From American Cinematographer, A Dramatic Quest by Mark Dillon (December 1999)
"It's such a misfortune that today's film stock technology is doing everything it can to homogenize all of the various [light] sources, with the eventual idea that one day film will see as the eye does. When you do that, you're throwing away a great deal of the cinematographer's visual language."
- Paul Sarossy, CSC
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
Showing posts with label stock. Show all posts
Showing posts with label stock. Show all posts
11.5.09
Juan Ruiz-Anchia: Kodak Original to Fuji Print
From American Cinematographer, More Trouble In Little China by Eric Rudolph (March 1999)
In an effort to keep costs down, New Line Cinema primarily makes its release prints on Fuji stocks. Anchia was therefore compelled to experiment a bit in the lab in order to successfully blend his Eastman Kodak camera original with the Fuji print stock for the general release prints. The cameraman says that he and Beverly Wood of DeLuxe Laboratories in Hollywood eventually devised a complex yet cost effective printing strategy that effectively emulates the crisp look of the Vision-printed show reels.
Anchia notes, "We made our interpositive on regular Kodak stock, which we slightly underexposed, and our internegative on slightly overdeveloped Fuji stock. We then printed to Fuji release stock, which was exposed and processed normally. These manipulations, coupled with the inherently higher contrast of the Fuji release stock, gave me the rich, contrasty look I was after for the general release prints."
- Juan Ruiz-Anchia ASC, AEC
In an effort to keep costs down, New Line Cinema primarily makes its release prints on Fuji stocks. Anchia was therefore compelled to experiment a bit in the lab in order to successfully blend his Eastman Kodak camera original with the Fuji print stock for the general release prints. The cameraman says that he and Beverly Wood of DeLuxe Laboratories in Hollywood eventually devised a complex yet cost effective printing strategy that effectively emulates the crisp look of the Vision-printed show reels.
Anchia notes, "We made our interpositive on regular Kodak stock, which we slightly underexposed, and our internegative on slightly overdeveloped Fuji stock. We then printed to Fuji release stock, which was exposed and processed normally. These manipulations, coupled with the inherently higher contrast of the Fuji release stock, gave me the rich, contrasty look I was after for the general release prints."
- Juan Ruiz-Anchia ASC, AEC
Steven Goldblatt: On Kodak Film
From American Cinematographer, Of Loss and Hope by Jay Holben (March 1999)
"I've experimented for the last two years with Kodak's low-contrast negative stock. In its previous incarnation [EXR 5287 200T], before the advent of 77, I really disliked it. It was too flat and grainy, and I just couldn't get on with it. But this time, using [the new 5277 Vision 320T], it really worked. It has a lovely, soft gradation and was my basic choice for daylight interiors at around 250 [ISO]. I found that it gave a very smooth, flattering skin texture which could still be used interchangeably with the other stocks. It wasn't such an obvious difference that it jumped out at you, but it was much nicer than the 5293 [EXR 200T] and the 5246 [Vision 250D], which I used in the hotel scenes. More often than not, Kodak's 46 is far too contrasty for me, and I have trouble with the highlights, which just blow [out] in a breath, whereas the 77 holds them beautifully. My night stock was 79, which I'm really used to. I've developed a t2.5 eye for 79; I can just look and see that it's around 21 or 22 footcandles and bang! I don't need to meter it. I got there with 77, too, but the 93 and 46 puzzle me a bit-- they don't come naturally, and I've got to work harder to get them to look the way I want them to onscreen."
-Stephen Goldblatt, ASC
"I've experimented for the last two years with Kodak's low-contrast negative stock. In its previous incarnation [EXR 5287 200T], before the advent of 77, I really disliked it. It was too flat and grainy, and I just couldn't get on with it. But this time, using [the new 5277 Vision 320T], it really worked. It has a lovely, soft gradation and was my basic choice for daylight interiors at around 250 [ISO]. I found that it gave a very smooth, flattering skin texture which could still be used interchangeably with the other stocks. It wasn't such an obvious difference that it jumped out at you, but it was much nicer than the 5293 [EXR 200T] and the 5246 [Vision 250D], which I used in the hotel scenes. More often than not, Kodak's 46 is far too contrasty for me, and I have trouble with the highlights, which just blow [out] in a breath, whereas the 77 holds them beautifully. My night stock was 79, which I'm really used to. I've developed a t2.5 eye for 79; I can just look and see that it's around 21 or 22 footcandles and bang! I don't need to meter it. I got there with 77, too, but the 93 and 46 puzzle me a bit-- they don't come naturally, and I've got to work harder to get them to look the way I want them to onscreen."
-Stephen Goldblatt, ASC
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