Lighting type research

Because I am experimenting with light in my minor project, I thought it necessary to do some more research into the different types of lights that I intend to use.

Open ended/Open face lights

Redheads & Blondes

Fresnel lights.

A Fresnel light works in the same way as a Redhead or a Blonde, but with the light being directed through an extra glass lens to help control the direction and intensity of its beam.

According to Kris Malkiewicz’s book Film Lighting, “For years the 1,000 watt Baby, 2,000 watt Junior, 5,000 watt Senior and the 10,000 watt Tener were the workhorses of the film industry.” In CCAD, as far as I can remember, we have 1,000 and 2,000 watt fresnels, but do not have 5,000 and 10,000 watt fresnels. While I was writing this blog Lee, the technician from my course, walked past and had a small conversation with me and a fellow student. He told us that the big 5k and 10k fresnels are too much of a power drain and cost a lot to maintain. I also wonder whether students would actually use such big lights enough to justify their cost.

Taxi Driver Lighting

This a shot of our protagonist Travis Bickle in a cinema watching a dirty movie. I chose this shot to compare the lighting style to the one used in the cinema scene in Vengeance is Mine, which I discussed above. There is less attempt in this shot to make the lighting appear as if it is coming from the cinema screen. You can also see more of the environment around him and there are brighter colours. This may be because the shot is attempting to convey a different thing. In Vengeance is Mine they are in a crowded cinema and Enokizu is attempting to remain incognito in the cinema. Ths needs to seem believable to the audience and therefore it is important to convey the dark environment of the cinema. In this shot however, the cinema is almost empty anyway and Travis is not trying to hide, therefore the cinema environment is slightly brighter and he is more well lit.

For the sake of realism, the cinema environment is dimly lit and shadowy

Vengeance is Mine lighting part 4

This shot is shortly after the character’s leave the cinema. I chose this shot because it depicts the characters in a city street and therefore I can compare it to other city street shots in Taxi Driver. Enokizu in this shot is trying to leave the cinema without being noticed by the other cinema goers. He also seems to be trying to get away without Haru following him, but is caught off guard slightly when she talks to him about his crimes in a way which implies that his lies about his identity and his crimes have not put her off being close to him. The light in this shot changes as they walk down the street. I did wonder whether there was any extra lights used in this scene at all - maybe it just uses light already available in the street - but as the scene goes on there seems to be aspects of the lighting that seem quite deliberate. As the scene comes to an end for example, they walk into a dimly lit area where they are completely in shadow, which helps the narrative of the scene implying that they are successfully managing to slip away into the night. It would also be very difficult to expose film without extra lighting in a city street.

Throughout the scene Enokizu and Haru repeatedly go in and out of shadow as they are walking and talking, but all of the while you can see the city lights quite brightly in the background out of focus. This contrasts with cuts to another shot of a random cinema goer who seems to have recognised Enokizu from the public service announcement and is attempting to follow them in order to see if her suspicion is correct. The shot of the cinema goer following them is quite brightly lit in contrast to this shot. Therefore the brighter background in this shot may be to keep us aware of other members of the public who may recognise Enokizu to imply that this is in the back of the character’s minds as they are walking.

Vengeance is Mine Lighting Part 3

This shot shows Enokizu and Haru in the cinema as a public service announcement plays before the film they’ve went to see informing members of the public about Enokizu and asking them to aid the authorities in his capture. I chose to analyse this shot because there is also a shot of Travis Bickle in the cinema in the film Taxi Driver.

In this shot the light on them is supposed to look like the reflected light from the cinema screen and the key light source is coming from a similar place to where it would be coming from if it were real life people in a cinema. It is a very dull light and very realistic, but upon closer inspection there seems to be more going on with the lighting in this shot than what is first apparent. For example, as in the other shot analysed above, Haru  is more brightly lit than Enokizu. At this intense moment both of the character’s eyes are visible as well, which is very interesting considering how shadowy the light is as a whole. There is just enough light around the rest of the cinema to see the other  people in the Cinema, including the blur of another person’s face in the foreground. You cannot see the room very well as it seems to be in darkness. There is a touch of light on one wall in the cinema.

vengeance is Mine Lighting part 2

I chose to use this shot because it features Enokizu messing around by himself and I thought it was the closest thing thematically to the scene in Taxi Driver where Travis talks to himself in the mirror. This scene is completely different however because of the differences in character between Enokizu and Travis. Travis is intently in his own dark space during that scene, whereas Enokizu is no where near as intense, despite being a much more violent person than Travis. Enokizu often has the personality of a badly behaved child and in this shot can be seen strangling himself the way an upset kid would when being over dramatic about something.

