prepping a 16mm "film noir" short and am going over my emulsion
options. it appears that 7222 is a logical choice for both INT/EXT. I
would love to maintain the tightest grain possible and shoot the Plus-X,
but for interiors, a 64asa is asking a bit much on the lighting end of
things, however, if anyone can offer and suggestions and comparisons btw
the two neg stocks, I am all ears and open to the possibility of placing
lights very close to talent if that means the difference btw Plus-X and
Double-X is quite significant.
assumption is that 7222 has medium contrast and the grain size of the
7279 (not 7218) and that the Plus-X has the grain of 7274 and the contrast
the film gets $$ for a print, the one-lite SD dailies will be duped and
used to edit... does anyone have suggestions for labs in the US who pride
themselves on their B&W neg track record??
assumption is that 7222 has medium contrast and the grain
size of >the 7279 (not 7218) and that the Plus-X has the grain
of 7274 and the >contrast of 7250.
contrast will depend on the gamma it's processed for. B&W grain doesn't
look like color grain pattern I wouldn't use such comparisons except in
the broadest general sense. At 0.65 or 0.70 7222 will typically look grainer
than 79 IMO. B&W from 16mm especially can look tight in blacks deep
shadows and hot whites, and quite grainy (if it were 7222/Double-X) in
mid tones if they are even.
personally am curious about the new Tri X reversal 7266....
can't really compare the grain structure of color negative (where after
developing, you have grains made up of dye) versus B&W, where the
grains are made up of silver. Anyway, the grain structure of B&W stocks
are more prominent than their counterparts in speed in color.
is finer-grained and more contrasty. Sort of pearly whites with deep blacks
look. Double-X is grainier and has a "sooty" grey-on-grey look.
higher contrast of Plus-X tends to make it look a little sharper too.
Both stocks push well - you could consider shooting Plus-X with a one-stop
push instead of Double-X normally-processed, but you really need to test.
you can get away with a harder lighting style with B&W, which makes
using the slower stocks a little easier.
just shot about 40,000 feet of the 7222 and think its a great stock. Very
strong blacks and a good mid range. Highlights seem to go pretty quickly.
is definitely significant grain, but I love it. I shot it straight with
a mixture of Tungsten and HMI light. I metered everything for 200asa but
now realized that I should have taken into account the +1/3 stop in ASA
for "blue" light.
the footage in telecine it seems like a significant amount of stop to
affect the B&W. We also shot very "noirish" scenes and the
film loves hard direct light. I have not seen any of the exterior footage
where we shot 7231. After some tests we decided to use a Yellow 21 filter
for skin tones. I tested the red 25 but found it too objectionable for
skin tones. I added a polarizer to darken and define the sky and clouds.
I also had the make-up dept blue up the lips so that we did not loose
the "color" in them under the yellow filter.
have stills if you care to see any.
Raoul wrote :
just shot about 40,000 feet of the 7222 and think its a great
one of my absolute favourite stocks.
"Godard on Godard" for J-LG's little paean to Double-X -- he
says it's a stock that everyone from Russell Metty to Ricky Leacock can
nice processed in Xtol, too -- I've done some tests, very