Vision 3 50 D

[marc]

Now that kodak has come out with it's new vision 3 50 D negative. I wonder if they will get smart and ditch that 500T and offer the 50 D instead for super 8?

[grainy]

what's wrong with 500T? It gets a lot of use, works great for night shooting. The kids dig it (just do a search on youtube).
Fits the bill of success, from what I see.
G

[Will2]

I'd be fine with losing 200T and replacing it with 50D but 500T is definitely useful.

[Andreas Wideroe]

I totally agree with Marc here. I've personally never been a fan of the 500T film in Super8. It's simply too grainy. However, I love 50D in 16mm and it would be awesome to see it in Super8.

/Andreas

[Lunar07]

Andreas -
Being NOT a fan of something does not mean that it is useless and should be ditched. Being NOT a fan is not even an opinion. And I fail to see the jump from demanding Vision3 50D and ditching 500T. I fail to see the connection. Maybe marc can explain further how he made the jump.
500T, for those like me and many others who shoot at night, is indispensable. Of course it is grainy. It is 500T! Push process 1 stop and you are at ASA 1000. For existing night shooting this is much needed. 200T will simply not cut it.
It is good to have Vision3 50D, but it is not a matter of choice between 50D and 500T. These belong to two different worlds and serve entirely different purposes.

I totally agree with Marc here. I've personally never been a fan of the 500T film in Super8. It's simply too grainy. However, I love 50D in 16mm and it would be awesome to see it in Super8.

/Andreas

[Lunar07]

marc - I have been staring at this for minutes while having my morning coffee and I feel transported into a Dali scene of sheer surrealism When is the last time you used 500T? And how did you connect 50D and 500T into a matter of choosing one over another? You know, the difference between these two is like between the living and the dead. 500T belongs to the world of vampires and dead of the night - pun intended
Maybe you meant ditching 200T - if so, this may make sense. 200T belongs to the world of indoor scenes well lighted with Tungsten. In which case 200T can be ditched and 100D can be used with a color correction filter. But when you can not control night lighting you are stepping into the world of 500T and 1 stop push processing. So it is hardly a matter of choosing between 50D and 500T.

Now that kodak has come out with it's new vision 3 50 D negative. I wonder if they will get smart and ditch that 500T and offer the 50 D instead for super 8?

[Juergen]

My information given by Kodak is, that there will be no Vision3 50D in Super 8.

[msp1518]

That is a shame. But anyone wanting 50D can just buy from pro8mm.

I love 500t and use it extensively. It solves numerous lighting issues.

[woods01]

Why not 3 negative stocks? I've shot heaps of 200T. For me its a nice compromise of grain & functionality but most of what I've shot has been outdoors. I'd have made 50D my primary stock if it was available from Kodak. I havn't used
500T all that much, I've shot a roll here and there and it is impressive what you can get out of it at night.
Someday I'd like to try a push process of 200T & compare with 500T.

[kII]

my feeling is that we'll loss all reversal film from kodak within 2-3 years, and hopefully they may offer 50d as a replacement for 100d..

[Nicholas Kovats]

When I was shooting Super 8 up until recently I shot almost V2 200T exclusively. Typically wide open (f2.8 and pushed to 400 ASA). A bit grainy but a wonderfully lush look. Exposed in daylight at 200 ASA (Never compensated for my internal camera filter) and with a high resolution scan it starts to look like mini Hollywoodish negative. Check out Cinelicious's gorgeous example.

V3 200T seems a bit more vibrant color wise. V2 500T has big grain and I was never happy with the daylight exposures. Yes daylight...due to some on location circumstances back in 2009.

V3 500T was slightly better grain wise. Keep in mind that negative stock is lower resolution than reversal but has wider latitude. E100D is a gorgeous "high rez" stock with mid-high contrast and colors that " burst" on the screen. Negative's colors are more subdued.

The more variety of film stock the more choices of interpreting the world with our "paint brushes". All mentioned stocks "deserve" a life. However there are and will be corporate decisions beyond our control.

Slight switching of gears.

I agree that V3 50D would be gorgeous. I have already spoken to Kodak as to the minimum order regarding Regular 8 stock relative to my UltraPan8 development. I was told that they do not do custom orders at his time but 2 perf V3 250D 16mm is available in 400ft lengths for my reperf aspirations a la Mr. Nowill.

Has anyone spent big bucks to shoot Super 8 Sounds' reperf'd 50D in S8 carts?

[Will2]

Has anyone spent big bucks to shoot Super 8 Sounds' reperf'd 50D in S8 carts?

I've shot quite a bit of Pro8mm V2 50D in S8. Unfortunately some of it was transferred by Pro8mm's B-team. I know they have a decent colorist over there but more than half the time I must get the intern. I had Lightpress re-transfer on their Shadow telecine.

Anything that was out of focus was on a AF310XL and Ektachrome 100D but mostly anything in-focus (like the birds flying and slow-motion shots) was shot with my Beaulieu 4008 ZMII Jubilee Edition and V2 50D which I love very much.

http://vimeo.com/28847135

[Charlie Blackfield]

I'm sure we've got better things to do than shooting ourselves in the foot by suggesting which film stocks Kodak should ditch for Super 8.

With regards to Vision3 200T, Peter Rosza from Szeged Super 8 Film Festival sent me (and possibly some others on this forum) today a link to a film shot on this stock last year:
http://www.youtube.com/watch?v=etPyP4IMmIY

Now tell me: do you really want to ditch this stock?!!!!

As for 500T, I perfectly agree that it's terribly grainy, but it does still serve a purpose. In fact, it's currently my favourite film stock for a few scenes in a long-term feature film project I'm developing at the moment - I'm considering to use it for instance for close-ups of myself dressed up as Death wandering about at night. The grainyness would be a welcome addition to the general surreal feel of the scene.

Charlie

[Nicholas Kovats]

Will,

I repeat my 3 month old Vimeo comments ..."gorgeous"! I love the 50D skin tones. Classic Kodak chemistry. And to answer your question here...UP8 utilizes 2 per Regular 8mm stock. At this time Mr. Nowill is only setup to reperf 2 perf 16mm stock, e.g. V3 500T, V3 250D, Fuji 64T (?), etc

[marc]

Of course my point was based on my own personal opinion just as everyone's response here was. For the rare cases that you need a night shot why not use 500T with a 16mm camera? The graininess of the 500T in super 8 degrades the super 8 image rather than "exhalting" it. I have not shot 500T in super 8 and I don't want to because I have seen enough examples of other people's footage to know that it is not pleasing to my eye. The connection between "axing" one stock for another makes perfect sense. Kodak knows what it's super 8 market is and they know that introducing one stock means "canabalizing" another. They simply do not have the market to offer an additional stock to their super 8 portfolio, let alone an unlimited number of choices. That is for high mark businesses like Pro 8mm. But who's perforations do you trust more, Kodak's or Pro 8mm's?