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I'm looking at buying a roll of Kodak 5247 that seems to have been properly stored, so that I can cut it down, and make some really cheap Super 8 out of it, would you say that this is viable or stupid ?

 

Matthew Buick.

Edited by Matthew Buick

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Are you sure, the bid is currently at £7.00 GBP, you could get 300ft of the most beautiful Negative ever made from that.

 

KODAK 5247 :wub: :wub: :wub: :wub: :wub:

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It's at least- what- 25 years old, and much grainier than modern stocks. Surely it's not worth the trouble for a few rolls of film. Unless you already have a slitter, perforator and empty cassettes.

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The most beautiful Kodak Neg ever made was 5254 . You dont really have any real idea how this 47 has been stored !! Forget it . John Holland ,London.

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I was thinking of using a stripper for splitting regular8 on 16mm. Unfortunately the perfs only match up for every second gear (i.e. proper regular 8 has twice as many perfs).

 

Has anyone tried running this through a regular8 camera?

 

I once ran some kodak microfilm through my bolex. It went through no problem - they gears were so tough they created their own perf holes.

 

It would be really good to know if anyone has tried this. I don't have a regular8 camera to try this.

 

Or does anyone knows of a way to create the extra perfs (easily) - especially if you are splitting super16 as one side will have no holes.

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It's at least- what- 25 years old, and much grainier than modern stocks. Surely it's not worth the trouble for a few rolls of film. Unless you already have a slitter, perforator and empty cassettes.

 

I'll buy all these things, I love 5247 soooooooooooooo much.

 

 

The most beautiful Kodak Neg ever made was 5254 . You dont really have any real idea how this 47 has been stored !! Forget it . John Holland ,London.

 

HERETIC !!!!! :angry: :angry: :angry: :angry: :angry:

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Unless it was frozen for all that time, film that old will show significant effects of old age (fogging, loss of contrast and speed, contrast mismatch, grain buildup, etc.). And for higher speed films, ambient radiation will adversely affect even film that has been kept frozen.

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Oh, poopies. <_< <_< <_< <_< <_<

 

I think the film has been refridgerated all the time.

Edited by Matthew Buick

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Oh, poopies. <_< <_< <_< <_< <_<

 

I think the film has been refridgerated all the time.

I have a few 35mm 36 expoure rolls of 5247 that have been living in my freezer for 20 years since I got them from Dale Labs when they used to push the Slides from MP film idea., I got one out last year, and the d-maix was definatly high... Even moderatly slow film does not like being kept forever.

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I just tried to buy a 100ft roll of 35mm 5247 on eBay, but lost. :(

 

Does anyone know a reliable source of 5247 in 35mm, and other short ends and Recans, so I can cut then down to Super 8 ?

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Matthew , just forget it , 5247 hasnt been made for years , if you just look back to John Pytaks post about it, the one after you called me a Heretic . You are wasting your time and money ,even if you did find some hidden away somewhere , please belive me . John Holland , London.

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Okay, does anyone know where I can find a reliable source of MODERN 35mm short-ends 'n' Recans ?

Google?

 

I know of ones in the states and in Toronto, but you may be better off to try to find a dealer in euroope, if you are on that side of the pond. Short ends are found in places that have a local film production industry.. Here in canada the dealers are in toronto an vancouver. In the states in Hollywood and new york.

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Just out of interest, when did 5247 finally go,

 

Hi Matthew,

 

That was answered in another thread you started about 5247.

Searching the Kodak website will also give you the information.

 

Stephen

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We already had this discussion...

 

5247 was gone by the mid 1990's -- "Legends of the Fall" (1994) used it for the day exteriors but Toll had to use the replacement 5248 for "Braveheart" (1995).

 

I'd probably use 5212 (Vision-2 100T) pushed one-stop for that look now, or use Fuji F-125T before it gets replaced soon by Fuji Eterna 125T.

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Why not trying 200T or some other negative that's easily available from Kodak or somewhere, that you don't have to reperf or slit. Were you going to do this yourself or someone else charge you to do it because it might be cheaper/easier just to buy fresh film.

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You could shoot some in a stills camera and process C41 to see if it was at all viable. But tell the lab because they might not like the remjet.

20-odd years ago there was a fad for doing this in the UK- shooting '47 without a filter and correcting in printing. It didn't last though.

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Why not trying 200T or some other negative that's easily available from Kodak or somewhere, that you don't have to reperf or slit. Were you going to do this yourself or someone else charge you to do it because it might be cheaper/easier just to buy fresh film.

 

I'll do whatever is cheaper, no matter what I have to do, as long as it means I can shoot more film, I've got a bit of an addiction now. :D

 

You could shoot some in a stills camera and process C41 to see if it was at all viable. But tell the lab because they might not like the remjet.

20-odd years ago there was a fad for doing this in the UK- shooting '47 without a filter and correcting in printing. It didn't last though.

 

Wow, I didn't know you could get it in still cartridges.

 

WHERE CAN I GET SOME WHERE CAN I GET SOME WHERE CAN I GET SOME !!!!!!!!!!!!!!!!!

 

 

I'd probably use 5212 (Vision-2 100T) pushed one-stop for that look now, or use Fuji F-125T before it gets replaced soon by Fuji Eterna 125T.

 

Thanks very much, as I say I'll slit and reperf if it means I can make a saving/achieve the look I see best for what I want to make.

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I just watched Castaways, a Super 8 Short Film, and I thought the level of grain on that stock was perfect for what I want from this format, if I used 5212, would I get that level of grain?

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