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5219 balanced for daylight


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#1 F Bulgarelli

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Posted 26 May 2010 - 12:41 PM

Hello

I'm shooting a short film and we are using vision 3 stocks, initially I was going to order according to our different day and night scenes, now I'm thinking to order only 1 stock, it's an all african-american cast and think I could benefit from the extra speed. Has anyone used 5219 on daylight scenes? Plus that way we can be more accurate with the order and minimize waste.
I'm wondering about the grain structure of 19 and if it makes a huge difference with respect to 07.

Any comments or suggestions are welcome,

Thanks

Francisco
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#2 David Mullen ASC

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Posted 26 May 2010 - 12:51 PM

Hello

I'm shooting a short film and we are using vision 3 stocks, initially I was going to order according to our different day and night scenes, now I'm thinking to order only 1 stock, it's an all african-american cast and think I could benefit from the extra speed. Has anyone used 5219 on daylight scenes? Plus that way we can be more accurate with the order and minimize waste.
I'm wondering about the grain structure of 19 and if it makes a huge difference with respect to 07.

Any comments or suggestions are welcome,

Thanks

Francisco


The grain structure of Vision-2 200T, Vision-3 250D, and Vision-3 500T are all really close, especially in 35mm. You are splitting hairs at that point. Just rate the 5219 a bit slower and you'll be fine for day work if you want a tight grain structure.
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#3 Sing Howe Yam

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Posted 27 May 2010 - 05:56 PM

Are you going to correct in camera or have the lab apply the correction? I think the '19 (all of the kodak tungsten stocks) look great once you throw an 85 on. I've shot a short with 5217 and 5218 (200T & 500T) which were both vision 2 stocks and they looked great together. I actually had to go back and shoot pickups with the '18 on a scene I originally shot on the '17 and it matched fine. I rated the '18 @ 320 to thicken the negative but it looked fine.

I think with the 5219 you'll be even better with the grain structure. Like Mr. Mullen said, it's like splitting hairs. I've shot 5218 and 8573 in the same shoot (budget reasons and recans...) and I was shocked how much they ended up being similiar. I had a hardtime figuring out which stock was which when the dailies came back in. Not recommended, but a lot of stocks seem to be more for acquistion nowadays.

Happy shooting Francisco! Is this the anamorphic shoot? Let me know if I can come pull sharps for ya!
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#4 Saul Rodgar

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Posted 27 May 2010 - 10:34 PM

Ditto on the 5219. And if it is a little too bright, you can always pull it for extra snap and tighter grain. Generally prefer doing that than adding too much ND - an overly darkened viewfinder makes the operator's job harder.
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New Pro Video - New and Used Equipment

Wooden Camera

Media Blackout - Custom Cables and AKS

Abel Cine

Willys Widgets

Aerial Filmworks

Broadcast Solutions Inc

Paralinx LLC

Gamma Ray Digital Inc

CineLab

rebotnix Technologies

Ritter Battery

Rig Wheels Passport

FJS International, LLC

The Slider

Tai Audio

Technodolly