In this scene there are some light sources that are visible in the shot and are therefore part of the character’s world. I’m not sure if this can be referred to as diegetic in the same way as music that the characters can hear is. The most obvious one is the bulb inside a lamp which hangs from the ceiling. The other is a lamp which stands on the table in the background of the shot. Neither of these light sources seem to be casting a great deal of light on Enokizu, as he seems to be mainly lit from the front. There is significant shadow around his edges and he almost seems to be disappearing into it. There is also bright light on his face and the front of his clothing, which is much duller on his legs. This light source is probably shining down on him from quite a close range and seems to be directly in front of him. This may be a studio light such as a fresnel, as it is shining a direct beam and is not really illuminating any other parts of the frame. The background might be lit by the bulb that we can see in the shot. The background in this shot is much more dull than Enokizu.   

Vengeance is mine lighting part 1

This shot is fairly typical of Vengeance is Mine in terms of the type of lighting. The main light in this shot seems to be located almost directly above the actors, judging by the shadows cast on the table by the bowls. Our murderer protagonist Iwao Enokizu has a fair amount of shadow cast over his face, in this frame, by his fringe and brow. These shadows do not stay in the same place for the entire shot length however because his head moves around a bit. His eyes are in shadow at this frame. A character’s eyes being in shadow often makes a character appear menacing in some way, as in many of the scenes in Francis Ford Coppola’s The Godfather. Here however this is not the case, despite the fact that Enokizu is in fact a serial killer. This is because the light here is not harsh and filled with moody light and shadow, it is quite flat. It does however, have the effect of making him seem distant and untrustworthy. Haru, the woman getting drunk with him, is more well lit. There may be some slight fill lighting on her, but I am not sure. It may be because the light is more directly above her, but it could also be a very modest reflector, like a piece on white foamboard or something, reflecting some light back up onto her face. I think Haru is possibly lit more brightly to reflect the fact that she is a more open character who is in touch with her emotions and therefore more trustworthy, despite having her own faults.

The characters are standing out from the background and have quite defined outlines, so it would seem that there is some form of backlight, but I’m not sure where it is coming from. I think it may be above the green beam behind Enokizu’s head, as this is the brightest part of the background. This light seems to be casting a small shadow below the frame of the screen behind them. There also seems to be some light behind the screen, coming from above.

Introduction to lighting in Vengeance is mine

Vengeance is Mine

Vengeance is Mine has a unique lighting style, which makes it different from many other films. The film seems to sacrifice some of the clarity which comes from being able to see things clearly and brightly on screen in favour of a realistic style. Scenes in Vengeance is mine tend to be lit in a way which echoes the inadequately lit conditions of real life. (This is not to the same extreme as some of his earlier films, such as The Insect Woman, however and is therefore more watchable as a result) Rooms sometimes feel quite dimly lit, many of the scenes take place under sunlight and, when indoors, characters facial features come in and out of light. This is done in a fairly flat way however, not in such an extreme way as to draw attention to itself like it does in Film Noir or expressionism. The acting is left to do most of the work and the audience are left with an emotionless detachment from what is happening. The lighting will often be in the same style for a violent murder scene as it is during a scene of mundane everyday chit chat.

Lighting in Scorsese and Imamura films introduction

New wave Japanese director Shohei Imamura Vs 70s American Brat pack director Martin Scosese.

Background (similarities and differences in style and approach).

In this series of blogs I intend to analyse some different types of films to compare and contrast the lighting styles. In this blog I have chosen to look at shots from the 1979 Japanese film Vengeance is Mine directed by Shohei Imamura and the 1976 american film Taxi Driver directed by Martin Scorsese. The reason being that I think these directors during this period have a few things in common in terms of their approach.

Shohei Imamura emerged during the 1960s in Japan, a time when many people working as assistants in the main Japanese film studios began to get more of an opportunity to change companies and move to bigger roles such as directing. This meant that younger directors got more of an opportunity to make creatively ambitious and socially and politically rebellious films. Many Japanese directors in this period also made films outside of the studio system in order to gain more creative freedom. Imamura was one of the biggest names from the Japanese new wave and worked both within the studio system and outside of it. Vengeance is mine was made at a point in his career when he had returned to making features films after a period during the 70s in which he had changed to making documentary films exclusively. Vengeance is Mine however, still has many of the themes that were explored in Imamura’s earlier work exploring Japanese from the point of view of outcasts, criminals and the lower classes.

