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Re: Eclair Cameras: ilford film stock
I'm planning to buy a lot of filmstock for an upcoming feature film I'm
doing in regular 16mm. If you're interested in buying some together with me,
we can drop the price down by buying short ends or recans. I buy and sell
16mm and 35mm stock, all emulsions and speeds.
I also have on auction an ACL 200 ft mag. It's made in England. Here's the
----- Original Message -----
From: "Todd Anderson" <firstname.lastname@example.org>
Sent: Tuesday, June 17, 2003 11:13 AM
Subject: Re: Eclair Cameras: ilford film stock
Where can you find FUJI B/W stock in the US? Is it single perf? Do
they have 100ft or 200ft loads, or just 400ft?
On Tuesday, June 17, 2003, at 09:07 AM, sebastien koeppel wrote:
> yes I did test the ilford stock, maybe 8 years ago
> pan F is amazing, FP4 is good and HP5 is the most
> sensitive filmstock you can find
> I found it at a standard gamma devt at 800 asa !
> (developped at Dejonghe in Belgium ),
> and it has really acceptable grain
> the only problem with the HP5 was that it was really
> grey and I printed it on ST8 (agfa sound film stock)
> but developed in a standard chemical
> The FP4 and HP5 were contrasted enough
> even if I do agree on the problem of the black and
> white print today... ecological problems !!!
> I found some black and white 16mm or 8mm shot in late
> 40's and it's incredible sharp, beautiful contrast and
> range of greys !!! impossible to find and to do today
> just to finish with ilford film, the main problem is
> that they really do not care of cinematography !
> they just make conditionning on ordering
> and I had some troubles with the HP5 : it jammed in
> the cameras ! I think the problem came from
> I just give advice to a DOP 3 years ago for a long
> feature he wanted to shoot on 35mm BW. He was a well
> known french DOP (Jean-Marie Dreujou) and the film was
> with Vanessa Paradis but he never get positive answer
> from Ilford and he finally shot on colour and make
> inters on BW...
> I find it crazy
> just try FUJI BW !!!
> they have ONE beautiful filmstock on 16 and 35
> 80 asa on departure, but easy to push !
> much more beautiful than kodak
> --- Julian Williamson <email@example.com> wrote:
>> I really wasn't meaning to be overly pedantic; I'm
>> sure not everyone on the
>> list is equally familiar with how the stocks work.
>> At any rate, color "ghost" grain looks different
>> than B&W grain, and Kodak's
>> current B&W stocks look much grainier than
>> equivalent-speed Vision stocks,
>> whether printed or telecine'd. I think we'd all be
>> delighted if Kodak would
>> make up some T-Max b&w stock in 16mm. I would like
>> to compare it.
>> Has anyone seriously tested the Ilford 16mm B&W
>>> From: Leo Vale <firstname.lastname@example.org>
>>> Reply-To: EclairACL@topica.com
>>> Date: Tue, 27 May 2003 11:05:08 -0700 (PDT)
>>> To: EclairACL@topica.com
>>> Subject: Re: Eclair Cameras: T-max versus 7245
>>> --- Julian Williamson <email@example.com>
>>>> I find it doubtful that any b&w emulsion would be
>>>> less "grainy" than color,
>>>> primarily because in B&W, the silver halide
>>>> remain in the emulsion,
>>>> whereas in color the crystals are used to
>> activate a
>>>> dye (which makes up the
>>>> image) and the actual silver halide is then
>>>> away in the bleach stage
>>>> of color processing -- thus, there are no actual
>>>> "grains" but the remnants
>>>> of them left in color emulsions.
>>> ---Yes, but that's being overly pedantic.
>>> When those silver grains are bleached out of the
>>> emulsion, the blobs of dye left behind take the
>>> of the silver grain that vanished. Maybe the dye
>>> bleed a little, but that dye blob will look like
>>> In a print what we perceive as grain is actually
>>> space between the grains. At that point, there's
>>> practical difference real grain and color ghost
>>> --- LV
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