cinematography color reversal stock

J

Josh

Hey everyone,

Towards the end of March, I'm going to be shooting a 5 minute short film on an Aaton super 16. I've looked at a variety of stocks but after talks with the director, we have settled on kodak color reversal 100ASA. The whole film is shot on exterior locations and the location has no trees hanging over so the sun is constantly available (pending the weather).

I was just wondering wether or not i would need a faster color reversal film stock, as currently on the kodak site they are only making 100 ASA.

Would be great to hear from anyone with experience using this stock or any helpful comments.


Thanks,


Josh
 
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none of it is night, all of it is day

i was just weirded out when my lecturer was saying if i wanted to use grads or polarizing filters i would have trouble getting the right f stop. i guess she was just being a pain in the ass.
 
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Josh said:
none of it is night, all of it is day

i was just weirded out when my lecturer was saying if i wanted to use grads or polarizing filters i would have trouble getting the right f stop. i guess she was just being a pain in the ass.
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Impossible to say that without knowing what time of day you're shooting, the quality of the light at that point, how much of your subject is in shade, what sort of filtration, yadda yadda yadda.

That's fairly slow, but you should be fine. Bring lots of shiny bounce boards (hard and soft) just in case you need to get light into a troublesome dark area. Your school might have some of the good ones, but they are easily made.
 
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We will be shooting between say 11am and 4pm, well basically when the sun is at its best/strongest.
There is nothing blocking the sun besides possible clouds on the day, though we have the freedom to shoot over 7 days and only need about 2 of those days to actually shoot.

We will be bringing a load of different bounce boards along so we are prepared for any occasion.


Sorry to change the subject a bit but what filters would you say are essential for this type of shoot.

Currently im asking for a set of nd's (0.3,0.6,0.9,1.2. As far as i'm concerned these are essential...

I am also asking for a polarizing filter (we want detail in the sky and for it not to be blown out)

and possibly some grads (1.2, 2.4)

My lecture explained to me that the polarizing filter and grads are "luxuries", i'm not sure how to take this though. I just want to know which would be bare essentials for this type of outdoor shoot.


As a style reference in case you are interested, Andrew Kotting and Harmony Korine are names i would suggest. primarily handheld, prime lenses.

Also if anyone is interested for each set-up we are using two cameras, one Aaton and one panasonic VHS camera which will be blended in the edit.

If anyone would like to see any tests i've done just let me know and i will link you through.

Thanks again,

Josh
 
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Definitely ND, Pola is always good - fun to play with reflections (or lack thereof) in glass. ND grads I would want in case I need to take more out above the horizon than below it. I may or may not want something like a chocolate grad or other tinted grad, but that is up to how much the director wants to mess around with the look of the sky.


I'd worry more about bringing silks, pos/neg fill, stuff like that. In broad daylight you're still going to struggle against the flatness even at a correct exposure.
 
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