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Kodak 7274


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#1 Lindsay Mann

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Posted 25 February 2008 - 06:06 PM

I've had some cans of Vision 1 Kodak 7274 200T in my fridge for like 2 years. I seem to remember Kodak's site saying somewhere that it was 16mm not Super16. Can anyone verify that?

And how about Fuji 8683. Any idea without having to unpack it in a bag? When did Kodak switch over to single perf for all their 16mm stock?

Thanks.
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#2 K Borowski

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Posted 25 February 2008 - 06:10 PM

To quote Commodore Decker: "It's both, or . . . neither; I don't know."

A 16mm stock may be either single or double perforated (although some stocks and lengths are no longer available in double-perf. 16mm anymore). I believe on the can a double perf. stock would have "2R" stamped somewhere, and a single perf. stock would be stamped "1R" somewhere, although I'm not certain on this.

In any case it should be indicated somewhere on the can. Check the Kodak website for information as to the numerical code that Kodak uses. We miss you John. . .

Regards,

~Karl

Edited by Karl Borowski, 25 February 2008 - 06:10 PM.

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#3 Jim Carlile

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Posted 26 February 2008 - 01:36 AM

There's really no such thing as super 16mm stock, it's just single perf, which is designated by the 1R marking.

Fuji uses the same terminology, it should be on a sticker on the can. 1R means single perf, 2R means double.

If they are only a few years old, they are probably 1R (like 99 % sure.)

Kodak cut back on their 2R about five years ago. They only supply two stocks as single perf now, with 1-roll minimums-- Plus-X and a VISION 500. A few others are available with 18 roll minimums.

I believe that all Fuji stocks are available as double perf. And Fuji also has B/W film available in some countries.

Edited by Jim Carlile, 26 February 2008 - 01:38 AM.

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#4 K Borowski

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Posted 26 February 2008 - 01:35 PM

There's really no such thing as super 16mm stock, it's just single perf, which is designated by the 1R marking.


I can only use 1R with my Auricon because that space is used by the camera for a soundtrack. The same thing is true of many school 16mm projectors. They only have one set of film advances on the one side because they run optical sound films.

So single-perf film has been around at least two decades before the introduction of Super 16 in the late 60s early 70s. It was only then that someone thought of modifying a 16mm camera to shoot only picture for a more ideal optical blowup to 35mm

~KB
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#5 Dominic Case

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Posted 27 February 2008 - 12:46 AM

So single-perf film has been around at least two decades before the introduction of Super 16 in the late 60s early 70s. It was only then that someone thought of modifying a 16mm camera to shoot only picture for a more ideal optical blowup to 35mm

Single perf 16mm film has been around as long as they have been putting sound onto 16mm films - either mag stripe or optical, and either positive print (from negative) or reversal / reversal print.

In the earlier days, stocks tended to be grainier than today, and most particularly, duplicating stocks were grainy and frankly not very good. So blowing up from 16mm to 35mm wasn't much of a proposition for professional filmmakers. What you shot in 16mm stayed in 16mm - and so the area reserved for sound on the print couldn't be used for image on the negative. OK for documentaries, corporate films, etc, and for amateur filmmakers: not good enough for theatrical release.

It was after a couple of rounds of improvement in the duplicating stocks that blow-up became a reasonable possibility, and it was then that Swedish DoP Rune Erikson came up with the idea of super 16 to maximise the use of the available area of negative..
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