Most "cinema film" was simply made for movies. Dizzy's Cut 100 was actually on one.

🎬 What it actually is

Dizzy's Cut is a genuine, unused short end from the set of The New Guy (2002) — the footage left on a reel after a scene wraps, too short to keep shooting but too good to toss. This one was shot across Central Texas — Austin, San Marcos, Pflugerville, Elgin — and never once loaded into a motion-picture camera. It sat in a can for over twenty years before we revived it for still photography.

The stock itself is original Kodak Vision 500T — 5279: tungsten-balanced, rich in shadow detail, cinematic in rendering, and loaded with unmistakable movie-stock character. We rate it at EI 100 and hand-roll it by the frame. Every exposure joins a story that was never finished.

Dizzy's Cut 100 sample frame — tungsten cinema rendering
Original Vision 500T — tungsten-balanced, deep shadow detail, true movie-stock character.

🎞️ The look

  • Cinematic rendering with the deep, filmic shadows tungsten stock is prized for.
  • Rate it at EI 100 for dense negatives and fuller shadow detail.
  • Expose at EI 200 for moodier contrast — it takes the push gracefully.

📸 How to shoot it

  • Tungsten-balanced, so it's happiest under warm artificial light, or daylight with an 85 filter for correction (or embrace the cool shift).
  • Not DX-coded — set ISO manually.
  • Limited run, 24 exposures, hand-rolled.

🧪 Developing Dizzy's Cut 100

ECN-2 preferred for true cinema latitude. C-41 is possible, but you'll want the remjet removed first for a clean lab run.

📖 The whole story

Want the behind-the-bench version — how a twenty-year-old film-set reel becomes a roll you can shoot? I wrote it up: Getting Dizzy: Cutting & Loading the Batch.

Shot a frame of real movie history? Send it my way — Dizzy's deserves to finish the story it started in 2002.