Welcome to our community

Be a part of something great, join today!

Log in
  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Fuji`s new Eterna stock and RED comparsion

We were able to get hold of 3 test rolls of the Vivid 500 for a PSA spot at Glacier Bay and Hubbard Glacier in Alaska last month with one roll dedicated to to my trusty Arri 2C and Norris Intervelometer for some moonlit nightscapes and I must say that this filmstock reinvigorated my passion for film. Seeing this PSA projected on SouthPointe's XD Cinema screen at 2K has been one of the high points of my career (post production wise.) Those unreal Avatar-like blues of the glacier ice soaked in moonlight with a sky full of every color imaginable beamed down from outer space is an experience that will melt any foe of film's icy heart.
 
Benjamin Rowland said:
Don't mean to go too far off topic, but how do you like your A-Minima? Also, have you talked to anyone that has run Fuji through one? (I know that it is supposed to be Kodak only, but there are workarounds.)
Click to expand...

Hi Benjamin,

It's an amazing camera. Nice to have something so small that can be used to shoot a feature. It's very Epic-like in that regard--its capabilities are all out of proportion to its size. When you pick it up and gaze through the optical viewfinder it's always a bit of a rush.

I have spooled down re-canned Fuji 64D (as well as Kodak 7285 100D and Tri-X reversal) and had zero problems running it through the camera. The biggest challenge is getting the film to stick to the core at the center of the daylight spool. As a last resort, i have sometimes taped the leader to the spool, I just set the camera's footage counter a few feet short to remind me not to run the film all the way to the end. When the footage counter hits zero, a red light comes on in the viewfinder.

Honestly, this Vivid film is so amazing looking, I am going to see if there's an easier way to do it. I understand the push to makes films like the Vision 3 stocks more post-friendly, but they've lost some of their soul in that trade-off. I miss having a film with some character, and it looks like this stock might be just the thing I'm missing.

-Fran
 
pretty awesome. why does film and digital have to have a battle of the century every week. THey obviously both have something to offer.
 
Not just beautiful... Very inspiring to hear the cinematographers talk in filmic terms.
 
JD Holloway said:
Great test. Beats looking at charts.
Click to expand...

Yeah, F charts.

Zakaree Sandberg said:
I would straight up shoot film all day long if processing wasnt so expensive:(
Click to expand...

Serious. Wow. It doesn't get any better than that. That's, IMO, the toughest lighting scenario (besides ninjas in the snow), and it looks gorgeous. I'd love to see some Epic HDRx™ footage in the same environment and contrast and compare. I feel like the Epic will hold up just fine, but it'd still be really great to see it.

But not just processing and stock being so expensive, and nevermind troubles like dirty gates, and needing someone to load magazines, but needing a whole video tap system for immediate playback -- prohibitively expensive. Yeah, if not for all that, I'd be shooting film all day long too ;)
 
Benjamin Rowland said:
Available in HD here:
FUJI DEMO HD

This new stock from FUJI looks AMAZING!

Edit: looks like the source footage for upload was INTERLACED - bad move in the steaming video world - still looks great though
Click to expand...


Looks very good, BUT.....

Yes, that's rather bizarre... How can you go from a filmscan (frame based) to a video with interlacing artefacts.... I always thought interlacing was an artefact of video origination and not something that could creep in in post, and especially not something designated for the internet, where no interlacing has ever been required...

That's just crazy... it's as if they took the odd and even fields from different frames... otherwise, how do you get the comb patterns? ....OK, I do live in PAL world, where we just speed 24fps up to 25fps, instead of having to go through that odd 2:3 3:2 pull down stuff to get it to 29.97 or whatever it is, so maybe I don't get it!
 
Julian Gerretsen said:
Yes, that's rather bizarre... How can you go from a filmscan (frame based) to a video with interlacing artefacts.... I always thought interlacing was an artefact of video origination and not something that could creep in in post, and especially not something designated for the internet, where no interlacing has ever been required...
Click to expand...

Whoa what whoa?!? (http://www.imdb.com/title/tt0057546/quotes?qt0404193)

Yeah, that's weird. You're right, you have to intentionally put interlacing into a film scan by transcoding it to an interlaced format. The footage was probably intended for TV or something, and they just grabbed it and compressed it for video. Not a big deal; they're just showcasing the look and the DR. You get the idea whatever the format.
 
I think the nearly same... In this compression I can't compare grain to my digital shots.
And thats what would interst me the most. The grain. Beacuse I can get " good skintones" with a "good Color correction". And this deffinetly went throug correction.
 
Can someone please explain why Fuji stocks always look purple? I'm not complaining, just sort of wondering...
 
Andy Jarosz said:
Can someone please explain why Fuji stocks always look purple? I'm not complaining, just sort of wondering...
Click to expand...

You think? I haven't shot enough of their motion stock to have an opinion, but I shoot their still stuff almost exclusively (astia and velvia), and I've always thought the color was perfect.
 
Red would do well do implement similar methods to show off their cameras.

I've always loved Fuji and Kodaks ability to deliver accurate measurements of what you are seeing with documentation and/or explanation of spot/insident meter readings and light levels .

Nothing more frustrating than some of Red's "tests"

Thanks for sharing the link.
 
joshua csehak said:
The footage was probably intended for TV or something, and they just grabbed it and compressed it for video. Not a big deal; they're just showcasing the look and the DR. You get the idea whatever the format.
Click to expand...

:crazy:

True enough, but if I was their PR guy, I certainly wouldn't want a (really badly) interlaced clip parading around as so-called examples of pristine quality... people might start to talk... ; )

Eeek, imagine if somebody had put up a badly interlaced clip like that as an example of early RED footage... I'm sure sales would have taken a few hits...
 
Lovely stuff...especially the mixed colors on Kramer Morgenthau's piece.


Kip Kubin said:
Red would do well do implement similar methods to show off their cameras.
Click to expand...

I agree...it's a nice presentation format. I know they have been shooting a lot with some experts with Epic. Perhaps we will see something similar?
 
You must log in or register to reply here.
Back
Top