I'm prepping for a short on super16 soon and doing tests later this month. The director has all 500T vision3 stock that was given to him free. He is very into the look of "The Tree of Life" (Dir. Terrence Malick) going so far as to say that we will shoot the 500T in daylight unfiltered (no 85B). I'll admit that I have not done this yet, so part of my tests will be shooting the stock unfiltered with different lighting units, day and night. However, I have some questions prior to my test and wanted more experienced opinions than my own on how one might approach this 'look'.
Firstly, I'm only aware of "The Tree of Life" as a film that shot 200/500T without color corrective filters. I'm sure there are other examples, but could anyone point me in those directions?
Second, lighting units are my biggest question at the moment. How did Malick and Chivo light the film (when they did)? Tungsten units on subjects as white light, pulling the blue out of the background only, or HMIs on the subject to match the natural light and pull blue from the entire shot?
When thinking this through I have to work within the following constraints:
- We have Day EXTs and INTs.
- We have a few Night EXTs, and myself and the Director both prefer a night look that isn't overly blue.
- The director has a 1200W HMI Par, so he seems adamant about using it.
So far, for this part of my tests I'm shooting the following:
- EXT. Day with 85b filter (to show how it would look corrected)
- EXT. Day no filter
- EXT. Day no filter, HMI par unit
- EXT. Day no filter, HMI + 1/4 CTO (thought process: trying to get closer to 'white light'. Necessary?)
- EXT. Day no filter, HMI + 1/2 CTO (same as above)
- EXT. Day no filter, tungsten
- EXT. Night no filter, HMI par (I fear this will be overly blue for a 'night' scene)
- EXT. Night no filter, tungsten
Is there anything else I should be shooting to determine how best to approach this? Am I missing something along the way here? Any advice or suggestions would be appreciated.
My last issue is the night EXTs. The night scenes only consist of Mediums and close ups. From others experiences shooting 500T at night, how grainy can the blacks be? Is it still best to rate 2/3 stops over? I've thought about simply using a 2K scoop light for an already soft source to get the exposure up without throwing a bunch of harsh light on the background. I've also considered a 2K fresnel and controlling that, but the harder light at night is not my first choice. I'm not sure either way, any advice here would be appreciated as well. Thank you!
Edited by Aaron Webster, 09 November 2017 - 09:12 AM.