Stock choices and process for contrast and saturat

[Valentina Caniglia]

Hi Everybody,

 

I am shooting for the first time in Sacramento in the middle of yellow straw field and some interiors in a comedy club where there are many colors.

 

I would like to have an high contrast look and accentuate the yellow straw of the field.

 

Which stock will be best deliver this look and if I push the stock 1/2 stop will I be helped?

 

I was thinking to cross process the stock for exterior but it will probably give a greenish look instead.

 

Exterior choices could be 250D,100T or 200T.

 

Any suggestions?

 

 

For the interior Istill would like to have contrast but get also more saturation.

 

I was planning to use Vision 2 500T or Vision 200T

 

Any recommendation about using a contrasty stock and pushing 1/2 stop?

 

Thanks

 

Valentina

[Wendell_Greene]

Is this for telecine or print? And are you planning on shooting S16 or 35?

[Jayson Crothers]

I just screened some tests this afternoon of 5274; one of the tests was a 2 stop push rated at 200 still - while our printing lights were high 40's (really should have it re-done and have the trim adjusted) I was shocked at how tight the grain was. The blacks were akin to lighter silver retention processes (like ACE at 50%) and the colors were overly saturated. Very nice looking.

 

If you're shooting 35, this might be a place to start your own tests.

[Wendell_Greene]

I was thinking to cross process the stock for exterior but it will probably give a greenish look instead.

 

Exterior choices could be 250D,100T or 200T.

 

 

I take it you meant to write that you are considering these negative film stocks for regular processing. So what reversal stock(s) are considering for the exterior if you cross-process ? Try using a CC20 magenta and CC20 blue filters during your tests to help eliminate the shift toward green.

[Valentina Caniglia]

Is this for telecine or print? And are you planning on shooting S16 or 35?

<{POST_SNAPBACK}>

 

I am shooting S16mm and it will be for telecine and eventually a future print.

 

Thanks

 

Valentina

[Valentina Caniglia]

I take it you meant to write that you are considering these negative film stocks for regular processing. So what reversal stock(s) are considering for the exterior if you cross-process ?  Try using a CC20 magenta and CC20 blue filters during your tests to  help eliminate the shift toward green.

<{POST_SNAPBACK}>

 

 

If I do cross process the stock will be 7240 or 7251.

 

Thanks

 

Valentina

[John Pytlak RIP]

Exterior choices could be 250D,100T or 200T.

 

Any suggestions?

For the interior Istill would like to have contrast but get also more saturation.

 

I was planning to use Vision 2 500T or Vision 200T

 

Any recommendation about using a contrasty stock and pushing 1/2 stop?

 

Thanks

 

Valentina

<{POST_SNAPBACK}>

 

For the brightly lit exteriors, I'd suggest 5245/7245. Or 5212/7212 with a Wratten 85 filter.

 

You should find 5218/7218 a good choice for a live act at the comedy club, as the lighting may be uncontrolled and somewhat harsh/contrasty itself.

[Michael Nash]

I'd also recommend 7245 for the exteriors, maybe pushed one stop for extra color saturation.

 

For the interiors though I think you'll get more color saturation from 7274 or 7279 than you would with the newer Vision 2 stuff. I agree with Mr. Pytlak that you'll probably want 500 ASA in the club interior, but with 7218 you may want to push it for extra color. '79 on its own has more color saturation, but also more grain. Rate that stock at 400 or 320 for the more color.

 

'74, maybe exposed normally and pushed will also look pretty rich in the club interior if you have enough light for 200 ASA film.