Ektachrome 160 in low lighting at 24 fps?

[c_77]

Hi Everyone,

I have been lucky enough to get my hands on some Ektachrome 160 sound. I intend to use it to film a live band in a nightclub. The lighting there will best described as fair or average. I would like to try and film at 24 fps but am not sure how much more lighting I need than 18 fps. My camera is a Nizo 3056. I have tried filming Ektachrome 160 sound at 24 fps before at another club and had it come out almost totally black. I have used a Canon 814 with VNF 7240 at 18 fps, with only a few lightbulbs in a nightclub and it came very well!?

I know I am being very vague but based on your gut feelings, does anyone believe that I could get away with it? Could it be push processed? Sometimes I think some developers do this automatically while others don't care! Has anyone used Rocky Mountain Labs in Colorado for Ektachrome 160?

Also, if I play safe and film at 18 fps, would there be any way to speed it up later or am I stuck when using sound striped film? These are a lot of questions and I appreciate any of your responses.


Thanks,
Chris Hebb

[Greg Crawford]

First of buy yourself a light meter.

If you have permission of the club ma by you would move a couple of there lights around to favor your shooting.

Could you use less strong gels?

You could buy or rent three 1000 watt lights with stands..or clamps... and add a couple of colored gels .

Try to match the colors already being used by the club.

You could still simulate a lower light level look, by setting your fill light at say 1 stop under what would be considered normal exposure. Have your key light set at the exposure level. and if you can add a kicker (hair light )? on the band, to separate them from the background. If you have an extra light or two you could light the background or the crowd.

I know this is not what you want to hear...but trying to film without light is light, is like rearranging the chairs on the Titanic.

[Alex]

The difference in the amount of light needed when comparing 18 frames per second versus 24 frames per second is between 1/4 to 1/2 of an F-stop. If in the past you are getting footage that is darker than you want, definitely keep your exposure meter set to manual, and probably almost completely open. (around F 2.0), this helps avoid your automatic meter from being fooled by bright spotlights that can cause the auto-exposure to suddenly think there is too much light and close down your f-stop to an unacceptable amount.

You can get away with being completely open (below F 2.0), but the chances are greater that your focus will be soft. Also, make sure your
85 filter is removed from the film path via your external selection switch.

(Yikes, here we go with the issue of "is the cartridge notching systems overriding the external filter switch, http://www.hostboard.com/cgi-bin/ult...c&f=405&t=352)

The biggest problem with shooting in these types of venues is that the lighting is high contrast and high color content. I don't like the idea of putting up lights in a public area because of the high probability that the stands will be knocked over, and could hurt someone, and lead to a lawsuit.

See if you can sneak your own light up on the lighting grid a day or two before the event, during off time. the simplest solution, in my opinon, is to use one light, and use it to fill in the dark spots and add overall ambience (fill light) without disrupting the feel of the live event.

Too much fill will wash out the other lights and ruin the "effect" trying to be created with the colored lights.

Professional, 35mm DP's do tests all the time. So if you want to try any of the above, don't wait for the day of your event, add a light to the lighting grid, try a test, and send it in to yale via their camera test offer, http://www.hostboard.com/cgi-bin/ult...ic&f=405&t=345

[TA 152]

<font color="#a62a2a" size="1">[ August 28, 2003 05:10 AM: Message edited by: S8 Booster ]</font>

[Greg Crawford]

[QUOTE]Originally posted by Alex:[QB]Tclose down your f-stop to an unacceptable amount.The biggest problem with shooting in these types of venues is that the lighting is high contrast and high color content. I don't like the idea of putting up lights in a public area because of the high probability that the stands will be knocked over, and could hurt someone, and lead to a lawsuit.See if you can sneak your own light up on the lighting grid a day or two before the event, during off time. the simplest solution, in my opinion, is to use one light, and use it to fill in the dark spots and add overall ambience (fill light) without disrupting the feel of the live event.Too much fill will wash out the other lights and ruin the "effect" trying to be created with the colored lights.

I agree, Less is More. One or two Tota's could do the trick...on a grid would be best.

But it is my believe that you can never have en ought light units on location so take more...and use only what you need.

Alex is right about the stands, I would try to find another way. And right about not wanting to distract what is already there. My thought was that you could create the same look with more powerful lighting unites if you have the experiences, equipment, time and permission

Your ASA 160 Ektachrome is 1 2/3 stops slower than what I would use shooting 16
or 35 mm.

[Alex]

By the way, Kodak has replaced the Ektachrome 160 with a vastly superior Ektachrome 125 Stock.