shooting Hi-con (7363)

[branan edgens]

Hello all, I have occasionally shot 16mm hi-con ( 7363 ) in daylight and rated the film around ASA 25. The results are so beautiful and I've always wanted to shoot some interior stuff with it (which will require a lot of light) the problwm with this film, as you know, is it is very unforgiving in terms of latitude (there isn't any) I know it behaves differently in sunlight as opposed to Tungsten. QUESTION: what should I rate 7263 at when shooting under tungsten?

thanks in advance...

[John Pytlak RIP]

Hello all, I have occasionally shot 16mm hi-con ( 7363 ) in daylight and rated the film around ASA 25. The results are so beautiful and I've always wanted to shoot some interior stuff with it (which will require a lot of light) the problwm with this film, as you know, is it is very unforgiving in terms of latitude (there isn't any) I know it behaves differently in sunlight as opposed to Tungsten. QUESTION: what should I rate 7263 at when shooting under tungsten?

thanks in advance...

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7363 is mostly blue sensitive, with very little sensitivity to the green and red portions of the spectrum (i.e. it is NOT a panchromatic film). So it will need to be derated considerably when moving from daylight to tungsten illumination:

 

http://www.kodak.com/US/en/motion/products....4.6.6.12&lc=en

 

http://www.kodak.com/US/plugins/acrobat/en...ves/ti2167c.pdf

 

 

Of course, you will also tend to have the "bland" white skies and darker toned red lips and flesh, as in the days before panchromatic camera films.

[branan edgens]

That is very helpful. I now have a better understanding of the nature of this film. I'm also thinking more about the colors present in the scene. Avoiding red lipstick etc. However, I'm still not sure what to rate the film if I'm shooting under Tungsten film and exposing for skin tones... I'll probably test it first but I'd love to hear a specific number from people.

 

BTW. I'm pretty new to this site and I can't believe what a wonderful resource it is! And very well organized - J. Pytlak is some kind of guardian angel.

[Robert Hughes]

Since the energy output of tungsten light is primarily in the red and yellow end of the spectrum, with hardly any blue, you'll need a heckuva lot of light to get any image on blue sensitive film. Derate it to ASA 5 or less, or switch over to daylight Kinoflos.

 

Why would you want to do this? Shoot blue-sensitive stock outdoors where you can get results.

 

Back in the orthochromatic days of Edison and DW Griffith, filmmakers shot outdoors or under mercury vapor and white arc lights - the actors risked sunburn from all the blue and violet light. They used special makeup to imitate the look of natural skin tone. One of the major reasons studios switched over to panchromatic film was that they could then use silent incandescent lights that didn't buzz and spark during a take.

Edited April 27, 2005 by Robert Hughes

[Guest Michael Carter]

I've used it for pencil tests under or and over tungsten desk lamps. Just shot a bracketed test and developed that short strip in a can and then I knew where to expose it just right.

[Stephen Williams]

Derate it to ASA 5 or less, or switch over to daylight Kinoflos.

 

 

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Hi,

 

Thats about right, I made some tests a few years ago and ended up at 6 ASA in tungsten!

 

Stephen

[Guest Michael Carter]

Hi,

 

Thats about right, I made some tests a few years ago and ended up at 6 ASA in tungsten!

 

Stephen

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Outdoors it works great for reversal at 10 asa.