Jump to content


Photo

Shooting color stock for B&W film

16mm super8 color stick

  • Please log in to reply
5 replies to this topic

#1 Andres Pardo aka Gral Treegan

Andres Pardo aka Gral Treegan
  • Basic Members
  • PipPipPip
  • 176 posts
  • Director
  • Mexico DF

Posted 08 January 2014 - 11:31 AM

Hi!

Im collecting stock for a new project that will be B&W. Most of the stock I have is 16mm color. Im not a DP by the way.

When im start shooting B&W super8 I remember using a yellow filter to "add constrast".

 

Because the final result will be B&W I need to consider some camera filetring? To have better results when turning color to B&W.

Because of the low budget the stock will be transfered directly to HD Pro Res, no grading at that step.

 

Bests!

Andrés


  • 0

#2 Will Montgomery

Will Montgomery
  • Sustaining Members
  • 2030 posts
  • Producer
  • Dallas, TX

Posted 08 January 2014 - 11:52 AM

Good Night and Good Luck was shot on Kodak Vision 2 500T and the color was later removed in post. They did this because there isn't a fast enough B&W stock (only Double X 200T at the time). I think it would have looked better on Double X but it certainly would have been grainier.

 

Since you'll desaturate in post, you'll have all the control you need at that point and I don't think filtering will make much difference.


  • 1

#3 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19769 posts
  • Cinematographer
  • Los Angeles

Posted 08 January 2014 - 06:02 PM

The color contrast filters (red, yellow, green, etc.) don't work in terms of adding contrast to certain colors when using color negative film for a final b&w image, you're better off actually capturing a well-saturated image so that you can brighten or darken select colors or color channels independently of the other colors in color-correction before removing the color.  So if you capture a rich blue sky, for example, it's then easier to turn it a darker blue in post before turning off the color completely, for the effect of using an orange or red filter in real b&w photography.


  • 1

#4 Andres Pardo aka Gral Treegan

Andres Pardo aka Gral Treegan
  • Basic Members
  • PipPipPip
  • 176 posts
  • Director
  • Mexico DF

Posted 08 January 2014 - 09:07 PM

Thanx Will and David!


  • 0

#5 Mark Kenfield

Mark Kenfield
  • Basic Members
  • PipPipPipPip
  • 1052 posts
  • Cinematographer
  • Australia/Wherever The Wind Takes Me

Posted 09 January 2014 - 02:06 AM

I read a while ago about Deakin's work on The Man Who Wasn't There, they shot colour negative instead of B&W stock because the development of B&W stocks hadn't kept pace with colour stocks in terms of grain, speed and tonality; so shooting colour negative gave them more to work with in the DI.
  • 0

#6 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19769 posts
  • Cinematographer
  • Los Angeles

Posted 09 January 2014 - 01:13 PM

Yes, in terms of grain, speed, and dynamic range, color negative stocks are now superior to the b&w negative stocks for motion picture work, which date back to the 1960's.  On the other hand, many people shooting b&w want a retro look and there's nothing as authentic-looking as Double-X b&w negative...

 

B&W negative has a different anti-halation backing compared to the heavier rem-jet on color negative -- it's less effective, which is why you get that ring halation around car headlamps and candles with real b&w negative.

 

In terms of grain, modern 500T color negative is less grainy than Double-X, which is 200 ISO.

 

Deakins used the lower-contrast 320T stock on "The Man Who Wasn't There" because the conversion to b&w wasn't digital, it involved printing the negative onto hi-contrast sound film stock (developed to a lower gamma however), so they needed to start with a lower-contrast original.


  • 0



CineLab

Gamma Ray Digital Inc

Rig Wheels Passport

Media Blackout - Custom Cables and AKS

Paralinx LLC

Visual Products

rebotnix Technologies

Abel Cine

Aerial Filmworks

Broadcast Solutions Inc

FJS International, LLC

Technodolly

Ritter Battery

Tai Audio

Wooden Camera

Glidecam

Willys Widgets

CineTape

Opal

The Slider

Metropolis Post

Paralinx LLC

Media Blackout - Custom Cables and AKS

rebotnix Technologies

Opal

Wooden Camera

Abel Cine

Metropolis Post

The Slider

CineTape

Visual Products

Technodolly

Tai Audio

FJS International, LLC

Glidecam

CineLab

Rig Wheels Passport

Gamma Ray Digital Inc

Ritter Battery

Aerial Filmworks

Willys Widgets

Broadcast Solutions Inc