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Doug Palmer

Frantz... Double-X mixed with Vision 3

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I saw Frantz last night at local film society, digitally projected. I'd assumed wrongly it was digitally originated. Mostly black and white, Pascal Marti apparently used super-35 Double-X. The colour footage shot with Vision3 500T. What I found amazing was how the two stocks looked so similar. The inobtrusive lighting maybe had a lot to do with it, but it was incredible how the shots blended together. In fact, there were instances when a black and white shot would subtly change to colour. So this was obviously V3. Yet the preceding monochrome shots were the same. Were they V3 too ? Was Double-X used not so much ?

Incidentally the whole film had a kind of magenta cast in the darker areas, but this was perhaps to do with the digital showing.

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They do blend really well. As a school project with my students we did a short that went from B&W to color using the same two stocks on 16mm and the grain structure was nearly identical. The only thing about the B&W negative which was odd, is that it had way less contrast on the print then the 19' did.

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They do blend really well. As a school project with my students we did a short that went from B&W to color using the same two stocks on 16mm and the grain structure was nearly identical. The only thing about the B&W negative which was odd, is that it had way less contrast on the print then the 19' did.

Right, I see. The lack of grain also fooled me into thinking it was not film, let alone Double-X and 500T. Although I was some distance from the screen, and hard to judge this without seeing a normal film print.

A good movie I thought, if rather too lengthy after she arrives in Paris. Nice photography and lighting. And that train window image of the WW1 battlefield...

Edited by Doug Palmer

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They do blend really well. As a school project with my students we did a short that went from B&W to color using the same two stocks on 16mm and the grain structure was nearly identical. The only thing about the B&W negative which was odd, is that it had way less contrast on the print then the 19' did.

 

 

I shot a test with these films10 days ago, and found the opposite: In my 4k scanned findings, 5219 has much less grain than 5222. Also, 5222 had clearly more contrast. 5219 showed more grain on the print, but tonal separation was still weaker.

 

Jarin

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I shot a test with these films10 days ago, and found the opposite: In my 4k scanned findings, 5219 has much less grain than 5222. Also, 5222 had clearly more contrast. 5219 showed more grain on the print, but tonal separation was still weaker.

We only tested photochemically... I didn't test digitally.

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What I saw as far as greater tonal separation with 5222, held up as a 4k scan and as a traditional print. With the old 5231, the differences would have been even greater still. For the digital version, highlight, mid tone and shadow values were matched between the two films, and still, local contrast was much better separated with 5222.

 

Jarin

Edited by Jarin Blaschke

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Thinking again about the very grainless look of the version I saw, I wonder if this was achieved in the 4K DI. Because I saw 'Embrace of the Serpent' at the same venue, same digital projection, that clearly did show the grain. This was a super-35 film taken on Fuji Eterna 500T and 160T, converted to black and white.

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