Jump to content


Photo

How do you compare stocks?


  • Please log in to reply
2 replies to this topic

#1 Paul James Savarese

Paul James Savarese
  • Basic Members
  • PipPip
  • 81 posts
  • Cinematographer
  • NYC

Posted 27 September 2007 - 08:42 PM

Hey guys,

I am curious to how you gain the involuntary reaction to differentiating between stocks. Do you recommend a certain method to go about how differnt stocks react under different lighting conditions? In other words, is there a workbook that I can follow? I feel like I shoot a few rolls of different stocks and can't really get it into my head as to what the differences are. What's the regimen? I'd appreciate it i you could share your process.

Thanks,

Paul
  • 0

#2 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19761 posts
  • Cinematographer
  • Los Angeles

Posted 28 September 2007 - 12:24 AM

The general things are graininess, color saturation, contrast, blacks, sharpness - those tend to be the differences you notice between the stocks. But we all judge these elements differently and we all have different priorities as to which we care more about. And the specific project may recommend one look over another.

Also, most of these qualities are (1) easy to adjust in digital color-correction (you can make a saturated stock pastel and a pastel stock saturated) or (2) hard to distinquish on a TV screen due to the smaller degree of enlargement and the lower resolution of the presentation method (for example, it would be harder to see the grain difference between Kodak 200T and 500T stock in 35mm, or between Kodak Vision-2 500T and Fuji Eterna 500T, on a TV screen).

This is one reason why shooting and then projecting a contact print on a big screen tends to show you the inherent design differences between them. However, if you are shooting for video presentation, then realize that the differences between the stocks will be less significant.

Also, since 16mm is a smaller negative format, it also tends to make certain differences more visible even on video, whereas it gets harder to see the differences between 35mm stocks except on a larger screen.
  • 0

#3 Paul James Savarese

Paul James Savarese
  • Basic Members
  • PipPip
  • 81 posts
  • Cinematographer
  • NYC

Posted 02 October 2007 - 10:13 PM

Thanks for taking the time to answer my question. Very helpful indeed!


The general things are graininess, color saturation, contrast, blacks, sharpness - those tend to be the differences you notice between the stocks. But we all judge these elements differently and we all have different priorities as to which we care more about. And the specific project may recommend one look over another.

Also, most of these qualities are (1) easy to adjust in digital color-correction (you can make a saturated stock pastel and a pastel stock saturated) or (2) hard to distinquish on a TV screen due to the smaller degree of enlargement and the lower resolution of the presentation method (for example, it would be harder to see the grain difference between Kodak 200T and 500T stock in 35mm, or between Kodak Vision-2 500T and Fuji Eterna 500T, on a TV screen).

This is one reason why shooting and then projecting a contact print on a big screen tends to show you the inherent design differences between them. However, if you are shooting for video presentation, then realize that the differences between the stocks will be less significant.

Also, since 16mm is a smaller negative format, it also tends to make certain differences more visible even on video, whereas it gets harder to see the differences between 35mm stocks except on a larger screen.


  • 0


Paralinx LLC

Glidecam

Willys Widgets

CineTape

CineLab

Media Blackout - Custom Cables and AKS

Tai Audio

Broadcast Solutions Inc

Rig Wheels Passport

Abel Cine

Opal

The Slider

rebotnix Technologies

Technodolly

Visual Products

Aerial Filmworks

Ritter Battery

Gamma Ray Digital Inc

FJS International, LLC

Metropolis Post

Wooden Camera

Paralinx LLC

Gamma Ray Digital Inc

Wooden Camera

Metropolis Post

Opal

Abel Cine

Willys Widgets

rebotnix Technologies

Tai Audio

Media Blackout - Custom Cables and AKS

Visual Products

Ritter Battery

Aerial Filmworks

The Slider

Rig Wheels Passport

CineLab

Glidecam

Technodolly

CineTape

FJS International, LLC

Broadcast Solutions Inc