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Kodak 5230 500T characteristics? (vs '19)

5219 5230 kodak vision3

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#1 Matt Irwin

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Posted 16 January 2013 - 07:47 PM

There doesn't seem to be much experience-based info floating around about 5230 500T... I'm just curious if anyone here has shot this this stock and can comment on it's look, grain, and the result that push/pull has on contrast, color, and grain. Anyone done full or partial skip bleach with it? Any other notables?

I'm beginning to evaluate stocks for a project, and I'm wondering if I can get significantly different looks by mixing '30 with 5219 and playing with processing, since I'd need an ASA 500 stock for the entire project.

Also, 5230 doesn't seem to bear the Vision label... is this a DI-minded stock or something else?

Cheers,
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#2 Adrian Sierkowski

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Posted 16 January 2013 - 09:26 PM

I'm not a big fan of the '30; though i've only used it in S16mm. I find it grainer than the '19, and I never really got the exposure range (especially under exposure) that I came to love in the '19 stock.
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#3 Matthew W. Phillips

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Posted 16 January 2013 - 10:44 PM

I'm not a big fan of the '30; though i've only used it in S16mm. I find it grainer than the '19, and I never really got the exposure range (especially under exposure) that I came to love in the '19 stock.


All 500t is grainy bro. I'm so done with that stock. Its <= 250 D for me from here on out if shooting 16
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#4 Adrian Sierkowski

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Posted 16 January 2013 - 10:46 PM

I don't mind the '19 myself. And 250D doesn't do too much good for a night int most of the time.
Point being the '30 is grainer than the '19.
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#5 Matthew W. Phillips

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Posted 16 January 2013 - 10:48 PM

Yes, its grainier. But when its already so grainy that youre embarassed to show it on a big screen and it has zero continuity with better shot footage, why bother? I never thought film guys would be so obsessed with "low light" as the DSLR folk. Why not shoot Kubrick 0.7F lens with 800t stock and then you might be able to catch the moonlight? lol ;)
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#6 Andy Hager

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Posted 16 January 2013 - 11:18 PM

I thought about trying some night shots of the Northern Lights this summer with all the solar flareups that are expected this year. All time lapse with super long single frame exposures. Those Kubrick 0.7f lenses would be nice.

But perhaps all that grain of the 5230 might just be the trick for the audience into thinking its actually all the stars! :P
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#7 James Compton

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Posted 17 January 2013 - 02:10 PM

I can cite 2 professional examples of KODAK 5230 in recent theatrical release. Cinematographer Greig Fraser seems to like 5230. He pushed the film 1 stop in the lab, and overexposed in camera for - Snow White and The Huntsman -now on DVD/Blu-Ray. The second example is - Killing Them Softly- where he rated the stock normally and pulled the film by 1 stop in the lab.

SMOKY CHEESE (yes, I said that)- is the verbage that I would use to describe 5230. The shadows have this grayish mist. It's like a halfway point between 18 and 19. The 5219 genes don't emerge until the filmstock is pushed, yet still looking somewhat like 18 in the midtones.

Here are some 35mm examples:



35mm ;



Shot with Zeiss Super Speed lenses :


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#8 Matt Irwin

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Posted 17 January 2013 - 02:16 PM

Thanks James, this helps a lot.
I actually discovered the AC article on Killing Them Softly... very interesting. I'll have to check out Snow White.
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#9 Mike Tounian

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Posted 17 January 2013 - 05:21 PM

Lorette Bayle at Kodak told me that 5230 was intended to be the Vision3 successor to 5260, but they ended up using characteristics from Vision2 as well to allow for a lower price point.

I shot tests with it and compared to 5219 and I felt that it gave African American skin tones a slight bit of green. I feel like I see the exact same thing again in the 35mm tests that James posted above. I actually liked the slight increase in grain for this stock, but ultimately since our lead was African American we stuck with the 19.

Killing Them Softly was beautifully shot. Knowing now that it was 5230 I'll have to watch it again.
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