Martin Scorsese emerged during the 1970s in Hollywood at a time when the Hollywood system was willing to invest more in films that more politically and socially aware. Taxi Driver is one of Scorsese’s most famous films and explores America, and indeed the world as a whole, from the point of view of a Vietnam war veteran who has been disowned by American society.

While there are many similarities between the approaches of the two directors there are also many differences. Both directors use strive to create a level of realism when telling stories visually, but contrast this with heavily stylistic and often almost impressionistic qualities.

Imamura does this in Vengeance is Mine by shooting all on location, having much handheld camera movement and often framing in a detached unemotional way, whilst also toying with crime thriller genre element in the score and in using other conventions such as repeated filler shots of a train moving across the country with details of the killer’s action written in text across the screen. He also adds in strange symbolic imagery, some of it almost unnoticeable (like a cable car filled with nuns passing behind the characters in one shot) and some of it quite blatant (like the film suddenly stopping on a freeze frame as the dead killer’s bones are scattered by his family, leaving the bone suspended in the air before cutting to the family members shocked reactions).

Scorsese has lots of realist conversation in much of Taxi Driver. There is use of improvisation by the actors and much location shooting. However, he uses a highly emotive score, moody lighting, editing techniques and a voice over to involve people in the internal world of the main character Travis Bickle, creating a strong detachment from our own reality and an immersion within his. This is perhaps the biggest difference between the two films, as in Taxi Driver we are immersed inside the head of the protagonist whereas in Vengeance is Mine we observe him from a cold, unemotional external position.

Both films have protagonists who are not good guys in the traditional sense. However, in Taxi Driver Travis Bickle views himself as a good guy and the film makes us understand this from his view point, but in Vengeance is Mine the protagonist is cold and manipulative and does not seem to care much about good and bad, viewing everything in a very matter of fact way, and therefore we as an audience are encouraged by the film’s style to view the films events in a similar fashion. In this respect the two film couldn’t be more different.

Lighting

For this blog I’ve decided to choose similar types of shot in each film to analyse the different lighting approaches in each. This was quite difficult as they are both very different films. Also, Vengeance is Mine tends to mainly be set during the day and Taxi Driver tends to mainly be set during the night.

Kodachrome and other Colour reversal films

Kodachrome vs other types of Colour reversal film.

Ektachrome is a standard style colour reversal film that would be developed in a E6 chemicals. Kodachrome is also a colour reversal film, but it uses a K-14 chemical process which is older. The emulsion layers and structure is also different. Fujichrome also uses the E6 process, but Fuji’s Velvia introduced in the early nineties has much thinner emulsion layers which means that light scatter within the layers is reduced and sharpness is increased; despite Fuji’s Velvia having more layers than older Fujichrome (17 to the older 15) it is actually thinner by 15%.(1)  Kodachrome is quite famous for having more muted colours than E6 films however, but is not produced anymore. Many used to prefer Kodachrome however.

I would say, judging purely by pictures I have seen on Google images, that overall I prefer ordinary reversal film over Kodachrome, but I also think that comparing the two is a little like comparing two completely different things to each other. I think if Kodachrome still existed I can understand that it would have, and probably did have, completely different artistic applications. This is similar in many ways to the way in which Black and White photography has completely different applications creatively than colour film. Black and white photography can give uniformity to colours in an image, which may be useful for situations when there may be clashing colours in the frame in situations where you have less control over what is photographed, as in street photography. I think Kodachrome, due to it muted nature may also produce this effect, but to a lesser extent. This means that I can imagine lots of circumstances in which Kodachrome would be more effective than the more brightly coloured E6 reversal films. It is a shame that it is no longer available.

The following is a selection of Kodachrome images taken from google images:

London in the 1940s.

