Poll- 100D or 64T?

[film_idaho]

100D for me! 64t just seems like a pain in the ass and its too grainy. Besides I use super 8 outdoors more then indoors.

Alex

[Mogzy]

I'd be interested to know how many users there are of this forum and thus what percentage of users have voted.

The software prevents any "multiple votes" so presumably we can be sure these are accurate.

Mr Pytlak, it seems to be an overwhelming majority in favour of Kodak Ektachrome 100D over 64T. Do we have any idea as to when any decision might be taken as regards releasing 100D (realistically, "replacing 64T with 100D")?

Many thanks.

[bakanosaru]

Mr Pytlak, it seems to be an overwhelming majority in favour of Kodak Ektachrome 100D over 64T.

If less than 50 votes on a web board is sufficient for kodak to bring out a new super 8 stock then I suggest we go for broke and have a vote on the Vision 2 50D as well. :lol:

[Freya]

Heres the answer to shooting indoors with 100D.

Use daylight balanced flos!

They put out less heat and as the film is 100d, then it's also faster meaning requires even less light!!! You can even get high output daylight balanced compact flo's. They come as helix spirals of about 27 watts or something.

The light from flo's is diffused making your subjects look prettier, so you won't be able to use hard light by this method.

Another idea would be to shoot all the outdoor scenes on 100D and the indoors on good old tri-x. Personally, I think that mix might look interesting, but maybe we would all get sick of it.

love

Freya

[Justin Lovell]

don't forget to get a flicker box/ ballast to get rid of the flicker. If you're just buying or renting KINOFLOs, then you should be just fine.

and I think the so called 'daylight balanced' hardware store flouros still have a slight green or magenta spike in them.

Maybe someone else can confirm?

[christoph]

and I think the so called 'daylight balanced' hardware store flouros still have a slight green or magenta spike in them.

Maybe someone else can confirm?

well, technically a kinoflo has a spike in the blue and green spectrum as well, but the eye (and the film) doesnt notice it.

if you get a household fluro you want to look for one with a good color rendering index (CRI, 100 is perfect, which a fluro cant reach, over 90 is good) and you have a good chance that it will look good on film... cheapos are usually in the 70 range.

note that one big advantage of kinos is their high output and their protection coating if they break (which happens a lot on a crowded set ;).
++ christoph ++

[T-Scan]

The sun poked out today, so I was finally able to set up about 10 identical tripod shots ranging from macro, wide angle, and zoom with 64T, Wittner 100D, and Spectra Vel 50D. I used my 1014E locked in place and just swapped carts, adding an 85B for 64T, -1/3 for velvia, 100D straight. Next week I can post the results, we'll get a good comparison of grain, contrast, color saturation, detail ect...

[Justin Lovell]

does the CRI value relate to the so called 'daylight' balanced flouros, or 'cool white' labels?

how do those values relate to colour temperatures?

[christoph]

does the CRI value relate to the so called 'daylight' balanced flouros, or 'cool white' labels?

how do those values relate to colour temperatures?

the CRI does not say anything about color *temperature*, but rather about "evenness" over the full spectrum...

by definition, pretty much every lightsource that generates light through heat (glowing body) has a CRI of 100, so both a tungsten light with 3200K and sunlight with 5500 have a CRI of 100.

light that gets generated by gas activation (fluros, mercury lamps, sodium lamps, even HMI) can never reach a CRI of 100 because the gas prefers some wavelenghts to others, resulting in spikes even if you use phosphors to even them out like in fluros.

CRI is a pretty old thing and it's value is not a perfect way to describe a light source, but it's usually the only one that is listed, and it still gives a pretty good guess how a light might look.

sorry for sidetracking this thread
++ christoph ++

[mattias]

actually you can get hard light using fluorescents too. it's all about the size of the light source as a function of the output so a compact flo/energy saving bulb is already pretty hard, about the same as a regular diffused household bulb. put it in a par-like fixture and it becomes even harder relatively speaking, or simply walk it further away.

btw i've been looking for 12v daylight balanced bulbs for a while but all i can find are cool whites or daylight with horrible cri ratings. any ideas? it would be nice to put one in a chinese lantern on a boom, hook up to a battery belt, and bring along for filling indoor and overcast daylight shots quickly and cheaply. for now i'm using a 3 million candles halogen flashlight with ctb and diffusion taped to the front. it works ok but the output isn't great.

/matt

[AMAT0R]

Naturally 64T has its advantages, but overall 100D is a clear winner, and I think most Super 8 users would agree that it should be the only colour reversal film if we are to be offered one choice only. I'm sure the companies offering 100D presently would be able to repackage 64T for those who wanted it, but for a "semi-mainstream" widely used reversal film, it has to be 100D.

I voted for a 100D, but I felt uneasy. Most of my films are outdoors, but from time to time I need to shoot something indoor, in colour. Of course, in ideal world I'd preferred both stocks: 64T for indoors, 100D for outdoors. And then I've read the Mogzy's post, and I think he's absolutely right. 100D is certainly better for outdoors: no need to use any filters, compatibility with most cameras, fine grain and sharpness, higher speed. I think many from You guys shoot indoors only ocassionally. In this case You could buy some tungsten balanced films (E64T, Fuji 64T, maybe others) from Wittner or other company. So, when I need to choose one: 100D.