Thursday, August 15, 2013

CineStill International - Now available around the world!

CineStill 800Tungsten is now being distributed internationally by the amazing analog resource in the USA, Freestyle Photographic Supplies, with prompt and affordable shipping!
Above are internationally renown photographers, Ryan Muirhead (USA) and Jan Scholz (Belgium). For those folks in the Eastern Hemisphere, CineStill 800T can also be purchased from the fine folks at FotoImpex in Germany. :-)
photo by Jan Scholz (Belgium)                                                                                                       
photo by Daniel Johansson (Sweden)
photo by The Brothers Wright (USA) - pictured is photographer Jonas Peterson (Australia)
photo by Rolland Andras Flinta (Germany)
photos by The Brothers Wright (USA)
Grab some while they are still on the shelf. These bad boys are bound to eventually be back ordered! Viva la CineStill!

Thursday, August 8, 2013

CineStill Rolls! - Kings of Leon on 800T by Jon Kohn

"I think of it like this: Way back before my time, there was television. It was black and white. Then one day..."
~ Jon Kohn






Photography by Jon Kohn | 800T @ ISO 1600 + Canon Elan 7ne + Canon 135L | Scanned by me at IFL

Friday, August 2, 2013

Cine Stills on CineStill - on set stills by The Brothers Wright

"Shooting film is just much more fun than shooting digital! So when we decided to DP a music video, half on Super16mm film and half on digital, I knew what we were getting into. Or so I thought... Luckily, I brought a nikon FM2 loaded with CineStillFilm 800Tungsten, on the digital video shoot, to make a few snapshots to sample color for the grading of the 2.5K raw footage. Digital video was captured with a BlackMagic Cinema Camera in 2.5K raw, and a couple of shots were with a Canon 7D... Color graded with a combination of Adobe Raw and Speed Grade. The camera profile had to be massively tweaked in Adobe Raw and saved into the DNG files, in order to eliminate magenta/green hue shifting, and produce a usable curve and color space for Speed Grade. Shooting in the raw format was much more cumbersome than shooting film, and still resulted in an elusive processing workflow like film without the certainty. SHOOT FILM! Our Super16 camera cost 1/10 that of the premiere video camera, and the grading times took at least 20 times longer than the film (which was all the footage beautifully color time as compared to just the clips we used from the digital). And just forget about matching the color or tonality of film!" ~The Brothers Wright











Processed in normal C-41 chemistry and scanned with a Fuji Frontier SP2500.