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Hey guys,


I'm looking for a bit of advice, stock-wise. We're shooting the first ten minutes of our feature film this month and unfortunately my DP is as unfamiliar with film as I am.


For outdoor scenes, I'm looking into the KODAK Vision 3 250D. One shot in particular, we transition from the roof of our building to the inside of our apartment. I dug up an article on Fuji's old 250. The tester claimed it would work very well under such a transition. I'm assuming that Kodak can achieve the same result?




what would you recommend, lighting-wise, once we hit the interior. In the same one-shot, we travel quite aways around the apartment. Sometimes, windows are plentiful, sometimes not so much.


for everything else, I thought we could use kodak 500t. but I don't know how that would match up either.


does anyone know if I'm looking in the right places? if not, can you point me in the right direction.

(i also considered throwing an 85 on something like a 200t to achieve the same effect, but I'm new at this, and I don't really know what I'm talking about)


thank you for your help, for more information on our movie check us out at



Edited by Marcus Albino
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Exactly what kind of transition are you talking about?


Provided it's not one continuous shot, you will be able to use one film stock (if you want) for both interiors & exteriors. I recommend settling on a Tungsten (3200K) balanced film stock. For the interiors, you will not need to filter the camera, but if you are shooting near windows, you will have to gel them to color correct the light.


You will need an 85B filter on the camera when shooting Tungsten film outdoors, otherwise you'll wind up with a blue cast due to the color temperature variance (Daylight color temp is about 5500K.)


Of course, you could also use Tungsten film for the interiors & Daylight film for the exteriors. Kodak stocks mix very well. That is an aesthetic choice, though.


Either way, make sure you shoot tests.

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Iris pull is like a focus pull; but instead of focus, you open or close the iris as needed to compensate for variable exposure in a shot. For example, if your outside is a T8 and your inside is a T2.8, as you move the camera inside you'd change the iris from a T8 to a T2.8, generally somewhere like as you begin to go into a doorway. If you do it right, and time it right, it can be nearly invisible.

Personally I'd use 200T; but that's a matter of taste. I just personally prefer the 200T to the 250D (which always feels a bit like an oddball stock).

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