daylight or tungsten?

[Ian Vatcher]

Hey guys, I'm new to this site, and I think it's really great.

 

Here's my situation. I'm going to shoot a test roll soon on a camera that I have recently fixed up. Reg test, etc. I was also going to shoot a few other things on the roll just to see how they would come out. A few CU's/ Some shutter angle experiments.

 

My question is this, I have the oppoutunity to shoot on either a tungsten/ or daylight stock. Both kodak. I don't have access to an 85 filter, and have only a few tungsten lights kicking around. I was planning on getting some exterior and interior shots. Do I shoot Daylight/ and get some good EXTs ( using some cards for fill etc.) and colour correct for the interior shots that will have tungsten lighting? Or do I shoot it all Tungsten and then colour correct the EXTs.

 

I may have access to some CTB gel for the lights.

 

I guess it's left up to a matter of choice, just wondering if anyone found one process to be more satisfying.

 

Any suggestions would be greatly appreciated, Thanks in advance.

[Ian Vatcher]

I hope I put this in the right section.

 

I forgot to mention that the tungsten lights I will be using are 1k redheads.

[John Pytlak RIP]

Hey guys, I'm new to this site, and I think it's really great.

 

Here's my situation. I'm going to shoot a test roll soon on a camera that I have recently fixed up. Reg test, etc. I was also going to shoot a few other things on the roll just to see how they would come out. A few CU's/ Some shutter angle experiments.

 

My question is this, I have the oppoutunity to shoot on either a tungsten/ or daylight stock. Both kodak. I don't have access to an 85 filter, and have only a few tungsten lights kicking around. I was planning on getting some exterior and interior shots. Do I shoot Daylight/ and get some good EXTs ( using some cards for fill etc.) and colour correct for the interior shots that will have tungsten lighting? Or do I shoot it all Tungsten and then colour correct the EXTs.

 

I may have access to some CTB gel for the lights.

 

I guess it's left up to a matter of choice, just wondering if anyone found one process to be more satisfying.

 

Any suggestions would be greatly appreciated, Thanks in advance.

<{POST_SNAPBACK}>

 

Outdoors, you should match your lighting to the daylight (the CTB lighting filters or reflected fill) and use a daylight balance film, or a tungsten balance film with an Wratten No. 85 filter (an investment you will use again many times).

 

Indoors, use a tungsten balance film with tungsten lighting.

 

If you match the lighting to the film balance, the films will intercut well and easily be matched during the grading process.

 

Kodak filters:

 

http://www.kodak.com/US/en/motion/products...=0.1.4.28&lc=en

[Oli Soravia]

I'm going to shoot a test roll soon on a camera that I have recently fixed up. Reg test, etc. I was also going to shoot a few other things on the roll just to see how they would come out.

 

Hi Ian,

 

for daylight scenes - as an additional alternative - you could also use daylight (46) stock for outdoor and indoor shooting. It depends always on the look you`re going to look for. You could use the 46 inside and work with uncorrected redheads, which results in some warmer (sunlighting) look, and maybe corresponds with the sun outside. Some hard silver reflector card set outside and faced inside will provide enough daylight fill inside. Shooting uncorrected and timing it later results in colored shadows (red or blue) and increased contrast - sure, it depends always on the way you prefer. Best wishes,

OLI

[John Pytlak RIP]

Unless you really are going for a distinctly different look, its usually best to match the balance of the film (daylight or tungsten).

 

Kodak does have a new film and system that gives additional flexibility in post production:

 

http://www.kodak.com/US/en/motion/products...1.4.4.4.4&lc=en

 

A unique film you can shoot like any other.

The KODAK VISION2 HD Color Scan Film 7299 is not a printable film. Though similar to other color negative films, it's strictly for scanning with a characterized telecine and viewing on a characterized monitor?and must be used with the KODAK VISION2 HD Digital Processor.

 

You?ll find that 7299 can be shot like any other stock, with some characteristics, such as shadow detail, that can be optimized by varying the rated exposure. And, because digital processing can make necessary compensations, this tungsten film can be shot outdoors without on-camera filtration.

[Ian Vatcher]

thanks guys for the reply.

 

Oli - Yes I think I'm leaning towards the daylight stock as I will only be shooting one roll for now. And I can use alot of available light on the EXTs and still punch in with some reflectors from the outside for the interiors. and shoot uncorrected with the redheads

John - The 7299 sounds interesting with the ability to shoot a tungsten balanced film outdoors without filtration.

Edited September 2, 2005 by Ian Vatcher

[John Pytlak RIP]

John - The 7299 sounds interesting with the ability to shoot a tungsten balanced film outdoors without filtration.

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We're finding 7299 is popular with those shooting television documentaries, where the lighting may be changing and unpredictable.

[Ian Vatcher]

We're finding 7299 is popular with those shooting television documentaries, where the lighting may be changing and unpredictable.

 

Yah I could see why, that would be quite useful.

 

As for shooting daylight. I believe i'll put some ctb on the redheads aswell. The less colour correction problems I have in the end the better.

Edited September 2, 2005 by Ian Vatcher

[Dimitrios Koukas]

Yah I could see why, that would be quite useful.

 

As for shooting daylight. I believe i'll put some ctb on the redheads aswell. The less colour correction problems I have in the end the better.

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U will loose too much light with the CTB on the redheads.

Dimitrios Koukas