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Stock for Night

Geovane Marquez

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Make it daylight balance?


Idk, or do you recommend a Daylight balance film?


Why do you need a daylight balance film stock? Do you want to colour correct for HMI's? These are usually kept blue for night sequences shot with tungsten stocks. A point to remember is that most street lights use sodium lights, which are yellow.


You can colour correct the tungsten stock when shooting in daylight without an 85, if it's an issue.

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'19 is a nice wide stock with a lot of range on it, and as mentioned, normally shot w/o a filter for night scenes, else things like car headlights, or work lights etc will render orange. For HMIs, or other Daylight heads you might be using (kino flo, lite panels etc) it is normally better/easier and more precise to gel them individually, especially for HMIs whose color temperature change over the life of the bulb. Normally we'll color meter each HMI at the beginning of the shoot and work out which gelpack to use to correct them to 5600K for good matching. Often, depending on the duration of the shoot, I'll have them rechecked.

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I would *not* recommend Kodak 5005 stock (Ektachrome something-or-other) for a stock! :-p



What John H. is getting at is that, unless you are doing time-lapse by the light of the moon, there is no "daylight" at night. It's the night-time!



'19 (or Fuji equivalent) would probably be best, although you can use a 200T stock as well. I wouldn't go below that speed. They managed to do it with 100T stock back in the day, but even then that was often pushed to 200T, and there was 50T pushed to 100T before that.


I tend to shoot the slowest speed film the situation will allow, but in night-for-night photography, the high speed films really do make the most sense. Grain isn't as much of a problem, too when they are printed dense to appear dark as the human eye interprets night. Of course, there are a lot of "conventions" with night-time photography. If you wanted to be ultra-ultra realistic, the human eye can only see black-and-white (rods in the eye are more sensitive than color-seeing cones) in dim light, so the only "color" you see at night will be the Moon, and the artificial lights themselves. Illumination rapidly falls off. The convention though, is to portray moonlight as a shade of blue, which isn't the way the eye really sees it. Hence shooting uncorrected is OK. Color balance, in general, is flexible with night scenes, because as they are printed dark, the color shifts are more subtle. I'd say the only thing that wouldn't be "accepted" by the viewer would be a WARM balance.

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