Super 16mm and push processong

[Bryce Lansing]

I'm shooting a music video with a "horror theme", and the Director wants it to have a gritty/grainy look to it. I know I can get the look he wants just with my regular 16mm bolex, but I figure since we have the budget for a full SR3 package with zeiss primes, why not?

 

I want the sharpest image we can get with super 16, but I'm afraid of it looking too clean. I want sharpness of the bigger frame and the better lenses, but I want a MORE grainy look than what I get with 500T on regular 16mm. I'm thinking push processing should do the trick, but how many stops should I try?

 

Also, I like what I get from Fuji Eterna 500T, but was considering the Eterna VIVID 500T. I know it's higher contrast and higher saturation, but will push processing it give it too much contrast?

[Adrian Sierkowski]

Look into Fuji Rela 500D. It's, from what I'm told, the grainiest stock there is. Leave it unfiltered or use daylight fixtures, and correct it in post. Or, conversely, use the 80 filter and then push it a stop or so. I'd not do 2 stops of a push on 16mm and of course, test like mad whatever you're going to do.

[Bryce Lansing]

Look into Fuji Rela 500D. It's, from what I'm told, the grainiest stock there is. Leave it unfiltered or use daylight fixtures, and correct it in post. Or, conversely, use the 80 filter and then push it a stop or so. I'd not do 2 stops of a push on 16mm and of course, test like mad whatever you're going to do.

 

I have shot some Reala 500D, and now that you mention it, it was pretty grainy. I'd like to stick to a tungsten stock because we have access to free tungsten lighting (we'll have to pay to rent HMIs). I could go with the 80C filter and compensate the rest in telecine, but how do you think Eterna 500T pushed two stops would look compared to the Reala with an 80C pushed one stop?