Jump to content


Photo

Compare Fuji F stock & specifics


  • Please log in to reply
10 replies to this topic

#1 Valentin Caron

Valentin Caron

    New

  • Basic Members
  • Pip
  • 6 posts
  • Cinematographer

Posted 26 January 2008 - 04:19 AM

Hi folks,
Can you give me your opinion on the Fuji F stock? What are their specifics?
I prepare a short in scope 35mm (535B + Hawks).
For reasons of production, I will have to choose between FUJI F-125T, F-250T, F-400T or F-500T. But which to choose?
All locations are mostly quit small indoor and in daylight.
I chose the F-250T well, but I expect to have too little depth of field in the interiors.
The F-400T seems very low contrast, maybe too soft. The artistic choices rather go to a pretty contrast picture with fairly deep blacks.
Rest F-500T then, I have often used it in night. I preferred that at the time more than 5279, for its greater latitude in under exposure. But by day, I expect a grainy image ?
Anyway, if anyone knows of a thread on this topic, or can share your thoughts on these stock, I'd be grateful.
Excuse my English...

-----------

Valentin Caron
Paris France
www.valentincaron.fr
  • 0

#2 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 26 January 2008 - 04:24 AM

Why are you using the old Fuji F series and not the new Fuji Eterna series? And why isn't 250D stock an option if you are shooting day interiors?
  • 0

#3 Valentin Caron

Valentin Caron

    New

  • Basic Members
  • Pip
  • 6 posts
  • Cinematographer

Posted 26 January 2008 - 05:58 AM

Why are you using the old Fuji F series and not the new Fuji Eterna series? And why isn't 250D stock an option if you are shooting day interiors?


We have a special deal for the old Fuji F series. The 250D is not possible in the deal. To bad in that case I agree...But that how we can shoot in 35mm scope and not in S16!
  • 0

#4 Mike Williamson

Mike Williamson
  • Basic Members
  • PipPipPipPip
  • 534 posts
  • Cinematographer
  • Los Angeles

Posted 26 January 2008 - 12:42 PM

I've shot most of the F-series stocks, and my choice would be to shoot F-500T and overexpose it 2/3 of a stop, with an 85 filter if possible. I once used that stock for an entire feature shot in regular 16mm and was very happy with it, much less grainy than I expected before I started testing. If you have day exteriors, you might also consider adding some F-125T which is also very nice. The grainiest of the bunch would be the F-400T, which is a low con stock.
  • 0

#5 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 26 January 2008 - 01:04 PM

I've shot most of the F-series stocks, and my choice would be to shoot F-500T and overexpose it 2/3 of a stop, with an 85 filter if possible.


I agree -- rate 500T at 320 ASA, so 200 ASA with an 85B filter. If you need more stop, use an LLD filter or no filter and correct in post (or gel the windows to 3200K). It will look fine in anamorphic, since you are working with a larger negative.
  • 0

#6 Valentin Caron

Valentin Caron

    New

  • Basic Members
  • Pip
  • 6 posts
  • Cinematographer

Posted 26 January 2008 - 03:40 PM

Thank you so much for the fast reply David and Mike.
You confirm what I expected, and I'll probably use the F-500T with a 85 filter, and overexpose it.
I usualy overexpose only 1/3 stop.
You both agree to overexpose it 2/3 stop (85+2/3stop>200 ASA...I can manage it).
But I'm not regarding for to much saturation.
How the colors will be after corrections with a traditionnal post?
  • 0

#7 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 26 January 2008 - 05:11 PM

How the colors will be after corrections with a traditionnal post?


Normal, but you'll have better blacks and tighter grain, especially as this is an older emulsion and may not be the freshist -- I hope it is guaranteed to be fresh, or has been snip-tested. You should shoot a short test and project it. Even 2/3's of a stop may not be enough overexposure if it has really aged.
  • 0

#8 Valentin Caron

Valentin Caron

    New

  • Basic Members
  • Pip
  • 6 posts
  • Cinematographer

Posted 29 January 2008 - 04:22 AM

Normal, but you'll have better blacks and tighter grain, especially as this is an older emulsion and may not be the freshist -- I hope it is guaranteed to be fresh, or has been snip-tested. You should shoot a short test and project it. Even 2/3's of a stop may not be enough overexposure if it has really aged.


Fuji told me that the stock is fresh! I'll of curse do a labo test ("un coin sensito" in french!)
  • 0

#9 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 29 January 2008 - 12:27 PM

Fuji told me that the stock is fresh! I'll of curse do a labo test ("un coin sensito" in french!)


How can it be "fresh" if they stopped manufacturing F-500T two years ago? It may be "fresh" as in unopened and sitting refrigerated in a warehouse for two years...
  • 0

#10 Valentin Caron

Valentin Caron

    New

  • Basic Members
  • Pip
  • 6 posts
  • Cinematographer

Posted 04 February 2008 - 03:31 PM

Hi david,
I just want to give you some news . I did a test of the
F500T in the lab. There where problems, the stock lost
almost half the sensibility, and blacks were a little bit
gray?not so fresh as you were saying! In fact this stock is
more than 2 years old. Fuji and the production found a
solution, and I?m using the Eterna 250D/8563 which was
my first choice, before budget considerations !
Can you give me your feeling and feed back about the
8563 I usualy work with the 5205 ?
  • 0

#11 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 04 February 2008 - 04:15 PM

Eterna 250D is a nice stock, lower in contrast than Kodak 250D, so you may want to overexpose it a little to get more snap out of it, like at 160 or 200 ASA. It sees very well into the shadows. It's a little more pastel than Kodak 250D.
  • 0


Ritter Battery

Media Blackout - Custom Cables and AKS

Opal

Visual Products

rebotnix Technologies

The Slider

Broadcast Solutions Inc

Technodolly

CineLab

CineTape

Metropolis Post

Tai Audio

Willys Widgets

Paralinx LLC

Rig Wheels Passport

Abel Cine

Wooden Camera

Aerial Filmworks

FJS International, LLC

Glidecam

Gamma Ray Digital Inc

The Slider

Visual Products

rebotnix Technologies

Technodolly

CineLab

Glidecam

Wooden Camera

FJS International, LLC

Opal

Tai Audio

Media Blackout - Custom Cables and AKS

Gamma Ray Digital Inc

Ritter Battery

Metropolis Post

Abel Cine

Broadcast Solutions Inc

Rig Wheels Passport

Aerial Filmworks

Paralinx LLC

Willys Widgets

CineTape