I don't attribute the distribution issues to just the pandemic. In Canada, as an example, the distributors who buy from Kodak Alaris and sell either to other distributors or the retailers themselves are a real problem - expensive, high minimum volumes, slow service times being a few parts of the problem.this all pre-dates the distribution issues caused by the pandemic.
I still like my Velvia 50 over Provia 100 and Ektachrome 100. True they're positive chromes, but still.@braxus you can dial in any colors you want after scanning. Color negative film, when scanning is your workflow, does not lock you in any kind of "palette". You simply get a slightly different starting point for your edits, that's all.
This is something I realized only recently. I started shooting, developing and scanning my own color film only in 2020. Must admit, I was also initially brainwashed by "internet people" proclaiming that "Ektar delivers cooked skintone" or for landscapes "Fuji green" is hard to beat. All of that is utter nonsense. They're basically talking about Noritsu/Frontier defaults from their labs.
If you are scanning, any color negative film can look exactly how you want it to look like. A well done color negative scan is quite similar to a RAW file from a digital camera. Sure, cameras have slightly different color science, but any competent Lightroom/CaptureOne user can get the look they want out of any RAW file.
Give me scans of Gold 200, Fuji 400H, Portra 400 and Cinestill 800T and I will make them all look exactly the same. Price, grain and speed are the only 3 variables worth paying attention to. Maybe latitude too. But a color palette - nope.
[EDIT] formatting.
I think that has to do with the fact the film has no antihalation layer. The light reflects off the back layer without it. Why they do that, I don;t know.Yep that is why my go-to is Fuji C200. I scan it myself and can make it look like anything I want. Love this film. I'll let others pay $12/roll for the fancy stuff that looks exactly the same.
The one difference I will point out, because you mentioned Cinestill 800T, is that 800T halos around light sources very noticeably. That is unique and something that I cannot recreate with other colour films.
I think that has to do with the fact the film has no antihalation layer. The light reflects off the back layer without it. Why they do that, I don;t know.
Why do they do that?Cinestill is movie film. They have to remove the outer layer so you can process it with normal c41 chemicals, and the antihalation is lost in the process.
I tried it once after reading about the halos. Hated them. Good on Cinestill for trying something different, though, but I'm not their demographic.
They have to remove the outer layer so you can process it with normal c41 chemicals, and the antihalation is lost in the process.
The anti-halation material used with movie film is rem-jet. It is a black coating on the back of the film that also ads lubrication and anti-static behaviors that are important for film moving at 24 fps through a camera.Why do they do that?
I'm confused again Matt. I thought this film had NO anti-halation but you say rem-jet is antihalation material on the film. So why do you get halos?The anti-halation material used with movie film is rem-jet. It is a black coating on the back of the film that also ads lubrication and anti-static behaviors that are important for film moving at 24 fps through a camera.
If you have remjet on the back of the film and then put it through a C-41 machine, the remjet comes off and gets over EVERYTHING. And your lab will hate you!
The actual, out of the box standard Kodak film is in long (400 feet or longer) rolls and has the rem-jet anti-halation on it.I'm confused again Matt. I thought this film had NO anti-halation but you say rem-jet is antihalation material on the film. So why do you get halos?
All three effects can be obtained otherwise, even better, and b&w cine-filme have not and never had such carbon layer, but it became industry standard for colour-negative cine camera films. And used at Kodachrome too.The anti-halation material used with movie film is rem-jet. It is a black coating on the back of the film that also ads lubrication and anti-static behaviors that are important for film moving at 24 fps through a camera.
Regular C-41 film would be equally cheap if people bought twenty 400 foot rolls of film (without edge numbering or cassettes) all at the same timeOne would think that Kodak would have gotten rid of rem-jet if there was a cheaper way to make cine film with such properties, no modification was required in processing such film and no way for still photographers to (easily) use and process such cine film that is (or needs to be for movie industry to stick with film) a LOT cheaper than regular C-41 film.
Be careful of comparing apples & oranges. E.g. in one of the YouTube vids above I see a comparison between 800T and Portra 400 - evidently, the 800T shows a very cool/blue color cast, which makes sense, as it's a tungsten balanced film being compared against a daylight balanced film. However, 50D is daylight balanced, just like all C41 film in current production. So carefully look at the T / D that comes after the number. It denotes Tungsten or Daylight.I bought a roll of Cinestill 50D just to try it out. But from the videos I've seen on Youtube of Cinestill
It's because they are off, of you compare against C41. Individual channel gamma's are different for ECN2 film stocks, because the characteristics of the duplicating medium are different from the response curve of RA4 paper. Translated into today's world of scanners and digital processing: all (consumer) film scanners expect C41 curves, but ECN2 curves are quite different. This results in color accuracy problems with most scanners and software used. In principle this can all be corrected in digital post processing, but it's quite a chore to set up a reliable color profile for this. Hence the many examples of oddly greenish ECN2 scans, weird magenta/green crossover etc. I haven't seen 'good' ECN2 scans so far (apart from at the movies!), but I have to admit I haven't looked for them in the past 2 years or so anymore.the colors I've seen off 50D just seem a bit off to me
It's because they are off, of you compare against C41. Individual channel gamma's are different for ECN2 film stocks, because the characteristics of the duplicating medium are different from the response curve of RA4 paper.
It is. Being the experimental type of person, I tried all sorts of things, but if somewhat accurate color reproduction is desirable, simply shooting C41 (or E6) is the easiest solution.It seems much more straightforward to use C-41 film for colour negative originated stills photography.
I was trying to get some Portra 160 and Ektar 100 in 35mm 5 paks. One store has one, but not the other. Another store has neither. Seeing down the list many color 35mm films are out of stock. Is this because of Covid, or more because Millenials are shooting this stuff like crazy now, along with us only diehards? I was forced to choose some rolls in 120 instead, which is still in stock.
Mostly supply issues it seems.
Note that Fuji has been steadily getting out of C41 with a recent blow being the discontinuing of Pro400H.
"35mm film selling very well"... at you YOUR shop.
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