Jump to content


Photo

Underexposing Vision 2


  • Please log in to reply
5 replies to this topic

#1 Nick Norton

Nick Norton
  • Basic Members
  • PipPipPip
  • 248 posts
  • Student
  • Chicago

Posted 15 March 2008 - 04:01 PM

I am shooting a band performance at a fairly small venue tomorrow night. I'll be shooting it with a Super 8 Canon 1014xls and a Canon 518 as a B camera, and i'll also have a safety shot with a hd canon with a 35mm adapter. I just recently purchased a light meter, but won't be able to measure any of the light until tomorrow night.


I was wondering if any of you were aware of the latitude of Super 8 Vision 2 500T. Does anyone know how many stops underexposed i can shoot and still get a decent image? As far as underexposing and still getting an image goes, would the same go for Vision 2 200T?


I'll be shooting the stage performance as well as the crowd, etc. for B roll. So i won't be working with too much light, and i want to make sure i am not wasting film.

Thanks-

Nicholas
  • 0

#2 Brandon Rubesh

Brandon Rubesh
  • Basic Members
  • PipPip
  • 14 posts
  • Student
  • Paris

Posted 15 March 2008 - 05:20 PM

I'm a film student my self, so I can only reply based on my own bit of expeience with shooting, testing, and speculative conversations with my peers and professors.
I'm always so impressed every time I put the latitude of vision 2 stock to the test. Though I've never shot it with super 8, I imagine the latitude is only slightly less that with 16mm... Only due to the fact that the image is twice as small, so the resolution is not as much therefor not allowing you to see quite as deeply into the shadows... Unless I'm mistaken. If I were you I would absolutely use the 500T instead of the 200t. You will get more grains (especially if shooting at 3 or more stops under) but the more sensitive the stock, the less underexposed you need to be. I would imagine that you should not shoot at anything more than 3 stops under actually. I've seen a short film that was shot on 35mm 500T vision 2 at 4 to 5 stops under and, though pretty damn dark, still had an acceptable image. But this is a venue that I'm assuming will be fairly dark. So you should be a bit more careful than that. 2 or 3 stops should be fine completely fine.

Hope that helps - Brandon
  • 0

#3 Michael Nash

Michael Nash
  • Sustaining Members
  • 3330 posts
  • Cinematographer
  • Pasadena, CA

Posted 15 March 2008 - 05:50 PM

I'd be more worried about getting an acceptable exposure with the HD camera with the 35mm adapter...
  • 0

#4 Serge Teulon

Serge Teulon
  • Basic Members
  • PipPipPipPip
  • 757 posts
  • Cinematographer
  • London UK

Posted 16 March 2008 - 09:29 AM

I'd be more worried about getting an acceptable exposure with the HD camera with the 35mm adapter...



Indeed!! Film can cope where as HD cannot!

S
  • 0

#5 Adrian Sierkowski

Adrian Sierkowski
  • Sustaining Members
  • 7117 posts
  • Cinematographer
  • Los Angeles, Ca

Posted 16 March 2008 - 10:02 AM

Most definitely. I am always surprised how deeply into shadow the vision 2 stocks can see when I'm first looking at them in a grading session. It's been my experience that underexposure works best when you give people a nice white and a nice black reference, it helps build contrast and to my eyes at least, keeps the image from looking too muddy.

And yes, as noted, exposure on the HD camera with other glass may be very problematic as some adapters can loose up to 2 stops of light.
  • 0

#6 Michael Nash

Michael Nash
  • Sustaining Members
  • 3330 posts
  • Cinematographer
  • Pasadena, CA

Posted 16 March 2008 - 03:50 PM

Indeed!! Film can cope where as HD cannot!

S


Well I was referring to the adapter rig, not the HD camera. Many HD cameras can see pretty well into the shadows, even if their overall sensitivity isn't that great.

But yes, the Vision 2 will hold lots of detail in the shadows.
  • 0


Rig Wheels Passport

Tai Audio

FJS International, LLC

Paralinx LLC

Willys Widgets

rebotnix Technologies

Visual Products

Aerial Filmworks

Opal

Gamma Ray Digital Inc

CineLab

Abel Cine

Ritter Battery

Metropolis Post

Technodolly

Glidecam

Wooden Camera

Media Blackout - Custom Cables and AKS

Broadcast Solutions Inc

The Slider

CineTape

Metropolis Post

Opal

CineLab

Aerial Filmworks

CineTape

Tai Audio

Visual Products

The Slider

Media Blackout - Custom Cables and AKS

Wooden Camera

Willys Widgets

FJS International, LLC

Rig Wheels Passport

Paralinx LLC

Technodolly

Broadcast Solutions Inc

Abel Cine

Ritter Battery

Glidecam

Gamma Ray Digital Inc

rebotnix Technologies