Colorado in 1957

Chicago 1953

Korea in 1966

Refferences

Popular Photography, May 1990,

Still 35mm Film Stocks

Speed	Kodak	Fuji
Slow	Name:Kodak Ektar 100 Speed: 100 or 125 Type: Colour Negative Jessops Description: This high saturation film offers the finest grain of any colour negative film available (as of August 2012). It is therefore ideal for making enlargements and for scanning.	Could not find any fast Colour negative films, so was thinking of using Reversal instead. I know this will produce differences. Name: Fuji Velvia 50 Speed: 50 Type: Colour Reversal Description from Calumet Photographic: Fujichrome Velvia is the benchmark ISO 50 daylight-type colour reversal film in the industry. Its 17-layer structure delivers a unique level of power and sharpness, whilst its brilliant colour reproduction, tonal range and image execution put Velvia in a class of its own. Designed for the wide-ranging needs of fashion, advertising, nature, and scientific photography, when highly detailed image renderings and colour enhancement are required. A breakthrough in emulsion technology. Outstanding sharpness, capacity and depth of colour. Perfect for advertising, fashion or 'high impact' photography. Excellent for print reproduction. Adaptable to both studio and location applications. Vivid colour reproduction. Velvia is also available at 100. Name: Fuji Provia 100F Speed: 100 Type: Colour Reversal Description from Calumet Photographic: With the smoothest, sharpest performance of any 100 ISO colour film in the world, Fujichrome Provia 100F is a truly remarkable development of this popular range of reversal films for the professional. The result is a film that couples exceptional image quality with incredible ease of use, delivering the same versatility and dependability that photographers have come to expect from professional Fujichrome. The finest granularity of any 100 ISO film in the world. Sharper than many 25 ISO rated films. Smooth, rich and detailed rendition of tones and colours. Excellent push/pull processing capabilities. Extended exposure freedom and tolerance.
Medium	Name: Kodak Colour Plus (Actually Kodak Colorplus because of American spelling) Speed: 200 Type: Colour Negative Jessops Description: This ColorPlus film offers really fine grain and natural looking results under mixed daylight conditions. This film produces brillant images when you want nostalgic-type results.	Name: Fuji Superia 200 Speed: 200 Type: Colour Negative Jessops Description: Fujicolor Superia 200 is an excellent and truly reliable general purpose film. Having won many awards for its quality, the film features the following characteristics: Medium speed with fine grain structure. Enhanced colour realism across the entire visual spectrum. Beautiful and natural skin tones. Refined sharpness Wide exposure latitiude. The film utilises Fuji's 4th emulsion layer technology to dramaticaly improve the reproduction and accuracy of difficult violet and green colours.
Fast	Name: Kodak Gold 400 Speed: 400 Type: Colour Negative Jessops Description: This Kodak Gold 400 provides a unique balance of fine grain, sharpness, color reproduction and contrast to yield results with excellent clarity and enlargement capability. It is designed for exposure with daylight or electronic flash. With the Iso 400 speed you can get better pictures in a wider range of light conditions and sharper pictures with moving objects.	Name: Fuji Superia 400 Speed: 400 Type: Colour Negative Jessops Description: Superia 400 would be ideal for available light photography or for the occasions when a higher shutter speed is required. Excellent results can also be expected when the weather or lighting conditions are unpredictable. The wide exposure latitude is forgiving of most photographic situations. The versatility of the film emulsion helped it become the film of choice for many zoom compact cameras. The higher speed helps stop camera shake at the far end of the zoom. Other characteristics include: Vivid and enhanced colour realism across the entire spectrum. Beautiful and natural skin tones. Fine grain and refined sharpness for superb enlargements. This film includes Fuji's patented 4th emulsion layer technology for dramatic improvements in colour accuracy. It is especially noticeable in the difficult violet and green colour ranges.

Reversal Stocks:

I want to use a good medium speed reversal stock for Cross Processing experiments. I was looking through different stocks and it is very difficult to find a medium speed colour reversal film of about 200 ISO.

The only one I managed to find was Lomography X-Pro 200 which I was put off due to the fact that it was described in the description as having tones that create a, “Retro-effect.” Does this mean that images taken with this stock look more degraded, or is it just a description that has been chosen to make it sound more fashionable? The description does offer some explanation of what this might mean however, stating that the images have, “Increased contrast and saturation.” I think that possibly the increased contrast and saturation in this stock is perhaps intended to increase the expressionism of the images and give them a certain visual beauty that can only be reached as the result of a slight detachment from reality. This concept would usually be appealing to me, but because I am intending to use the film to cross process it is not so much. I think my intention really with cross processing is to reach a balance between the surreality caused by the differences in colour, but to not push it to the extent where the image becomes completely removed from the realms of earthliness.

If I ended up with an image like this one then, (where the grass is still green and the fence is still woody, but just in a different fashion to what it would be in reality and the sky is a dull rusty orange) I would consider it a successful photo. However…

...if my image ended up like this (where everything has become a trippy colour) I would consider it a failure. I want to achieve a subtle surreality, not an extreme surreality. For this reason I think a stock which promises a detachment from reality already, or a, “Retro-effect,” as they describe it, might not be the right stock because it may produce results that are too extreme.

