choosing a stock

[viki]

hey david

im in a bind

i do not have the opportunity to do a camera test before we hit production, however im going for a high-key look, evenly lit, flesh tones, pastels, (its a nighttime bedroom scene) no stark contrasts, think romantic-comedy lighting
its my first time with colour film, hence the ignorance

i read online about kodak's -

KODAK VISION2 200T 7217
KODAK VISION 200T 7274
KODAK VISION2 100T 7212
even the popular 7277

anyways, these were the stocks i was going to test, but do u know anything about them specifically, or where i could get info on which stock a movie actually used, what are your thoughts on them, or i read the 7274 is "standard"

thanks
v

 

[David Mullen ASC]

7217 is the Vision-2 replacement for 7274. It is very slightly finer-grained and sharper (although not by much, since 7274 was so good!) and it is slightly more low in contrast, with slightly softer colors, so is probably the stock for your project.

7277 is now obsolete. It was a low-con stock, somewhat soft & grainy, but looked good in a print if you really overexposed it and printed down, like rating it at 160 ASA instead of 320 ASA. 7229, Expression 500T, looks similar but is faster, hence why the need for 7277 has been diminished.

7212 is the 100T Vision-2 stock, even finer-grained and sharper than 7217 but a stop slower of course. Otherwise, it has that Vision-2 look to the colors and contrast.

 

[Kevin_Zanit]

I just shot a comedy taking place in a room at night on 5217. I really liked it, although as most of the vision 2 stocks, it’s a little lower con than I tend to like.

I am amazed with the latitude of this new line. I had shot plenty of '18 prior to this project, and I did no tests with '17. I had seen all the Kodak demos, and was convinced that '17 and '18 respond almost identically (except of course for the speed difference).

The '17 (and Vision 2 in general) worked out nice for the project, but I personally would not use it again much (except maybe in 16) because I miss the snap, and its almost too fine grained for a lot of subjects.

The film responds very close to what your eye sees through a viewfinder, very impressive. I let a lampshade go 6 stops over and it held gracefully.


Kevin Zanit