Neueste Beiträge
#31
ANALOGFILM - ARCHÄOLOGIE DER MEDIEN / Schmalfilm Rubrik - 8mm / 9,5m...
Letzter Beitrag von Apache Apache - 11.04.26, 22:44Film Korn https://www.filmkorn.org/
#32
EXTERNE FAKTOREN / Aw: Old Shatterhand, 70mm
Letzter Beitrag von Apache Apache - 11.04.26, 22:11Tschechien besitzt ja noch eine recht gute siebziger Kopie von diesem Film nur leider ohne deutschen Ton. Scan davon ist ja auch problemlos machbar nur wer finanziert diese enormen Kosten. Ton von der Piste ist auch recht einfach zu kopieren und danach zur Bearbeitung im Studio. Constantin ist dazu ganz sicher nicht bereit da ja ein viel zu gewaltiger technischer Aufwand.
#33
ANALOGFILM - ARCHÄOLOGIE DER MEDIEN / Aw: KODAK VERITA
Letzter Beitrag von Apache Apache - 11.04.26, 22:00Und sind diese ganz neuen Filme als siebziger Kopien in Polyester nicht auch kopiert auf Material von Kodak?
#34
EXTERNE FAKTOREN / Aw: Old Shatterhand, 70mm
Letzter Beitrag von Apache Apache - 11.04.26, 21:57OLD SHATTERHAND UHD BD 4K
Tja so perfekt wird mit Sicherheit das Bild sein auf einer solchen Disc. Nun ob es da auch einen Scan vom Original siebziger Negativ geben wird steht leider noch ganz weit in den Sternen. Und ich bestehe auch ganz streng auf den sechkanaligen Ton.
Quelle Screenshots Constantin Film
Tja so perfekt wird mit Sicherheit das Bild sein auf einer solchen Disc. Nun ob es da auch einen Scan vom Original siebziger Negativ geben wird steht leider noch ganz weit in den Sternen. Und ich bestehe auch ganz streng auf den sechkanaligen Ton.
Quelle Screenshots Constantin Film
#35
UNBEKANNTE SEITEN VON KLASSIKERN / Aw: Spartacus (1960)
Letzter Beitrag von Apache Apache - 11.04.26, 21:34 #36
ANALOGFILM - ARCHÄOLOGIE DER MEDIEN / Aw: KODAK VERITA
Letzter Beitrag von Technicallyrama - 11.04.26, 16:32Sicherlich nicht, wahr ja aber auch kaum die Intention. Gerüchte über dieses neuen Stock gibt es schon seit einigen Jahren, ist ja auch schon lange in Entwicklung. Angeblich soll das Material gleich/ähnlich dem Portra 400 Fotostock sein, nur halt über ECN-2 entwickelt statt C-41.
#37
ANALOGFILM - ARCHÄOLOGIE DER MEDIEN / Aw: KODAK VERITA
Letzter Beitrag von Apache Apache - 11.04.26, 16:06Tja ist dieses neu entwickelte Material farblich etwa genau so lebendig echt wie auch das von Technicolor?
#38
ANALOGFILM - ARCHÄOLOGIE DER MEDIEN / Aw: KODAK VERITA
Letzter Beitrag von Apache Apache - 11.04.26, 15:57 #39
ANALOGFILM - ARCHÄOLOGIE DER MEDIEN / Aw: KODAK VERITA
Letzter Beitrag von Technicallyrama - 11.04.26, 12:46 #40
ANALOGFILM - ARCHÄOLOGIE DER MEDIEN / Aw: KODAK VERITA
Letzter Beitrag von Technicallyrama - 11.04.26, 12:38Inside the New Film Stock Kodak Created for 'Euphoria' Season 3 von Indiewire:
Today, Kodak is officially making VERITA 200D available to the general public, after collaborating on its creation with "Euphoria" cinematographer Marcell Rév, who used the 35mm and 65mm versions to shoot the upcoming Season 3 premiere set for this Sunday.
