Jump to content


Photo

Stock Opts for Mixed Daylight/Halogen Interiors


  • Please log in to reply
3 replies to this topic

#1 Alec Eagon

Alec Eagon
  • Basic Members
  • PipPip
  • 21 posts
  • Student

Posted 28 July 2011 - 12:24 PM

Hey all,

Looking for some stock & lighting suggestions.

I am shooting a Super 16mm short doc mostly in this space:
Posted Image

As you can see from the pic on the studio homepage --during the day -- it will be mixed daylight and...what look like small cone halogen practicals during the day, and then --at night-- only cone halogen lighting). Gelling might be a possibility...I figure if the producer is as excited as he sounds for me to be there it might be an option, however, I'd like to avoid this (to maintain a "ghostly" presence throughout) ...that is, if great exposures and colors can be achieved w/o.

Right now I am planning on going out to the studio early next week to run tests on:

Kodak 250D
[I've heard overexposing this under the given scenario might work well...?]
Kodak 500T [The "workhorse" of mixed lighting and run-n-gun...planning on testing w/ 85 & w/o...Barry Lyndon style]
Fuji 500D [This is at the recommendation of a friend---the theory being that the 4th layer on the film can capture more info under the hot practicals/high contrast (thus resulting in more control in DI coloring)...?]

Also last night, I took some digital stills at a friend's house under some very similar small cone halogens (at night) with the camera on Tungsten & Daylight settings...the Daylight pic was WAY TOO HOT, and the Tungsten was also pretty warm, however the colors looked much better...

Bottomline:
It would be really nice to use one stock for both day and night if at all possible. Any suggestions or ideas would be most appreciated!

Thanks all!
-Alec

Edited by Alec Eagon, 28 July 2011 - 12:28 PM.

  • 0

#2 Vincent Sweeney

Vincent Sweeney
  • Sustaining Members
  • 686 posts
  • Director
  • LA at the moment.

Posted 28 July 2011 - 01:26 PM

Hey Alec, I've shot under similar conditions with 16mm and I'd suggest testing some 7213, unless you were looking for the grain that's in the 500. I found the 13 to be amazing at dealing with mixed colors, as well as with lighting that seems inadequate for a 200 stock, especially if you are using T1.4 or T2 primes.

The 500D Fuji is really not a good 16mm stock unless you are trying for a specific, very grainy look of some kind.
  • 0

#3 Alec Eagon

Alec Eagon
  • Basic Members
  • PipPip
  • 21 posts
  • Student

Posted 28 July 2011 - 01:47 PM

Hey Alec, I've shot under similar conditions with 16mm and I'd suggest testing some 7213, unless you were looking for the grain that's in the 500. I found the 13 to be amazing at dealing with mixed colors, as well as with lighting that seems inadequate for a 200 stock, especially if you are using T1.4 or T2 primes.

The 500D Fuji is really not a good 16mm stock unless you are trying for a specific, very grainy look of some kind.



Vincent,

Hey yea I was looking at 200T 7213 earlier this week...don't know why I completely forgot about it prior to posting.
How did it do at night/under only practicals? Did you use any filters for the daylight mixed stuff?

Thanks!
-Al

Edited by Alec Eagon, 28 July 2011 - 01:51 PM.

  • 0

#4 Adrian Sierkowski

Adrian Sierkowski
  • Sustaining Members
  • 7118 posts
  • Cinematographer
  • Los Angeles, Ca

Posted 29 July 2011 - 06:39 AM

Haven't used the '13 @ night with practicals, but I did a bit of '17 with it and it held up pretty well. If memory serves, I can get a decent enough stop by just reglobing a lamp, say, with a 100W bulb. Take your light meter and check@ night, but I'd not worry too much 'bout it.
If you need to punch up a bit, unobtrusively, you can always do the uber-low budget film school trick of banging an open face off the ceiling.
Forget a bit about halogen being too "warm," as you can cool that off pretty easily in post plus with all that warm wood work in there I'd say any lighting will render/look a bit warmer than it ought.
  • 0


Ritter Battery

CineLab

Tai Audio

Wooden Camera

Visual Products

rebotnix Technologies

Opal

Aerial Filmworks

Metropolis Post

Abel Cine

Glidecam

FJS International, LLC

Willys Widgets

CineTape

Media Blackout - Custom Cables and AKS

Gamma Ray Digital Inc

Technodolly

Paralinx LLC

Broadcast Solutions Inc

Rig Wheels Passport

The Slider

FJS International, LLC

Metropolis Post

rebotnix Technologies

Visual Products

Tai Audio

Media Blackout - Custom Cables and AKS

Opal

Willys Widgets

Wooden Camera

Glidecam

The Slider

Abel Cine

Gamma Ray Digital Inc

Paralinx LLC

Ritter Battery

Broadcast Solutions Inc

CineTape

Technodolly

CineLab

Aerial Filmworks

Rig Wheels Passport