I'm shooting an indie film called "Love Witch" for director Anna Biller, who has posted on this forum in the past about classic studio cinematography. We met back in film school at CalArts and I shot a short film for her in the mid 1990's in 16mm in the style of an old Technicolor movie. She asked me to shoot her latest feature in a similar hard-light style, modeled somewhat on 50's-60's color movies such as "Marnie". Anna is also doing the production design, costumes, and later, the editing.
We are shooting in standard 4-perf 35mm 1.85 on an Arricam ST and plan on a photochemical finish, and then a transfer to digital from a timed IP. FotoKem is handling the processing and HD dailies (to ProRes 422 LT). I'm shooting most of the movie on the slowest speed tungsten stock available, Kodak Vision-3 200T, rated at 100 ASA in order to get the printer lights up higher for more saturation and contrast. This means I need to get up to 100 foot-candles of key light just to achieve an f/2.8. For day interiors scenes on stage, that's a lot of light and a lot of heat.
We are using mostly Zeiss Super-Speeds and I'm averaging near an f/2.8 for everything inside. For a couple of interior locations where I have to balance to daylight and don't have enough light to use an 85 filter (and thus end up with an effective 64 ASA), I'm switching to Vision-3 250D rated at 125 ASA. With HMI lighting, I can get to an f/4 a little easier but it's easier to do this old school hard lighting style with the tungsten fresnels.
We're about halfway through the shoot so far. We spent two weeks in a warehouse converted to stage space in North Hollywood shooting on sets, then a week outdoors in a park, and then spent last week at the old Herald Examiner building using some of their spaces.
I won't be able to post any images for a couple of months at least, so when that happens, I can discuss the technical aspects more clearly.
Ideally, the best stock to use for this Technicolor look would have been the EXR 100T that Kodak used to make a decade ago, printed to Vision Premier 2393, also obsolete now. Or maybe the Fuji Vivid stocks, though I think they only made 250D and 500T in that style, and I would have needed a 100T or 250T version. Anyway, the choices have been reduced to Vision-3 negative and regular Vision print stock. Vision-3 200T is pretty sharp I'm finding and I'm using a lot of diffusion filters to knock that back and get a more glamorous look, which is fun.
I'm finding that I need to use a direct 2K (Mole-Richardson stage Junior) at full flood about 15'-20' away or so to get an f/2.8 key, for closer work, a 1K or 650w Tweenie is bright enough, again, all direct.