I am starting out on a larger project than I have embarked on in the past. I usually shoot short films in Kodak color reversal. Now I am going to buy 2 hours of footage for a film I am shooting in the desert. I want to have the saturation of reversal but I am tempted to use negative because of the difficulty getting to my location (I will not be able to get back to film in this place again for a while - if ever) so basically the footage is more precious. SO I am trying to decide whether to shoot in reversal and then have an internegative made and a print made to edit on OR whether I should shoot in negative and have work prints made.
Can you achieve the same color saturation with having a negative printed with a color specialist compared to reversal. I have only ever had work prints printed from negative and I was wondering how expensive (compared to shooting with reversal and getting an internegative and print made of all the footage shot) it would be to work with a lab on printing for saturation.
Also in terms of color negative stock I have only ever used or seen Kodak Vision negative film. I just on this website was introduced to some discussions about Fuji Vivid 500. I am excited about getting some fast film so I can shoot late into the evening. Even if I do get reversal for most of the day shoots I will also combine with Negative footage for the evening shoots.
two questions about that - how is Fuji Vivid film compared to Kodak color negative in terms of color saturation and also is there a problem in combining prints of negative film and prints from a reversal internegative into one reel?
Any help with any of the myriad of questions I have posed would be greatly appreciated.
Edited by Katherine Bauer, 14 May 2011 - 01:53 AM.