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  1. #61
    cmacd123's Avatar
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    Quote Originally Posted by holmburgers View Post
    Side note... why does motion picture film use 250 and 500 speed designations? I'm curious why their conventions would be different than still film.
    Probaly a case of Oneupmanship. Kodak and Fuji have been going head to head on Camera Negative film for years. The early ECN was in the 50 range. Then they went to 100. Then 320, Then 500. They are just dropping the 100 as they say that the 200T Vision 3 is better then the 100T Vision 2.

    I actually prefer the 50D as it is about the right speed when you consider a 120 degree shutter ta 24FPS>

    Use http://www.Kodak.com/go/motion and click on "camera films" under products.

    Looks like we are left with

    Vision 2 50D (5201 7201)
    Vision 3 200T (5213 7213
    Vision 3 250D (5207 7207)
    Vision 2 500T (5250 7260)
    Vision 2 EXPRESSION 500T (Soft colour) 5229 7229
    Vision 3 500T 5219 7219

    Type starting with 5 are 35mm and Above 7 is 16mm and below
    although only Vision 3 200t and 500T are in Super 8.
    Charles MacDonald
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    I still live just beyond the fringe in Stittsville

  2. #62

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    Quote Originally Posted by cmacd123 View Post
    Probaly a case of Oneupmanship. Kodak and Fuji have been going head to head on Camera Negative film for years. The early ECN was in the 50 range. Then they went to 100. Then 320, Then 500. They are just dropping the 100 as they say that the 200T Vision 3 is better then the 100T Vision 2.
    I think that's a bit too strong. Sure they were driven by competition, but in my limited experience, the difference between 200T and 500T is pretty big. In 16mm, the grain at 500 can be kind of large while the 200T is a lot more palatable. Kodak used to have Vision 800T but I guess they discontinued it and recommend 500T over it. I guess the tradeoffs to get 800 speed weren't worth it (kind of like many people are ok with ISO 400, but find the '3200' speed films are too grainy).

    At the same time, 500T lets you light smallish scenes with a couple of 300W lights. We just shot some Vision3 200T (first time for me) and we needed to bring out the 1k lights with the same camera kit. I'd much rather use the 300W lights: cheaper, easier to move around, etc. Just my opinion.

    Just look at the number of movies that use V3 500T. It's definitely a popular stock. Of course, if you already know this, then you already know this

  3. #63
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    Quote Originally Posted by Tim Gray View Post
    I think that's a bit too strong. Sure they were driven by competition, but in my limited experience, the difference between 200T and 500T is pretty big.
    At the same time, 500T lets you light smallish scenes with a couple of 300W lights.
    Just look at the number of movies that use V3 500T. It's definitely a popular stock. Of course, if you already know this, then you already know this
    Sorry, what I throught I was saying is that it strated as one upmanship to got from 320 all the way to 500, while still film seems to top out at 400.

    I have shot some fun home movies with the 500T stocks using just the normal household lights. I don't know if the timer had to crank the lights over to the stops to make up for the lower colour temperature of 60W household bulbs. MY home movie modus operandi is to shoot short ends of 16mm in my Filmo, and have the lab make me a "best light" workprint on 3383. I have collected a bunch of Spools and a split reel so I can repack random lengths of film on 100 ft spools. The lab will return the empty spools if you ask to get them back..
    Charles MacDonald
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    I still live just beyond the fringe in Stittsville

  4. #64

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    Ahh ok. I got you.

    I wish 16mm were cheaper - haha. Actually I wish transfers were cheaper. I'm sure the timer adjusted it some. Honestly, I haven't had that much trouble shooting unfiltered daylight still film in household tungsten lighting and correcting digitally. Shooting 500T with a slightly lower color temp shouldn't be a problem at all.

    Where do you get your film processed?

  5. #65
    cmacd123's Avatar
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    Quote Originally Posted by Tim Gray View Post
    Ahh ok. I got you.

    Where do you get your film processed?
    NCL in Toronto for the Eastman colour.
    http://www.niagaracustomlab.com/

    BlackandWhite film factory for B&W.
    http://www.blackandwhitefilmfactory.com/
    Charles MacDonald
    aa508@ncf.ca
    I still live just beyond the fringe in Stittsville

  6. #66
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    Interesting discussion guys; it's great to hear from some movie film shooters.

    I'm excited to get my rolls processed, I'm nearly done with my first roll of 500T. Walking into a restaurant, or a bar in the evening, or a friend's house, nothing could be better than 500 speed and tungsten; I feel like for the first time I have the appropriate stock for such occasions.

  7. #67

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    Quote Originally Posted by Tim Gray View Post
    Ahh ok. I got you.

    I wish 16mm were cheaper - haha. Actually I wish transfers were cheaper.
    Yeah, the transfers are killer for me. That's the one part of the chain that, in my opinion, keeps a lot of new entrants, high-level hobbyists, etc. out of the picture.

  8. #68
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    I still see some RTP-II 135-36 Fujichrome 64T Professional Tungsten Color Slide (Transparency) Film (ISO-64) in stock at B&H.
    Harry Pulley - Visit the BLIND PRINT EXCHANGE FORUM

    Happiness is...

  9. #69
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    If all else fails, you could use daylight film, and filter.

  10. #70
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    This thread title should probably be changed to "Movie Film - fast tungsten, use in still cameras, ECN-II processing, etc." or something along those lines.
    If you are the big tree, we are the small axe



 

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