Kodak Film Stocks

WideShot

WideShot

So I'm going to do two test reels on my new 16mm camera. I bought direct from Kodak two 100' 500T 7218 's and two 7205 250D's... I plan on doing single frame tests with fstops over many different settings and lighting conditions, adjusting a stop up and a stop down each time. Upon watching the Kodak Film Stock comparison DVD, my eyes have been opened and I'm wondering what you film pro's think.

100ASA Kodak seems like it can do it all. I shot many reels of 200ASA with my 35mm still and was never truly happy with it in anything but sunny conditions. 400 gave me much more versatility, hence my decision to buy 250 and 400. But maybe I am thinking too fast. Is 100ASA really capable of just about everything but night and super low light scenes? Also, I have heard it is better to slightly underexpose more than anything to allow more freedom in post. Any opinions on 16/35 film stock choices is appreciated.
 
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Kinda (but not really) related.

Hailtothekng posted this thread a while back, with stuff from Fuji.

You can get a DVD and a lot of literature about all the film stocks, by filling in the form on the link he gave.

Nothing to do with Kodak, but you will get more Fuji 16/35 information and material than you can shake a stick at.
 
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Oh I got a lot of info from Kodak. My question was more asking of real world experience shooting these different stocks at fast vs. slow and whether 100 really was as versatile as it seems. I had some terrible results with Fuji as a still photographer and have no desire to patronize them. Thanks for the link though.
 
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Wide, I've had a good luck with 100asa on still photography. I think it's pretty much the same with motion picture film. But you'll have to have it lit pretty well inside if your shooting 100 inside. Outside you should be fine. I would be intrested in seeing some of your test footage when you get it done of the other stocks. I'm doing tests now with my 16mm. :)

Also I wouldn't rule Fuji out. It looks like they have alot of great stocks and seem to be friendly.
 
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Thanks. I will be shooting the test, having the spools developed over in Seattle, and they will also do a one light, so I should have it all back in about a couple of weeks. I had a long talk with my DP and he agrees that we will likely eventually fall to the side of slower film, possibly 100, even for interiors. He, like I, really wants that high key fast falloff kind of look, to really play with lighting. Of course not every shot can be controlled like this, so for the walk on the beach scene at night I'll switch to the faster film.

Regarding Fuji, I hear what you are saying, I'm sure they are very friendly and will work with you the same as Kodak will, but I really did have some awful experiences with Fuji in still photography. I literally swore I would never buy Fuji again. Ilford and Kodak always gave me what I wanted, Fuji always had a bluish tone and was less saturated.
 
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