35mm negative in a still photography cartridge
Posted 18 August 2005 - 11:53 AM
I heard of this practice before. Anyone knows where I can get both Kodak and Fuji stocks?
I can't see the use of shooting test with these if they end printed on paper. Is it possible to make a positive print? Then I can cut the individual frames and treat them as slides so I can project them.
Or perhaps I can scan them put them on Final Cut and then to Mini DV so I can see them on a monitor?
Are any of this ideas good and worth trying? I am aware that the still frame is bigger than the motion picture frame and therefore fine grained and sharper. But I imagine that all the other qualities of the film stock will remain intact, including exposure latitude.
I am hoping that it is cheaper than collecting a bunch of short-ends and that I can get hold of a wide array of stocks.
Posted 18 August 2005 - 01:05 PM
You can get yourself a half-frame still camera allowing you to shoot the same frame size as motion picture cameras (4 perfs vertical instead of 8 perf horizontal 35mm). The DOP Shop has a PL Mounted half-frame still camera for a grand or so (I think)... It'd be great to use the lenses you're planning on using with the stock.
Posted 18 August 2005 - 01:33 PM
Also, depending on what stock you are using there are some pretty comparable still stocks on the market, again Kodak or Fuji will be able to help you out and for exposure tests this would be a good way to go.
It might also be worth doing some research on the Kodak Look Management System and hiring the neccessary equipment although I'm not sure what the ultimate cost will be?
Posted 18 August 2005 - 03:53 PM
You can see demos from Kodak, and of course learn what a cinematographer used to get a particular "look" that you want.
Here's the Kodak data:
Posted 18 August 2005 - 07:33 PM
A simple compromise resolves this. Instead of shooting single frames on your still camera, shoot in batches of three. THis still gives you about ten different exposures on a single 36-exp cassette (it's wise not to shoot right to the end, as motion picture processing machines require a couple of frames-worth of neg to join onto the next reel).
Rare to get perfectly matched color balance, as motion picture labs can't do frame-to-frame color correction
The lab should be able to make grading corrections if they are no closer together than about 20 perfs (your three frames would be 24 perfs). Of course they will need instructions that explain what you have done.
But check out what you will be charged and what the turnaround time would be. It's not a normal practice for a motion picture lab, nor a vey convenient one, so you'll have to pay accordingly - if the lab is prepared to take it on at all.