Kodak
Olivia Wilde gets a tour of the Kodak Film Lab in NYC
updated
Learn more about the camera at Kodak.com/go/Super8camera
A lonely LA rideshare driver picks up a fare he thinks will change his luck but when things take an unexpected turn he makes a choice with a grave outcome.
Shot on 500T 35mm, Wild for the Night is a short film about the dangers of the stories we tell ourselves and how they influence our perception. The “truth” can be subjective.
It speaks to a lot of what's happening in our society today; How isolation, fear and anger are fueling extreme behavior.
ASTEROID CITY is only in cinemas starting June 16.
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The use of convergent technologies presented a unique set of challenges for the Pathway team. Bringing together the power of the ARRIFLEX 765 and the innovation of virtual production required a high level of technical expertise and collaboration between technicians, artists and filmmakers.
Video provided by Pathway Studio
Follow the filmmakers about to set it up for a visit of their future premises, and support the project on navireargo.org/en/support-navire-argo
Director: Jean Ambrojo
Cast: Cesca Pey
One night, a young dancer abandons her prejudices and returns to dress for the stage, unaware that she is still haunted by her fears from the past.
The tears are symbolic of the path of life. They go downwards, creating a certain route. But the path of this route is decided by the form of your face.
Where the teardrops will end, after leaving your cheek - is decided by where we are at that moment.
That is why I wanted to shoot the film in reverse as well. Creating unexpected movements, moving against the flow. So the things you see first in the film were shot last on the shoot day and then the one-taker has been reversed in the edit. This was a very interesting experiment. Together with great DP Jasper de Kloet and the amazing dancer Lung-Ssu Yen, we experimented in the studio to see how certain movements would react to the reverse effect. Small details only become noticeable when you look at them differently, in this case, in reverse. But also timing it correctly so it is on the right part of the music. This is what I love about creating films, trying things out, experimenting, discovering that some elements work as you had in mind, and discovering that some things don’t work. Almost playing around. 16mm gives me that feeling to play around, and it all starts with buying the roll of film.
Director: Camille Boumans
Dance & Choreography: Lung-Ssu Yen
D.O.P: Jasper De Kloet
Steadicam Operator: Leen Thijsse
Focus Puller: Lars Inhulsen
Gaffer: Jan Nelemans
Styling: Anne Baarslag
Assistant: Yasemin Kevser
Edit: Camille Boumans
Grading: Wietse van Bezooijen
Music: Cornon Max
Sound Mix & VO Recording: David Coehorst, Rosed Out
Voice-Over: Lung-Ssu Yen
Film Scanning: Onno Petersen
Film Development: Studio L’equipe
Special thanks to Leontien van Hattem, HALAL, Cinesupply, Raven Artson & Joysi Olijhoek
Always make a scene. Watch the trailer for BABYLON starring Brad Pitt, Margot Robbie and Diego Calva. In theatres everywhere December 23. #BabylonMovie
From Damien Chazelle, Babylon is an original epic set in 1920s Los Angeles led by Brad Pitt, Margot Robbie and Diego Calva, with an ensemble cast including Jovan Adepo, Li Jun Li and Jean Smart. A tale of outsized ambition and outrageous excess, it traces the rise and fall of multiple characters during an era of unbridled decadence and depravity in early Hollywood.
From Damien Chazelle, Babylon is an original epic set in 1920s Los Angeles led by Brad Pitt, Margot Robbie and Diego Calva, with an ensemble cast including Jovan Adepo, Li Jun Li and Jean Smart. A tale of outsized ambition and outrageous excess, it traces the rise and fall of multiple characters during an era of unbridled decadence and depravity in early Hollywood.
Cinematography by Simon Van Parijs
Original Score by Natalia Tsupryk
Featuring Stanisław Węgrzyn
Voiced by Victoria Valcheva
Production Manager Dave Elliott
Focus Puller Ollie Pearson
Camera Loader Aida Garcia Vega
Steadicam Operator Kate Eccarius
Gaffer (1st Unit) Charles Power
Gaffer (2nd Unit) Ian Blackburn
Edited by William Pope
Assistant Editor Mossie Cassidy
VFX by Simon Van Parijs, Ollie Pearson, Jack Gyori
Sound Design by Henry Ley
Grade by Thomas Kumeling and Simon Van Parijs
“Boundless” is about the brief period where a dancer is at the pinnacle of their career, and the inevitability of that fading away. I felt that this journey would be interestingly mirrored in the life cycle of a star, and wanted that crescendo in his choreography to represent the peak brightness in a star’s life, before fading into darkness.
