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Transferring to HD is the option we are going for only because it is such a short piece (5 mins) with no dialogue and because we get a student discount. When I said a uniform contrast, I meant I didn't want one scene looking gritty and the others crisp and clean - I hope this makes sense. I am not familiar with the telecine process, so I do not know how much or what you can achieve with it. Is there any reference material I could be looking at? We also have access to the Avid Nitris at school. The van scene is really short, so towing it would probably not make sense financially. I will look into trying to get one with a sun roof. Other than that - kino car kit and underexposing the interior? Thanks for all your help. Coen

a) Is there anything else we can do when filming to help the telecine process? Shoot a gray scale at head of roll. Underexpose the negative that will be skip-bleached by one stop. * Will do. Am I right in assuming that the grey scale for the uncorrected tungsten scenes should be shot with the 85? B) We are having difficulties with the sepia look which is turning out too warm and orangey. Any hints as to how we can correct this? Just bring down the color (chroma) during the transfer -- the orange look will become a brown look. * Will they be able to keep the reds in the image - e.g. if she is wearing a red apron? c) What is a cost effective way to light the interior of the car so the outside doesn't look too blown out? Use a convertible with the top down. Use a car with a sun roof, open, and cover it with diffusion like 216. Underexpose the interior. Use a low-con stock. * Shooting in a van unfortunately! Is there any supplemental lighting we could use? d) Age old final question - having read what we are trying to achieve - Kodak or Fuji? You might want to use a low-con stock for some of this, like Fuji F-400T or Expression 500T (5229). What you are doing to the image by skip-bleaching it or using it without the 85 filter to get a blue look, sort of overpowers some of the subtle differences between Kodak and Fuji so I think you can use either -- and pick the right combination of graininess (speed) and contrast. * We're trying to keep a uniform contrast for all the scenes. Would underexposing a slower speed film for bleach-bypass give a similar contrast to a faster speed film? The question of which film stock to use has really stumped us as this is the first time shooting film for all of us. Any pointers would be much appreciated! Thanks very much David for the speedy response.

Hi, I will soon be filming my thesis project in LA. We will be shooting 35mm for telecine and finishing on HD. We have 3 main characters each with a distinct look: a) A girl and her friends walking home from school - v. desaturated - we are bleach-bypassing the neg. b) A man sitting in and then driving a car - cool blue look - shooting uncorrected tungsten in daylight. c) A woman at home preparing a party - sepia with rich blacks (almost black and white - think the photography of Anton Corbijn). The dominant colour in all these scenes is red. My questions are: a) Is there anything else we can do when filming to help the telecine process? b) We are having difficulties with the sepia look which is turning out too warm and orangey. Any hints as to how we can correct this? c) What is a cost effective way to light the interior of the car so the outside doesn't look too blown out? d) Age old final question - having read what we are trying to achieve - Kodak or Fuji? Many thanks, Coen Rees www.coenrees.co.uk