Picking Film Stock for Short Film
Posted 08 February 2011 - 01:44 PM
So what I'm trying to understand is which would suit my situation better and why:
KODAK VISION3 200T Color Negative Film 5213/7213
KODAK VISION3 500T Color Negative Film 5219/7219
And also a stock that would complement one of these outside for a scene or two. One at night, and one during the day.
Posted 08 February 2011 - 04:16 PM
Most of the look of a film, however, doesn't come necessarily from just the film stock; the way it's lit and the locations it's shot in play a very very large roll, not to mention any post color corrections.
Posted 09 February 2011 - 12:51 AM
Posted 09 February 2011 - 04:32 AM
"Many students use 7219 exclusively as it is the fastest of films and can cover everything from low-light night street scenes to broad daylight, and, if exposed properly, it can work. However, it is not a substitute for no light. Many times we have seen exterior night scenes where large sections are nothing but black unless the camera passes a lit store front or lingers beneath a streetlight. The grain structure is not very tight and the difference shows up immediately in an HD telecine. Therefore, Colorlab does not recommend using 500 EI stocks for eventual HD transfer. You will get better results with a slightly slower speed stock and a little more lighting."
I stumbled upon this quote accidentally today, and it explains my sentiments even better than I could.
I'd go for older, slower EXR stock before I'd choose '19. Vision3 or not, this is the GRAINIEST color Kodak film besides maybe Expression 500T.
There's no need for it in this situation, anyway (If it were me, I'd be trying to get exposure and enough depth of field for '01). . .
I'm sorry, I know I am supposed to be thinking lighting, but I see two people of the opposite sex in a bathtub. Light through the window with a bounce card for fill. Seems like a very simplistic lighting setup. Don't see anything fancy. You just want to watch the lighting ratio. Seems rather soft light to me (as it should be, with a curtain acting as a natural diffuser), keeping in mind I am viewing this photo on a phone screen
Posted 09 February 2011 - 02:33 PM
Posted 09 February 2011 - 05:12 PM
There are ways of hiding grain in the shadows in printing, so-to-speak, and then adjusting contrast digitally.
I just don't want you to think that 500T is "Magic" because it has the numbers "500" and "3" on the can. The speed is great when you need it, but it's just added grain in a situation where you have plenty of light.
Personally, I will only use 500T for nighttime exteriors or other extreme low-light situations with 16mm. Rememeber, areas with no exposure also have no grain. So I try to keep the contrast up. Highlights, shadows, with as little greys as possible, if that makes sense. Also important is to avoid areas that are out-of-focus, as this is where grain is most visible.
I take it you are finishing in 1080P or i?