Author Topic: photographers, filmmaker - kodak or fuji?  (Read 3357 times)

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md

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photographers, filmmaker - kodak or fuji?
« on: April 04, 2004, 12:21:30 PM »
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just curious as to what type of film you guys use.  Also if there are any filmmakers who shoot 16 or maybe even 35, just curious as to what film stock you use.  I only say this because i hail from rochester, the birthplace of eastman kodak, and well fuji just seems to be kicking our ass.  Kodak has been laying off so many people (and friends) and its sad to see a huge company at one time diminish so greatly.  I know this is kind of a obscure topic but i was just wondering if fuju just applied to more people than kodak.
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pete

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« Reply #1 on: April 04, 2004, 01:58:48 PM »
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kodak has been devouting most of its time now developing for more saturated, rich colors.  The whole vision and vision2 thing for example.  While Fuji is more faithful?  That's my impression anyways.  Oh yeah, and from the little experience I've had Fuji has finer grains.
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Pastor Parsley

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photographers, filmmaker - kodak or fuji?
« Reply #2 on: April 06, 2004, 03:31:45 PM »
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Quote from: pete
Oh yeah, and from the little experience I've had Fuji has finer grains.


I've noticed that too.  I'm no expert, but have been really getting into photography for the last year.  Fuji is quite a bit cheaper than Kodak as well.

mutinyco

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« Reply #3 on: April 06, 2004, 05:34:33 PM »
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Kodak is still the standard. Fuji has some nice looks, but generally Fuji was always known for richer colors, while Kodak was considered more natural. I'd stick with Kodak because their quality is excellent, and also it's more common. Kodak's Vision stocks have totally reinvented cinematography over the past decade. They pushed film speed while tightening grain. I think Fincher best exploited this (perfect timing), by using Vision 500T to achieve his dark, underexposed look.
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SoNowThen

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photographers, filmmaker - kodak or fuji?
« Reply #4 on: April 06, 2004, 07:50:44 PM »
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Is it just me, or is Fuji more suited for purples and greens, while Kodak does the other colors better?

I know that's about as non-technical and uninformed a statement as they get, but I seemed to notice this...
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

mutinyco

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« Reply #5 on: April 06, 2004, 08:33:57 PM »
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It is you. But yes, you're correct.
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cowboykurtis

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« Reply #6 on: April 07, 2004, 01:07:15 PM »
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Quote from: mutinyco
by using Vision 500T to achieve his dark, underexposed look.


iwas actually trtying to find this info out recently -- where did you find this info -- is it a stock he "always" shoots on? or r u speaking about a specific project -- i think i read that seven was shot on 200t -- could be wrong -- any insight/knowledge would be most appreciated.
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kotte

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« Reply #7 on: April 07, 2004, 01:18:09 PM »
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Ě'm unfortunately very (as I've said) unlearned when it comes to film stock.

But I shot Fuji for the finer grain...

SoNowThen

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« Reply #8 on: April 07, 2004, 01:21:30 PM »
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I read that Godard used Ilford stocks sometimes in his b&w movies because they were super fast. Anybody know if they're still available?

Does Europe have a larger selection of different stocks than the major two?
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

kotte

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« Reply #9 on: April 07, 2004, 01:25:26 PM »
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Quote from: SoNowThen
Does Europe have a larger selection of different stocks than the major two?


I think we have the same selection of stocks as everyone else...
I've only heard of Kodak and Fuji though.

mutinyco

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« Reply #10 on: April 07, 2004, 01:33:52 PM »
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Ya know, I don't see anything wrong with Kodak's grain. Especially when I've seen the various processes its been put through lately. Good examples are 2 recent Coen films shot by Roger Deakins: O Brother Where Art Thou? and The Man Who Wasn't There. O Brother was the first entire feature to be digitally color timed. I think it was a mix between Vision 500T for the interiors and night, and (I think) 100 for the day exteriors. That film was so tight it looked like 3-D on the screen. And that's after it was shot on film, transfered entirely to a digital intermediary, then transfered back to film. Man, on the other hand, was shot using Vision 320 (color), then printed on B&W and it was LUMINOUS!

Fincher doesn't always use Vision 500T. He used it on The Game and Fight Club. Not sure if it was around yet when he did Se7en. I think he used 320 on Panic Room. But he also frequently uses the ENR process which hightens the contrast and desaturates the color. It was a process Technicolor Rome developed for Storaro. On Panic Room he went with a digital intermediary.

The 500T has really been the primo stock for the past half-dozen years. It's highly versatile. Even Elephant, a film you wouldn't think of, used it as its primary stock.
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kotte

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« Reply #11 on: April 07, 2004, 01:41:01 PM »
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I highly recommend Fuji´s REALA 500D daylight stock...schwooosch...it's fast...

cowboykurtis

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« Reply #12 on: April 07, 2004, 01:41:07 PM »
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Quote from: mutinyco
But he also frequently uses the ENR process which hightens the contrast and desaturates the color. It was a process Technicolor.


thanks for the info -- im shooting some spec spots for a company right now and trying to soldify my plans -- do you know what ENR stands for and is it a process that is widely offered by labs. thanks again for the info.
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mutinyco

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« Reply #13 on: April 07, 2004, 01:46:34 PM »
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Well, are you going to be projecting these things on film, or are they going to shown on video? If video, you don't need ENR. It's a Technicolor process and it's VERY expensive. You can achieve a similar look while doing your video transfer in post-production.
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mutinyco

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« Reply #14 on: April 07, 2004, 01:49:45 PM »
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I should note that there are 2 different Kodak 500 stocks -- Vision 500T, which is newer and has an ultra fine grain, and also Eastman 500 EXR, which is older and grainier. Kubrick used the EXR on EWS because he wanted to push the grain.
"I believe in this, and it's been tested by research: he who fucks nuns will later join the church."

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