I am planning to shoot my next short film on K40 (probably the last in world lol ). Take a look at this post I made on Cinematography.com. I am wondering now if K40 was the best choice of film stock - but if anyone here has any thoughts that might help me, please let me know! You can see the look I am going for on the image I put on that post.
Some of mine in 16mm was shot correctly at noon and even on a bright sunny day it was very blue. A warming filter would have been much nicer at that time of day. I never knew that mid day light was so cool!
Michael Carter
Just be sure you're done with your film before dwaynes stop processing the k40, that can happen any day now...
the biggest problem youre going to have is shooting interior scenes, because the film is just simply too slow, you'll need lots of lights. When i was shooting a short, we used 200t super 8 film and we had two 1000watt lights and still there was barely enough light...
And I've just posted a cheque off to BH ... But if your film will be the last in the world in Kodachrome then that will make mine next to the last - and I'm sure there'll be others. (There's one Std8 roll of K25 closing on the UK ebay site in a couple of hours). After using 'normal' speed film, in cameras, it's a shock to find how slow the old stock is. On Sunday last the sun was very bright down on the Quayside and I was in a deserted corner of it with a little bolex and a jar of kerosene - the very last of the Kodachrome. Will it turn out ok? Will it look a Derek Jarman nightmare ? (It might with a bit of luck !)
Hi, just remember that Dwaynes super 8 processing is not certified by kodak, i have seen reports of blue lines on film processed by them. Can you afford to have your shots screwed in processing?. In fact i have experianced these dreaded blue lines on a recent batch of 16mm k40. Dwaynes will process k/c for at least another two years, their is plenty of cine kodachrome out their, Wittner still have double 8 k25, John Schwind ds-8 k40 and standard 8 k40, Dwayne's double 8 and the very last batch of 16mm k40. So k/c aint dead yet.
If you shoot on negative and get a good telecine you'll have plenty of room to make it look like Kodachrome in post - crunch the black and saturate the reds for a start
- there was a thread here somewhere where we tried
Scot
Read my science fiction novel The Forest of Life at https://www.amazon.com/gp/product/B01D38AV4K
[quote="Scotness"]If you shoot on negative and get a good telecine you'll have plenty of room to make it look like Kodachrome in post - crunch the black and saturate the reds for a start
- there was a thread here somewhere where we tried
Scot[/quote]
Have to agree with Scot on this, unless your finished masterpeice is to be projected, neg is a better option, here in the uk there is a pro lab who process super 8 neg, that ( hopefully ) wont screw up.
Dwaynes have processed 60-70 rolls of 16mm k40 since last september with no problems at all, also no problem with the super 8 k40 i shipped to them for processing. These blue lines/streaks seem to be common to Dwaynes, never have any blue lines with the kodak processing in 22 years...
Another option is the grainy 64t, it does look ok (ish) when telecined, and because of the grain appears sharper than the 100d when telecined via a rank mk3.
). Take a look at this post I made on Cinematography.com. I am wondering now if K40 was the best choice of film stock - but if anyone here has any thoughts that might help me, please let me know! You can see the look I am going for on the image I put on that post.
