More 320D tests.....

A selection of shots from a test roll of remjet free 320D shots I think it's fair to assume the camera has a light leak and possibily a faulty exposure meter - Still love the look of some of these!  Shots kindly supplied by an early tester. Film developed and printed at Aperture, London.

I've not made up any new 320D as yet. Honestly not been keeping on top with this film/remjet free project despite having a freezer full of 35mm stock. Mostly been sorting my Drum Scanning venture....

320D Test Shots!

It's been a while! Here's my first samples from remjet free Kodak 250D, shot at 320D. Only a handful of shots as it was a quick test before loading up more cassettes for serious shooting.

The samples rolls of this film sold out within a day! So I'm guessing people are into daylight film (I know I am). Although not great art, some of the films natural qualities can be discerned from these shots. The extreme highlights exhibit a red glow, this seems to be a feature of removing the remjet.
More 320D shots to come real soon.

Paper contact from Labyrinth and a quick drum scan of the negs with a quick invert in photoshop. 

Contact Scan

At last, got a few scans made up of my first remjet free test roll!

Top on is a scan of the supplied c-type contact print the lower image a selection of the negatives scanned as a contact on the drum scanner.

C-Type Contact. Note the extreme colours and contrast. The daylight shots are understandably blue (I did not use any filtration to adjust for the tungsten balance of the film). The interior shots are mostly off too. In fact the most intriguing shots to me are the table lamp (mixed light, tungsten and afternoon light) and the portrait in late afternoon sun. I'll try and scan these up asap. 

Digital Contact (PrimeScan 1200dpi + manual inversion). The digital contact shows far more detail and less inherent contrast. I've just applied a global correction, neither biased for the daylight shots or mixed light shots. I've kept the black level up too, so it's a bit less contrasty. This film is rather nice, it's got tons of detail. I'm undecided on the colour.

My first shots.....

At last!
One sample roll, rated at iso640. I've only got these dodgy iPhone shots of the contact and neg. I'm not near my scanners until later this week but I look forward to putting the negs through there paces under the Primescan and trying my new inversion technique for colour negatives.
Super thanks to Labrynth London for speedy development and contact.  More samples rolls to come within a week or two.......

Patient X - The first roll of CineVision 

SAMPLES !!!

Yes, thats right! I have very limited samples of Vision3 500T with the remjet removed!

This is just the first very small batch produced in collaboration with a leading photochemical lab. The remjet has been removed using the actual ECN2 process and then development stages by-passed and film dried (plus a few other secret steps!). A sample from this batch has then been processed (with ECN2) and reviewed - result: perfect clear film, no gunk or debris, no accidental exposure!!! The film is good to go for testing in the wide world.
To keep cost down I'm hand rolling the film into re-used canisters, total up-cycling! All my testing will be performed with C41 process.

Vision3 500T - Coming to camera near you, soon!

Want some? You can purchase a few test rolls here via my online shop very soon!! I just want to run a few more rolls through and possibly make up some 250D stock as I'm more of a daylight shooter.

I'll be posting scans of my first few rolls asap!!

Eternal Vision

Eterna or Vision?

I love Tri-X pushed, I miss Neopan 400. I use loads of Fuji C200 but switch to Kodak's Portra if it's an 'important' shoot. Film is an intimate and personal choice. They all have there quirks and own signature colourimetry that you learn through use.

This endeavour into motion picture film has opened up a whole load of questions about colour, grain, halation and processing tolerances. I'm really excited to see how Vision3 250D looks when shot as still and scanned by me, other examples are a guide but too little is know about there process. I tend to push my colour films to increase the grain, I'm rather keen on Seurat like colour noise derived from film grain, I tend to enhance it with a small aperture drum scan.

Detail of Georges Seurat's "A Sunday on La Grande Jette" 1886

Cinestill have chosen Kodak's well regarded Vision3 5219 500T Tungsten balanced film stock as the base of there 800T 35mm film*. There's obvious advantages to this choice, it's readily available new and as re-can. As is, there recent addition of Vision3 50D. But what of Fuji? Fuji also had a range of films stocks that included a Eterna 500t, 250D and 160D Vivid. Unfortunately these films are no longer in production but they available at incredibly attractive prices. I'm going to test them too..... 

* 800T but films E.I is 500T. I'm working up a post about the why and how the film is rated different from Kodak E.I recommendation. But i'm in process of reading up on film densitometry and gamma and how 'speed' is derived. All valuable learning as I near my first test batch of stocks.