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I am shooting a short film on Super 16 this June. The entire thing will take place during the night, with 70% being interiors. Low-key, hard lighting, tungsten lighting, with plans for use of haze as well as lens diffusion. The film will be black and white, so naturally, the obvious instinct was to use Kodak's only black and white negative film, Eastman Double-X. However, after further review, I am beginning to have my doubts. In the lead up to the shoot, I have been reviewing a lot of 16mm work shot on 7222, both on YouTube and Vimeo, and one aspect that is giving me a great deal of apprehension is the sheer level of granularity present in this stock at this format size. From much of what I have seen from the 7222, the grain is just far too intense for what I feel comfortable with, and I can see it being a big distraction in the frame. I had the idea of simply shooting on Kodak 7203 VISION3 50D and taking out the saturation in post. The downside to this is of course that we would lose two stops of exposure, and have to light night interiors for 50 ISO. More lights, brighter lights, hotter lights, more electricity, more output, higher budget. Whether or not this change is practical and worthwhile over something such as grain structure and granularity, I am not certain. I am unable to escape my feeling that the 7222’s grain is just way too overpowering, so I wanted to reach out for some advice regarding the extent to which shooting on a lower speed film stock will complicate things. Am I too in my head regarding 7222's grain? It should be noted that shooting the film on a larger format such as 35mm is out of the question for budgetary reasons, and I am also entirely opposed to using any kind of DNR in Resolve. Any input is appreciated. Thank you.

Just arrived from B&H today. Project got cancelled so trying to get rid of these ;( $200/ea. Pickup in LA

Hello - I'm in the process of finishing up a documentary that I shot last year. I'm almost at picture lock and it's time for me to start thinking about color correcting and grading my project. My film was shot on two different film stocks, Kodak's 50D 7203 and 500T 7219. Both films were processed normal and were given a flat pass telecine on a Baselight system to HD ProRes422HQ files. I've tried some correction tests with this footage and I am having a devil of a time getting everything to balance out. The transfer is obviously lacking in contrast, and when I try to correct that it knocks the color and saturation all out of whack. According to the scopes I am using (inside color and FCP) I have to drop the blacks way down and stretch the whites and the midtones way up in order for the spread to register correctly. In fact, it seems to take too much correction to add contrast to my footage. Is this the case? Am I doing to do much? I'm turning to you guys for some help and advice. Right now I'm not worried about grading the footage - just correcting it so it doesn't look flat. Below are some screen grabs from my project which should give you a good idea of what I'm dealing with. If you have any suggestions or comments please feel free to share them with me. I'm also happy to provide more screen grabs or answer any questions if you think it will help. Here's some shots from the 50D footage, all take in full sun around f16. http://www.flickr.com/photos/25291579@N00/9007383279/ http://www.flickr.com/photos/25291579@N00/9007384281/ Here's some shots for the 500T footage. Two were shot under fluorescent light at around f2, the last was shot using a practical tungsten fixture at around f4. http://www.flickr.com/photos/25291579@N00/9007385761/ http://www.flickr.com/photos/25291579@N00/9008568480/ http://www.flickr.com/photos/25291579@N00/9007388485/ I should mention that these screen grabs appear much darker than my actual footage. The blacks are not as strong in the 7219 footage as shown here, but they are very strong in the 7203 footage and these stills make them look even darker. I should also mention that this project will most likely be corrected using Apple's Color. Thanks in advance for your help, Aaron Martin