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Fuji Eterna Vivid 500


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#1 Joseph White

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Posted 23 July 2009 - 12:52 AM

Hey gang, long time no chat. I'm prepping a feature that's shooting 2-perf Super 35mm and we're looking into shooting the new Fuji Vivid 500t - I can't seem to find anything here already on it (just some discussions surrounding the 160t which is a little slow for our purposes). I like that they are pushing it as a higher contrast, deeper saturation stock - which would definitely fit our film (a remake of the Troma film "Mother's Day" being produced by Brett Ratner, Richard Saperstein, and being directed by Darren Lynn Bousman, who directed Saw II, III, IV as well as Repo! The Genetic Opera which I shot for him).

I haven't shot much Fuji ever, except for a couple of music videos years back on the Reala 500d. We're still looking at 5219 and 5260, but I'm pretty stoked about this stock - anyone? Any thoughts?
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#2 Stephen Murphy

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Posted 23 July 2009 - 04:10 AM

Hey gang, long time no chat. I'm prepping a feature that's shooting 2-perf Super 35mm and we're looking into shooting the new Fuji Vivid 500t - I can't seem to find anything here already on it (just some discussions surrounding the 160t which is a little slow for our purposes). I like that they are pushing it as a higher contrast, deeper saturation stock - which would definitely fit our film (a remake of the Troma film "Mother's Day" being produced by Brett Ratner, Richard Saperstein, and being directed by Darren Lynn Bousman, who directed Saw II, III, IV as well as Repo! The Genetic Opera which I shot for him).

I haven't shot much Fuji ever, except for a couple of music videos years back on the Reala 500d. We're still looking at 5219 and 5260, but I'm pretty stoked about this stock - anyone? Any thoughts?


Hi Joe,
I haven't had a chance to shoot the Eterna Vivd 500T yet (i think its only coming on the market this/next month?) but personaly i love the contrast and saturation of the Vivid 160T and the grain of the regular Fuji Eterna 500T so if its anything like that combo it may soon become my fav stock. Look forward to hearing your thoughts on it after you've tested.
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#3 Scott Super

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Posted 23 July 2009 - 05:36 PM

Scott from Pro8mm here. We had received some of the film stock prior to its release to check it out and see how it looked in the super 8mm format. Must say, the film stock looks awesome. Not as intense in the colors as the 160T Vivid stock, but very clear and incredible range. I think you'll be really happy with the look of the film. I was the original launch of Vivid and am really impressed by this film. It has great color saturation. And in case you or anyone else was wondering, Pro8mm is now providing the Vivid 500T in super 8 cut down from fresh Fuji 35mm stock. So if you're interested in shooting some in super 8 just to see the look of the film, it may be a cheaper way to see if before shooting it in 35mm. Honestly though, you'll like the look of this film as long as you've liked the earlier 160T Vivid film stock.
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#4 Chris Burke

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Posted 23 July 2009 - 05:44 PM

Scott from Pro8mm here. We had received some of the film stock prior to its release to check it out and see how it looked in the super 8mm format. Must say, the film stock looks awesome. Not as intense in the colors as the 160T Vivid stock, but very clear and incredible range. I think you'll be really happy with the look of the film. I was the original launch of Vivid and am really impressed by this film. It has great color saturation. And in case you or anyone else was wondering, Pro8mm is now providing the Vivid 500T in super 8 cut down from fresh Fuji 35mm stock. So if you're interested in shooting some in super 8 just to see the look of the film, it may be a cheaper way to see if before shooting it in 35mm. Honestly though, you'll like the look of this film as long as you've liked the earlier 160T Vivid film stock.



scott,

how does this new stock compare to the '19 in Super 8? I have been very impressed with the 7219 and am a big fan of Fuji. Dare I say it, it seems that Fuji stock almost makes for a better Super 8.

chris
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#5 Chris Burke

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Posted 23 July 2009 - 05:49 PM

Hey gang, long time no chat. I'm prepping a feature that's shooting 2-perf Super 35mm and we're looking into shooting the new Fuji Vivid 500t - I can't seem to find anything here already on it (just some discussions surrounding the 160t which is a little slow for our purposes). I like that they are pushing it as a higher contrast, deeper saturation stock - which would definitely fit our film (a remake of the Troma film "Mother's Day" being produced by Brett Ratner, Richard Saperstein, and being directed by Darren Lynn Bousman, who directed Saw II, III, IV as well as Repo! The Genetic Opera which I shot for him).

