jeffrey venditti

4X5

85, 85N3, 85N6, 85N9

SFX 2

STRAW 2, STRAW 3

BLUE 4, BLUE 5

6X6

85, 85N3, 85n6, 85N9

SUNSET GRAD 1, SUNSET GRAD 2, SUNSET GRAD 3

BLUE GRAD 4, BLUE GRAD 5

4.5” ROUND

DIOPTER SET

contact : stuneh@hotmail.com

4X5

85, 85N3, 85N6, 85N9

SFX 2

STRAW 2, STRAW 3

BLUE 4, BLUE 5

6X6

SUNSET GRAD 1, SUNSET GRAD 2, SUNSET GRAD 3

BLUE GRAD 4, BLUE GRAD 5

4.5” ROUND

DIOPTER 1/2, DIOPTER 1, DIOPTER 2, DIOPTER 3

stuneh@hotmail.com

4X5

ND3, ND6, ND9

85, 85N3, 85N6, 85N9

81EF

80A

SFX 1/2, SFX 1, SFX 2

STRAW 1, STRAW 2, STRAW 3

BLUE 4, BLUE 5

OPTICAL FLAT

ULTRA CON 1/2

6X6

SUNSET GRAD 1, SUNSET GRAD 2, SUNSET GRAD 3

ND HARD GRAD 6,9

ND SOFT GRAD 6,9

BLUE GRAD 4, BLUE GRAD 5

TRUE POLA

138MM

TRUE POLA

4.5? ROUND

TRUE POLA

DIOPTER 1/2, DIOPTER 1, DIOPTER 2, DIOPTER 3

4X5

SFX 1/2, SFX 1, SFX 2

STRAW 1, STRAW 2, STRAW 3

BLUE 4, BLUE 5

OPTICAL FLAT

ULTRA CON 1/2

6X6

SUNSET GRAD 1, SUNSET GRAD 2, SUNSET GRAD 3

BLUE GRAD 4, BLUE GRAD 5

4.5? ROUND

DIOPTER 1/2, DIOPTER 1, DIOPTER 2, DIOPTER 3

SERIES 9

ROTATING POLARIZER

EMAIL ME AT stuneh@hotmail.com if interested for quote

You might as well use a #1 or #2 UltraCon if this is for telecine anyway and you can adjust the black levels. A #1/2 UltraCon may be too subtle.

 

Also consider a lower-contrast stock like Fuji F-400T (the new version) or Kodak Expression 500T (again, the new version) in the darker wooded sections.

<{POST_SNAPBACK}>

I'm thinking of using the 7212 or 7217 (I never use Fuji) because I'd prefer finer grain and I don't like the Kodak daylight stock as I find them too contrasty.

any opinions as to the grain structure and latitude of these stocks?

I would assume the 7212 has a bit finer grain and less latitude, but not sure ...

am looking for a bit lower contrast since I am doing a lot of day exteriors in harsh daylight.

But, of course I still want fine grain. I dont like the Kodak daylight stocks as I find them too

contrasty.

Am considering using an Ultracon (a light one like 1/2) to lift the shadows on a Super16 feature I am shooting which is primarily day exteriors. Just thought I might be able to use a little help since much of the backgrounds will be dark wooded areas. I have never used this filter but it seemed like it might be appropriate considering I'll have to work fast and may not always be able to get light into the dark backgrounds. Also - when I am running and gunning it might even help a little to dig into the dark areas of the face when appropriate fill may not be able to be applied due to long hand held shots.

Any opinions on this filter?

Ultimately the film will probably be color corrected on a Da Vinci system so if the blacks get a little "milky" I suspect I could always crush them right back.