Jump to content


Photo

Intercutting Fuji 64D and 250D a wise idea?


  • Please log in to reply
2 replies to this topic

#1 Patrick Cooper

Patrick Cooper
  • Basic Members
  • PipPipPipPip
  • 868 posts
  • Other

Posted 30 January 2007 - 02:11 AM

I have selected Fuji Eterna 250D for a 16mm project in which much of the time I will be using slow telephoto lenses in late afternoon light. However, there will be many times during the project where i will be filming scenic landscapes with shorter and faster focal length lenses. For consistency, I think I would shoot the whole of the project on the 250D film but I really like the vibrant colours and overall 'look' of the 64D footage on Fuji's demo dvd. Thus, I am tempted to use 64D for the landscape shots but it seems quite likely that it will create too much of a contrasting look to the 250D footage. Has anyone intercut Fuji 64D with Eterna 250D film before? If so, how well do they cut together? In the case of my project, it will end up on video.
  • 0

#2 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 30 January 2007 - 02:24 AM

I have selected Fuji Eterna 250D for a 16mm project in which much of the time I will be using slow telephoto lenses in late afternoon light. However, there will be many times during the project where i will be filming scenic landscapes with shorter and faster focal length lenses. For consistency, I think I would shoot the whole of the project on the 250D film but I really like the vibrant colours and overall 'look' of the 64D footage on Fuji's demo dvd. Thus, I am tempted to use 64D for the landscape shots but it seems quite likely that it will create too much of a contrasting look to the 250D footage. Has anyone intercut Fuji 64D with Eterna 250D film before? If so, how well do they cut together? In the case of my project, it will end up on video.


People shoot slow, medium, and fast stocks all the time for features. The main thing is to not intercut them for the same dramatic scene if possible. But cutting different images together, like a twilight landscape done on 500T, then a sunrise sky shot on 64D, before beginning a dramatic day interior scene shot on 250D... it's done all the time.

You just don't want a shift in grain and contrast in the same scene looking at the same subjects.

But you could do landscape shots on 64D, but let's say, shots in a darker forest on 250D, and it would all cut together because the change in setting can justify a change in look.
  • 0

#3 Patrick Cooper

Patrick Cooper
  • Basic Members
  • PipPipPipPip
  • 868 posts
  • Other

Posted 30 January 2007 - 03:39 AM

Thanks David. This sounds like an intelligent strategy and plan of attack.

"The main thing is to not intercut them for the same dramatic scene if possible."

This actually reminds me of a scene I saw in the movie D.O.A at the cinema last year. There was one scene where characters were exchanging dialogue indoors and then all of a sudden, there is a shot where the whole colour rendition and 'look' is quite different. I can't recall whether the rest of the scene continued with this different 'look' or whether it was a few shots that were like this. Though it was so glaringly obvious that a different film stock was used here.
  • 0


Broadcast Solutions Inc

Gamma Ray Digital Inc

The Slider

Abel Cine

Metropolis Post

Paralinx LLC

Ritter Battery

Technodolly

Wooden Camera

Rig Wheels Passport

Media Blackout - Custom Cables and AKS

Tai Audio

Willys Widgets

CineTape

rebotnix Technologies

FJS International, LLC

Visual Products

Aerial Filmworks

CineLab

Glidecam

Opal

Gamma Ray Digital Inc

Media Blackout - Custom Cables and AKS

The Slider

Metropolis Post

CineTape

Rig Wheels Passport

Technodolly

Visual Products

Paralinx LLC

Willys Widgets

FJS International, LLC

Aerial Filmworks

rebotnix Technologies

Opal

Tai Audio

Abel Cine

Glidecam

Broadcast Solutions Inc

Ritter Battery

CineLab

Wooden Camera