XiaoSu Han Posted August 5, 2008 Share Posted August 5, 2008 uh just to clear up, in photography it's the other way round? http://photo.net/film-and-processing-forum/006io7 or wrong statements? Link to comment Share on other sites More sharing options...
John Holland Posted August 5, 2008 Share Posted August 5, 2008 Wrong Statements . Link to comment Share on other sites More sharing options...
Hampus Bystrom Posted August 5, 2008 Author Share Posted August 5, 2008 Well okay, but when I push my negatives on still-film I often get increased saturation, but let's not get into that. However, I really don't think that the "desaturation" is that obvious, maybe in this perticular still but overall the film is pretty contrasty. But that might be, like XiaoSu said, due to underexposed faces and burned out practicals. Link to comment Share on other sites More sharing options...
David Rakoczy Posted August 5, 2008 Share Posted August 5, 2008 (edited) Desaturation and Contrast are two completely different things. A Film can be Desaturated and Contrasty at the same time. Look at the skin tones... desaturated. Look at the rest of the colors (besides the Red Coke Sign)... they are all muted.. look at the yellow tape.. muted. Everything is muted except the Red Coke Sign. I believe this was underexposed and printed up, hence, all the Grain and Desaturation. Double Fog Filters will also desaturate and create milky Blacks.. so they (may) have been used as well.. probably were. I wish the actual DP would (could) chime in before Holland has a heart attack. :blink: Edited August 5, 2008 by David Rakoczy Link to comment Share on other sites More sharing options...
John Holland Posted August 5, 2008 Share Posted August 5, 2008 Dont think Chris Doyle would join us here by the way just thought this would have been shot on Fuji's old stocks .David if i do ever have a heart attack hope it is caused by something more important than this . :( Link to comment Share on other sites More sharing options...
David Rakoczy Posted August 5, 2008 Share Posted August 5, 2008 Dont think Chris Doyle would join us here by the way just thought this would have been shot on Fuji's old stocks .David if i do ever have a heart attack hope it is caused by something more important than this . :( We hope you remain in good health John! Hopefully you.. and the rest of us.. 'roll out' at a ripe old age while doing a smooth, slow, push in, on a beautiful woman... Did that sound right??? Link to comment Share on other sites More sharing options...
John Holland Posted August 5, 2008 Share Posted August 5, 2008 Sounds ok to me . But i am sure its not P.C . :huh: :huh: Link to comment Share on other sites More sharing options...
Hampus Bystrom Posted August 7, 2008 Author Share Posted August 7, 2008 I've found some super16 footage on Vimeo which I love, check it out: http://www.vimeo.com/1209195 I asked the guy about the looks, and if maybe it was the expired 800ASA stock which gave the film it's heavy saturation. But I'm too eager to wait. If you look at the clip, it's really grainy. But that's actually okay with me. Link to comment Share on other sites More sharing options...
Premium Member David Auner aac Posted August 7, 2008 Premium Member Share Posted August 7, 2008 I've found some super16 footage on Vimeo which I love,check it out It's not S16. He states it was a S16 camera and 2R film, which obviously can't be S16! Cheers, Dave Link to comment Share on other sites More sharing options...
Hampus Bystrom Posted August 7, 2008 Author Share Posted August 7, 2008 It's not S16. He states it was a S16 camera and 2R film, which obviously can't be S16! Cheers, Dave Yes, I noticed that aswell. But still.. it's 16mm right? Link to comment Share on other sites More sharing options...
Sam Wells Posted August 8, 2008 Share Posted August 8, 2008 I think Chunking Express was shot on AGFA XT320 in fact. Pushed quite likely. -Sam Link to comment Share on other sites More sharing options...
Hampus Bystrom Posted August 11, 2008 Author Share Posted August 11, 2008 Right, I'm thinking of maybe push-processing the film for crazy colours. Any thoughts? Also, how did Doyle get these colours in happy together? Link to comment Share on other sites More sharing options...
John Holland Posted August 11, 2008 Share Posted August 11, 2008 Colours ! what blue and green ? Link to comment Share on other sites More sharing options...
Andy_Alderslade Posted August 11, 2008 Share Posted August 11, 2008 Dont think Chris Doyle would join us here by the way just thought this would have been shot on Fuji's old stocks .David if i do ever have a heart attack hope it is caused by something more important than this . :( Not wanting to incite a heart-attach John, but wasn't Doyle always an Agfa man back then... ;) Link to comment Share on other sites More sharing options...
John Holland Posted August 11, 2008 Share Posted August 11, 2008 Yes you are correct Andy oh i wish Agfa 320 XT was still around . Link to comment Share on other sites More sharing options...
K Borowski Posted August 11, 2008 Share Posted August 11, 2008 Woah David, way to scare away the remaining dozen women on this forum that can handle the rampant sexism! Remember this isn't (at least shouldn't be) a men-only country club. . . Link to comment Share on other sites More sharing options...
David Rakoczy Posted August 11, 2008 Share Posted August 11, 2008 Woah David, way to scare away the remaining dozen women on this forum that can handle the rampant sexism! Remember this isn't (at least shouldn't be) a men-only country club. . . Huh? I was speaking 'Cinematically'.. what were (you) thinking? I even questioned the way it came out... and Mr. Holland agreed. Wow Karl. Rampant sexism??? Goodness Karl, as a DP I can tell you doing a shot like that.. a slow, smooth Push In on a beautiful Woman delivering a scene is Cinematic Euphoria. The Neg Loves it.. the Lens Loves it.. and (you) looking through the eyepiece can only sit there and chuckle thinking 'Man, this is gonna look fantastic!". If you have done it you know what I am talking about... I am talking about 'real' Actresses doing 'real' acting... (maybe not what you were thinking).. that is why Hollywood hires who they hire. Sheeesh... I am a married man... if I was to look at it the 'other' way (your way) it would be spending the last moments making love to my wife.. which (actually) I would prefer... but what I said was a gag talking about having a 'heart attack' and our live's 'rolling out'...... goodness Karl... Hey I still support your effort to get a Lab up and running... but... wow..... Link to comment Share on other sites More sharing options...
