What's the best color night film?

[erikoatman]

i'm shooting a movie this summer that's entirely outdoors at night. What is the best super8 color film to use? i'm using minimal artificial light as well.

if there is no good color film out there that's good for that, then how about the best black and white film?

[steve hyde]

...you will get more responses in the small gauge forum since this "Filmmaking" forum is dedicated to non-technical discussions focused on filmmaking process rather than technical camera matters, NLE etc.

That said - the Kodak color negative line is the best super 8 color film for shooting in available light. I suggest shooting 7217 at EI 100 or perhaps pushing it a stop in processing or shooting 7218 at EI 250. Either way you will be shooting wide open so I guess it doesn't really matter.

Another thing to keep in mind is the use of slower frame rates. The images will soften some with motion, but shooting at 12fps at night will give you one more stop of light and can really tighten the grain when shooting at night.

The film to tape transfer will be important for you since you are shooting at night. A bad transfer will make your footage look milky, grainy and noisy.Since you are shooting at night you will want to spring for a good transfer. I recommend http://www.fsft.com since that is who I use.

Check out some of my b - roll "films" at my website for examples of color negative shot at night.

hope this helps,

Steve

[jpolzfuss]

i'm shooting a movie this summer that's entirely outdoors at night. What is the best super8 color film to use? i'm using minimal artificial light as well.

if there is no good color film out there that's good for that, then how about the best black and white film?

Films with 200ASA (except for the Vision2 500T with 500ASA and KAHL F 250 T with 250ASA):

• colour-reversal: Super8: none, Single8: Fujichrome RT200N, DS8: none
• colour-negative: Super8: KODAK Vision2 200T and 500T, Single8: none, DS8: KAHL F 250 T
• b&w-reversal: Super8: KODAK TRI-X Reversal, KAHL UP24, Single8: Retro-X / ORWO UN 54, DS8: KAHL UP24

Using a XL-camera you might be able to shoot with a 100ASA-film, like the Ektachrome 100D (colour reversal, available as WittnerCHROME 100D for Super8 and DS8) or the Fomapan R100 (b&w reversal, only DS8).

Retro8 has also announced the following Single-8 colour-reversal films - but it looks like they won't be available before autumn:
Cinevia/Astia 100F (100ASA)
Cinevia/Provia 400X (400ASA)

Jörg
P.S.: I've also listed Single8 and DS8 since they result in Super8-film as well. Since some of the films aren't available in Super8-cartridges, getting another camera might be an option.

[supa8]

Using a XL-camera you might be able to shoot with a 100ASA-film, like the Ektachrome 100D (colour reversal, available as WittnerCHROME 100D for Super8 and DS8)

Bear in mind that 100D is asa in daylight but only 25asa in tungsten AFAIK

[jpolzfuss]

Bear in mind that 100D is asa in daylight but only 25asa in tungsten AFAIK

When using a daylight-balanced film, the trick would be using lamps that emit "daylight".

[christoph]

considering the original poster wrote "i'm using minimal artificial light as well. " using daylight reversal film seems not like the best idea, unless one really wants to go for a dark orange look.

vision3 500T, or vision2 200T would be the best choices, but are expensive if you want a projectable film copy. they are also somewhat grainy and need a good telecine if you want a digital copy.

for reversal, you're pretty much stuck to 200T single8. if it really has to be super8 reversal, you could try finding some old VNF 125T or push some E64T, but that would mean finding rather bright locations and sneaking some extra lights in. use a low-light camera in all cases.

++ c.

[Angus]

If it were me, I would shoot 200T colour negative. Its not cheap to have a print made if you want to project your film, but most people are looking to finish on a digital format these days. And if you want a film print, Andec will do a lovely job - albeit at a cost.

The other reasonable option is B&W tri-x 200ASA B&W and easily pushed, but it is quite grainy. However in B&W that gives it a moody look you can't get elsewhere.

A possibility is pushing 64T one or two stops. 64T colour reversal film does well in low light anyway, and you might find pushing this is a good option if you don't want to play with the negative films or if you also plan to shoot brighter scenes in 64T...thereby you can use the same stock for the entire shoot.

500T colour neg (Vision 2) is amazing stuff but quite grainy. If you have some artificial light to hand and an XL camera then 200T should work OK. The Vision 3 500T I have not yet tried but it is said to be closer in grain structure to the Vision 2 200T.