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Compare and contrast 5279 and 5218


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#1 James Steven Beverly

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Posted 26 February 2008 - 02:44 AM

I was wondering if you might compare 5279 and 5218? I went to Kodak's website and used their comparison generator but I want to know more the practical experience of people who have used both. I'm aiming to create somewhat surrealistic look with out being too obvious, vivid colors, scope vistas ect. I know from Kodak's literature 5279 has good low light and vivid color characteristics but does it sacrifice fine grain to do so and what are it's negative qualities? I know 5218 is the industry standard at the moment but how do the color qualities and low light capabilities compare with 5279? Also are there other stocks that would give me the general low light, vivid color, fine grain qualities I'm looking for? Thanks-The Captain B)

Edited by James Steven Beverly, 26 February 2008 - 02:48 AM.

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#2 Andrew Koch

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Posted 26 February 2008 - 03:12 AM

5218 has more latitude than 5279. 5218 has more shadow detail than 79. I don't find the 79 particularly good for low light when there is a desire to see deep into the shadows. The 18 is less contrasty and less saturated than the 79. The 18 also has noticeably less grain than the 79. Kodak's charts can be useful, but there is no substitute for shooting tests to see what you like because film stock choice varies based on your own personal aesthetics.

I haven't shot with the new 5219 but I would definitely check it out. It is 500 ISO, less grain than 18 and I have talked to one cinematographer that I greatly respect who says it can be rated at 1000 and pushed a stop without much consequence. But as I said before. Go ahead and check it out.

Most of the newer stocks tend to be lower in contrast and saturation, but finer in grain. Are you doing a straight print or telecine for video release. If you want more contrast out of a less contrasty stock, you could print on a hi-con stock like premier.

If you're doing telecine, you will have even more options. The 18 can be made to be more saturated and contrasty in telecine (but don't overdo it, because too much tweaking can result in digital noise.)

Anyway, hope this helps.
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