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Sharing a 16mm music film recently shot in a Peruvian desert cemetery. All we had for stock was 500T 7219 without filtration, so I overexposed +3 stops and pulled -2 stops in the bath for a low contrast, pastel color rendering. The film took four trips through airport x-rays despite battles with the various TSA securities, but turned out okay.

Link: https://vimeo.com/342635015

JMH

 

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Thanks for sharing, Jason. I won't say I'm a fan of softer lenses on 16mm, but there was nothing wrong with the look you got. It's still natural - unlike the nonsense colours and looks that many people introduce via software. Some footage is simply unwatchable due to the obsession with over-grading images.

I suppose you may have heard that for a scene in The Dark Knight, the DP overexposed 5219 by 5 stops. That's what you call a super dense negative. 😉

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4 minutes ago, Karim D. Ghantous said:

Thanks for sharing, Jason. I won't say I'm a fan of softer lenses on 16mm, but there was nothing wrong with the look you got. It's still natural - unlike the nonsense colours and looks that many people introduce via software. Some footage is simply unwatchable due to the obsession with over-grading images.

I suppose you may have heard that for a scene in The Dark Knight, the DP overexposed 5219 by 5 stops. That's what you call a super dense negative. 😉

Thanks. Do you know which Dark Knight scene was overexposed 5 stops?

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Pfister talks about it here, "says Pfister. “I can underexpose it by 3 stops and overexpose it by 5 stops within the same frame and see the entire spectrum on the screen."

He doesn't give an example of a scene he did it on though.

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He's talking about the range of contrast within a frame, not over or underexposing a whole scene by a lot of stops and correcting it back to normal.  He's saying that there is detail in shadows that are 3 stops under or highlights that are five stops over.  If you consider the middle to be its own stop, that's a 9-stop range which is not necessarily extreme other than the fact that many digital cameras would struggle to hold detail around five stops of overexposure, particularly not without some oddness.

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16 minutes ago, David Mullen ASC said:

He's talking about the range of contrast within a frame, not over or underexposing by a lot of stops and correcting it back to normal.  He's saying that there is detail in shadows that are 3 stops under or highlights that are five stops over.  If you consider the middle to be its own stop, that's a 9-stop range which is not necessarily extreme other than the fact that many digital cameras would struggle to hold detail around five stops of overexposure, particularly not without some oddness.

 I didn't think of it that way. Thanks for the info, good to know!

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The interview with Wally Pfister is here:

https://ascmag.com/podcasts/batman-the-dark-knight-wally-pfister-asc

You want to go to the 16:26 mark. The most he went was 6 stops over. Of course you'll want to listen to the whole thing!

It's always interesting listening to DPs talk, although I usually avoid interviews where the DP is talking about digital (and I really like digital BTW!). If film is the medium that a project is shot on, it provides a much more interesting centre of gravity for the conversation, even if most of the conversation is about lights, day-to-day things, production philosophy and locations.

Digital? I don't care in general, although some digital cameras interest me personally: most RED models; and these days I'm curious about the Micro 4/3 hybrid cameras.

16 hours ago, David Mullen ASC said:

many digital cameras would struggle to hold detail around five stops of overexposure, particularly not without some oddness.

I'm pretty sure that Dragon had a limit of 6 stops, and I'm fairly sure that Monstro has at least that. I'd like to know how far you've pushed those sensors, or if you have heard anything from other DPs about their clipping point above middle gray.

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