Jump to content


Photo

Best Way To Achieve Deeply Saturated Black and White image in Super 8


  • Please log in to reply
6 replies to this topic

#1 Christopher Frey

Christopher Frey
  • Basic Members
  • PipPip
  • 13 posts
  • Student

Posted 10 March 2010 - 05:03 PM

What is the best way to to achieve a deeply black and white image... with a narrow gray scale? Should I use a filter? Or would a lighting setup be the best way? What would be a good exposure for indoors on Tri-x?

Thanks for the help-- first time user.

Christopher Frey
  • 0

#2 Jim Carlile

Jim Carlile
  • Basic Members
  • PipPipPipPip
  • 464 posts
  • Cinematographer

Posted 13 March 2010 - 05:08 AM

If it's indoors you can control your setups and make sure they are high contrast. Outdoors it's harder, but a red, green, or orange filter will get darker and more dramatic results.

For that classic Hollywood B/W look, the best place for advice is the John Alton book, called something like 'Painting with Light.' First came out in late 40s but was reprinted a few years ago.

There's no way you can alter the inherent curve of the film stock, except maybe through processing techniques, so what you have to do is control the subject lighting.
  • 0

#3 Ian Nesbitt

Ian Nesbitt
  • Basic Members
  • PipPip
  • 10 posts
  • Student

Posted 21 March 2010 - 04:02 PM

What is the best way to to achieve a deeply black and white image... with a narrow gray scale? Should I use a filter? Or would a lighting setup be the best way? What would be a good exposure for indoors on Tri-x?

Thanks for the help-- first time user.

Christopher Frey


you can cross process your tri-x, if thats not a problem for you, really brings up contrast from my experience..
  • 0

#4 Tim Halloran

Tim Halloran
  • Basic Members
  • PipPip
  • 76 posts
  • Other

Posted 22 March 2010 - 01:44 AM

Pro8mm Super8/63 – ASA 10 B&W Hi Con Reversal Film. Expensive, but might be what you need.

Sample vid here:

http://www.pro8mm.co...gory_Code=S8flm

Tim
  • 0

#5 Justin Lovell

Justin Lovell
  • Basic Members
  • PipPipPipPip
  • 262 posts
  • Cinematographer
  • Toronto

Posted 11 April 2010 - 01:58 PM

Are you planning on projecting your film or telecine for digital editing?

If projecting, you'll have to control you saturation (better word for this being contrast) by your lighting.
If doing a telecine xfer, you could light your film fairly flat (light with a low contrast) and can then manipulate your contrast during the transfer or in post.

My results differ from the previous poster about cross-processing. I scan lots of tri-x cross processed here at frame discreet and it has a much lower contrast (wider latitude) than reversal film. That's why I always cross process my tri-x (unless I need to project it). Cross processing gives me more shadow detail and more highlight detail (at a sacrifice of a grainier image, which I quite like).

Maybe the other poster wasn't able to supervise his transfer to see how much range there really is in the cross-processed image?


Best of Luck!

oh attaching some samples.
tri-x from BELLADONNA, our raw 2k scanner.
SUPER 8 and SUPER 16.
First image is the FLAT scan with no correction. Second Image is with a contrast and gamma adjustment to give it more of a 40's film noir kind of look. (the super 8 was under exposed by 1 1/2 stops so not as much latitude in the shadows- and a little softer than normal).

Posted Image
Posted Image
Posted Image
Posted Image

Edited by Justin Lovell, 11 April 2010 - 02:00 PM.

  • 0

#6 Stephen Floyd

Stephen Floyd
  • Basic Members
  • PipPip
  • 52 posts
  • Cinematographer
  • Winlock, WA

Posted 13 May 2010 - 01:10 AM

Your desired effect could be achieved with art direction. Take a look at this opening scene from Tokyo Drifter, a '60s gangster film.

http://www.tcm.com/m....jsp?cid=243141

The suits did a lot for the motives of the characters and stood out well against the background.
  • 0

#7 Anthony Schilling

Anthony Schilling
  • Basic Members
  • PipPipPipPip
  • 1063 posts
  • Camera Operator
  • Portland, OR

Posted 14 May 2010 - 02:02 AM

Hard light and under expose 1/3rd
  • 0


rebotnix Technologies

FJS International, LLC

Metropolis Post

Gamma Ray Digital Inc

Visual Products

Paralinx LLC

Broadcast Solutions Inc

CineTape

New Pro Video - New and Used Equipment

Tai Audio

Technodolly

Willys Widgets

Glidecam

Abel Cine

Media Blackout - Custom Cables and AKS

Rig Wheels Passport

Ritter Battery

The Slider

CineLab

Wooden Camera

Aerial Filmworks

Media Blackout - Custom Cables and AKS

CineLab

Aerial Filmworks

Visual Products

Willys Widgets

Tai Audio

rebotnix Technologies

Paralinx LLC

Glidecam

Gamma Ray Digital Inc

The Slider

Abel Cine

Rig Wheels Passport

Technodolly

CineTape

FJS International, LLC

Wooden Camera

Broadcast Solutions Inc

New Pro Video - New and Used Equipment

Ritter Battery

Metropolis Post