Jarin, an interesting read, and great attention to detail, good luck. Always good to see real film in a film.
I have a question why would the suppression of UV make a difference, I thought modern stocks, and modern lens did not pass much UV light at all?
Modern films are designed to have reduced blue sensitivity to prevent blues from being too light. This is important with blue eyed subjects.
Would a Technicolor camera loaded with only the blue and green film do the job? Or are they unobtainable now?
Actually, some ortho films had a little bit of red in them, so an 80A (converts type B color to daylight) may be enough. If not, a CC50C in addition may work. Minus red filters are hard to come by, but they were sometimes used in scientific work. Some places still have a stock of 3 inch gelatin squares. Suggestion: try the easy stuff and see if it works.good suggestion but, the 'hard-chop' requirement of the OP may require a special filter.
Actually, some ortho films had a little bit of red in them, so an 80A (converts type B color to daylight) may be enough. If not, a CC50C in addition may work. Minus red filters are hard to come by, but they were sometimes used in scientific work. Some places still have a stock of 3 inch gelatin squares. Suggestion: try the easy stuff and see if it works.
I agree, a blue filter should work but a hard chop is unlikeloy to occur;filtersalways have some transmittance to all wavelengths.I'd try using a blue filter like an 85B. I've not done that, but worth trying as an experiment on a test shot of still film?
The trailer looks great. I'll be sure and see the film when it hits theaters.
Jared,
What filter (and characteristics) did you finally end up with for the look? Just curious,
Doremus
these charts are in the Kodak filter guide.I am not attempting a tint at all - the final film will be shades of true gray. I'm merely looking for orthochromatic response onto panchromatic film. Initially, I thought that strongly gelled lighting would be the way to go about it, but ultimately, I figured that a bright set and camera filtration is probably less distracting to the actors than a deeply cyan set. Additionally, there are many day exterior scenes where I would need the filter.
Does anyone have a spectral sensitivity chart for CC50? Or a blue 47 for comparison? I wouldn't be opposed to a "blue-sensitive" look with the 47 either - it's just that that filter eats too much light to be practical. Ideally it's 2 stops or less, while working as effectively as possible.
J
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