7245 , latitude in full sunlight ?

[Thomas Cousin]

hello,

for a while now, i wanted to use this stock on a film. finer finer grain, beautiful colors for what i've heard.

of course this stock needs light. i am going to use it in july, under full sunlight. i will get enough light to have decent stop even in late afternoon. no problem.

what worries me the most, is the latitude of this stock under extreme contrast. and i think about the larger shots i can't light, and capture as is. sometimes up to 8 stops i think according to what iv'e seen from locations scout.

i know that 7245 will be able to record eveything in the scene. but if i expose for an "average", will the shadows tend to be blacks ? or "lighter" than blacks?

i will probably use ultra con on this scenes but i'd like to know what this stock can already handle "alone".

i need to keep the contrast of course but want to capture all the subtleties of the scene.

 

thanks

 

thomas

[John Pytlak RIP]

hello,

for a while now, i wanted to use this stock on a film. finer finer grain, beautiful colors for what i've heard.

of course this stock needs light. i am going to use it in july, under full sunlight. i will get enough light to have decent stop even in late afternoon. no problem.

what worries me the most, is the latitude of this stock under extreme contrast. and i think about the larger shots i can't light, and capture as is. sometimes up to  8 stops i think according to what iv'e seen from locations scout.

i know that 7245 will be able to record eveything in the scene. but if i expose for an "average", will the shadows tend to be blacks ? or "lighter" than blacks?

i will probably use ultra con on this scenes but i'd like to know what this stock can already handle "alone".

i need to keep the contrast of course but want to capture all the subtleties of the scene.

 

thanks

 

thomas

<{POST_SNAPBACK}>

 

If you expose the stock "normally" at an EI 50D rating, the blackest areas in a well-timed 2383 print will be approximately 3.0 density (1000:1), which is quite "black" for normal theatrical viewing. Additional exposure will give you a "heavier" negative, requiring more light during printing (1 stop of additional camera exposure requires about 7 printer lights additional printer exposure). This added printing light now allows the lightest areas of the negative to print higher up the print film sensi curve, giving you an even blacker black of about 3.5 density, which will be perceived as even blacker in a theatre. More exposure also gives you more detail in those black shadows.

[Sam Wells]

Is this for print or telecine ?

 

In my experience you have to work hard to overexpose this stock beyond recovery for telecine especially (I'm talking about a high end machine etc)

 

I routinely push it one to "crush" the blacks a bit but have found there's still some nice shadow detail if you want in a telecine transfer.

 

"what worries me the most, is the latitude of this stock under extreme contrast."

 

Yeah but as per above the boldness of 45 is its virtue the way I look at it. I love it under extreme contrast :) I'm trying to make it look like a "reversal stock with headroom"

 

74 or 05 would be more conservative choices.

 

-Sam

[Sam Wells]

BTW, this is "non-scientific" maybe but I've found that 45 "likes contrast' in the sense that a contrasty scene will be quite bold but in a soft scene 74 and 46 can actually look more contrasty, it's the somewhat unique (to my eye) way 45 responds to color.

 

Now that I've confused you even more....

 

-Sam

[Xandy Smith]

I recently tested this stock and during a flat pass in telecine, could tell little difference in latitude between it and Vision2 stocks. There was a difference, for sure, but to my eye, and for use in telecine, I would not consider contrast and latitude much of a factor in choosing this stock.