>Thanks for the offer Rich ! -- but I was responding to someone else's inquiry - my tabletop days are long ago. You probably know this stuff better than I do. I think I was having food shoot flashbacks, weird colours and smells, you wake up in a sweat
>Seems to me I'd shoot the hamburger and the bun on 7212, the lettuce on 7285 and the tomatoâ€™s on Kodachrome; composite 'em in post: THAT should give 7299 and it's 240 LUT's a run for it's money forgive me......
>Sam "getting hungry" Wells
> John Mastragiacomo wrote :
> I am planning to test 7285 (Ektachrome 100D) and 7212 (Vision2 >100T)
>Please do let us know the results of your testing.
>I have been shooting a lot of table-top/food commercials recently on S16 and have been using on 7212 exclusively. I find that it gives me a lot of latitude in telecine.
>For me, I really like using tungsten lights in these situations. I just don't think that daylight fixtures have the same controllability, flexibility, or Â³finesse-abilityÂ² of tungsten heads- especially when it comes to the little highlights and splashes (I love my 150w DedoÂ¹s).
>When working in a studio environment, HMIÂ¹s take so much more work to control in my opinion. For example, on my last shoot I had to use a 6K (corrected to tungsten) for the key light instead of the usual 10K. Well, I got the exposure I needed but the spill in the small studio meant a lot of extra flagging (lots of extra c-stands). It also added to a sense of unease... IÂ¹m always overcranking a bit when shooting food - and even with flicker-free mode and safe camera speeds, I still had the sense that something could go wrong. (But it turned out fine).
>Maybe itÂ¹s just me, but I feel like there is something that feels different about a 10K going through a butterfly skinned with grid-cloth as opposed to a 6K (or 4K) HMI. Something about the texture, or something about the quality that I canÂ¹t define... maybe itÂ¹s my own prejudice, maybe itÂ¹s something intangible that I just canÂ¹t explain, maybe itÂ¹s the larger lens of the 10K, or maybe itÂ¹s just my education coming up through the ranks as a gaffer, or in the end it could be that nasty humming sound that the HMIÂ¹s give off. I donÂ¹t know...
>I have never shot colour reversal- but IÂ¹m eagerly awaiting for the opportunity to do it. I would really like to see the results you achieve with food. Never thought of using it for this type of situation.