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Lo Con print from pushed 5230. stock


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I shot this little test on expired 5230 and pushed it one. It was all with available lights. I shot it on bl 4s with a Cooke 20-100 wide open. I shot it flat 1:85.  I overexposed it so it printed in low 40's. The footage was timed photochemically to my grey chart and the timed lo con print was scanned at 4k on Scanity at Fotokem.

 

 

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On 9/16/2019 at 1:03 AM, Giray Izcan said:

I shot this little test on expired 5230 and pushed it one. It was all with available lights. I shot it on bl 4s with a Cooke 20-100 wide open. I shot it flat 1:85.  I overexposed it so it printed in low 40's. The footage was timed photochemically to my grey chart and the timed lo con print was scanned at 4k on Scanity at Fotokem.

 

 

It is absolutely beautiful Giray! 

Film is definitely a wonderful medium! 

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4 hours ago, Phillip Mosness said:

Giray,

Can you explain what "printed in the low 40's " means?

 

Sure. When you overexpose negative, it yields for higher printer lights to print down or to dial the exposure back to normal from an overexposed image. Overexposure helps tightening up the grain, makes colors pop more with richer blacks as opposed to an underexposed but printed up image which tends to have more muted colors with milkier blacks and heavier grain. The choice of course depends. Since the film stock I shot on was expired, it need to be overexposed by 1 stop as film loses its sensitivity over time and and as the base fog increases with age. Essentially the 500 stock becomes more like 250. I pushed it one stop which technically brought the effective ASA back to 500 from 250 but I rated it as 320 ASA so overexposed the neg  by 2/3 of a stop.

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The workflow I'll be following is first get a telecine from the neg with edgecodes and then get the neg cut without worrying about sfx shots or titles or sound as I am only doing the color timing of the 35 and s16 material photochemically. I will then get the timed lo-con print scanned at 4k on Scanity. All gets done at Fotokem.

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It wasn't an IP. It was just a low contrast answer print. So the blacks and the colors match exactly to the film projection without% any color correction. I received the scans back in dpx and literally imported it into Davinci to convert the footage to Prores amd exported out right away. I exported it as  Prores 422 lt. It was a 4k scan but since im on a MacBook Pro, my system couldn't handle the 4k so I set the resolution to 2k.

Edited by Giray Izcan
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