Cinestill 50D

[George Mann]

This is a great film, which blows me away. It has a more subdued version of the Fuji color pallet (which I don't normally like).

Anyone else like or use it?

 

[Mesabound]

I was just thinking about picking up another roll. I found the contrast a little too muted and the colors a little too pastel on first go-around, but did get some nice images. Just got some great results w/ 800T under studio lights so I'm definitely going to give each some more experimentation. I've attached my favorite image from the first 50D roll I shot (35mm). The contrast and saturation were better for me in shade.

The grain is finer than any other color film I've shot

 

[koraks]

Anyone else like or use it?

I experimented with it (actually Vision 3 50D, which is the same but with the remjet still on), but have up on it as the color balance wouldn't play nice with RA4 paper. The crossover was unmanageable.

 

[MattKing]

I experimented with it (actually Vision 3 50D, which is the same but with the remjet still on), but have up on it as the color balance wouldn't play nice with RA4 paper. The crossover was unmanageable.

Would I be correct in assuming you developed the film in C41?

 

[koraks]

Apart from a single try which was utterly hopeless, no. It was ecn2 developed.

 

[MattKing]

Apart from a single try which was utterly hopeless, no. It was ecn2 developed.

Thanks.
That really highlights how different motion picture (ECN2) and still film negative (C41) films are.

 

[George Mann]

And therein lies the rub!

 

[MattKing]

What is the reason for this difference? The desired output or the need for different processing for logistical reasons? (I know nothing about ECN2)

ECN2 film is designed to be printed to different media - projection stock, designed for ECP development.
The film's three colour emulsions are contrast matched to the colour emulsions in that projection material.
C41 films are designed to be printed to paper that is designed for RA4 development.
Their three colour emulsions are contrast matched to the colour emulsions in that material.
Optimizing something for a projection medium is always going to lead to major differences from something optimized for a reflective medium.
In the real world now, both types of films are also set up for digital intermediate steps, but the optimizations are still very different.
And you get crossover when the contrast behavior of the three colour emulsions isn't well matched to each other, when the characteristics of the presentation medium are taken into account.

 

[koraks]

@koraks what' "crossover" in this context? Any examples you can post? Thanks.

Here's one:
http://www.koraks.nl/galleries/zut/...50d_ecn-2/EPT_pH1050CDt3m45s_FCAL101Y41Mw.jpg
Note the blue shadows on the left and the yellow highlights on the right.

 

[twelvetone12]

I had super8 50D properly developed in ecn2 and printed on super8 print stock, the results are absolutely gorgeous!