I have decided instead then to buy another roll of the 100 colour reversal instead.

Film Speeds (Based on Background Knowledge)

As one of the main experiments for this project I will be pairing different film stocks with different types of lighting to test how colours and skin tone change, as well as testing the general ambience and feel of different stocks and lighting.

In this blog I will start by laying out some general information and queries that I have about film stocks.

The most simple place to start when discussing film stocks is the film’s speed. A film’s speed refers to its sensitivity to light. The first time I ever heard somebody talk about a film’s speed I was confused by this meaning due to the fact that it was in relation to motion picture stock and I assumed film speed would have something to do with the rate at which it travelled through the camera. In the days of digital photography, when many of us are becoming interested in celluloid film through an interest in motion picture rather than still photography, this is an easy mistake to make and using the term film speed to refer to sensitivity can seem confusing as in a film the speed of the shutter will usually be dictated by other factors.

The term film speed comes from still photography where it is possible to expose a less sensitive film stock with the same level of light simply by opening the shutter for longer. If the level of light is not changed, a less sensitive film will take longer to expose and is therefore referred to as a slower film. A film that is more sensitive to light will take less time to expose under the same level of light and is therefore referred to as a faster film. Due to shutter speed having to be dictated by other factors in motion picture, it is not possible to change the speed without noticeable differences to the movement of the image, therefore in order to expose films at different speeds when using motion picture you usually have no option other than to change the lighting.

In the experiments that I wish to carry out I will be using still photography for budget reasons, however the experiment is intended to give me knowledge to help my understanding of motion picture and therefore I intend to keep the shutter at the same speed it would be at on a motion picture camera for each shot taken. I believe this speed would be a speed which would allow the shutter to open roughly 50 times in one second to allow two exposures on each frame of film that is travelling through a camera at 25 frames per second. Therefore the shutter speed I will use will be about one fiftieth of a second.

Film Speeds in more detail

50D, 64D and other similar speeds

One of the main types of stock which people use is stock with and ISO of 50 that has been designed for daylight use. This is due to it being one of the types of film available in the Kodak Vision 3 range (or the older Vision 2 range). This stock is available in Super 8, 16mm, 35 mm and even 65mm.

Side note: 65/70mm films (generally shot in 65mm to be developed onto 70mm) were most often used in the 1960s when films such as Ben-Hur (1959 almost the sixties), The Sound of Music (1965) and 2001: A Space Odyssey (1968) among others were shot in this format. These films were often screened at big cinemas with curved wrap around screens. Recently there has been a slight resurgence of interest in the format due to Quentin Tarantino shooting The Hateful Eight on the format. Another film format that is technically 65mm is Imax, however the frame area of Imax is much larger due to it being a format which travels through the camera sideways. This means that Imax uses much more celluloid to shoot a specified length of time than other 65mm formats and is therefore much more expensive. Imax is too large to fit compactly onto a roll and therefore the cameras use specially designed magazines in which the film is carefully folded. No feature films have been shot entirely on Imax, but 50 minutes of Christopher Nolan’s 2012 film Dark Knight Rises was shot using the format.    

Another stock of a similar speed that I have encountered is daylight film at 65 ISO made by Fuji. This was a type of stock that I managed to buy on the cheap from a secondary seller, when making a film called Maniaframe in my second year of university. I never used a single foot of it however, due to being advised of how difficult it would be to use such a slow stock by everyone I talked to about it. I instead bought a cheap roll of the much faster Fuji 500T from a seller on Ebay and used that as my second roll of colour negative. For this reason I still have an untouched 400 foot roll of 64D Fujifilm in my fridge. I hope that I will get the opportunity to use it before it goes out of date.

The theory that most of the people giving me advice at the time were working on is that, because of how slow the 64D was, it would require bright sunny clear skies in order to use and therefore is not practical to use in the Northeast of England where the weather is not as consistent as it is in California. Upon taking my light meter out with me a few times and taking readings out and about at 64D, I realised that I was managing to get useable levels of exposure in many places in overcast conditions, but upon telling people about this I was told that even if I get useable levels of exposure in these conditions the developed rushes would still look dull and not very nice. One of the things I will find out in this project is how correct these people were in this assumption.

