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low speed film stock


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#1 matthew

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Posted 07 October 2009 - 02:08 PM

i shoot scenes in good light and often with incredibly fast lenses. most often with 50 asa kodak daylight film. but the thought occurs to me that i could get away with shooting 25 asa or even lower speed emulsions. why are manufacturers not considering the release of low speed emulsions with the advantages of incredible (no) grain? the focus is still on providing acceptable high speed emulsions - but low speed stock origination could potentially provide unbelievable resolution in the image, and in a "universal' archive format to boot.
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#2 K Borowski

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Posted 07 October 2009 - 03:05 PM

Is 50-speed film really grainy to you?

Certainly 25- or 12-1/2-speed stock would be even better, but slow to the point where you wouldn't even be able to shoot *in the shade* without supplemental light.

Also, Kodak and Fuji are primarily catering their advancements to 35mm shooters, as they should. Why make a stock that performs as well as 35mm in 16mm format?

I'd say you can already do that, with '01 compared to '18 or even '19, but at the cost of 3-1/3 stops of light, so you have a heavy speed penalty to pay, but it is doable.


BTW, I assume you are a 16mm shooter? I think Kodak's slower stocks, like the '01 do an excellent job with grain, as do Fuji's.
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#3 Leo Anthony Vale

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Posted 07 October 2009 - 03:53 PM

At one time Fuji had a 64T stock along with its 64D.

'Kissed' was mostly with it. The 35mm blow up was practically grainless.

They discontinued the stock, Most probably because there was little demand for it. most DPs wanting a 400/500T stock.
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#4 K Borowski

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Posted 07 October 2009 - 04:00 PM

Most probably because there was little demand for it. most DPs wanting a 400/500T stock.


Yeah, this is probably the case. According to some well-grounded hearsay and what I've personally observed, the 500T is the best-seller for the two companies.

Like SUVs in the US, big numbers seem to have a wow-factor with inexperienced cinematographers, and the TV shows seem to love them because of the ability to shoot with minimal lighting.

It seems now that most movies have gravitated towards all-500T for their tungsten interior shots.
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#5 Bryce Lansing

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Posted 11 October 2009 - 02:47 AM

What if you shoot 50 ISO film and pull process one or two stops?
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#6 Andres Pardo aka Gral Treegan

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Posted 12 October 2009 - 09:35 PM

why dont you use print stock?
i use to shoot 16mm B&W print stock (bought at the black and white film factory). i expose it as asa 12 and works really good. i think you could shoot color print film
bests!
GT


What if you shoot 50 ISO film and pull process one or two stops?


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#7 Simon Wyss

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Posted 13 October 2009 - 11:21 AM

why dont you use print stock?

Better not print stock but intermediate film such as EASTMAN Color Internegative II Film 5272/7272. In the black and white realm you have a lot of low speed stocks: Gigabitfilm 40 and the younger Gigabitfilm HDR 32 (35 mm only), internegative films, interpositive films with a little more contrast.

In 35 mm you have additionally photo films in case you employ a simple camera, I mean with a simple claw mechanism: Fuji color printout film, and others
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#8 K Borowski

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Posted 13 October 2009 - 06:43 PM

Better not print stock but intermediate film such as EASTMAN Color Internegative II Film 5272/7272. In the black and white realm you have a lot of low speed stocks: Gigabitfilm 40 and the younger Gigabitfilm HDR 32 (35 mm only), internegative films, interpositive films with a little more contrast.

In 35 mm you have additionally photo films in case you employ a simple camera, I mean with a simple claw mechanism: Fuji color printout film, and others


Hey, welcome back Simon. Haven't seen you on in some time.

That is a good point. You can get some good, super-clean images with these stocks if you can control the dynamic range of the image.


I am confused by the meaning of your last statement though about "Fuji color printout film". Are you talking about microfilm?
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#9 Simon Wyss

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Posted 14 October 2009 - 01:09 PM

Hello, Karl and everyone

What I meant was the color reversal internegative film of Fuji for printing out on it but in the 16 mm format there are the specially designed films like EASTMAN EXR Color Intermediate Film 2244™ / 5244™/ 7244™. Aaand, there are the microfilms, correct, only not in 16.

The reason why I cooled off a little cinematography-wise is that I have begun my apprenticeship as a mechanic. They call it polymechanic now in this country but the profession is still with saw, file, drill, lathe, milling and grinding machine. My occupation until summer 2010.
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