I haven't shot much Fuji ever, except for a couple of music videos years back on the Reala 500d. We're still looking at 5219 and 5260, but I'm pretty stoked about this stock - anyone? Any thoughts?



I was just on a shoot where they are using several Penelopes. At first I thought it was a Super 16 camera all tricked out, but no, it was indeed the Aaton Penelope set up for 2 perf. Have you tested this camera? What were you feelings afterward? I am trying to get a production off the ground using 2-perf and am getting some resistance.
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#6 Joseph White

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Posted 24 July 2009 - 03:00 AM

I was just on a shoot where they are using several Penelopes. At first I thought it was a Super 16 camera all tricked out, but no, it was indeed the Aaton Penelope set up for 2 perf. Have you tested this camera? What were you feelings afterward? I am trying to get a production off the ground using 2-perf and am getting some resistance.


i've seen the penelope at abel cine tech in burbank, but we're getting our cameras from panavision toronto (we're shooting in winnipeg) and they don't have any or access to any in time for us. we're using a platinum, a gII, and a lightweight for steadicam use - all converted to 2-perf. they have one or two xl's converted, but they are already spoken for.

what's their resistance? you use marginally less negative space than 3-perf, and you have to be careful about hairs in the gate and whatnot - but when everyone brings this up i always say - well gee, shouldn't you always worry about this? and as for re-framing ability, yeah it's nice i guess, but come on - do a good job in camera and you shouldn't need to, right? one of the reasons i'm drawn to this stock is apparently it's the finest grain 500 speed film available anywhere (according to fuji, of course).

they are showing me the demo reel at deluxe next week - i'll report back after...
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#7 Chris Burke

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Posted 27 July 2009 - 07:34 AM

[quote name='Joseph White' date='Jul 24 2009, 01:00 AM' post='294432'

what's their resistance? you use marginally less negative space than 3-perf, and you have to be careful about hairs in the gate and whatnot - but when everyone brings this up i always say - well gee, shouldn't you always worry about this? and as for re-framing ability, yeah it's nice i guess, but come on - do a good job in camera and you shouldn't need to, right? one of the reasons i'm drawn to this stock is apparently it's the finest grain 500 speed film available anywhere (according to fuji, of course).

they are showing me the demo reel at deluxe next week - i'll report back after...
[/quote]


my sentiments exactly. Please keep us posted.
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#8 Joseph White

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Posted 31 July 2009 - 02:16 PM

saw the demo of this stock this past wednesday and was really impressed. there were three short films on a 35mm reel, all done with the provision from fuji that they could shoot whatever they wanted as long as they had a variety of different skin tones to show how the eterna vivid 500t responded to them. these films were made by Dion Beebe, Kramer Morgenthau, and Phedon Papamichael. all took a slightly different approach to the tests, but all definitely went after a series of extreme lighting conditions to showcase the stock's high contrast, deep saturation look (ie Papamichael shot some people dancing by bonfire with no additional sources, Beebe had some great night exteriors, Morgenthau had some theatrical lighting with some extreme ratios).

all in all it's pretty excellent. they really took some risks with this stock - and the grain is pretty damn fine for a 500t stock, yet you still feel like you're looking at film. this is now a very strong contender for the film Mothers Day i'm prepping.

the stock officially comes out in september. i guess if we use it, we might be one of the first features to do so...
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Rig Wheels Passport

Metropolis Post

Gamma Ray Digital Inc

Willys Widgets

Broadcast Solutions Inc

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