carnival, night, bolex

[Grainy]

hi all - I'm going to shoot some carnival footage at a large, loud midway gun' n run style with a bolex and was wondering if anyone had any tips. I'm going to slightly undercrank a few things already and I think there's *enough* light, but I was wondering if anyone had any tips to make the colors pop. Maybe this should go in first time filmmakers, it's so basic, but I thought that with the variety of lights in a carnival (large area, individual for rides, moving rides) some folks might have some interesting ideas.

thanks!

G

[Dimitrios Koukas]

hi all - I'm going to shoot some carnival footage at a large, loud midway gun' n run style with a bolex and was wondering if anyone had any tips. I'm going to slightly undercrank a few things already and I think there's *enough* light, but I was wondering if anyone had any tips to make the colors pop. Maybe this should go in first time filmmakers, it's so basic, but I thought that with the variety of lights in a carnival (large area, individual for rides, moving rides) some folks might have some interesting ideas.

thanks!

G

<{POST_SNAPBACK}>

 

Are u doing this alone? Or there is anyone with u that can hold a big maglite?

with a carton made softbox, or u can use anything like a practical fluo camping lamp that accepts batteries.

As for the colours, try to put your subjects as closer as u can to the ambient lighting.Near the lights the colours will ''pop'' especially if u overexpose by 1/2 f/stop, if this is applicable.

But having the light on your back you will loose the all the background, so why not

try to have the lights at your side,(left or right).

This is a general thought, and that doesn't mean that you have to go with it.

Many times when u going for this kind of shooting, the location and the action itself guides you.

 

Dimitrios Koukas

[Grainy]

Are u doing this alone? Or there is anyone with u that can hold a big maglite?

with a carton made softbox, or u can use anything like a practical fluo camping lamp that accepts batteries.

As for the colours, try to put your subjects as closer as u can to the ambient lighting.Near the lights the colours will ''pop'' especially if u overexpose by 1/2 f/stop, if this is applicable.

But having the light on your back you will loose the all the background, so why not

try to have the lights at your side,(left or right).

This is a general thought, and that doesn't mean that you have to go with it.

Many times when u going for this kind of shooting, the location and the action itself guides you.

 

Dimitrios Koukas

<{POST_SNAPBACK}>

 

I'm probably alone, and possibly w/o a permit (shhh!)

thanks Dimitrios!

EH

[Sam Wells]

Shoot the poppiest colors !

 

Really you have to find the balance between not overexposing the electric sinage and visible lights and getting shadow detail. Of course with the modern negs shots can be printed down, ditto in telecine but you don't want to print the shadow detail down into darkness, probably.

 

What stock are you shooting ?

 

-Sam

[Grainy]

Shoot the poppiest colors !

 

Really you have to find the balance between not overexposing the electric sinage and visible lights and getting shadow detail. Of course with the modern negs shots can be printed down, ditto in telecine but you don't want to print the shadow detail down into darkness, probably.

 

What stock are you shooting ?

 

-Sam

<{POST_SNAPBACK}>

 

Hi Sam --

I'm actually leaning toward blacker, at least for the hard shadows, rather than softer black with more detail, if that makes sense.

Shooting either 7229 or 7218 VISION2 500T.

[John Pytlak RIP]

Hi Sam --

I'm actually leaning toward blacker, at least for the hard shadows, rather than softer black with more detail, if that makes sense.

Shooting either 7229 or 7218 VISION2 500T.

<{POST_SNAPBACK}>

 

I'd go with the 7218. Give as "rich" an exposure as the light and your lens allows. The brighter lights will still be captured well because of the film's latitude. Undercranking will give more exposure, but motion will seem unnaturally fast (how fast can a ferris wheel actually turn or bumper cars bump?). If you really don't have the light, consider a push-1 process, with a slight increase in graininess and contrast.

[Grainy]

I'd go with the 7218.  Give as "rich" an exposure as the light and your lens allows.  The brighter lights will still be captured well because of the film's latitude.  Undercranking will give more exposure, but motion will seem unnaturally fast (how fast can a ferris wheel actually turn or bumper cars bump?).  If you really don't have the light, consider a push-1 process, with a slight increase in graininess and contrast.

<{POST_SNAPBACK}>

 

right on, thanks John. With each stock at 500, what would the 7218 do for me in this case?

(I don't mind a little pixilation for some of these shots -- I'll probably try a bit of both)

thanks

G

[Dimitrios Koukas]

I'm probably alone, and possibly w/o a permit (shhh!)

thanks Dimitrios!

EH

<{POST_SNAPBACK}>

 

Try then the fluorescent camp lamp with batteries and rig it on the camera somehow if u can.

Just to add some fill, carefull the colour temperature of the lamp though, I bet it will need some correction.

Dimitrios

[John Pytlak RIP]

right on, thanks John. With each stock at 500, what would the 7218 do for me in this case?

(I don't mind a little pixilation for some of these shots -- I'll probably try a bit of both)

thanks

G

<{POST_SNAPBACK}>

 

For shots that include lighted signs against a night sky, I'd prefer the higher contrast of the 7218 to the VISION2 500T Expression 7229 -- with the same exposure, the blacks will tend to be a bit "richer". Both films have great latitude.

 

The softer palette of the 7229 is very kind to flesh tones, and would be a good choice for a period picture.

[Grainy]

great tips, thanks everyone!

G