Jump to content


Photo

Questions about Vision3 500T and 200T Color Negative


  • Please log in to reply
4 replies to this topic

#1 Robert Kowalski

Robert Kowalski

    New

  • Basic Members
  • Pip
  • 8 posts
  • Cinematographer

Posted 22 April 2012 - 06:57 PM

I am getting ready to embark on a band tour and want to document with super 8. I've never shot on this medium before and admittedly know very little. I ordered 6 rolls of 500T, but I'm debating between the 200T or 100D color reversal for outside and relatively well lit spaces. Bare in mind that I will have almost no control over lighting as this is a documentary experience, so any advice on specific means to control exposure (i dont want to over or under expose the film...) would be greatly appreciated.

Advice or point me to reading materials. I'll be shooting on a Minolta 400XL.

Thank you!
  • 0

#2 Tom Jensen

Tom Jensen
  • Basic Members
  • PipPipPipPip
  • 1234 posts
  • Camera Operator
  • Dallas, TX

Posted 22 April 2012 - 09:49 PM

500 for interiors/concert footage/night exteriors and other low light situations, 100D for daylight. should be good.
  • 0

#3 Alessandro Machi

Alessandro Machi
  • Sustaining Members
  • 3318 posts
  • Other
  • California

Posted 23 April 2012 - 12:25 AM

I shot a roll of Vision2 500T outdoors a few years back and was pleased with the result. However, the camera had an f-stop that went down to f44.

500T can be rated at 200T and should actually give a fuller negative with a crisp depth of field as well. So, even if you go with either Velvia 100, Ektachrome 100, or Vision3 200T for outdoors, you can still resort to the 500T if that happens to be what is in your camera when you want to grab a quickie shot and don't want to mess with swapping out film cartridges, which will require you logging the footage of the cartridge being taken out of the camera, and then logging the other cartridge if you don't get all the way through that one before needing to switch back to the prior film cartridge.
  • 0

#4 Matt Stevens

Matt Stevens
  • Basic Members
  • PipPipPipPip
  • 702 posts
  • Other

Posted 23 April 2012 - 09:22 AM

Four outdoors with string sun, try and use 100D. 200t will be wonderful for anything else other than darker areas. At night, the 500t will be a Godsend. Love that stock and how I can shoot it pretty much in the worst lighting conditions.
  • 0

#5 Robert Kowalski

Robert Kowalski

    New

  • Basic Members
  • Pip
  • 8 posts
  • Cinematographer

Posted 24 April 2012 - 02:15 AM

I've settled on shooting the daylight/well-lit interiors on 100D. I also like the fact that its reveral rather than negative (for the sake of my wallet). I am concerned about over-exposure in bright conditions, though.
  • 0


Gamma Ray Digital Inc

Glidecam

The Slider

CineTape

Visual Products

Opal

Media Blackout - Custom Cables and AKS

Wooden Camera

Willys Widgets

Tai Audio

CineLab

FJS International, LLC

Rig Wheels Passport

Abel Cine

Broadcast Solutions Inc

Paralinx LLC

rebotnix Technologies

Technodolly

Ritter Battery

Metropolis Post

Aerial Filmworks

Paralinx LLC

Willys Widgets

Technodolly

CineLab

Abel Cine

Gamma Ray Digital Inc

Metropolis Post

Tai Audio

Opal

Aerial Filmworks

rebotnix Technologies

Rig Wheels Passport

FJS International, LLC

Media Blackout - Custom Cables and AKS

The Slider

CineTape

Glidecam

Broadcast Solutions Inc

Visual Products

Wooden Camera

Ritter Battery