The film stocks database I’ve been compiling for far too many years can be found:
(as well as via the big button in the sidebar of every page of this site, for convenience!)
Due to its flexibility, and the ability to update and modify content really easily in real time, I currently have the data organized in an Airtable base, and the public interface is just a read-only shared version of this base. This is probably temporary, as I would eventually like to house the data in a more robust architecture. However, in testing its public interface, it seems quite navigable, and images can be attached really simply. Individual users can sort records by field, and individual records can be expanded for form viewing (just hover over the leftmost column and hit the expand icon that pops up). So initially I’m going to stick with this approach to see how it goes.
Some background info and FAQ about the film stocks database:
I’m a film preservationist specializing in experimental and independent films. The data in this resource was initially compiled over many years (nearly twenty!), at first informally as part of (and to inform) my own archival work practice. The foundational information came partly from the limited and scattered resources I could access, but primarily from my own first hand experiences particularly working on 16mm film in an archival context. I compiled this empirical data off and on over a few years and eventually started organizing it into a database, supplementing my own info with occasional other data I encountered, often in bits and pieces from various online forums, articles, books, and just asking people sometimes. I found this organization of practical data really useful to my own work, and it became more and more common for coworkers and archivist friends to check in with me about these kinds of questions. After years of thinking how nice it would be to somehow make it an online resource, in 2020 I actually started fleshing out the data in earnest, accumulating a number of useful historical books, documents, searching online archives of film trade magazines, and so forth.
All data has been compiled and organized by Mark Toscano. Texts are generally written by me if not attributed, but all cited texts are otherwise attributed. This database will very much continue to be in progress. Some even more detailed information, including a field-by-field description and other related information, can be found HERE.
About contributing:
If you would like to contribute (or correct) data, images, or supply anecdotal and/or technical notes on your production or archival relationship to any of these stocks, please don’t hesitate to get in touch via the contact form, although it’s best if you first reach out to me to let me know what kind of information you’d like to contribute or how you’d like to help. Please note that I have MANY film stocks in the backlog queue which are not yet included here and which will gradually be added, so although you are welcome to contribute info or even lists of stocks not yet listed here, please be aware that there are tons I haven’t yet listed 🙂
About the images:
The majority of images here are either my own, or quite confidently deemed fair use (stock pictures from online auctions, occasional images from print advertisements, etc.). I may also post some print ads and other print-sourced articles and resources which I’ve obtained from publicly accessible sources (such as the Internet Archive). If there is anything here of yours that you object to being included in the context of this database (which I should make clear is a purely educational resource made on a 100% volunteer basis at my and others’ own expense of time and resources and with no compensation resulting whatsoever), please don’t hesitate to write me through the contact form on this site.
FAQ:
What is this?
This is a searchable database of (primarily) 16mm, Super 8, and 8mm motion picture film stocks (with 35mm and other formats gradually to be added).
Who compiled this?
Mark Toscano (me) compiled all the initial data with help and input from various people and sources over the years.
How was this compiled?
The data in this resource was initially compiled over many years (like, more than a decade), at first informally as part of and to inform my own archival work practice. The information initially came partly from the limited and scattered resources I could access, but primarily from my own first hand experiences particularly working on 16mm film in an archival context. I compiled this empirical data off and on over a few years and eventually started organizing it into a database, supplementing my own info with occasional other data I encountered, often in bits and pieces from various online forums, articles, books, and just asking people sometimes. In 2020, I actually started fleshing out the data in earnest, accumulating a number of useful historical books, searching online archives of film trade magazines, and so forth. The compilation of data is and likely will be an ongoing process.
How complete is it?
Very incomplete. There is a lot of basic data that I think is nevertheless helpful (it certainly is to me!) and of interest, but there is a ton still to be added. But it’s meant to be continually updated!
Who is this for?
It’s just for anybody who might be interested or find it useful, but I particularly had in mind that it could be a helpful resource for archivists, students, historians, scholars, teachers, curators, filmmakers, etc.
How should I use this?
Use it however you want, of course. Its usefulness to you will depend on your needs. For example, if you’re an archivist going through a bunch of 16mm film, you might find that searching on the edge codes you find will yield identification clues. Or maybe you want to know what the archival properties are of various Ektachromes. Or you might just want to get some anecdotal thoughts about certain stocks. I figure that most users will probably use it for similar reasons (identification and technical information), but ideally there are a lot of ways this resource could be useful. And please keep in mind that it will continually be updated, so as you check back, the data may expand and expand!
Why did you make this?
My initial reason for compiling this data starting around 2006 was because there wasn’t one single print or online resource that I could find that remotely had all (or even more than a smattering) of this information compiled for me to consult to assist with and inform my archival work. I gradually accumulated a lot of loose data that I found really helpful to my own work, and it always seemed to me this should be a public resource if possible.
In 2020, when I finally decided to try to get it into some kind of usable public form, there were several more resources available than there had been back in 2006, including Barbara Flueckiger’s amazing Timeline of Historical Film Colors and the Internet Archive’s scanned copies of magazines like American Cinematographer and Business Screen which contained useful (albeit scattered) data, but still no one web resource/tool that was meant for regular, functional reference and use for those particularly working with 16mm, Super 8, and 8mm film.
