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Interiors vs. Exteriors


Lindsay Mann

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I love the look of 7218. It saved our butts so many times on a recent shoot. We were outside under a single streetlamp giving something like 10-20 footcandles and it was snowing. We were wondering if anything was going to show up at all. Everything did, even the snow on its way down. I'm very happy and I want to use the stock in my next shoot, because it is filled with night exteriors and pretty dark interiors, but what can I match it with for a bright daytime exterior?

 

I guess I don't have to "match" the stocks because they are different scenes, but shouldn't there be some kind of consistency throughout?

 

On the last film we were shooting in a library under the existing flourescents. We ran out of 7218 and shot with recans of 7277 which I thought was a complete mistake. But when we had enough light, the 7277 looked almost exactly the same. Was this an accident? I wouldn't try it again I don't think. But it made me smile. :)

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There's nothing to keep you from shooting day exteriors with 7218, a filter, and a good bit of ND.

 

I used the 7246 (250D) for exteriors on my last shoot and thought it cut well with the 7218. Now there is a VISION2 daylight stock available (7205), which I'd guess would be a good choice as well.

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There's a VISION 2 Daylight stock available?!

Is it 250D?

Or 125D?

 

I love 7218 it's a wonderful stock (so much freaking latitude)

Great for most indie film shoots and run & gun night shoots.

 

I usually use 7246 for EXT. Day (though sometimes its too fast)

I'd love to see how Vision 2 compares.

 

I gotta go check it out.

 

 

PS

7277 & 7218 have the same ASA and same manufacturer (KODAK)

& so (in theory) should be able to cut well together

The only thing to watch for is 7277 has more grain when not light properly

And the shadows don't show as much detail as the Vision 2 stocks

So try to keep the F-stop higher than F4

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There's a VISION 2 Daylight stock available?!

Is it 250D?

Or 125D?

7277 & 7218 have the same ASA and same manufacturer (KODAK)

& so (in theory) should be able to cut well together

The only thing to watch for is 7277 has more grain when not light properly

And the shadows don't show as much detail as the Vision 2 stocks

So try to keep the F-stop higher than F4

 

 

The new Kodak Vision 2 Daylight stock is the 5205/7205 and it's mfg suggested ASA is 250.

 

The ASA for the 7277 is 320 and the ASA for the 7218 is 500asa.

 

And generally speaking, the '77 is a lower contrast stock, but that depends on how you choice to rate it when filming and whether or not you're printing or going to TK where you can add contrast. I shot a music video with it, rated the '77 at 160, shot at a f2.8/4 split and it looked terrific.

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what does cutting the 7218 with an ND do to the image? If I'm outside on a sunny day, 500 is a pretty damn fast film. I'd almost shoot 100T without the 85 and let it turn a little blue. Somehow I feel the tight grain would match the 7218. Is that completely wrong?

 

thanks for the insight

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The ND just limits the light entering the lens so you can open up the stop and retain your depth of field effects with faster films. The grain in 7218 matches the grain in 7246 fairly well. Look at this thread where I posted some examples;

 

7218/7246

 

BTW, I recently realized that the fourth frame grab down in that post (guy with tape on his mouth) was actually shot on Fuji F500. The rest are correct.

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yeah, I recall reading that post top to bottom before shooting the 7218. I really like the look of the 7246 overexposed a stop. Maybe it's more than a stop. How far can you push it? I guess "noise" is bad, but grain doesn't bother me. That sky is awesome, even if it's not supposed to look like that. Looks like smog.

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I agree that using ND filters would be fine, and you can stay on the same stock if you want. I also wanted to mention that I have recentley shot a documentary using primarily kodak's new 7229 which is rated at a 500asa and is absolutely beautiful. There is great grain structure, and tons of lattitude. We shot in an available light situation at night with stops at about a 1.4. We used Zeiss primes that opened to 1.3 and I was amazed how great everything looked. There was a lot of range in background light (billboards, businesses, etc.) but it handled everything perfectly. We also used the same stock in daylight and interiors, and it was equally awesome. We also shot some of it on the last of kodaks 16mm 800asa film, and that film looked really crappy in comparison. I've shot a few other things with the new 7229 and I can't say anything bad about it. Maybe you might want to check it out.

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yeah, I recall reading that post top to bottom before shooting the 7218. I really like the look of the 7246 overexposed a stop. Maybe it's more than a stop. How far can you push it? I guess "noise" is bad, but grain doesn't bother me. That sky is awesome, even if it's not supposed to look like that. Looks like smog.

 

I haven't been able to track down how much over it was. We were using more than one K-3 to speed things up and I think the AC forgot to close down after we switched bodies. I would say it was probably around four stops over exposed. One stop over really shouldn't produce noise like that. In general I find 7218 to look like 250 speed film grain-wise, which is exactly what Kodak says in their literature.

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