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Johnny Merkouris

new to 16mm film.. what colour film would you reccomend for landscapes?

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Hi all,

 

i am heading to the Patagonia in a couple months to start production on an installation piece i am working on - i am shooting film footage on a 16mm Krasnogorsk-3 movie camera and wanted to get some tips or advice on what colour films that you might suggest for such a project.

 

i am taking landscape shots which i plan to project and play on loop in slow motion to the point where the movie footage will appear to be a 'moving photograph'

 

I'm based in Sydney and have done a small amount of research and have found a lab in victoria that offers Aviphot 200asa at 100' for $45au. does anyone have any experience with this film? or would you recommend it for landscape shots?

 

any advice on this would be really greatly appreciated.

 

thanks very much.

Edited by Johnny Merkouris

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I would recommend you use colour negative film. If you put reversal original camera film in a loop, it will wear out after xxx passes and then you have nothing left of your work; If you work on negative you can make as many prints as you like, make serious colour correction, have different prints for tungsten, xenon projectors, backprojection etc.

The only way to make prints from a reversal today is to make an internegative.

 

The only current stock available is Kodak 7203 or 7207, 50D and 250D respectively.

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excellent advice Dirk, thank you -

i hadn't even considered any damage to the film from running it on a loop so i'm very glad you brought this to light - I'm considering now the kodak films you've mentioned specifically 7207/250D.

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For landscapes I'd go for the 50D stock, unless you know you'll be filming on dark overcast days.

hi Brian,

 

i'll be filming footage in Torres del paine and other location in the patagonia from about the 27th of oct to 12th nov i imagine during this time it'd be pretty overcast in most areas which is why i opted for the 250D.

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hi,,what advice does anyone know about films in certain weather,,??like kodak 250D in daylight with clear sky??or cloudy sky??overcast?night??what film stock would cover these times of day and brightness of day?that would be great if someone would post a list of film stock to daylight features.also,,im going to try to shoot on kodak intermediate film,,i have 4000 feet of this film,i know its not for capture,,but,,kodak says it can be done,,also,,4000 feet of kodak print stock,,,also,,fuji f series 200 outdated film..well,,,there all out dated film,,but got it for cheap to free,,,10,000 feet of these film stocks,,,might as well try them out.16mm 2 perf color film stocks.anyone have any onfo i can use with these stocks and daylight exposures.???

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well any film ending in "D" is for dayight, and "T" is for tungsten. From there, the bigger the number the less light you need.

That said, a 50D will be what you'd normally use for bright sunlight (and still be at around a F16! without any ND) and a 250D is what you're go for if you're in shadow (forrest, overcast, alleyway ect).

In tungsten, the 200T is a good all around stock (if you're only carrying one stock to use in daylight and well lit interiors as well as night) and 500T is for night work.

 

There is no such thing as a 2-perf stock, least of all a 2-perf 16mm stock. All 16mm is 1 perf. 2 perf refers to the camera movement on a 35mm camera exposing 2 perfs for a roughly 2.40:1 ratio using spherical lenses, there is also 3 perf which is 1.78:1 (though matted for 1.85:1 often) and 4 perf which is what you'd need to use anamorphic lenses for a 2.40:1 ratio, or for matting to 1.85:1, 1.78:1 or leaving it "normal" which is 1.33:1 (or is it 1.37:1? Close enough to not worry about). but all the perfs work in 35mm.

When looking at kodak stock, remember the 72 denotes 16mm, as in 7219. The 19 is the stock number (in this case 500T vision 3.) For 35mm you'd use 5219-- same stock just larger negative, the 52 denoting 35mm.

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I think he means 16-2R, perforated two edges, not 2 perf pulldown.

I would add that the optical performance of most lenses goes down when stopped down more than T11, so in good conditions it is best to avoid 250D unless you carry ND filters. Heavy ND filters on the other hand make the viewfinder very dark, especially on Bolex-type cameras.

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7201 and now 7203 both show lots of shadow detail while maintaining all highlight information. Even on a cloudy day, they can be very useful. I am currently grading some 2k scans of super 8 in 7203 and I am amazed at how much latitude this stock has, even in Super 8. the 250D can be very forgiving as well but shows a good deal more grain. I would use as much 03 as I could get away with.

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