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Example of Kodak 5219 pushed + 2 stops in available light


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Just for educational purposes, here is some footage from a short I shot last year. We were stealing this, so we couldnt light anything. It's all available light.

 

https://vimeo.com/174719862

 

We shot 5219 with a 2 stop push. I rated it at 1250, which gave me about a t/2 in some places, but often my meter said "E.U.", so I really wasnt sure how it would turn out.

 

We I went in for the transfer i was very very impressed by how it held up, even with it only being 2-perf. I'm so used to thinking that you need to shoot digitally if you want to shoot available light at night, but this turned out exactly how I had hoped.

 

We shot on super speeds at a t/1.4-2 split. The transfer was on a Spirit 2k at Fotokem in LA. We set basic looks as we went, and that's what this is, just a basic grade, right out of the scanner.

 

 

If you want to download the 2.5gb 422HQ you can find it here:

 

https://www.dropbox.com/s/n5qo2cm9au9wo7k/L9974909_CR_A15_A17.mov?dl=0

 

Here is the finished short:

 

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Firstly: thank you, thank you, thank you for making available a high quality version. It's hard to find 35mm scans for personal inspection. I don't think that even Kodak has sample scans to download.

 

Secondly: lovely footage, especially the shot overlooking the city. Film really looks great.

 

Even though this is only 2-perf, which is not that much taller than Super 16, it looks better than a lot of 8-perf images from photos scanners like the PlusTek or Epson flatbeds. There is something very wrong about photo scanners, and the results are probably one reason why so many photographers switched to digital.

 

Once again, thank you for sharing it!

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Lovely stuff! The way the stock holds those city lights in the background and refuses to let them blow out is just gorgeous. Feels very rich.

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Really nice colors here! It held up like a champ! We are also shooting two perf techniscope, vision 500T, but older glass, F2 prime wide open, shooting backlit Sillouteted body side profiles in a blackout studio, only three blue gel 100w spot par cans and a boat load of fog/mist behind the bodies.

 

Metering on the talents faces (par cans lights side) we get a hot 2.8. So we went wide open at F2. Metering from the camera facing the silhouettes blocking the direct light its under. Wether to push this reel a stop or two is the question.

 

A very timley post:)

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Gorgeous footage! How much grading if any? Love the opening contrast with squarish low rez video. Film, film and more film please.

i dont remember exactly what we did during the transfer here, but we were moving really quickly in order to keep our cost down, so whatever it was it was very basic.

 

Looks amazing, there are almost no signs of underexposure at all! (Though cities usually aren't pitch black.) About the hand held, which camera did you use?

we shot on an Aaton Penelope from AbelCine in Burbank. For my money it doesnt get any better than that if you're shooting handheld. Everything is light and tight and well balanced. It's like a 35mm version of a 416 or an Aaton 16mm camera.

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