foe those going all out home developing, i strongly suggest buying bulk vision 3 and load it yourself, you can wash off the remjet with a baking soda solution then process as c41, much cheaper as of aug 2023 when a roll of cinestill is 15+ dlls then 20+ for develop and scan this hobby is expensive
Tungsten is the metal what the glowing filament in incandescent lamps is made of. So T-films have the best color balance under the yellowish light of traditional incandescent light bulbs. Similarly Kelvin-rated LEDs may cause weird things as their light is mixed of various wavelengths, while tungsten has a clean spectrum. Great video and was fun to watch... 😊 Thank you!
My favorite film for night photography is actually Portra 400. It still produces a beautiful, more subtle light halation, along with slightly reduced contrast, I’ve had great success with it at night
Daylight is 5600K. As some says "At least outside the Kodak headquarters in Rochester." I've shot Vision 2 motion picture film as a film student and would love to try some Vision 3. I used 50D in daylight and 500T inside with hot tungsten halogen Mole Richardson lights.
personally I find 800t colors to be a bit bland unless you're shooting only neon. The better contenders would probably be Portra 800 and Lomo 800 for more general low light use. Occasionally you can still find Fuji 800 when disposables are in stock
It’s the same thing. Just vision 3 500T. There are several people doing the Cinestill thing now and repackaging Vision 3 film. Doomo made makes one as well, Reflex 800T, but it’s all the same stuff.
I seen you’re from Eastern Kentucky and you had some shots in Louisville by my studio. I own Hype Studios Production here. You should come by sometime. I shoot 99% film and got a lot of toys as well.
Avec la pellicule du petit amateur, on arrive a faire beaucoup, mais avec la pellicule du professionnel, on arrive à avoir les couleurs et les ambiances et aussi une certaine qualité. Que ce soit du négatif ou de la diapositive. A partir du moment où on reste avec le couplage vitesse diaphragme, sans aller aux limites du couplage, on aura de très bons résultats. Avec une très bonne pellicule, voir que les couleurs avec le temps ne virent pas dans le papier ou le film, et avoir toujours de bonnes couleurs, pareil pour la diapositive. Pour le film type lumière artificielle, sans aucun filtre, on aura aussi de l'ambiance sans aucune dominante pour l'incandescence. Si pour une raison vous devez faire des photos en lumière du jour, mettre un filtre lumière du jour, et le laisser le temps de faire le reste ou la pellicule entière, sans cela forte dominante bleue. Si vous revenez à l'incandescence sans le filtre, à côté d'une fenêtre, vous comprendrez ce que je veux dire.
foe those going all out home developing, i strongly suggest buying bulk vision 3 and load it yourself, you can wash off the remjet with a baking soda solution then process as c41, much cheaper as of aug 2023 when a roll of cinestill is 15+ dlls then 20+ for develop and scan this hobby is expensive
Tungsten is the metal what the glowing filament in incandescent lamps is made of. So T-films have the best color balance under the yellowish light of traditional incandescent light bulbs. Similarly Kelvin-rated LEDs may cause weird things as their light is mixed of various wavelengths, while tungsten has a clean spectrum.
Great video and was fun to watch... 😊 Thank you!
My favorite film for night photography is actually Portra 400. It still produces a beautiful, more subtle light halation, along with slightly reduced contrast, I’ve had great success with it at night
0:10 woah woah dont forget my baby girl lomography 800
The Star Wars sequel trilogy joke killed me. This was a great vid. I plan to try out both of these soon.
Thanks Christian! Love me some Star Wars. Happy shooting!
Thank you for your excellent review. Keep shooting and stay inspired!
Thanks Greg!
Love how you say Hey-lation
Wait til you hear me talk about oil changes.
Lomo 800 is an equally brilliant film for night photography
Your video was fun to watch, good feedback on each film. I agree with your assessment, Portra looks more realistic, but Cinestill looks more creative.
Thank you April! Glad you liked it!!!
good review of the two! i'm still trying to figure out the best way to use 800T with the pro-mist filter.
Daylight is 5600K. As some says "At least outside the Kodak headquarters in Rochester." I've shot Vision 2 motion picture film as a film student and would love to try some Vision 3. I used 50D in daylight and 500T inside with hot tungsten halogen Mole Richardson lights.
Which is best for a wedding reception at night indoors?
I'd say because you will want natural skin tones go with Portra 800
I like LOMOGRAPHY 800.
When using cinestill, would you use flash during the night to get that red look or would you just shoot it without flash?
What about shooting indoor during daytime, portraits for instance? Which film would your recommend?
Portra 800 - with the caveat that if the indoor lights are tungsten balanced, Cinestill could still work.
A lot of information. You are doing great!
Thanks Mark!
personally I find 800t colors to be a bit bland unless you're shooting only neon. The better contenders would probably be Portra 800 and Lomo 800 for more general low light use. Occasionally you can still find Fuji 800 when disposables are in stock
Silbersalz also makes tungsten balanced 35mm film. :)
It’s the same thing. Just vision 3 500T. There are several people doing the Cinestill thing now and repackaging Vision 3 film. Doomo made makes one as well, Reflex 800T, but it’s all the same stuff.
@@Overexposed1 Not quite, Silbersalz still has the remjet layer and has to be developed in ECN-2. But yes, it is essentially Vision 3 of course.
Nice comparison. In your experience, should Cinestill be shot at 800 or 500 for better results?
I almost always shoot it at box speed. I’m usually shooting the stuff at night though and need the speed!
I like slide film for night-photos.
I seen you’re from Eastern Kentucky and you had some shots in Louisville by my studio. I own Hype Studios Production here. You should come by sometime. I shoot 99% film and got a lot of toys as well.
Brilliant
Thanks!
Avec la pellicule du petit amateur, on arrive a faire beaucoup, mais avec la pellicule du professionnel, on arrive à avoir les couleurs et les ambiances et aussi une certaine qualité. Que ce soit du négatif ou de la diapositive. A partir du moment où on reste avec le couplage vitesse diaphragme, sans aller aux limites du couplage, on aura de très bons résultats. Avec une très bonne pellicule, voir que les couleurs avec le temps ne virent pas dans le papier ou le film, et avoir toujours de bonnes couleurs, pareil pour la diapositive. Pour le film type
lumière artificielle, sans aucun filtre, on aura aussi de l'ambiance sans aucune dominante pour l'incandescence. Si pour une raison vous devez faire des photos en lumière du jour, mettre un filtre lumière du jour, et le laisser le temps de faire le reste ou la pellicule entière, sans cela forte dominante bleue. Si vous revenez à l'incandescence sans le filtre, à côté d'une fenêtre, vous comprendrez ce que je veux dire.
Win-Win for Kodak...
lol it’s not even a contest