I discussed the idea with Stanislaw Wegrzyn, who then choreographed his performance to the original score written by Natalia Tsupryk, a Ukrainian composer, who based the piece on old Ukrainian folk music. Victoria Valcheva’s voiceover is also pitch perfect - hopefully it becomes part of the fabric of the film, and sort of gets under your skin.
Cinematographer Simon Van Paris and I were really aligned in how the film should look. We drew inspiration from the photos of W. Eugene Smith, especially his Minamata series. Also Kaneto Shindo’s film Onibaba, which is shot brilliantly. Both with plenty of contrast, really deep blacks and sort of resplendent, glowy whites. Naturally they both shot on black and white film, so we did the same in order to get a similar feel. The scans Digital Orchard gave us were fantastic - they were meticulous in their attention to detail. And of course, the latitude of black and white film is absolutely phenomenal.
We wanted the crispness and depth of field of 35mm but didn’t want it too clean. We decided to shoot on Double-X and push it a stop to gain contrast and texture in the image. We shot 3 perf to make the most of the Fonteyn Studio in the Royal Opera House, and experimented with a timing shift motor which gave a brilliant sort of streaking effect used in the “crescendo” of the film.
Director: Harry Deadman
Director of Photography: Ben Cotgrove
“Set in sun-drenched British suburbia - Step Aboard is a film about feeling like the odd one out. It’s often easy to feel like everyone else has life worked out. The way they behave…speak…act… It can be all too tempting to try & be like everyone else - chasing after the idea of 'fitting in' and blending in with what you see around you.”
Writer & Director: Mas Bouzidi
It's the last night at the closing Royal Alamo Cineplex and two slacker employees work the concessions stand, arguing about life and movies while contemplating their futures.
Note from the Director:
In February of 2021, a crew of 20-some filmmakers with 18 cans of film in tow, set off in a pass van to one of the only movie theaters in the state of New York operating during a pandemic.
The next four and a half days were exhilarating and exhausting. Since the theater was miraculously still operational, we would come in at closing time around 11pm, shoot through the night and the morning, leave at 11am to rest, and return later that evening to pick up where we’d left off. Shooting 25 pages of dialogue on a limited amount of film was a huge task, but one we confronted head on. Prior, I had rigorously rehearsed with my two terrific leads, Rob Riordan and Jonathan Price, for nearly two months, knowing our takes would be long and severely limited. The crew was made up of trusted and talented friends from NYU, along with generous professionals who felt a kinship with our common goal. It was like a repertory company. We all had a shorthand and an understanding, a hope to make something special, heartfelt and impactful. To remind audiences about the power of moviegoing and theatrical exhibition. On set, I was continuously surrounded by folks far more accomplished than me, who all cared just as much for the project and its mission. It was an incredibly humbling and exhilarating experience. I’d especially like to acknowledge the location at Bowtie Cinemas in Schenectady, including manager Sam Lansing and owner Joe Masher, my trusty Assistant Director Cami Olses for the incredible amount of orchestration and organization she had to pull off, my truly talented DP Derrick Chen for giving my work a new level of visual sophistication, while teaching me about what I now value so much about the director/cinematographer process, and my lead producer Ram Segura Khagram, for selflessly steering the ship through light and darkness.
Concessions is a love letter to my time as a movie theater employee in Clifton Park, New York. Some of my most formative and memorable years were spent serving popcorn and tickets behind a stand and arguing about movies with my friends. It was a lifelong dream to have that job and I look back on it fondly. The film mixes those experiences with many of the movies that shaped me as an artist, like the works of Kevin Smith and Richard Linklater. When starting production on a movie, there is hardly ever a question about whether to shoot on film. It’s second nature. And it was always clear that the film needed to be shot on celluloid. We chose 16mm to pay homage to the independent films of the 90s and for the warmth and texture that evoked the deeply nostalgic themes of the film. Concessions is a story about the power and importance of movie theaters in a time where their future seems more and more uncertain.
