shooting uncorrected tungsten in daylight
Posted 04 January 2006 - 06:05 AM
while reading the beautiful book "new cinematographers" by alexander ballinger, i found harris savides saying "on almost every commercials and video i do , i shoot tungsten film in daylight situations, which just makes a cleaner negative for telecine". apparently, he means he doesn't balance with filter during the shooting.
but what exactly does he mean by that ? "cleaner negative" ? how ?
thank you for lighting this up.
Posted 12 January 2006 - 01:42 PM
Posted 12 January 2006 - 02:08 PM
Posted 12 January 2006 - 05:06 PM
Best to use a daylight balance film, or the proper 85 correction filtration.
Posted 18 February 2008 - 01:18 PM
Should i shoot a stop over in order to balance down the hot blues and make them cooler, or shoot at the normal 200ASA for the film?
any guidance is much appreciated
Posted 21 February 2008 - 12:25 AM
I think a lot of people do this correction on post nowadays. While watching special features for Dazed and Confused (deleted scenes with no color correction), I noticed that the exteriors for that film was approached like that, and it has LOTS of exteriors.
Posted 21 February 2008 - 09:09 PM
He made the right point though. If you shoot T film in daylight, you will be overexposing the blue-sensitive layer.
If you overexpose on top of that, you will seriously overexpose the blue layer. That could lead to increased noise in that layer when you do the transfer. I understand you won't colour correct much beause you wnat to retain a blue look - but still, overexposure is overexposure, and it does introduce tonal distortion.
Tungsten-balanced emulsions have increased sensitivity in the blue-sensitive layer, because there isn't so much blue in tungsten light. So a daylight balanced stock of the equivalent EI rating will actually have a slower (and therefore less grainy) blue-sensitive layer.