Morgan Peline Posted September 8, 2004 Share Posted September 8, 2004 Hi, Does anyone know where on the web I can get 'textbook' definitions of pushing, pulling, over-exposing and under-exposing? I just read the 'Motorcycle Diaries' article in American Cinematographer and I'm confused. The DP says that to increase grain and contrast he over-exposed AND pushed his footage. I would have thought that would decrease contrast. Cheers Morgan Link to comment Share on other sites More sharing options...
Guest Andy Sparaco Posted September 8, 2004 Share Posted September 8, 2004 Over expose and underdevelop to reduce grain and compact the dynamic range of a scene. Over expose and push process will deliver a very grainy blocked up (contrasty) negative. Any of the books on the "Zone System" will give you a decent explaination. With digital tools so powerful today an overexposed/grainy/contrasy image is very simple and controlable. Most folks try to get a "perfect negative" because you can take it anywhere and not close any options for "digital post processing". A overexposed/grainy/contrasty neg will pretty much always be just that. Link to comment Share on other sites More sharing options...
Morgan Peline Posted September 8, 2004 Author Share Posted September 8, 2004 >compact the dynamic range This means make it contrasty as well right? In that the range is narrower so highlights blow out and shadows go black? Thanks Morgan Link to comment Share on other sites More sharing options...
Premium Member John Pytlak RIP Posted September 8, 2004 Premium Member Share Posted September 8, 2004 Push/Pull Processing: http://www.kodak.com/US/en/motion/support/...4.11.4.16&lc=en Link to comment Share on other sites More sharing options...
Dominic Case Posted September 9, 2004 Share Posted September 9, 2004 Over expose and underdevelop to reduce grain A common misconception. If underdeveloping reduced grain, then wouldn't Kodak recommend it as the normal process? Optimum graininess is obtained by correct processing. The larger grains in an emulsion tend to be the first ones to develop, so underdevelopment doesn't allow the smaller grains full opportunity to get there and "fill in the gaps". Save your money and stick with normal processing. By the same token, larger grains are the ones that get exposed first, so under-exposure would increase average grain size, and also make it more visible (as a corrected print wouldn't have any good blacks to bury the grain). Over-exposure tends to guard against any hint of underexposure and get a little more contribution form the fine-grained emulsion layers. But only up to a point. One stop is rally about as far as you get any benefit. Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted September 9, 2004 Premium Member Share Posted September 9, 2004 I think when people overexpose and underdevelop to reduce graininess, it's really the overexposure part that helps because you are basically "tightening" the grain structure by exposing both the largest grains but also the smallest ones as well. The underdeveloping has more of an effect on contrast than grain. Link to comment Share on other sites More sharing options...
Premium Member John Pytlak RIP Posted September 10, 2004 Premium Member Share Posted September 10, 2004 Almost all modern color negative films have fast, mid, and slow speed emulsions, either as blends, or as discrete emulsion layers. The fastest grains are also the largest, approaching about 5 micrometers across. The slow emulsions have the finest grains, often sub-micon in size. Slight overexposure not only places the scene information on the slower emulsion grains, it also means that the faster grains will be printed/transferred to a higher density (darker) in the final display, so they won't be as visible as when they are printed to a mid-scale density on the print, as might occur with underexposure. Link to comment Share on other sites More sharing options...
Alain LeTourneau Posted September 26, 2004 Share Posted September 26, 2004 I've pull processed 7231 (plus x neg) a few times with good results. Usually only by one stop. It increases the latitude of the stock in a high contrast scene. This might be most effective with B/W though as I rarely shoot color stocks and can't comment on the results of pull processing. Pull 1 will give you a 3 stop range. Pull 2 a 4 stop range. I've pulled 1 and had good looking prints. Shooting with a Bolex and 10mm Switar. Full shadow detail with bright highlights close to what the eye sees. Alain Link to comment Share on other sites More sharing options...
Premium Member Laurent Andrieux Posted September 27, 2004 Premium Member Share Posted September 27, 2004 In France, we call the pushing process "pushed", and the pull process "fine grain"... Link to comment Share on other sites More sharing options...
Premium Member Laurent Andrieux Posted October 7, 2004 Premium Member Share Posted October 7, 2004 Does anybody know on what stock was the morcycle diary shot ? Link to comment Share on other sites More sharing options...
Guest Andy Sparaco Posted October 7, 2004 Share Posted October 7, 2004 I came across this fellow on the CML list. He is a shooter that is also a instructor on the left coast. http://cinema-tv.usc.edu/instructors/chomyn/ Select ebook from the menus He does a bang up job explaining just about everything concerning basic motion picture technique and might deliver a lot of answers for the folks who have basic questions. Even the Zone system for MP Link to comment Share on other sites More sharing options...
Recommended Posts
Create an account or sign in to comment
You need to be a member in order to leave a comment
Create an account
Sign up for a new account in our community. It's easy!
Register a new accountSign in
Already have an account? Sign in here.
Sign In Now