Jump to content


Photo

Kodak Double X 7222 advice?


  • Please log in to reply
3 replies to this topic

#1 TW Foley

TW Foley
  • Basic Members
  • PipPip
  • 20 posts
  • Cinematographer

Posted 15 April 2012 - 03:56 PM

How do you get the most out of Double X 7222 16mm? I know it is rated at 200T/250D, but if shooting night interiors, lighting with CFLs in table and desk lamps on screen, should this stock be rated at 200? Or would it be better to rate it at 250, 320, or even 400 and have the lab push process it? I don't mind grain, but some nice contrast would be good.

I know it really depends on the type of look I want, but I'd like to know what each ISO setting on my light meter would result in.
  • 0

#2 zerzour r

zerzour r

    New

  • Basic Members
  • Pip
  • 3 posts
  • Other

Posted 22 April 2012 - 10:14 PM

Hi Guys,

Just to let you know that EASTMAN KODAK 16mm x122m (400ft) DOUBLE-X N/B (Black & White) Negative 7222 for 29.99 euros .
If interested here is the direct to the ebayer
http://cgi.ebay.fr/E...=item35bb8403e1

Enjoy
  • 0

#3 Will Montgomery

Will Montgomery
  • Sustaining Members
  • 2086 posts
  • Producer
  • Dallas, TX

Posted 11 May 2012 - 08:58 AM

Assuming you'll be transferring and not printing, always err on MORE LIGHT. Double X is a very grainy stock, one of the things I love about it. But remember it was designed at a time before modern negative stocks where it was expected you'd have plenty of light on your sound stage. Just crank up the light and expose at 200. Otherwise you'll get an experimental look with crazy grain. You can sit with the colorist and achieve whatever look you need at transfer.

Keep in mind when I say crank up the light that does't mean ignore where and how you place them...that's critically important, just plan on having more than you might expect.
  • 0

#4 Chris Burke

Chris Burke
  • Basic Members
  • PipPipPipPip
  • 1737 posts
  • Boston, MA

Posted 12 May 2012 - 02:39 PM

Will couldn't have put it better. If you look at the beginning of Casino Royale or Memento, you get modern examples of how good it can look. Granted those film were shot on 35, but you can get the same contrast. It is a finicky stock, so you basically have to nail it. What I have done is when I wanted a lot of contrast, is meter for the highlights and add light to the shadows as needed. If I wanted flatter contrast, I would fill in the shadows even more. I would keep it at 200, that half stop either way pretty much where you want to be. I am curious what folks experience has been with this stock outdoors on a sunny day. What filters have people used to get what effect? In particular a polarizer. I know that with a circular polarizer you loose about 2 2/3 stops of light, but is a linear polarizer the same?
  • 0


Gamma Ray Digital Inc

Glidecam

The Slider

CineLab

Technodolly

rebotnix Technologies

FJS International, LLC

Wooden Camera

Willys Widgets

CineTape

Aerial Filmworks

New Pro Video - New and Used Equipment

Abel Cine

Ritter Battery

Paralinx LLC

Tai Audio

Media Blackout - Custom Cables and AKS

Metropolis Post

Broadcast Solutions Inc

Rig Wheels Passport

Visual Products

rebotnix Technologies

Metropolis Post

Rig Wheels Passport

The Slider

Abel Cine

Visual Products

Glidecam

Paralinx LLC

Willys Widgets

Wooden Camera

FJS International, LLC

Aerial Filmworks

Ritter Battery

CineLab

New Pro Video - New and Used Equipment

Tai Audio

Technodolly

Broadcast Solutions Inc

Media Blackout - Custom Cables and AKS

CineTape

Gamma Ray Digital Inc