Can´t find great differences between Ek 64T & Ek 100D 5

[Carlos 8mm]

I was watching Kodak´s tech. publications of Ekta 64T 7280 and Ekta 100D 5285 MP film.

Can´t find great differences between both film stocks. Sharpness seems to be very similar and granularity seems to be a little bit less or equal than 100D 5285. Maybe color saturation and and specially speed makes the diference.

I some way, for those (me too) that asked for Ekta 100D 5285 in Super 8, now could get a tungsten balanced film stock with similar look.

Just my thought.

Carlos

[mattias]

I some way, for those (me too) that asked for Ekta 100D 5285 in Super 8, now could get a tungsten balanced film stock with similar look.

although to me the main idea was to get a medium speed daylight balanced stock, not a certain look. i've never quite understood the thinking behind low speed tungsten stocks.

/matt

[Lunar07]

I some way, for those (me too) that asked for Ekta 100D 5285 in Super 8, now could get a tungsten balanced film stock with similar look.

although to me the main idea was to get a medium speed daylight balanced stock, not a certain look. i've never quite understood the thinking behind low speed tungsten stocks.

/matt

Maybe studio controlled lighting. I have a friend of mine with a studio and many clients (magazines, etc..). He uses low speed tungsten film stock in a tightly controlled studio application. Of course, I am talking here about 35mm still photography.

[mattias]

Of course, I am talking here about 35mm still photography.

yes, for that i completely understand it.

/matt

[Carlos 8mm]

Maybe studio controlled lighting.

That´s the key. A low-speed tungsten balanced film, for different purpose. Maybe not so fast than E100D to shoot with daylight, but an ISO rate of 40 is fine for Super 8.

We need to demand to Kodak that update Ek64T using T-grain tech.

Carlos.

[mattias]

an ISO rate of 40 is fine for Super 8.

not for my purposes. i like to shoot daylight interiors as well as magic hour exteriors, and in the winter even noon can be too dark here in sweden if it's overcast. aspecially if you want to keep your f-stop around 4 for sharpness.

don't get me wrong, i'll find use for the 64t no problem. it's just that i would have preferred a 100d.

/matt

[MovieStuff]

i've never quite understood the thinking behind low speed tungsten stocks.

Spoken like someone that always has access to HMIs. ;)

Roger

[mattias]

Spoken like someone that always has access to HMIs. ;)

that would explain why i want a daylight stock, but not why i don't see the need for a low speed tungsten stock. surely those who don't have access to lots of lights have an even harder time finding use for it? the only obvious use is to put a filter over it and shoot in daylight. makes sense to you? not to me. this is obviously an artifact from the days when 40 asa was medium speed and the high speed 100 asa stocks were grainy as hell...

/matt

[Carlos 8mm]

don't get me wrong, i'll find use for the 64t no problem. it's just that i would have preferred a 100d.

/matt

Got it. Living in a template zone have some benefits...

Carlos.

[MovieStuff]

Spoken like someone that always has access to HMIs. ;)

that would explain why i want a daylight stock, but not why i don't see the need for a low speed tungsten stock. surely those who don't have access to lots of lights have an even harder time finding use for it? the only obvious use is to put a filter over it and shoot in daylight. makes sense to you? not to me.

If the grain on 100D is more than 64T, then I would rather have a tunsten balanced tunsten stock. If the grain on 100D is less, then I would rather have the Daylight balances stock and use a filter. To say that you don't understand the logic behind low speed tungsten stocks but recognize the issues with grain seems a bit at odds with each other. Obviously any low speed tunsten stocks we have now are a product of the past and not a product of recent grain technology.

this is obviously an artifact from the days when 40 asa was medium speed and the high speed 100 asa stocks were grainy as hell...

So apparently you do understand the thinking behind low speed tungsten stock, after all! ;)

Roger

[Carlos 8mm]

Talking about HMI ligths, There´s a lot of supermarkets, shopping centers, commerces, etc. that are using low-consume daylight lamps. (around 6000 ºk) close to natural daylight.

So if one wants to shoot indoors with that kind of light, of course a daylight balanced film could works Ok.

Sadly, Kodak´s Super 8 policy is to provide a minimun number of color reversal and negative stocks, specially tungsten balanced films. :?

Carlos.

[John_Pytlak]

Since K40 was tungsten balance, the first choice of a film to replace it would also be a tungsten balance.

Given a choice, would E64T (7280) or E100D (7285) be the better choice for most Super-8 filmmakers?

Standard SMPTE 166-2004 does specify a EI 100 Daylight notching, but like 64T, some non-standard cameras may not recognize it.

[T-Scan]

I've shot and projected the 7285 and think it's probably one of the coolest looking MP films out there. the colors are amazing. If 64T has slightly finer grain but a similar look as 7285, then 64T would be the better choice for S-8.

[LastQuark]

Why 100D? This is a totally different animal and older technology.

Why not the E100VS based stock like the 100EB, E100G, or E100GX which have finer grain than K40 from the technical spec? (RMS 8 vs RMS 9?)

Am I missing something?
 

[Santo]

Given a choice, would E64T (7280) or E100D (7285) be the better choice for most Super-8 filmmakers?

There is no doubt that 7280 would provide more flexibility than 7285 and is a better all around choice if these are the two options.

However, what LastQuark says in his post pretty much sums up what I've observed as the overwhelming interest and focus of super 8 shooters around the world over the past couple of years I've been on this site. Everybody wants the finest grain super 8 stock possible. They want the finest grain and the sharpest image Kodak has in super 8 carts. Sure cost is part of the issue with these K40 guys, and it's mostly nostalgia, but they are one with all other shooters in that it's all about the grain and resolving power. K40 doesn't have a lot of the latter, but it sure is what super 8 filmmakers want when it comes to grain.

It is easily within Kodak's power to introduce two stocks to Super 8 they already have that are perfect fits for the format, and they would have a resounding cheer:

For negatives, give them the amazing Vision2 100t (drop 200t if needed and keep 500t as a distinct choice). Please!

and

For reversal, give them that terrific looking potential of E-6 based Ektachrome 100 professional film with that extremely fine grain. http://www.kodak.com/global/en/professi ... 20.3&lc=en

Standard SMPTE 166-2004 does specify a EI 100 Daylight notching, but like 64T, some non-standard cameras may not recognize it.

Although I saw some people making smart remarks before regarding the idea of "non-standard cameras", you may not be aware that some cameras towards the end of the super 8 cycle only had a single button for the cart notch reader. They would either read it as 40 asa or 160 asa. So they used the standard numbers, but only registered two of the readings.

It is, in my opinion, a mistake to worry at all about those cameras in making film stock decisions. Any of them that are worth shooting with allow manual adjustment for easy compensation (or can be modified by the determined), and there is a truly great wealth of inexpensive decent cameras that have reading systems which can cope with 100 asa like they do with Plus-X just fine or are completely manual in ASA adjustment anyways. It's obviously not something that can be worried about with the negatives, or pretty much all modern stocks. Any stock that's 64 or 100 is going to be a pretty good fit for super 8 in general.

It's all about the grain. The colour on these latest stocks is obviously pretty excellent.