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Kodak Motion Picture Film  Kodak's Motion Picture Film Community. Supporting filmmakers everywhere. #ShotOnFilm


Photo from DP @ericsteelberg on the set of ‘The Front Runner’. Shot on 35mm by Director @jasonreitman. #ShotOnFilm #TheFrontRunner

DP @katearizmendi on the set of ‘FUEL’ – an experimental film by Director/Choreographer @amy.j.gardner. Shot on KODAK VISION3 500T/5219.

Director: @amy.j.gardner
DOP: @katearizmendi
Dance Company: @annodam_
Choreography: @lonifaye
Producer: @marina_c
Sylist and Art Direction: @suitedatelier
Photographer: @justjac
Production: @emi_stewart and @allexpanded
Creative Producer: @roxannedoucet
Steadicam: @steadistew
Gaffer: @gezess
Colorist: @tomopoole

Watch the teaser on the @kodak_shootfilm Twitter.

📸: @gezess

Director Kelly Hebestreit and DP Dawn Shim wraps PNEUMA #ShotOnfilm #Super8

Nancy Schreiber ASC recently wrapped Mapplethorpe - a new doc on the life of photographer Robert Mapplethorpe written and directed by Ondi Timoner. #ShotOnFilm #setlife

“Film is the soul of cinema, and it’s perfectly viable. More and more directors and cinematographers are coming back to film, and more young filmmakers are embracing analog too, which is a very encouraging picture.” Read the full #InCamera with Benjamin Alimi, commercial director at @hiventy.official, on Hiventy's role in filmmaking and film restoration at motion.kodak.com (link in bio)

On the set of 'Two for Joy' with DP @sidsidell. Writer and director @bomteard chose to shoot the film on Kodak 35mm. Find out more about the project and read the full interview with Tom Beard in Issue Two of Kodachrome - available now at Kodak.com/go/kodachrome (link in bio)
📸: @sidsidell

Director Alessandro Comodin used Kodak 35mm 4-perf in Academy standard 1.375:1 aspect ratio to create the transcendent looks of his feature "Happy Times Will Come Soon". Comodin adds: “I am of the generation that grew up with both film and digital, but for me cinema is all about film. I would urge students and the new generation of directors and producers to get their hands on film. It’s available. It’s alive. It will give you something very special.”

"As soon as I read the script for "Vivimos para esa noche", I immediately knew that the only format, that could faithfully portray the textures and the colors of 1920 through 1960 Puerto Rico, was going to be film.
The creamy and nuanced look was achieved through a combination of Super Baltar prime lenses and four different Kodak VISION3 emulsions: I used the thinner grained emulsions, 5203 and 5213, for the flashbacks, while 5207 and 5219 to identify the present time in our storyline.
Considering the recent natural catastrophe that has impacted Puerto Rico, this piece has assumed an additional historical and emotional value: most of those breathtaking landscapes and beautiful buildings that we photographed, are now gone forever." Cinematographer: Valentina Martinico
Director: Luis Molina Casanova
1AC: Kay Hung
Gaffer: Wilfredo Cancel
Key Grip: Orlando "Kangry" Pérez
Camera: Panavision/Atlanta.
Format: 35mm. Kodak Vision3 5219/5207/5213/5203
Lighting&Grip: Kangrip; PJ Gaffer
Lab: Fotokem/Burbank
Photo Credit: German Rodríguez

Director @stefanweinberger worked with @ashemusic to create a relatable, intimate portrait of the up-and-coming artist, contrasting textured B&W with vivid color cinematography for her debut music video. Read the full interview and watch "Used To It" - shot on Super 16. Link in bio. #InCamera #ShotOnFilm

DP Sean Price Williams on the set of @goodtimemov. He's our guest this week on #TheKodakery podcast where we discuss the film, shooting 35mm 2 Perf and life as a DP in NYC.
Listen and subscribe - link in bio and in our story.
Your choice. #TheKodakery

The @vanssnow team shot their first-ever full-length snowboard film on Kodak 16mm stock. Premiering January 2018. Catch the teaser for LANDLINE. on @kodak.

Directed by @tannerpendleton
DP: @jpminibike and @harry_hagan
Film Stock: VISION3 7203 50D, VISION3 7207 250D, 7266 Tri-X
Film Lab: Spectra Film and Video
#VansLandline #ShotOnFilm

Connor Jessup's LIRA’S FOREST has it's world premiere tonight at #TIFF2017 and told us why he shot it on 5219: “One of the most exciting aspects of LIRA’S FOREST was the opportunity to shoot on 35mm, with Kodak VISION3 stock. Film is a format with life. It’s unexpected; it surprises you. Despite the impressive advances in quality and rapid spread of digital cinema cameras, I have always felt a pang of loss at having come-of-age in the post-film era. Loss not only for its aesthetic advantages –- its skin tones, its dynamic range, its treatment of highlights –- but also for something more intangible.
So much of making movies is mechanical and technical, I think it’s essential to introduce mystery into the process wherever possible. Mystery is the gasoline of movies, and film is a format rich with mystery. I feel so fortunate to have been able to work with it for the second time here, and with wonderful artists and technicians who knew how to use it. It was one of the great joys of the experience, and I’m confident that it translates into the finished film.” Credits:
Production Company: @bigandquiet and MetaFilms
Written & Directed By: @connorwjessup
Produced By: @amsm, Sylvain Corbeil and Nancy Grant
Director of Photography: Josée Deshaies

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