Katherine Bauer

Also wondering what are the effects of heat on unexposed film versus exposed film. Because I am also going away to go film some things in Death Valley...so it will be hot also - i am shooting 16mm color film - I will try to keep the film cool with a cooler.. Is drastic changes in temperature worse than being in heat - I know not to leave in hot car for any time because in the deserts closed hot cars can lead to no image, but at what temperature does that happen? or at least is there any other effects that happen other than just loosing the image all together. xoK

Hi - I am going out of town for a month - and my studio where I keep my films gets super hot in the summer. I blacked out the windows but it still can get hot unless someone there to turn on a/c. But Ill be out of town for JUNE...im in NYC by the way...do you think it would be okay to leave them in the studio - wrapped up - so insulated...or I have a choice to put in a cool yet some what damp basement for the month. Also I have Hard Drives - that are in the same situation. What do you think? xK

When you say rate 2/3rds over - for example if the box speed is 250D what would I rate it at on my meter? Also is telecine the only way that labs color correct for quality prints other than work prints? I am going to call my lab monday... but dont you make internegatives without telecine - or isnt that possible.

Thank you. That was very helpful. I didnt realize that it would be that hard to predict the results of getting an internegative made from the reversal stock - I realize I should have run tests for all of this - but alas I am going to have to make a decision without the time to make the tests. The whole film will be a test. :) experimental cinema! when you say Ill be fighting contrast do you mean that it could get too dark - loss of detail?

I make films with 16mm film and I am trying to make it so that I can edit the films on film with a Steenbeck. Sometimes depending on the project and the time frame or concept I might digitize the footage by filming it with a video camera off a screen and then edit on FCP and then mirror that edit with the actual film. I also optically print for transitions, special affects, etc... I can not afford the expenisve techniques of scanning film. I actually am just learning about all of these processes from reading these posts. I guess I have been living in a cave. But basically I want to know then for a film maker like me how I should buy stock if I do prefer the high saturation in color you can get from reversal stock - but if I want to buy negative film - so I can make copies (without paying for an extra internegative) - you know also have a back up of the shot footage - what stock should I get. I also like shooting at night or in the evening and pushing film a lot. I have had good results from kodak vision 2 and 3 500T stock - but it doesnt really have the look of reversal. Would Fuji vivid 500 be more effective. I would run tests...and I will...but I have a project coming up where I may not have time to order Fuji film, processes it, and view the footage before I am going to need to head out with the stock for this project I have coming up. I was just going to risk it and shoot in reversal, but a friend told me of this site and my mind is sort of being blown.

(btw this project is for 16mm which I will probably edit digitally and then mirror my digital edit with a steenbeck) I am starting out on a larger project than I have embarked on in the past. I usually shoot short films in Kodak color reversal. Now I am going to buy 2 hours of footage for a film I am shooting in the desert. I want to have the saturation of reversal but I am tempted to use negative because of the difficulty getting to my location (I will not be able to get back to film in this place again for a while - if ever) so basically the footage is more precious. SO I am trying to decide whether to shoot in reversal and then have an internegative made and a print made to edit on OR whether I should shoot in negative and have work prints made. Can you achieve the same color saturation with having a negative printed with a color specialist compared to reversal. I have only ever had work prints printed from negative and I was wondering how expensive (compared to shooting with reversal and getting an internegative and print made of all the footage shot) it would be to work with a lab on printing for saturation. Also in terms of color negative stock I have only ever used or seen Kodak Vision negative film. I just on this website was introduced to some discussions about Fuji Vivid 500. I am excited about getting some fast film so I can shoot late into the evening. Even if I do get reversal for most of the day shoots I will also combine with Negative footage for the evening shoots. two questions about that - how is Fuji Vivid film compared to Kodak color negative in terms of color saturation and also is there a problem in combining prints of negative film and prints from a reversal internegative into one reel? Any help with any of the myriad of questions I have posed would be greatly appreciated. Thanks. Kat