I didin't want to post this in "On Screen" section, since I haven't seen it and its still doing the festival rounds. Apperently they did tests on the '19 and underexposed the whole image two or three stops, and left an ND 6 on the front the whole time. Can you imagine! [I think they actually meant ND 0.6, as an ND6 would cut... 20 stops? HA! I don't even think such a thing exists]
I am very interested to see what the daily looked like without grading. I'm interested in seeing the finished film also, the story sounds great. I recall John Seale stating he never shot on anything other than high speed film once it came out, as one could take it to the beach at noon, throw four ND12's on the front and it looked fantastic.
Anyhow, interesting indeed!
From the Kodak article found here: http://motion.kodak....ntId=4294992583
Cinematographer Bobby Shore, CSC and Director Connor Jessup explain:
They used a set of Ultra Speeds and a Panaflex Millennium XL from Panavision Toronto. They shot entirely on (KODAK VISION3) 5219 with an ND 6 filter in front of the camera the whole time, but metered as if Shore was rating the film at 500.
“We spoke a lot about the films of Hirokazu Koreeda and Edward Yang,” explained Shore. “Connor has an almost encyclopedic knowledge of Asian cinema. I had tested (KODAK) VISION3 500T (Color Negative Film 5219) and tended toward the additional texture I got with the 5219 when it’s underexposed by two or three stops. The image becomes slightly lifted and almost creamy, but with a lot of texture as the inherently tighter grain structure of the VISION3 stock starts to degrade a bit.”
Here's a very short trailer: