Wittner 200D under artificial light - filter?

[Simon Lucas]

What lens-filter do I need to shoot Wittner Chrome 200D indoors?

Typically I will use a tungsten light source.

I will switch out the camera built-in filter manually.

[Simon Lucas]

Found it:

Wratten 80A. In my case a 39mm filter was hard to find but I sourced one from the US.

[7OSE9]

Yes, I use that emulsion with Reflecta light, in Double 8 and Single 8, I use that filter.
I have different sizes of it, for the various cameras.

[Simon Lucas]

Yes, I use that emulsion with Reflecta light, in Double 8 and Single 8, I use that filter.
I have different sizes of it, for the various cameras.

Good to hear from someone using it under artificial light. And do you rate it at 50ASA, as suggested? I'm not clear why it apparently loses 2 stops. Is that just to compensatre for the filter?

[7OSE9]

Yes, 50 Asa under artificial light, because the filter absorbs two stop of light. it is as if "stealing" light to the film.

[Simon Lucas]

Yes, 50 Asa under artificial light, because the filter absorbs two stop of light. it is as if "stealing" light to the film.

Thank-you, I didn't realise the filter was so dense.

[7OSE9]

Yes, that blue takes, relatively, a lot of light

I use 80A filer also with my Fujica Zc 1000 Single 8, but it has an internal light meter, TTL, so just put the filter over the lens and the exposure meter automatically detects the lowering of light.
But there who, even with the TTL system, prefers to set the ASA with two stops absorption, before fitting the filter.

Take into account also the camera that uses and if it's TTL or less when using the filter.

[Simon Lucas]

Yes, that blue takes, relatively, a lot of light

I use 80A filer also with my Fujica Zc 1000 Single 8, but it has an internal light meter, TTL, so just put the filter over the lens and the exposure meter automatically detects the lowering of light.
But there who, even with the TTL system, prefers to set the ASA with two stops absorption, before fitting the filter.

Take into account also the camera that uses and if it's TTL or less when using the filter.

Thanks for the advice. My camera has TTL and manual film-speed setting. But I tend to use a Smith and Weston V with diffusion cone.

[mr8mm]

Actually the film is AGFA Aviphot 200D. Wittner finishes and repackages the film but does not manufacture the film. I have used the 200D indoors without movie lights and had good results since most indoor today is fluorescent or led and those sources work well with 200D without the blue filter. Using the film with available light and without hot lights allows filming your subjects in a more natural and intimate way. I have used 200D in a bar/cafe with good results. So, try filming with available light and take advantage of the film's 200 film speed. Color balance may not be perfect but it is quite acceptable.

[7OSE9]

Among other things, many filmaker don't like this Aviphot 200D for i'ts lot of grain: I rather like it for some projects, it gives an idea of a "oniric", it's special. If we expect a film silky and Ok for the little details it's not a good, for me, but for other things is a very nice emulsion.

[Simon Lucas]

Actually the film is AGFA Aviphot 200D. Wittner finishes and repackages the film but does not manufacture the film. I have used the 200D indoors without movie lights and had good results since most indoor today is fluorescent or led and those sources work well with 200D without the blue filter. Using the film with available light and without hot lights allows filming your subjects in a more natural and intimate way. I have used 200D in a bar/cafe with good results. So, try filming with available light and take advantage of the film's 200 film speed. Color balance may not be perfect but it is quite acceptable.

I'd like to use it without filter to save the speed rating. But my Bowens white light is 300w and seems to give out little light and it lacks contrast. I found my old tungsten photo floodlight form years ago with a working 500w bulb. It's much brighter and more contrasty. So, I think I need the filter, but at the same time I'll lose two stops - which means I wont have a enough light. Without filter I can get f2.2 on 80asa rated film. Catch 22. Maybe I'll have to use mixed lights with and without the filter, and see what I get.

EDIT. I guess I should really use Kodak Vision 3 for tungsten and accept that it has to be sent off for development. AT least then I would get 200asa (or 500asa)

[Simon Lucas]

Among other things, many filmaker don't like this Aviphot 200D for i'ts lot of grain: I rather like it for some projects, it gives an idea of a "oniric", it's special. If we expect a film silky and Ok for the little details it's not a good, for me, but for other things is a very nice emulsion.

I don't especially want grain, but I have no option, if I want to learn to develop colour film myself. At least until Ferrania start up their production. I have subscribed to their project and will get two carts of Super 8.

[Simon Lucas]

Coming to my senses over this film and what lights I have. I will be better off using the Bowens 300w daylight with film rated at full 200ASA, so getting a working aperture of f2.8 at 24fps (1/58) at around 3' from the light. That gives me leeway of a whole extra stop too, if I need it. Borrowing an extra Bowens – which I can do – will give me even more options.

[7OSE9]

I've never used a daylight Bowens, while with Aviphot I am comfortable with my Flectalux, but because it is 1000 watt and it to be sufficient.