Getting a Gritty Look

[Frank DiBugnara]

I'm shooting a spot on Monday and the client has started pushing for a "gritty look" late in the game. I don't really have time to shoot test. I was thinking of shooting EXR 500 ASA and underexpose one stop and push it one. I think I'd be fine with the higher contrast and somewhat less shadow detail. Any thoughts? Or other techniques that have been successful at achieving this look? I'm shooting Super16.

[Nate Downes]

Use reversal film is one option. Another is as you describe, expose as if 800ASA and push-process it.

 

If I had time, I'd have shot it with Super8, which naturally is grittier than 16mm.

[John Hyde]

If you are shooting super 16 I would try the Kodak 7285 and possibly push it. But, I have found it has a sufficient amount of grain on its own and would not want to over push. I myself would probably be more conservative and push no more than a stop (keeping in mind that it can always be toyed with further in telecine without risk.)

 

On its own the ektachrome has a nice look. The highlights tend to blow out on their own and the contrast is quite nice.

 

I normally process and telecine my reversal with Spectra Film in North Hollywood. They do a great job and are very helpful with obtaining different "looks" in film.

 

Kodak 7285 16mm Reversal

 

Spectra Film and Video

[John Pytlak RIP]

I'm shooting a spot on Monday and the client has started pushing for a "gritty look" late in the game.  I don't really have time to shoot test.  I was thinking of shooting EXR 500 ASA and underexpose one stop and push it one. I think I'd be fine with the higher contrast and somewhat less shadow detail.  Any thoughts?  Or other techniques that have been successful at achieving this look?  I'm shooting Super16.

<{POST_SNAPBACK}>

 

I agree. Shooting 7218 one stop under with a one stop push should up the grain and contrast, especially in 16mm. More predictable than reversal or cross-processing.

[Guest jeremy edge]

If you want a real gritty look ,I suggest you give me some of the latest and greatest fine grain stocks and let me shoot it! lol

 

I've gotten gritty down in super 16mm...It's getting sharp slick footage out of the format that eludes me! lol Somehow I always manage to screw it up.

 

Being serious though...have you considerd a skip bleach?

Wouldnt that give lots of contrast and more grain?

 

I'm not as experienced as some of the people on this board,but I have heard this quite a bit.

[Frank DiBugnara]

Thanks.... I think Skip Bleach is a good option--maybe reversal too. Also, if I just underexpose and push, wouldn't it be better to us an EXR stock rather than one of the Vision stocks? I'm afraid the Vision stocks are so good that the effect will be too subtle.

[John Pytlak RIP]

Thanks.... I think Skip Bleach is a good option--maybe reversal too.  Also, if I just underexpose and push, wouldn't it be better to us an EXR stock rather than one of the Vision stocks?  I'm afraid the Vision stocks are so good that the effect will be too subtle.

<{POST_SNAPBACK}>

 

Sure, an older technology stock would have more grain. If you can find some 7298, 7279, or 7289, use them!

[John Hyde]

Though the color reversal films are more difficult to shoot/transfer, and, they are intended primarily for exteriors, they have a totally different look from neg and video. The grain and contrast in 7285 ektachrome is quite beautiful with its nostalgic, dreamy appearance.

 

Even the older neg films (5298, 5293, etc) tend to look similar to the newer ones (aside from more grain and subtle differences in contrast and color). You may need to take the look even further in post. However, the ektachrome will look totally different on its own - guaranteed.

 

The 16mm black and white reversal is also worth considering if you do not find color to be necessary. That would be an even greater offset to what you are shooting. Plus, they are more flexible and look great.

[Anthony Schilling]

Why not use Super 8 color neg for a gritty look.

[gustavius smith]

Sure, an older technology stock would have more grain.  If you can find some 7298, 7279, or 7289, use them!

<{POST_SNAPBACK}>

 

Some expired color stock just bit me hard. We shot about 1400 feet of expired stock tryign to duplicate the look and feel of an old Charles Chaplin film on 16mm. Guess what...it worked? The film looks grainy and old but it came out severly underexposed. The lab is blaming it on the film stock my DP admits to not checkign all of the rolls. We made a black and white workprint from the color negative so I could go ahead and damage the film some more but it was way to dark, the color negeative is a bit better but not by much. My last ditch effort to salvage the film is to lighten it in the transfer. Any suggestions for correcting underexposed footage. My first film and murphy's law....

 

Thanks

Gustavius Smith

718 300 7163

[John Pytlak RIP]

Some expired color stock just bit me hard. We shot about 1400 feet of expired stock tryign to duplicate the look and feel of an old Charles Chaplin film on 16mm. Guess what...it worked? The film looks grainy and old but it came out severly underexposed. The lab is blaming it on the film stock my DP admits to not checkign all of the rolls. We made a black and white workprint from the color negative so I could go ahead and damage the film some more but it was way to dark, the color negeative is a bit better but not by much. My last ditch effort to salvage the film is to lighten it in the transfer. Any suggestions for correcting underexposed footage. My first film and murphy's law....

 

Thanks

Gustavius Smith

718 300 7163

<{POST_SNAPBACK}>

 

If you've severely underexposed color negative film, not much you can do to the film itself once it has been processed. In telecine, you may be able to correct the image somewhat, but don't expect much detail in the shadows.