I’m also kind of an enthusiastic nerd about organizing and compiling useful information, and my work brings me in continual interaction with film stocks of all kinds, so I’m privileged with regular and extensive access to the materials. This all said, I’m no master chemist or even a hardcore film tech head, but really just somebody who works with a lot of this stuff, has enjoyed documenting useful data about it which has helped me as an archivist and curator (and even as a filmmaker), and wanted to put this and a lot more information about these stocks into some kind of resource that could be helpful to others. I also just love film as a medium and all of the various articulations of its properties and potential over its long history.
Where did this information come from?
Although a decent amount of this information initially came (and continues to come) from my own empirical observations and note-taking, it has been fleshed out, added to, and corrected with the help of quite a few additional resources, some of which are print, and some of which are people. You can find a list of sources here.
Where are the images from?
A large number of the images were taken by me over many years in the course of my archival work, and a lot of others were either given to me by friends and colleagues or found on the web – particularly on auction sites. As this is a free educational resource, and the found photos are predominantly anonymous, I’m employing them here with the understanding that it’s extremely reasonable fair use. But if for some reason you have found a picture of yours on here and object to its inclusion, please do contact me and I’m sure we can resolve that.
Why not so many 35mm/70mm/etc. stocks?
There may eventually be (ideally), but I initially conceived of this resource as focusing first on smaller gauge films for a few reasons. Smaller gauges have a lot more idiosyncrasies in composition, use, and identification, even in their conventional usage and form, whereas a reasonable majority of 35mm film stocks follow fairly consistent usage (positive/negative printing, etc.). Also, quite a few of the historical 35mm stocks (and 65/70mm too for that matter) have also existed in 16mm as well, so a good amount of this data is transferable to a 35mm context. Smaller gauges are also much more likely to be encountered in collections and “in the wild” by archivists, librarians, and researchers who may need some organized information to help identify them. But of course, the ultimate dream is that the database could contain EVERY stock!
What film stocks are not included here?
Besides stocks that are missing because the compiling process is ongoing, there are a few stocks that have been deliberately not included here. At the moment this may include stocks made exclusively for any gauges other than 8mm, Super 8, and 16mm. This is temporary, because for now I’m limiting it to those three gauges just to have a more succinct starting point. I’ve also not included certain specialty films that are not really intended for motion picture usage, like microfilm stocks, which were nevertheless made available in 16mm, sometimes as a custom order or special project. Certain one-off specialty stocks may not be in here as well; for example, custom cutdowns of 35mm stocks to Super 8 by a few different companies who have specialized in that service.
If you have data/images/etc. about stocks not included here, or stocks which don’t have complete data or images here, you are welcome to get in touch with me – check out the next few FAQs:
Can I submit additional data and/or corrections? How?
Absolutely, though for now, it would be difficult to handle an inundation of free submissions and data. So the best approach would be to contact me through the site to let me know what you have in mind to contribute!
Can I submit images? How?
Absolutely, and they’re very welcome, especially for stock cans/boxes, edge codes, etc. that don’t yet have illustrations here. But as with the question about data submissions, please contact me through this site first to let me know what you have in mind to contribute before sending me anything!
Can I submit anecdotes about specific film stocks? How?
Absolutely! I had always envisioned this to be an interesting part of this resource – first hand usage opinions and anecdotes about specific stocks from those who have worked with them (especially filmmakers, but also lab folks, archivists, hobbyists, etc.). As with any other submissions, please contact me first through the site to let me know what you have in mind to contribute before sending me any specific contributions. Thanks!
Can I use this information in my own project?
You are extremely welcome to use the information in this database for any project you might be working on. I just ask that you credit this site as a source if you do so, only so that others may find their way here as well, and to acknowledge the work that lots of people have put into it. If you use any specific quoted text from a named contributor or source, please also credit that person/source too.
I owe a BIG debt of gratitude to:
Alan J Masson for sharing his extensive knowledge and generously offering the use of his personal collection of historical Kodak datasheets;
Yasmin Dessem and Meredith Reese for their invaluable help on the earliest attempts at this film stocks database;
Charles Rogers for his assistance in harvesting data from an array of historical sources;
Barbara Flueckiger for her truly amazing Timeline of Historical Film Colors site, and her generosity in providing it as a public resource (not to mention her encouragement on my own project);
Danny Plotnick for his tireless work to document the history and culture around Super 8 (check out his wonderful book) and sharing info and resources;
Sean Savage for his numerous invaluable practical suggestions during the database’s first testing phase;
Kate Selenkina for crucial help with Soviet film stocks, including finding, translating, and interpreting information on them;
Walter Forsberg for various and sundry input and enthusiasm;
friends and colleagues Antonella Bonfanti, Carolyn Faber, Chris Kennedy, Masha Matzke, and Nadja Šičarov, for their various suggestions during testing;
and Zena Grey for pretty much everything.
LIGHTSTRUCK 