"We wanted to be a little bit more classical," said Levinson. "We wanted it to feel a bit more like an old Hollywood film."
Kodak's VP and head of motion picture Vanessa Bendetti said conversations with Rév started over three year ago when the cinematographer first started to describe what he and Levinson were looking for — and while the specifics were distinct to their vision for "Euphoria," the conversation itself was similar to many others she's had with filmmakers.
"As Kodak has refined its image quality over the years, filmmakers are actually looking to disrupt that at this point because they're trying to differentiate from digital," said Bendetti in an interview with IndieWire.
It's something cinematographers have been complaining about for years: The engineering of the new film stocks has gotten too good, too clean, too realistic in its dynamic range and color rendition. It's a pristiness that is the opposite of why filmmakers are reaching for celluloid against the perceived hyper-realism of digital cinematography. For decades, cinematographers like Ed Lachman and the late Harris Savides would try to "beat up" the stocks (under-expose, push, flash frame, use old lenses with aberrations), and work with colorists to get newer film stocks to perform more like film stocks from older eras.
"That's the request I get every single day, 'Can you bring back older stocks? Because their reference material is the '70s, '80s, '90s, and they're remembering the look and feel of the EXR films or the early VISION line," said Bendetti, who went on to explain that simply bringing back old stocks isn't so simple. "One of the challenges with doing that is that people don't understand that the components, the materials that were included in the formulations from those bygone product lines, are not available anymore. So we have to totally reinvent those stocks."
With VERITA 200D, Kodak's film design team worked with Rév to test and refine the new stock to create a new film structure that matched not only the desired look, but was practical and performed in the modern-day workflow. Bendetti said she hoped the creation of VERITA is just the first step in expanding the KODAK product line for filmmakers looking for alternatives to VISION3. Recently, she brought Kodak's film design team out to the ASC Awards in Los Angeles to hear directly from cinematographers who were passionate on the issue.
Today, Kodak is officially making VERITA 200D available to the general public, after collaborating on its creation with "Euphoria" cinematographer Marcell Rév, who used the 35mm and 65mm versions to shoot the upcoming Season 3 premiere set for this Sunday.
"We wanted to be a little bit more classical," said Levinson. "We wanted it to feel a bit more like an old Hollywood film."
Kodak's VP and head of motion picture Vanessa Bendetti said conversations with Rév started over three year ago when the cinematographer first started to describe what he and Levinson were looking for — and while the specifics were distinct to their vision for "Euphoria," the conversation itself was similar to many others she's had with filmmakers.
"As Kodak has refined its image quality over the years, filmmakers are actually looking to disrupt that at this point because they're trying to differentiate from digital," said Bendetti in an interview with IndieWire.
It's something cinematographers have been complaining about for years: The engineering of the new film stocks has gotten too good, too clean, too realistic in its dynamic range and color rendition. It's a pristiness that is the opposite of why filmmakers are reaching for celluloid against the perceived hyper-realism of digital cinematography. For decades, cinematographers like Ed Lachman and the late Harris Savides would try to "beat up" the stocks (under-expose, push, flash frame, use old lenses with aberrations), and work with colorists to get newer film stocks to perform more like film stocks from older eras.
"That's the request I get every single day, 'Can you bring back older stocks? Because their reference material is the '70s, '80s, '90s, and they're remembering the look and feel of the EXR films or the early VISION line," said Bendetti, who went on to explain that simply bringing back old stocks isn't so simple. "One of the challenges with doing that is that people don't understand that the components, the materials that were included in the formulations from those bygone product lines, are not available anymore. So we have to totally reinvent those stocks."
With VERITA 200D, Kodak's film design team worked with Rév to test and refine the new stock to create a new film structure that matched not only the desired look, but was practical and performed in the modern-day workflow. Bendetti said she hoped the creation of VERITA is just the first step in expanding the KODAK product line for filmmakers looking for alternatives to VISION3. Recently, she brought Kodak's film design team out to the ASC Awards in Los Angeles to hear directly from cinematographers who were passionate on the issue.