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What film stock/How to emulate digitally?
I'm seen this color palate in Ellen's photos from before digital, so I'm pretty sure it's film. I'm wondering if anyone knows what film stock it is, and if this is a result of cross processing. From there I'd like to understand what's happening so that I can try to emulate it digitally. It's clearly high contrast/crushed blacks, and it looks warm, but there are still blues. It feels like it's all primary colors with nothing in between. Any suggestions? Sep 27 14 04:49 pm Link ellen von unwerth?? Can you post examples? Sep 27 14 06:01 pm Link 400VC or Tri-X Sep 27 14 06:13 pm Link Assuming it's Von Unwerth, my guess would be cross-processed Kodachrome, 'corrected' to remove some of the green cast. It could also be older Portra stock, as mentioned. The older stuff colour shifted an awful lot when pushed or pulled; the new stock just goes a little yellow. There are cross-prosses filters and actions. My guess is that if you use one, and then crush the blacks and fiffle with the colour a bit, you'll get what you're after. You should be able to emulate that look just fine with digital, because it doesn't rely on any film-specific properties. Sep 27 14 08:03 pm Link Sep 28 14 02:11 am Link There are various methods of exposure / processing adjustments to create that type of effect, on different films. This one does appear to be Kodachrome, but of course, that was far more difficult to do, because Kodachrome processing was very, very exacting, and I doubt that anyone actually offered custom processing on that film. You could, however, run your own C41 on color neg, to get to the same place. I processed C41 and E6, for years, but I never had time to play around with the processes. I did my own processes, for B&W films, but that was a lot simpler to work out. Back in the day, when Ektachrome was still a light reversal process, it was even more variable. Sep 28 14 06:06 am Link not meaning to be an ass but this is so contrasted and punched and really wouldnt matter what film stock. this looks like pushed though and printed or processed warm high contrast, not sure if I agree that is crossed processed Sep 29 14 05:27 pm Link and also this is assuming this is scan from a negative, if its a print then it will make it impossible to know because the tweaked colors and contrast can be done during printing Sep 29 14 05:39 pm Link Zack Zoll wrote: Cross processed Kodachrome???? Sep 29 14 05:56 pm Link Zack Zoll wrote: Fred Greissing wrote: LOL... Sep 29 14 06:03 pm Link Most of my many years I used black and white film to shoot girls. Still, a while back I went to color. I had always avoided color negative film, for obvious reasons--you can find a link on my profile page--but towards the end of my film career I started using Portra. I just liked the palette. This link may help you find emulation software. http://blog.chasejarvis.com/blog/2013/0 … -darkroom/ Now that I'm entirely digital, I'm fairly pleased with color. Can we call it a personal value judgment? RBD Sep 29 14 06:10 pm Link Fred Greissing wrote: ive crossed processed slide, fuji, but it actually comes out very cool tones, looks slightly like bleach bypass. A bitch to scan because the narrow "dynamic range" of slide film got even narrower also lost 1 to 2 stops in exposure. not really advisable especially with the cost of slide nowadays Sep 29 14 06:13 pm Link ybfoto wrote: I've cross processed just about everything imaginable, even 8x10 polaroid. Sep 29 14 06:23 pm Link Fred Greissing wrote: ybfoto wrote: Kodachrome was a unique 12 stage process unlike other chrome films. You can process old Kodachrome as B&W but that's it (now that it can no longer be processed). Sep 29 14 06:24 pm Link lots of software out there...On One Perfect Effects for example, has many film emulation effects....not perfect, no pun, but the creativity could be a fun answer to your question to find what you want or go one step more, who knows...join the photoshop cloud...Mo Sep 29 14 06:46 pm Link Fred Greissing wrote: Ah thanks for the info.. Sep 29 14 08:31 pm Link Mikey McMichaels wrote: That blog rules. Sep 29 14 08:35 pm Link Giacomo Cirrincioni wrote: Zack Zoll wrote: LOL... Ektachrome, whatever Sep 30 14 05:34 am Link I tried for a bit and gave up. Then while seeing all the warm tones in American Hustle, I decided to edit while watching the film so that I'd have a little perspective on how far I could push skin. I think that helped a little. I got closer than I ever have before - couldn't get rid of the purple, but I kind of like it. All the contrast hides the noise pretty well for an ISO of 10,000.  Oct 05 14 02:47 am Link The look in Ellens photo could also be from using hot lights at 3200 kelvin with no or a 1/3 blue gel, this would give it the warmth. Then jamming the contrast and touching up the blue in the eye. Oct 05 14 03:24 am Link In b&w, its not the film stock thats hard to emulate... Its the out of stock printing papers that are hard to mimick. Oct 06 14 09:37 am Link Zack Zoll wrote: That's the phrasing I was looking for in an answer! Oct 06 14 02:27 pm Link Since you mentioned a job I worked on - here is their take on what they did (link below) in terms of processing and post (color) - while Fuji told them they're folding their motion picture film division - - they did a DI scan right after shooting 2 perf or 3 perf of 35mm (to allow for longer takes) so effectively it's almost the area of super 16 negative with a little bit more. Most of the magic was done with lighting it well enough for the colorist to go to town. It felt like we were doing digital since we'd hear "still rolling".. http://digitalfilms.wordpress.com/2014/ … an-hustle/ Mental note for some - full frame 35mm SLR is 8 perf as film runs sideways through the camera vs. top to bottom 4 perf 35mm. So you can blame it on the super high quality of the Digital Intermedia (DI) transfer that did this as this was T500 or D100 stock (Tungsten ISO 500 or Daylight 100) at 2 perforations stepping. Especially needing to paint out busses/taxi cabs or modern buildings from both Boston and NYC and match film grain of T-500 film. In terms of Ellen, I believe she was a big fan of Professional Polaroid with slow shutter, so the reference photo looks like it was lit with 2300k-3500k hot lights and slow shutter on Polaroid film. Oct 06 14 03:38 pm Link |
