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Thanks Dom and Ronson for the images.
Dom, do you think maybe you could post which film stocks are used for which pictures. It would be great for reference. I'm guessing 008 and 009 where shot with 45 ASA, these 2 had the tightest grain, but there might be times where you want that grain for effect, for instance, I thought 013 was a very cool shot, although very grainy.
Thanks again,
Scott
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Thanks Ronson, you answered my question but we posted at the same time.
Thanks.
The shot where the guy is whispering in the girls ear (013) is a very cool shot.
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Scott: "I'm guessing 008 and 009 where shot with 45 ASA, these 2 had the tightest grain..."
Let me take the guess-work out of the picture and fill you guys in directly, myself (it'll save Dom and I some back and forth emails).
Okay...
Shots 1, 2, 8, 9, 10, 12, 14, 15: 48/100T.
Shots 3, 4, 5, 11: 74/200T.
Shots 6, 7, 13, 16: 79/500T.
Scott: "...but there might be times where you want that grain for effect, for instance, I thought 013 was a very cool shot, although very grainy."
Ha! Funny you should say that... shot 13 is the one I'm talking about in the above post, the one I wanted to reshoot because it just looked crappy. I don't know if that's more the grain you're seeing, or just the fact that it was way out of focus.
My DP nailed the framing I wanted in most of the shots... I boarded everything in detail, so he didn't have to do any guesswork. But most of the shots in the bar were a bit fuzzy... I wanted to strangle my DP, who insisted he did a critical focus each time.
Ah, well. Live and learn.
You really should see that shot done right with the 77/320T, though... I'm hoping Dom has time to pull it and post it.
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Did it again, didn't we, Scott? http://www.hostboard.com/ubb/smile.gif
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Guess we did. http://www.hostboard.com/ubb/wink.gif
013 is both out of focus and grainy. But I think it looks very cool, a sort of "nightmarish-memory" effect. I wouldn't know if it would fit with the context of the rest of the film.
I really like the look of the 100T, too bad Kodak didn't open that to super8 instead of the 200T. I say we all go to the petition on http://www.8mm.filmshooting.com and politely ask Kodak to sell 100T. Who's with me?!?
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<BLOCKQUOTE><font size="1" face="Courier, Arial">quote:</font><HR>Originally posted by Ronson:
Matt, am I in for a pleasant surprise? http://www.hostboard.com/ubb/smile.gif
<HR></BLOCKQUOTE>
Oh, yeah. There are drawback to reversal, we all know, but you will be shocked at how fine grain K-40 is.
Like, you probably won't be able to see any grain!
Amazing stuff!
Matt Pacini
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I did not have time to get to the Avid Fridy. I will try it Monday. I attempted using a BetaSP deck connected to a computer cia composite and an ATI All-in-Wonder. The quality was horrible with significant lost of chroma and contrast.
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I shot around 12 rolls of 500 ASA neg stock for a pilot series produced by Columbia, and thanks to Roger's advice, overexposed it 1 full stop, and the grain virtually vanished.
Looked like the grain structure of Kodachrome.
Cool
S-
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I'm going to be shooting a commercial on Pro8 Neg. I'm aiming at 50D, 100T and 200T. Do you think I should over-expose these stocks like the 500T?
Scott
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Everything I've ever heard on Neg. is to overexpose about a stop. I went way over with some 500 once and with the color correction during transfer, they were still able to pull it into the relm of good looking. Neg. can be remarkable in this regard. I'd go over on all these stocks.
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PRM