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Re: Eclair Cameras: Color Reversal Film-response/ideas
I would use the Nikon lenses on all three cameras, as you say. This is my
plan.
Raymond
----- Original Message -----
From: "eric jarvies" <eric@earthid.org>
To: <eclairacl@topica.com>
Sent: Sunday, August 03, 2003 6:34 PM
Subject: Eclair Cameras: Color Reversal Film-response/ideas
actual, now that you mentioned it ... one could have their acl, still 35mm
camera, and digital still slr camera, and all use the same lenses. and what
would be really cool, is if you did some side by side film tests regarding
he digital still camera, so you could literally calibrate the camera(figure
out the best settings to use to colormatch the film) after a couple of film
tests and trips to the lab for processing. at which point, you could feel
confident that all of your footage will be as close as it can be to a match
for purposes of cutting. and heck, i suppose you could do the same with you
digital video camera, if you had a canon xl1 with a nikon mount adapter. or,
if you used the canon lenses and cameras instead of nikon. but nikon are
better lenses, correct?
the time and trouble of fixing footage that does not match, not to mention
hoe amature it looks is a realy isseu for those of us doing things on the
cheap like we are. unlike the studios(or the really wealthy), we do not
have the luxury to pay for all the fixes and bandaids available for such
things.
eric
---------- Original Message ----------------------------------
From: Raymond <roelrich@shaw.ca>
Reply-To: EclairACL@topica.com
Date: Sun, 03 Aug 2003 15:19:58 -0700
>Thanks a lot! By the way, what prices do they charge you for film and
>developing, compared to negative film?
>
>One reason I am considering shooting on reversal film is that I own a
>wildlife magazine, and if I shoot in 35mm with the same film stock, I can
>match the photos and film easier when using Nikon lenses (by putting the
>photos of animals onto the finished film or video and inter cutting the
film
>with 35mm photos) AND use the 35mm movie footage in my magazine. In
essence
>the movie camera becomes a motor drive of 24 fps for using that unique,
once
>in a lifetime frame as a PHOTO in the magazine.
>
>This is why I prefer transparency film in either the magazine or the
movie
>camera.
>
>That is why I was interested to know.
>
>Lastly, when you put it onto video, do you see any more saturation with
the
>reversal film than negative film?
>
>Raymond
>
>----- Original Message -----
>From: "Michael Welle" <mwelle@starband.net>
>To: <EclairACL@topica.com>
>Sent: Sunday, August 03, 2003 3:12 PM
>Subject: Eclair Cameras: Color Reversal Film
>
>
>>
http://www.bhphotovideo.com/bnh4/controller/home?O=productlist&A=details&Q=
&sku=166984&is=USA
>>
>>
>>
http://www.bhphotovideo.com/bnh4/controller/home?O=productlist&A=details&Q=
&sku=279268&is=USA
>>
>>
>> The above links are an easy way to get Kodak 7239 and 7250 color
>> reversal film. These are my favorite filmstocks for shooting color
>> reversal. The 7239 is great for shooting outdoors with a daylight
>> rating of 160 and the 7250 is awesome for shooting indoors with a
>> tungsten rating of 400. The colors are very vibrant on both stocks.
>> You can also purchase it at the Film Emporium, although they don't
>> always have exactly what you need in stock at all times.
>>
>> I will try getting mine processed at Bono Film and Video next time.
>> I've included the link below:
>>
>> http://www.bonofilm.com/menu2.asp
>>
>> Unfortuntaely I haven't used Fuji Reversal film yet.
>>
>>
>
>
>
>
--
eric martin jarvies sr
cabo san lucas, bcs mexico cp 23410
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