I've been DYING to shoot 35mm since I cut the last frame in film school. It's pretty obvious it's the format of choice for filmmakers but it takes shooting it and having it scanned yourself to really see how beautiful it is.
I'd like to thank my buddy Navarro for letting me resurrect his dad's old IIC and put it through it's paces. The camera really shines... The Schneider glass doesn't hurt the kit either!
KODAK VISION 250D (DATED 1994)
KODAK VISION2 50D (FRESH)
ALPHA CINE LABS PROCESSING
NOLO DIGITAL FILM 2K LOG DPX SCAN ON THE ARRISCAN
Most of the footage shot outside with the two boys on the slide was exposed EV -2 stops. The thin negative coupled with the ARRIscan works so well!
Film is not Dead
Starting this channel for the film lovers out there. Nothing against digital, it's just too easy! There are some obvious advantages/disadvantages with both. This channel isn't a statement just a place to showcase the amazing format that's been around well over 100 years!
Savannah in Super 16
Arri 416 + Zeiss Ultra Primes
Kodak 200T & 500T
Take a look at our medium-lenght film shot on 35 mm (Kodak) with anamorphic lenses (Panavision):
About the post-production: 35mm processing and photochemical timing (no digital intermediate), and then a digital version for vimeo, dvds,....
Shot on Kodak Vision2 50D 5201, Vision3 250D 5207, Vision3 200T 5213
400ft of raw 35mm footage from the first test shoot of my newly acquired Eclair CM3 (1950's model).