Jump to content


Photo

Pushing 7219... +1, +2, ...


  • Please log in to reply
4 replies to this topic

#1 Marc Roessler

Marc Roessler
  • Basic Members
  • PipPipPipPip
  • 264 posts
  • Other

Posted 20 June 2011 - 02:34 PM

Has someone here tried to push 7219? One stop? Two stops? Even more?
How does it behave, comparable to pushing 7213 (tried pushing that one +1)? Some frame grabs would be very much appreciated.

Thanks,
Marc
  • 0

#2 Francesco Bonomo

Francesco Bonomo
  • Basic Members
  • PipPipPipPip
  • 366 posts
  • 1st Assistant Camera
  • currently in Rome, Italy

Posted 20 June 2011 - 02:56 PM

Has someone here tried to push 7219? One stop? Two stops? Even more?
How does it behave, comparable to pushing 7213 (tried pushing that one +1)? Some frame grabs would be very much appreciated.
Thanks,
Marc


Hey Marc,
I'm currently on a tv series and we're shooting 7213 and 7219. We've never pushed 7213, but we have pushed 7219 1 stop at least 2 times. The DP is quite happy about the results. I'll try and ask him tomorrow if I can borrow the dvd from the lab and send you some screenshots or even a clip if I'm allowed to.
  • 0

#3 Marc Roessler

Marc Roessler
  • Basic Members
  • PipPipPipPip
  • 264 posts
  • Other

Posted 20 June 2011 - 03:20 PM

Francesco, a screen grab (of some non copyright sensitive material) would be great. Make sure it is OK with the DoP first, though - not worth risking anything here!

Still looking forward to hearing about others' experiences pushing 7219 two (gasp..) or more stops...
  • 0

#4 Marc Roessler

Marc Roessler
  • Basic Members
  • PipPipPipPip
  • 264 posts
  • Other

Posted 10 June 2012 - 02:30 PM

Just to let you all know how it turned out...
I shot that project last August on some leftover 7219 and 8647 (both fridge stored for 1 year). I had the 7219 pushed 1.5 stops. The 8647 was processed normally. The neg was scanned on an ARRISCAN.
In the end I "printed down" the 7219 digitally to around what would have been its usual exposure index, because the grain and elevated base fog of the pushed stock was too much for me (probably because it wasn't really fresh stock!).
Shot documentary style on-location with an Arri 16S, lenses always wide open (which is why it's all quite soft).

Unfortunately the h264 video compression blocks the grain up a bit.. but I think you get an idea of what the original looks like :)



P.S: I suggest to watch it directly on vimeo, the postage sized video window shown here doesn't really show much...

Edited by Marc Roessler, 10 June 2012 - 02:34 PM.

  • 0

#5 Marc Roessler

Marc Roessler
  • Basic Members
  • PipPipPipPip
  • 264 posts
  • Other

Posted 10 June 2012 - 02:41 PM

And, yes, there's actually a table football in that club B)
  • 0


CineLab

Ritter Battery

Media Blackout - Custom Cables and AKS

Abel Cine

Metropolis Post

Glidecam

Broadcast Solutions Inc

Tai Audio

Technodolly

CineTape

Paralinx LLC

The Slider

Visual Products

Willys Widgets

New Pro Video - New and Used Equipment

Aerial Filmworks

Rig Wheels Passport

Gamma Ray Digital Inc

rebotnix Technologies

Wooden Camera

FJS International, LLC

Ritter Battery

Glidecam

Wooden Camera

Paralinx LLC

Metropolis Post

Technodolly

Broadcast Solutions Inc

Visual Products

New Pro Video - New and Used Equipment

CineLab

Tai Audio

rebotnix Technologies

The Slider

CineTape

Media Blackout - Custom Cables and AKS

Rig Wheels Passport

Aerial Filmworks

Gamma Ray Digital Inc

Willys Widgets

FJS International, LLC

Abel Cine