K Borowski Posted August 12, 2008 Share Posted August 12, 2008 Lol. Dave, you need to take it easy on the espresso this late in the evening :lol: And, gee, sorry, you're right, I totally misinterpretted what you said :rolleyes: Link to comment Share on other sites More sharing options...
David Rakoczy Posted August 12, 2008 Share Posted August 12, 2008 (edited) And, gee, sorry, you're right, I totally misinterpretted what you said That is a pretty heavy charge to level at someone... Apology accepted... Have a good one Karl. Edited August 12, 2008 by David Rakoczy Link to comment Share on other sites More sharing options...
Hampus Bystrom Posted August 12, 2008 Author Share Posted August 12, 2008 Right, I'm thinking of maybe push-processing the film for crazy colours.Any thoughts? What the hell am I doing, I meant cross-processing of course. Any thoughts on this? Link to comment Share on other sites More sharing options...
David Rakoczy Posted August 12, 2008 Share Posted August 12, 2008 (edited) What the hell am I doing, I meant cross-processing of course.Any thoughts on this? Cross Processing involves Reversal Stock.. I have done it with 5285. You will have more Contrast and some really 'Black' Blacks.. the opposite of Milky Blacks... the Color shift is interesting tho... I believe shooting a fast(er) Stock, underexposing it and Pushing will get you those Milky Blacks you are after.. and any 'saturation' or 'desaturation' you want can be done in Post. Edited August 12, 2008 by David Rakoczy Link to comment Share on other sites More sharing options...
K Borowski Posted August 12, 2008 Share Posted August 12, 2008 Cross Processing involves Reversal Stock.. I have done it with 5285. You will have more Contrast and some really 'Black' Blacks.. the opposite of Milky Blacks... the Color shift is interesting tho... I believe shooting a fast(er) Stock, underexposing it and Pushing will get you those Milky Blacks you are after.. and any 'saturation' or 'desaturation' you want can be done in Post. Hampus can do it the other way too David, processing ECN-2 in E-6. THat'd definitely give you punchier colors, although you'd have to digitally or photochemically correct through the printing process because you'll have a positive with a color cast. Also, read up on film acceleration, I think it's called. Just like E-6 but with a huge push in the first and second deevelopers, basically development to completion. Test first before doing something crazy like this though! You could probably get some pretty crazy high contrast stuff with this, and E6. I don't think that acceleration is the right term for it though. Maybe someone else can find the link to an older post on it here in the forum, can't find it myself. . . Link to comment Share on other sites More sharing options...
David Rakoczy Posted August 12, 2008 Share Posted August 12, 2008 (edited) I don't believe that will deliver the sample given at the head of this thread Karl... it seems this discussion is veering to and fro... I am not sure if the original poster really knows what he wants... we have gone from muted colors with milky blacks (the example given) to... high contrast with saturation... Edited August 12, 2008 by David Rakoczy Link to comment Share on other sites More sharing options...
K Borowski Posted August 12, 2008 Share Posted August 12, 2008 I don't believe that will deliver the sample given at the head of this thread Karl... it seems this discussion is veering to and fro... I am not sure if the original poster really knows what he wants... we have gone from muted colors with milky blacks (the example given) to... high contrast with saturation... Yeah, I agree Dave. Hampus, don't take this the wrong way, but do you have a buddy that speaks better English that could post here? No offense intended, just we're having difficulty understanding your intentions. Also I'd assume you don't have the budget to do a big film. Give us an idea if this is S8, 16, video, or waht that you're trying to get to look saturated or smoky. Those two are opposites of one-another, you know. Link to comment Share on other sites More sharing options...
Hampus Bystrom Posted August 26, 2008 Author Share Posted August 26, 2008 (edited) Yeah, I agree Dave. Hampus, don't take this the wrong way, but do you have a buddy that speaks better English that could post here? No offense intended, just we're having difficulty understanding your intentions. Also I'd assume you don't have the budget to do a big film. Give us an idea if this is S8, 16, video, or waht that you're trying to get to look saturated or smoky. Those two are opposites of one-another, you know. Haha! No offense, well a little actually because my english is (in my mind) pretty good. I don't think it's my english, but rather my lack of understanding the technical procedures. You see, I'm usually a director. But I understand if it seems that I'm being really incoherent, and that's because I don't know what it is I want! Until now! Here's some samples of what I had in mind, I've managed to secure shooting in 35 so no worries on that. Theres obviously something about asian cinema in the look that I want; Kar-Wai uses it, Takashi Miike uses it and several other asian films like Ahn Trung's Cyclo: I can't really descibe the look, it'll help if any of you guys have seen something by Kar-Wai, Days of Being Wild specifically. It's like the colours are a bit washed out, so describing them as saturated was obviously wrong. I'll be using a double fog filter for starters, but I don't think it'll do. Hope you can help now! Cheers Edit: I've heard something about asian cinematographers use of AGFA-film, and there might be something of this look in that stock. I've checked out some photos on flick'r with expired AGFA-stock and they seem to, kind of, almost visualize what I'm looking for. See, it's hard for me to describe it because I would say that it's a subtle effect that seems to be present in almost all of asian cinema during the nineties. Edited August 26, 2008 by Hampus Bystrom Link to comment Share on other sites More sharing options...
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