Concessions is a proof of concept for a feature film. We are currently deep into preproduction, planning to shoot in 2023.
Note from the Cinematographer:
During the prep process, Mas and I bonded over the romantic realism of the legendary Robert Richardson. We set out to visualize our shared love and passion for movie theaters, employing a lot of classic filmmaking techniques such as almost all tungsten units to spotlight the scenes. Being black body radiators, they generate a full spectrum of color accentuating the golden hue we wanted. In addition to variety of classic soften filters, we picked the Panavision Pvintage lenses to achieve this look on set. We rated the stocks normal and pushed the S16mm celluloid another one stop in post processing to further enhance the grain textures and color saturation.
concessionsmovie.com
Was wollen wir überhaupt? Von Liebe träumen oder Liebe leben? Wahre Liebe, die es nicht gibt, weil es nur Liebe gibt. Was wollen wir? Verantwortung übernehmen? Für das, aber das nicht, was auch immer das ist. Was wollen wir? Eine Hand halten, ohne sie zu verletzen? Einen Drink am Nachmittag, ein Lokal, das noch offen hat, einen Anruf. Ein bisschen Betäubung, einen Körper, an dem man sich wärmen kann. Was wollen wir?
What we want
What do we want anyway? Dream of love or live love? True love, that does not exist because there is just love. What do we want? Take responsibility? For this, but not that, whatever that is. What do we want? To hold a hand without hurting it? A drink in the afternoon, a place that's still open, a phone call. A little numbness, another body to warm yourself. What do we want?
--
Konstantin Arnold
Aus der Reihe: Auf den Spuren des schönen Lebens
bynd-mag.com/amalfi
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www.konstantinarnold.de
www.libertin-film.com
a film by Adrian Kuchenreuther and David Herbst
with Konstantin Arnold and Catarina Fernandes (@catarinamfernandes)
words by: Konstantin Arnold
director & dp: Adrian Kuchenreuther (@ak-dop)
edit: David Herbst (@davidherbst.edit)
colorist: Johan Nurmilehto (johancolorist)
music: Andes by Max LL (via Musicbed)
shot on Kodak Vision3 50 D (7203), 250 T (7213) and 500 T (7219) super 8 stock
From their album "A Better Place"
Out April 8th via Take This To Heart Records
Pre-Order: bit.ly/3u2AIHk
CREATIVE DIRECTOR & EDITOR - BENJAMIN LIEBER
FEATURING - BENJAMIN LIEBER & KELSEY R BRADLEY
SHOT ON - Kodak Ektachrome E100 Super 8 Film, with a Canon AutoZoom 518
LOCATION - Lake Tahoe, California, February 2020
takethistoheartrecords.com
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Lyrics:
Creamy goo, ORANGEBLUE
Brooklyn roof sunset view
Knowing you are watching too
Thinking through what i’ll do
Streaks of white from avtur burn
Like facial lines on Mother Earth
You’re the sky, sun & moon
Want nothing more than ORANGEBLUE
ORANGE
BLUE
Lately, time’s been out of tune
Sirens singing over you
Nothing’s everything to do
Soaking up your ORANGEBLUE
ORANGE
BLUE
It was only yesterday
When the world was ours to make
Now we’ll never leave this cage
Director: Ryan Jaeger
DP: Gregor Tavenner
Producer – Kedian Asulei
Producer – Shannon McIntosh
Executive Producer – Jody Rath
Starring – Garrett Coffey and Drew Conick
Format: 2-perf 35mm
Kodak 200T 5213 VISION3
Kodak 500T 5219 VISION3
Kodak 50D 5203 VISION3
Writer & Director: Keenan O’Reilly
After losing a child, a woman is haunted by her sleepwalking hallucinations.
A note from the director:
"Back in February, 2020, without having nearly enough money to complete the project, I spent the few thousand I had on film stock and we set the shoot dates for spring. That’s usually how it goes when I fall for a passion project; I realize that celluloid serves the project best and we just pull the trigger trusting that everything else will somehow fall into place. So in February 2020 my team and I said yes to the project come hell or high water. After pushing the shoot three times, rewriting for a cast drop-out, and location changes, we saw an opening in August to do a Los Angeles production safely and floored it.
