a quick post on 500T

[John_Pytlak]

Increasing exposure moves the scene detail "up the curve" onto the finer grained mid and slow speed emulsions.

Try 7217 200T at EI-100 or even EI-40, and the grain will be very fine.

:?:

Do you need to tell the lab that you exposed the film as ASA 100? I.e., if I expose the 7217 as EI-50, should I ask the lab to pull it 2 stops in order to get the desired effect, very fine grain?

No, process it normally. You will get a dense negative, but even with one or two stops overexposure, there should be no problem transferring it or printing it.

[the woy]

I second that. My experiences is that with small gauge formats its smart to overexpose 1 stop or more. The grain and shadow detail just gets so much better.

test reel MPEG1, 8MB

mostly overexposed at least 1 stop. Inside metereing V2 200t @ ASA100, outside with 85 @ 64ASA. some of the scenes are underexposed.

in the wide car travelling shot at the very end, the spot metered sky was 5 stops over and still hold up texture.

nic

edit: corrected typo in url link

[tlatosmd]

Die Seite kann nicht angezeigt werden.

[jpolzfuss]

Die Seite kann nicht angezeigt werden.

Well... there are two types of Germans: The ones who do know that German webadresses end with ".de" and the ones who still think that ".ed" is correct ;)

[tlatosmd]

And there's the third who're so lazy they expect a link to work without checking its url. ;)

[John_Pytlak]

I second that. My experiences is that with small gauge formats its smart to overexpose 1 stop or more. The grain and shadow detail just gets so much better.

test reel MPEG1, 8MB

mostly overexposed at least 1 stop. Inside metereing V2 200t @ ASA100, outside with 85 @ 64ASA. soe of the scenes are underexposed.

in the wide car travelling shot at the very end, the spot metered sky was 5 stops over and still hold up texture.

nic

Excellent image quality, especially for the outdoor scenes. Almost no grain, and very sharp. A few of the indoor scenes had more visible grain and some loss of shadow detail, showing some underexposure. A few might have had some uncorrected fluorescent light exposure (greenish tint).

[the woy]

I second that. My experiences is that with small gauge formats its smart to overexpose 1 stop or more. The grain and shadow detail just gets so much better.

test reel MPEG1, 8MB

mostly overexposed at least 1 stop. Inside metereing V2 200t @ ASA100, outside with 85 @ 64ASA. soe of the scenes are underexposed.

in the wide car travelling shot at the very end, the spot metered sky was 5 stops over and still hold up texture.

nic

Excellent image quality, especially for the outdoor scenes. Almost no grain, and very sharp. A few of the indoor scenes had more visible grain and some loss of shadow detail, showing some underexposure. A few might have had some uncorrected fluorescent light exposure (greenish tint).

As a video shooter and from my 16mm and 35mm experience, I expected more shadow detail in the indoor scenes, the now pitch black background was only 1-2 stops under. But on s8 and with the telecine (Flashscan8), it didn't held up so well. Bringing up the shadows made the grain visible.
We had some uncorrected non flicker free HMIs, which was a big error.
Nic

[audadvnc]

FlashScan8? Could you elaborate on that box? How does that compare to a "real" telecine?

I suspect you don't have the image control on a FlashScan8 that you would with a full-on telecine with color corrector. So your video transfer is likely not showing you all that's on your film. Shadow detail is one of the major advantages of the more expensive transfer.

[matt5791]

I find the 500T grain to be excellent - especially if it is overexposed up to 1 stop.

Often I have bought 200 and 500 Vision2 stock for a project and afterwards thought I could have quite happily just stuck to the 500.

Matt

[John_Pytlak]

I find the 500T grain to be excellent - especially if it is overexposed up to 1 stop.

Often I have bought 200 and 500 Vision2 stock for a project and afterwards thought I could have quite happily just stuck to the 500.

Matt

You will get finer grain with a slower film, if you have enough light to get a good exposure. So when you have lots of light, use the Kodak VISION2 Color Negative Film 7217. As noted, you will get very good results, even with a stop or two of overexposure.

Always best to use an orange 85 filter when using a tungsten balance film with daylight or HMI.

[the woy]

FlashScan8? Could you elaborate on that box? How does that compare to a "real" telecine?

I suspect you don't have the image control on a FlashScan8 that you would with a full-on telecine with color corrector. So your video transfer is likely not showing you all that's on your film. Shadow detail is one of the major advantages of the more expensive transfer.

In my opinion, its a real telecine. I don't know much about it, only sat next to it. Big machine. And yes, you can treat the colours, contrast and brightness of the picture with an operator (this is what I did). It doesn't offer powerwindows or advanced features like DaVinci or Poogle systems, but a good control of image manipulation possibilities, continous film transport (no scratches), 10bit 4:2:2 SDI output (this is what I got the footage scanned to - uncompressed to harddisk) and native negative and reversal film support. I think its quality is identical to a Rank transfer. The only disadvantage is that due to its CCD-System origins it it crushes the blacks a bit. Nonetheless it's a great device and the telecine company is only a 5 min walk away from my home.

Nic

PS.: I had some sort of supervised best-light transfer. I wanted to have a rich video master for later tape-to-tape colour correction. So the raw image looks a bit flat and hasn't the final look baked in.

[sarmoti]

I'm dying to see some 7201 (50D) exposed at 12 and 25 ASA. I'm probably going to be ordering a large batch soon (once I check if I can produce enough light) so I might just sacrifice a couple carts for tests.

[sarmoti]

Also keep in mind that by overexposing the film the telecine has to "work harder" to pull the image from it. Older Ranks, other telecines and perhaps maybe even on a camera transfer you might end up with a significantly greater amount of electronic noise from pushing the gain up on the negative to compensate for your in camera overexposure. The newer the machine and the higher it's S/N ratio, the better your results will be.

[T-Scan]

I'm dying to see some 7201 (50D) exposed at 12 and 25 ASA. I'm probably going to be ordering a large batch soon (once I check if I can produce enough light) so I might just sacrifice a couple carts for tests.

Would be great to see a sample of that if you could? when you do? I'm going to hold my breath for a 50D summer from the K still.

[edgebsl]

Also keep in mind that by overexposing the film the telecine has to "work harder" to pull the image from it. Older Ranks, other telecines and perhaps maybe even on a camera transfer you might end up with a significantly greater amount of electronic noise from pushing the gain up on the negative to compensate for your in camera overexposure. The newer the machine and the higher it's S/N ratio, the better your results will be.

I fed such an older rank some really dense negatives and got a lot of noise! I've been trying to figure out what went wrong for some time now!