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#1 Sol Train Saihati

Sol Train Saihati
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Posted 04 May 2005 - 10:36 PM

Hello again all!

I've got a super16mm shoot coming up that involves 3 dream sequences set in a forest. The idea is that the sequences start off with a heavy blue tint, which gets more subtle with each segment. The colour changes symbolise changes in the character so it's critical that we get them right.

So here's my question. What is the best way to go about this potentially stylistic nightmare? I see these as my main and more simple options:

1. Go with a tungsten stock, say 100/200T shoot the grey scale with an 85B filter and then take it off? What kind of look am I likely to get, any comparisons anyone?

2. Do the same as above, but instead of using no filters to shoot, use an 81A, then 81 B then an 81C as some minor correction?

3. Shoot on daylight film and use an 80A, 80B, 80C Filter

4. As 3, maybe using the 82 Range and go the distance in post

5. If I decided to go for a bleach bypass, how would these combinations sit in the mix do you think?

I'm looking for some vivid blue colouration and could probably get away with almost anything(They're dream sequences!). Although theres no way the forestry are gonna let me set up lights.

Any thoughts on any of this would be a great help. I've been trying to think of films with this look, but am drawing a blank. Sleepy Hollow is in the right direction tho... and I'm shooting some of it in the same location too!

Thanks as always!

PS I have no colour temp meter, so we're flying blind here.

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#2 Sol Train Saihati

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Posted 05 May 2005 - 09:02 PM

OK!

Gone out on a limb and ordered the 80D, 82A, B and C filters from panavision to use with daylight film, probably 100D.

I'll post up the results at the end of the month, whatever they may be. :blink:

Wish me luck!
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Visual Products

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Media Blackout - Custom Cables and AKS

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Rig Wheels Passport