Your Favorite 16mm Stocks
Posted 23 July 2005 - 11:06 PM
Posted 24 July 2005 - 02:19 AM
Posted 24 July 2005 - 04:12 AM
Back to film stocks it seems as though there are limited choices available now. Is there still Agfa 16mm stock available?
Posted 24 July 2005 - 11:20 AM
Someone could say "EXR 50D 5245", a great stock, but if their whole feature is set at night, that doesn't help them much.
The slowest-speed stocks are the finest-grained. The fastest stocks are the grainiest. Newer emulsions tend to be less grainy than older emulsions, so some of the new 500 ASA stocks have the graininess of old 250-to-320 ASA stocks.
Some stocks are more contrasty than others. Some projects need contrast, some don't. Some may be adding contrast by using skip-bleach for the print so want a stock that is very low contrast.
No, Agfa doesn't make MP color neg any more. One of my favorite stocks was XTR-250, their replacement to XT-320. It was only out for a year before Agfa pulled the plug on their whole MP neg line, almost a decade ago. Low-con Fuji Eterna 400T is probably the closest to that look, or Expression 500T, but neither have the brown-yellow bias that Agfa had.
Posted 25 July 2005 - 12:42 AM
Posted 25 July 2005 - 02:07 AM
"Cast Away" used 5245 for the early island scenes and 5248 for the later scenes for a subtle change in saturation.
Lots of great work done on Agfa, from "Out of Africa", to Zefirelli's "Hamlet", "Memphis Belle" (all of these shot by David Watkin), "Mountains of the Moon" (Roger Deakins), parts of "The Mission", "Gorillas in the Mist", etc. I was sorry to see it go.
With D.I.'s, for better or worse, digital color-correction sort of trumps the subtleties of Fuji versus Kodak, etc. in terms of color; what matters more is the stock's graininess, latitude, and sharpness when doing a D.I. because a minor difference in how a shade of red or blue is rendered, or how warm or color the shadows look, etc. can be so heavily altered by digital color-correction tools.
Posted 25 July 2005 - 10:33 AM
For example I was hoping for everyone to say something like" I like to use Fuji LowCon for people shot in: insert conditions here. And I like Kodak rxr d50 for: insert conditions here.
But it's rarely that formulaic.
Admittedly, a lot of my work is more "abstract" than conventional narrative but still even in drama, as David points out, it's not always a simple equation.
True, one rarely uses 50D in an available light dark alley etc. I use 50D in the conditions where I want the look texture color of 50D.
One thing I'm liking a lot lately, as I'm cutting it is a bunch of 7274 I pushed one & essentially did not compensate for the push.
Sharp and snappy. Less polite than Vision 2, more acidic color.