7218 with ND vs. 7201/45
Posted 07 November 2005 - 04:13 AM
Posted 07 November 2005 - 05:05 AM
So my prediction is that using 7218 would give you a lower contrast image with more grain than you'd get with either 7201 or 7245. If you're working in areas that try to balance sunny and shaded areas or you don't have much grip gear to work with, 7218 might work out better for you if the grain isn't a big problem. While 7201 is being touted as a lower contrast stock for daylight exteriors, the people I've talked to who have tested it say that they found it more contrasty than expected. My guess is that '18 will be somewhat similar to '01 in terms of color rendition and skin tones, but probably the contrast and latitutde will look different.
How did the '01 look in your test? Did you think it looked a lot different from the '45? I'm curious to hear what your thoughts on the two are. Good luck with the project!
Posted 07 November 2005 - 05:58 AM
How did the '01 look in your test? Did you think it looked a lot different from the '45? I'm curious to hear what your thoughts on the two are.
So am I ! You see, we don't have the 01 in France yet...
I was actually thinking of comparing to the 05 as well as to the 45, since they both are vision 2... and it's always interesting to know if the 2 sensitivity match together.
I think the 12, 17 and 18 match so well together, I was curious to know if it's as true for daylight stock?...
Posted 07 November 2005 - 11:42 AM
I haven't gotten my test of the 7201 back from the lab yet, but I'll let you guys know how it compares to 7245.
Posted 07 November 2005 - 12:27 PM
Posted 07 November 2005 - 12:58 PM
A LOT of image quality is lost by using high-speed films outdoors, not because of the film but because of the lens and everything in front of it. Same camera, same lens, same stock but why are the interiors and night shots sharper than sunny exteriors? Only one reason: whatever is in front of the lens (including F-stop).
Posted 07 November 2005 - 03:27 PM
I'm shooting a short film starting next week on super 16mm and super 8mm, and all of the 16mm portions will be shot on fuji f-500t to maximize grain - we're even going to push a stop here and there. Is it what I'd normally do? Hell no. But its the look the director wants, so its right for the movie. Yeah operating that one is going to be a REAL treat - even though we're only shooting during "nice" light times of day (thank you production) i anticipate not being able to see a damn thing for a week. Great We'll be cross-processing 8mm color reversal though - the new 64t - so that should be fun at least. Except for, of course, estimating 1.85:1 on the GG the entire time. Always a good time