Roll #33 – CineStill 50D

CineStill 50D
CineStill 50D

Paying 9 EUR for a single roll of repackaged cinema film, I somehow expected more. Better colors (scans were postprocessed to look like they do now), better sharpness, better anything. Comparison images on the internet look much better.

Is it a subjectiv perception thing? Is it a matter of a good scan? Am I too critical? Well, it looks like I might have access to a Nikon Coolscan soon, so I’ll run the film through that again. So there might be an update to this entry in the future. Keep your eyes open!

Enough tech talk! This is the “Treetop Path”, you climb a tower from which you can see around or can take elevated path branches (hoho!) through the treetops. Early morning light, slowly disappearing fog in the distance… it was quite magical.

National Park Hainich, Germany / Oct 2015

Shop-Talk:

35mm, color negative film, 36 exposures, ISO 50.

Nikon F80/N80 + Nikkor AF 50mm 1.8G + CineStill 50D
Film bought for 9 EUR via MacoDirect.
Developed and scanned by Foto Schröter (Riesa).

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6 thoughts on “Roll #33 – CineStill 50D”

  1. Hey, great blog. I’ve been following your entries for quite a while.
    Cinestill is a film that I’ve been wanting to try for a while but always postponed because of the price and because I don’t think I shoot a lot in the situations where th film really shines, which is with tungten lights. That’s why probably you’re not finding it surprising. I think the colors look good and you have cool shots in there, but to some extent I agree with you, nothing probably worth so much.
    But, next time you try CineStill, probably try the other ranges? Don’t know…I’ve seen very cool shots on the web, but I’ve also seen “normal” examples…

    Just thoughtI could share my idea, since you showed that you didn’t really like the results.

    Keep the good work, very interesting project.

  2. Hello! I’ve been following a long time too, but never comment. 🙂 These look great to me, I think colours are really nice. Not sure they’re 9€ worth of nice, but nice anyway. I too find that scanning technique and postprocessing play a very important role for the final look, perhaps even more important that the actual film stock and you can get good results even with very cheap film. The differences mainly come down to grain and sharpness while colours depend on many other factors, light, exposure, development, etc. 🙂

    1. Hey, thanks for the comment!

      Another thing that occurred to me is that maybe the scans looked flat in the beginning, because it *is* cinema film? Aren’t digital movie profiles deliberately flat, so that they can capture a maximum of information / detail and contrast / colors are increased later during post processing / color grading? I guess the same should be true for analog movie stock. Capture the maximum of detail and deal with contrast / colors later via development?

  3. I am battling with different scanners, software and settings all the time as well. In my experience, the scanning has a huge impact indeed. Worst of all, there is no golden rule. One shoot works with a certain setting, others may require something completely different. In some cases I scan negative as positive and invert it in Photoshop. One thing is for sure, this is an art of its own and takes a lot of time to master it. I guess it is the same with darkroom techniques as well. The good news is that our negs will stick around and we can always take another scan if we have better equipment/technique.

    1. Good to hear, that I’m not alone in this.

      Yeah, that’s true (Negs being around). I’m actually thinking about a post comparing scaning / color balancing methods for a week, when I don’t have a roll ready.

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