridge. Collection from South East London (SE4) would be ideal, but happy to negotiate alternative collection/delivery. Please enquiry via: akua@kindproductions.com. Thank you, Akua
  15. Alright, where to start... I'm a young aspiring filmmaker whose had a passion for making films ever since I was 6. Self-taught, I've made films all on the digital format, and recently, I've been shooting short films on the Canon Rebel T2i. I'm all for manual control, and I'm a pretty big hater of auto focus. Being that most of the filmmakers that inspire me shoot on film, and that it's (sadly enough) slowly dying, I've decided I want to move from digital to film. Now I understand that a great place to begin is with film photography. I've signed up for a photography class (showing you how to shoot and develop film) for my Junior year, and I've also been reading through the web and these forums to understand the film process. My first set of questions are: What still film camera should I begin with? What type of film should I use? Anyway to make a cheap DIY dark room setup? After some practice with that, I wish to begin filming short films (after some more tests of course) on a motion picture film camera. I have in mind using a Super 16mm camera, however that may not be the right choice depending on your responses. So here is my big set of questions for you guys: Which Super 16mm (if I should even use a Super 16mm) should I shoot with? Which film stock should I shoot on? What are the differences between types of film stock? I understand that there's the 'Ultra' modification to convert 4:3 to 16:9, is there any other way to do this (2x anamorphic lenses)? Or could the gate be easily modified on my own? Should I use light meters? If so, which ones do you recommend? What's the best and affordable way of a HD DIY telecine? I understand you can send in your film to get it processed and telecined, but which one is the most reliable and affordable? How to properly light an indoor scene? How to shoot at night (EXT and INT)? Recommended books or websites? __________________________________________________________________________________ As for my tastes and interests (as it could help you answer my questions more specifically): I love Hitchcock, Welles, Nolan, and Kubrick. Film noir has always intrigued me, and I love the look of it. I guess you can say I love low-light photography and cinematography. A modern DP that I dearly love is Wally Pfister, and I understand he shoots on film. If I asked him these questions, what would he say? I also understand Chris Nolan shot Following with an Arriflex BL 16mm (don't know which model). I love the community here, and I hope you guys can understand my switch to film as I think its the true magic of cinema. Thanks ahead of time for checking this post out and taking the time to respond to newbies like myself. I hope to deliver my style and form of storytelling with film. Thanks so much guys! *do note that I own a Bell and Howell MS 30 Super 8mm (no stock)*
  16. Hi, I'm a film student based in London. As part of a project, we've been asked to shoot a 5 minute movie using traditional methods (i.e. film - no digital). I've never shot anything using film before so this should be quite an experience; if not a little daunting. I'd like to try to emulate the style and quality of films from the 1960s. This is what I have in mind: Does anyone know which cameras and stock were likely used in this filming? I'm sure finding a camera from that era shouldn't be too difficult, but I have no idea where to find the stock. Are there sellers of old Kodachrome stock? Many Thanks, Ed
  17. A friend of mine recently contacted me to say he had been rebuffed in trying to place a large individual order of film directly with Kodak UK. Like a number of individuals he has bought direct from Kodak UK for years but now Kodak UK has told him he has to go through a UK reseller and this came with no warning. Does anyone here know if Kodak UK's policy on selling direct for large individual orders of either 8 or 16 mm within the UK has changed and are they only going to sell via resellers even if the individual order is a large bulk order? If this is what Kodak is doing then is this a useful way to support the market? Buying direct from Kodak means a good deal on pricing through bulk buying, but going through a reseller at the retail to semi professional end of the market means individuals with the get up and go to buy large amounts of film may now have to pay more. Now don't get me wrong its good to support UK resellers and if Kodak UK is seeking to support UK resellers and the retail to semi professional market for film in the UK that is to be commended but if Kodak UK is now making every individual go through a reseller that doesn't actually grow the market for film within the UK. As individuals we all have finite means and if you and I have to pay more then we will end up ordering less stock i.e. at the end of the day Kodak will make less money. The other thing is since the demise of Stanleys here in London resellers here are not geared up for large orders such as what my friend was after unless you go up the chain to the likes of Panavision UK (and lets face it they are very, very unlikely to bother themselves with 8mm if you are a 8 mm shooter). We have some good activist, retail based resellers in the UK (bordering on heroic at times given the situation these past few years) but there is not the means nor the will across the market to grow it across the UK i.e. mostly you see a few rolls sitting by themselves on a shelf and no attempt to market them. Do people here have any ideas or suggestions as to how individuals could place large or bulk orders for film here in the UK or Europe if Kodak UK has changed its policy e.g. would it be possible to buy direct from Kodak in the US or Kodak elsewhere if the order was large enough?
  18. Hey gang, I've got a roll of expired Kodak 500T EXR 7296 in my fridge here that I'd love to shoot. Trouble is it's a) pretty freaking old and b) probably hasn't been kept in a cool, dry place for a large part of its life. This particular film was discontinued in 1995 but could have been made anytime between then and 1989. Naturally there are too many variables to really know how it'll look but is there anything I should keep in mind if I want to shoot it? Rate it faster? Slower? Any thoughts would be great. Cheers, James.
  19. To all those film stock experts! I have just started learning about film stock at film school BUT we are shooting our first short films soon and need some extra help! I am planning to shoot my film outside at an oval - Potentially simulating sunset for most of the shoot and I was wondering what the best film stock to use would be! I really want to make the most of sunset and dusk, creating beautiful silhouettes etc. My teacher is saying go with 500T, but it could be grainy when shooting later. What do others think? Thanks in advance, Josie
  20. What was the dynamic range of color film negatives used in the 70's like? If I'm correct newer film negatives can have a dynamic range up to 14 stops. What about in the 70's? For example, how did Eastman Color Negative 5254, 5247 or Fujis 8517 perform at this department?
  21. Does anyone have datasheets or other data on Eastman Color Negative 5254 or Eastman Color Negative 5247? Also data on other 35mm negative films used in the 1970's would be appreciated.
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