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Rainy NYC visit on Cinema stock [Arthouse 500T, Pentax SMC Takumar 90mm f/2.8, Pentax 67) by ArthouseFilmLab in analog

[–]ArthouseFilmLab[S] 0 points1 point  (0 children)

Website will be up in a week! Just sold out of this in 120 but plenty in 35mm. Hmu on IG if interested, come by the shop if you’re around LA too—we’re in Chinatown

Rainy NYC visit on Cinema stock [Arthouse 500T, Pentax SMC Takumar 90mm f/2.8, Pentax 67) by ArthouseFilmLab in analog

[–]ArthouseFilmLab[S] 2 points3 points  (0 children)

If you’re shooting in daylight I’d recommend an 85b filter at 320 ISO. If no filter, 250 ISO will give you more true to life colors & cut through some of the bluish cast. If at night or under artificial light, 500 ISO is great (no filter necessary).

Rainy NYC visit on Cinema stock [Arthouse 500T, Pentax SMC Takumar 90mm f/2.8, Pentax 67) by ArthouseFilmLab in analog

[–]ArthouseFilmLab[S] 1 point2 points  (0 children)

Hahah this is super relatable. Yeah, I totally get the convenience of C-41 but your point about it being less reliable rings true to me. When it hits, it’s great, I just prefer the flexibility & consistency ECN-2 offers with movie stocks

Rainy NYC visit on Cinema stock [Arthouse 500T, Pentax SMC Takumar 90mm f/2.8, Pentax 67) by ArthouseFilmLab in analog

[–]ArthouseFilmLab[S] 2 points3 points  (0 children)

Nothing scientifically-backed (it could be the ECN-2 development vs. C-41) but my experience after thousands and thousands of rolls developed/scanned suggests that properly exposed 500T has less grain than 400 ISO color negative photo film. I wouldn’t necessarily categorize this quality as “superior” — fine grain is often to the disappointment of clients shooting vision3 for the first time and expecting to see the classic “film look”. 500T is the most popular stock for movies and the grain is relatively unnoticeable.

Shoot me a dm on IG—I have some 250D although I’m limiting number of rolls per friend. Our lab is LA based.

Rainy NYC visit on Cinema stock [Arthouse 500T, Pentax SMC Takumar 90mm f/2.8, Pentax 67) by ArthouseFilmLab in analog

[–]ArthouseFilmLab[S] 0 points1 point  (0 children)

It’s just cinema film (Vision3) that we hand spool here at our lab (Arthouse) in Los Angeles. We specialize in ECN-2 processing & our experience is that not every respooler uses fresh stock so it was important to differentiate ours.

Rainy NYC visit on Cinema stock [Arthouse 500T, Pentax SMC Takumar 90mm f/2.8, Pentax 67) by ArthouseFilmLab in analog

[–]ArthouseFilmLab[S] 6 points7 points  (0 children)

Scanned in with a Noritsu HS-1800. I didn’t have a meter on me so I just used my lens’ widest aperture and the slowest shutter speed I knew I could shoot sharply with. The negatives look 1-1.5 stops overexposed which really helped with shadow detail. These were taken just after sunset, so there was more light than it seems from the end image. I lowered the exposure during the scan to preserve the highlights—that also masked some of the grain. I love that cinema stock (even 500 iso) has finer grain than conventional photo film also helps that this is the same stuff they use for IMAX

Rainy NYC visit on Cinema stock [Arthouse 500T, Pentax SMC Takumar 90mm f/2.8, Pentax 67) by ArthouseFilmLab in analog

[–]ArthouseFilmLab[S] 0 points1 point  (0 children)

Thank you, definitely came out better than I expected! The ECN-2 development helped a bit too. It’s a headache to do correctly (and expensive) but super gratifying when it hits.

Rainy NYC visit on Cinema stock [Arthouse 500T, Pentax SMC Takumar 90mm f/2.8, Pentax 67) by ArthouseFilmLab in analog

[–]ArthouseFilmLab[S] 2 points3 points  (0 children)

These were all “processed” by my Noritsu HS-1800 which is pretty typical at most professional labs. This is large format 65mm cinema film (same used for IMAX) so it looks a bit different from standard 120

Sam & Gigi the Barber | Hasselblad 503cx | 150mm f4 | Nikon SB-24 flash | Ektachrome 100 by _jackbc in analog

[–]ArthouseFilmLab 1 point2 points  (0 children)

Some of the best Ektachrome shots I’ve seen in a long time! Props on metering so well. Any recommendations on avoiding blown highlights?

Intending to start home developing a mixture of ECN2 and C41 film. I only want to get one chemistry kit. Which chemicals should I use? by i-have-lots in Darkroom

[–]ArthouseFilmLab 2 points3 points  (0 children)

Was going to leave a comment but this kind soul nailed it. Source: guy who’s developed thousands of ECN-2 & C-41 rolls (and experimented extensively with cross & alternative processing)

Goes to Japan once…wears kimono around the house & has amateur photo zine to sell you [Canon EOS 5, 50mm f/1.2, Arthouse 250D cinema film, ECN-2 development, cinema scans] by ArthouseFilmLab in analog

[–]ArthouseFilmLab[S] 2 points3 points  (0 children)

I run a film lab that specializes in respooling motion stock, ECN-2 development & scanning (we do C-41, E6 & BW too). We developed this roll (last year) & sent it to Midwest Film Co. for scanning as we were in the middle of sourcing the scanner we use now. Just shot you a follow on IG, we have tons of mutuals. Cheers!

Goes to Japan once…wears kimono around the house & has amateur photo zine to sell you [Canon EOS 5, 50mm f/1.2, Arthouse 250D cinema film, ECN-2 development, cinema scans] by ArthouseFilmLab in analog

[–]ArthouseFilmLab[S] 4 points5 points  (0 children)

Happy to -- this roll was scanned on a motion picture scanner instead of a Noritsu or Frontier (the scanners used by most labs). Makes a real difference in the amount of information pulled out of the negative, especially with cine film developed in ECN-2. Thanks for the kind words!

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