A serious advantage of  50D, 64D and other slow films is that the slower a film’s speed, the less grain there will be and the higher clarity the image will have. This is probably the main reason that slower films are popular despite faster films being available. Another potential advantage may be being able to use less filters in extremely bright conditions and being able to have shallower depths of field in bright conditions as a result of lower F stops.

100D - 200T

Another popular Kodak stock is Vision 3 200T, which is also available in Super 8, 16mm, 35mm and 65mm. I shot a test roll of this stock in the summer of 2015 to test a Super 8 camera that I had been bought a few years before by my then girlfriend as a christmas present. I found this stock very easy to expose using 50 watt halogen work lamps indoors and I also tested it outdoors without filters just for the sake of it and got varying results (I wrote a blog about that last year).  

Other stocks I have encountered are a Fuji 160T which I used when shooting Maniaframe. I found this a little bit more difficult to expose indoors than the 250D and 200T stocks I had used up until that point, but it was still very useable. I used the Fuji 160T in a scene shot in a forest and I did not have any problems exposing it in the shade of this environment. I also used it in the studio under the fresnel and flood lights. In this environment it was slightly less useable and I did find it slightly harder to get the specific lighting effect I wanted as a result, but I still managed to get the effect I wanted in a slightly different way.

A stock that was popular a few years ago, but is not sold anymore is Ektacrome 100D reversal film. This used to be available in Super 8 and 16mm. I am interested in reversal film and intend to talk more about it in future blogs.

250D

After 200 ISO the grain on film becomes more noticeable, but I didn’t notice it much when using 250D. I have used 250D without filters in dull November daylight in two Kodak awards shoots and had no trouble exposing it in either. I also did not notice much grain on the developed rushes except when it had been exposed or focused incorrectly. I have also used it on two indoor shoots. One indoor shoot using redheads, a blonde and a cool light, in which we used blue gels to cover the Tungsten lights. These blue gels appropriately changed the blonde to be the correct colour temperature for daylight film, but the effect on the redheads was too intense and this lead to there being a blue tint to some of the lighting when it was developed. This may have been due to corrections made during the telecine to other people’s work on the same roll however (people who had forgot to gel the lights). For the other indoor shoot in which I used 250D, I used a 50 watt halogen work lamp without gels or filters. I did not have any problem exposing in this circumstance. The rushes showed that the lighting had also shown as the correct colour, but once again this may have been due to corrections made during the telecine.

500T

500T is the fastest speed of motion picture film produced by Kodak. The grain is very noticeable on this stock. I have experience using a 16mm Fuji 500T stock, a Kodak 500T Vision 3 Super 8 stock and a 7 year old Kodak Vision 2 500T 16mm stock that, judging by the severely grainy underexposed rushes, seemed to have gotten much slower with age.

I used the Fuji stock in a variety of conditions. I used it on two shoots outdoors with an 85 filter, and on two shoots in indoor locations that had sunlight coming through windows. On one of these shoots we were shooting through a window with one character inside lit by a redhead and a household light bulb and the other outside lit with sunlight. For this shot I did not use the 85 filter, but the mixture of colour temperatures was okay. The person outside the window did not look too blue. It was a dull day and the camera was facing down away from the sky and, as I found out on my test roll of 200T Super 8, tungsten film seems to cope okay with this less intense kinds of sunlight. In the other indoor shoot I did on this stock, there was also a mixture of colour temperatures, due to us being in an environment with lots of sunlight coming in from the windows. Because of the speed of 500T, it was possible to shoot this scene without any additional lights being placed. Therefore the lights we used were the lights that were already in the corridor and the sunlight coming in through the windows. On most of the shots we used no filter, as the sunlight was not direct and as much light was being provided by the indoor lighting. This produce a fairly realistic colour across the rushes. On one shot the daylight seemed to be providing more light than the indoor lighting and we decided that we should use the 85 filter to be on the safe side. This provided good results as well.

The Kodak Vision 2 16mm roll was used under studio lights and also in daylight with a filter. All of these shots turned out very grainy especially the studio shoot. This is most likely due to the age of the film. I believe that the film had slowed with age and was therefore underexposed when shot as a 500T stock.

The Kodak Vision 3 Super 8 stock was used on one shoot only. The lighting on this shoot was mainly provided by two 10 watt work lights. These work lights were not producing enough light to expose properly and therefore I had no other choice but to underexpose. For this reason I had the film over processed by one stop. However, it had not been underexposed by this much and therefore came back very bright. The brightness was reduced digitally on the edit suite by lowering the gamma. The footage produced that day looks very grainy and bizarre.