The crew was based almost solely on volunteers. We shoot everything together and help on each other’s projects because making something with overflowing passion is why we chose to pursue filmmaking in the first place. Throughout the year, we are grateful to make a living shooting commercials and music videos, but damn do we want to wake up everyday and make features! My team knows this about me and graciously lends their talents in support of what is hopefully a stepping stone to something larger. I am forever grateful for their love and support.
We are in development for two features and will be shooting our next short this winter in Boston. The most vague synopsis I can give about the short is that it’s about immigration in Boston. We don’t have any money in the bank for the project but we guarantee that won’t stop us."
www.keenanoreilly.com
In a world dominated by zeroes and ones, eccentric scientist Florian "Doc" Kaps endeavors to protect the future of analog and inspire people to connect with “real” things. His crusade begins with an impossible mission: to save the last Polaroid factory.
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AN IMPOSSIBLE PROJECT
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Directed By: Jens Meurer
Written By: Jens Meurer
Produced By: Jens Meurer, Phil Hunt, Compton Ross, Ralph Wieser
Directors of Photography: Bernd Fischer, Torsten Lippstock Contributors: Florian “Doc” Kaps, Polaroid CEO Oskar Smolokowski, Author Christopher Bonnanos (“Instant: The Story of Polaroid”), Maria Sebregondi (Moleskin Founder), Geocities founder David Bohnett, NYC / Berlin concept artist Pepper Levain, Hollywood camera legend Otto Nemenz, photographers Stephanie Schneider and John Reuter
Distributor: Bohemia Media and Trinity Creative Partnership
Production Company: Instant Film
Co-Production: Mischief Films, Head Gear
Score: Sascha Peres and his Orchestra, feat. Haley Reinhart
Country of Origin: Germany /Austria /UK Genre: Documentary
Rating: TV-14
Language: English
Runtime: 97 Minutes
Shot on Kodak 35mm
FOR MORE INFORMATION:
http://animpossibleproject.com
kodak.com/en/motion/blog-post/an-impossible-project
Explore Kodak’s role in the Mission at http://kodak.com/go/moon
Illuminatrix Rising is a collective of new wave female directors of photography, and the participants’ clips, edited into a two-minute film, highlight the talents of young women working in the film industry.
Directors of Photography - alphabetically
Chloe Deleplace
Anna Macdonald
Alvilde Naterstad
Samira Oberberg
Diana Olifirova
Luciana Riso
Tansy Simpson
Simona Susnea
Jackie Teboul
Donna Wade
Shot on Super 8 by Rosie Matheson
Learn more about alternative processing and the Kodak x Dogfish Head collaboration at http://www.kodak.com/go/dogfish
Directed by Rosie Matheson
Edited by Bryan Rodner Carr
Music: KHARTOUM
Shot on Super 8 film
Featuring:
Niels Bennett
Tyler Pacheco
Simon Bannerot
Sean Malto
Rick McCrank
Shop the new 2019 Kodak x Girl Skateboards Collection at kodak.com/go/girlskateboards
Join us at Kodak Center at www.kodak.com/go/visitorcenter
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Monday-Friday, 9:00 am - 5:00 pm
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Kodak-er Kevin Cazabon did this just recently with his son, and shows you how in this 3-minute video.
Project time: under 1 hour, depending on the size of your window.
That's Jupiter in the background -- actually, 529 million km in the background (or about 3.5 times the distance from the Earth to the Sun). Phobos was much closer, at just over 11,000 km (over 7,000 miles) away.
Also check out Pitbull's So Kodak commercials on SoKodak.com.
Tags/Keywords: motion picture film, commercials
Check out sokodak.com for all things So Kodak
And visit http://kodak.ly/a8eZRx to find out more about the m590 digital camera
Check out sokodak.com for all things So Kodak!
And visit http://kodak.ly/a8eZRx to find out more about the m590 digital camera
Check out sokodak.com for all things So Kodak!
And visit http://kodak.ly/a8eZRx to find out more about the m590 digital camera
Check out sokodak.com for all things So Kodak!
And visit http://kodak.ly/a8eZRx to find out more about the m590 digital camera
Check out sokodak.com for all things So Kodak!
And visit http://kodak.ly/a8eZRx to find out more about the m590 digital camera


