Black and white short ends

[alanrockwood]

Are black and white short ends still being sold? I think most of the vendors have gone out of business. Updated information would be of interest.

Thanks.

 

[WilmarcoImaging]

The auction site has some expired short ends for sale.

 

[btaylor]

I think that's going to be a real long shot. What production shoots 35mm on b&w stock? Good luck!

 

[alanrockwood]

Thanks.

 

[ic-racer]

I have never bought short ends, so I don't know what they charge for that, but ORWO spools 35mm b&w cine and still films to 1000', 400', 100' and 35mm cannisters. You can choose how much you want.
http://www.orwona.com/b-w-motion-picture-cinematography-films/

 

[btaylor]

Short ends were very cheap. I used to buy Vision 2 for $.05/ft.

 

[rpavich]

I have never bought short ends, so I don't know what they charge for that, but ORWO spools 35mm b&w cine and still films to 1000', 400', 100' and 35mm cannisters. You can choose how much you want.
http://www.orwona.com/b-w-motion-picture-cinematography-films/

I wonder how this stacks up against Eastman 5222 Double X? I buy 400' of double X right from Kodak for $268.00 shipped in the ConUS. The spec sheet for ORWO says "compare to double X" whatever that means.

 

[ic-racer]

I compared to Tri-x. Probably another 30 seconds of development for the OWRO and the curves would be pretty similar.

 

[Jarin Blaschke]

If you want to reach out to me mid-summer, we will have a lot of short ends left over from a black and white feature film....

Jarin

 

[Jeff Bradford]

Check out Reel Good Film http://reelgoodfilm.com/
Sometimes they have short ends.

 

[trendland]

Same procedure as with color film.
I mentioned in the other treath.
But with bw it is much much more less.
The tendency to use color film within production of bw movies we also should notice.

with regards

PS : I got a short end in bw : Polypan F
its very very cheap.

 

[btaylor]

Jarin, we will be lining up for your short ends!

I get the purity thing (real grain, etc.) about shooting your feature on a real B&W motion picture film. To expand slightly on trandland's comment: Any B&W film based movies shot today are generally shot on color negative film and post-processed digitally to B&W. All commercial film based motion pictures are scanned, manipulated and digitized to a Digital Intermediate as part of the post process. When I was more in touch with this sort of thing some years ago, they already had profiles to add grain for any current or extinct emulsion to imitate the look of classic B&W stock.

 

[Jarin Blaschke]

My experience with grain profiles was not convincing, but that was color Alexa footage to which the colorist was adding grain. I didn't buy the look at all, and it felt cowardly and disingenuine as a filmmaker. So, we decided to embrace and own that the film was shot digitally. Also, it's tonality that sets film apart more so than just grain. Digital + grain does not equal film, and likewise a vision 3 stock and a film type released in 1959 (Double-X) are going to have much different curves and micro contrast.

-J

 

[Cholentpot]

If you want to reach out to me mid-summer, we will have a lot of short ends left over from a black and white feature film....

Jarin

Don't mind if I do Jarin? I could use some fresh stuff. I got 400 feet of HP5+ that expired in 2006. Now the stuff is fine for testing and faffing around but maybe it has a bit too much fog. I think I'll bookmark this and be back to annoy you come summertime.

 

[Jarin Blaschke]

Don't mind if I do Jarin? I could use some fresh stuff. I got 400 feet of HP5+ that expired in 2006. Now the stuff is fine for testing and faffing around but maybe it has a bit too much fog. I think I'll bookmark this and be back to annoy you come summertime.

Great. I'm sure the production company will be happy to sell off and make back as much as they can.

J

 

[Cholentpot]

Great. I'm sure the production company will be happy to sell off and make back as much as they can.

J

I shoot ECN-2 too just in case. Love the stuff, develop it in C-41 no problems.

 

[rpavich]

If you want to reach out to me mid-summer, we will have a lot of short ends left over from a black and white feature film....

Jarin

If the price is right...most certainly!
I put it on my calendar.

 

[Jarin Blaschke]

FYI: most likely, the rolls will be longer than 100 feet in most cases.

 

[Cholentpot]

FYI: most likely, the rolls will be longer than 100 feet in most cases.

break 'em down in the dark. I did it with 400 feet so no fear of that for me. Price is where I would get scared...

 

[rpavich]

break 'em down in the dark. I did it with 400 feet so no fear of that for me. Price is where I would get scared...

Same here.

I buy 400' from Kodak for 265.00 shipped. If this is cheaper, I'd be all over it.

 

[Cholentpot]

Same here.

I buy 400' from Kodak for 265.00 shipped. If this is cheaper, I'd be all over it.

Hope so, someone on here was selling Vision 3 500T a few years back for a very very good price. I bought two rolls of about 100 feet. I maybe should have bought more but hey, only got so much freezer space.

 

[rpavich]

Hope so, someone on here was selling Vision 3 500T a few years back for a very very good price. I bought two rolls of about 100 feet. I maybe should have bought more but hey, only got so much freezer space.

XX has become my favorite black and white film. I shoot it in an Oly Trip @400 and dev in Diafine. It gives really nice negs that print on a grade 2 filter pack beautifully. I make "proper contact proofs" and they look awesome with this system.
If it's really bright or snowy or something I ratchet the ISO to 100 or so but other than that...it's my go-to.

 

[Jarin Blaschke]

Cool. General practice is that camera assistants only keep lengths of 100 feet or longer. Anything less is for scratch tests, teaching curious interns how to load the mags or the trash bin.

 

[Cholentpot]

XX has become my favorite black and white film. I shoot it in an Oly Trip @400 and dev in Diafine. It gives really nice negs that print on a grade 2 filter pack beautifully. I make "proper contact proofs" and they look awesome with this system.
If it's really bright or snowy or something I ratchet the ISO to 100 or so but other than that...it's my go-to.

Always wanted to try XX. The Vision 3 gives me superb colors.

Cool. General practice is that camera assistants only keep lengths of 100 feet or longer. Anything less is for scratch tests, teaching curious interns how to load the mags or the trash bin.

Time to change that practice...50 feet can go a looooong way for us scrappy photographers.

 

[Jarin Blaschke]

Always wanted to try XX. The Vision 3 gives me superb colors.

Time to change that practice...50 feet can go a looooong way for us scrappy photographers.

There are few films that area s far apart as XX and Vision 3. The former introduced in 1959 and essentially unchanged; the latter well into this century and is very advanced - visibly different and much more "natural" and "real" than even MP films from the late 90s.

I personally preferred Plus-X by far. Double-X can be pretty drab, although that might be partially D-96s fault (the standard MP developer). I'm investigating ways to improve it's rendition by changing the developer. The machine used in motion picture is quite limiting, however...

J