Intercutting HVX and S16

My Arri S-16 SR weighs about 15 - 18 lbs depending on lenses and accessories it can go higher because there is a larger selection of lenses ranging from very light weight primes to the monster 14.5 to 450 canon zoom.

There is quite a bit more to the film process that affects the image than video, but I'll tell you the new Kodak stocks are quite amazing: more sensitivity in the toe and the highlight range is greater as well.

Then there is the frame rate thing: My SR shoots anywhere between 1 and 200 FPS. the pool splash in Soaked was just north of 100 FPS which was all the speed I could get that day from my battery. I would have shot 150 FPS if the battery was game. Decided early on to use film sparingly and only in cases where we wanted an over crank or under crank. We made an exception for the hitch hiking and creek scenes as we had the camera SR loaded and I like the way the shot/scene looked through the lens. We shot 800 feet more or less and I think it added the right spice to the soup

Hope this helps.
BTW Stephanie and I are married so we do see each other frequently. She is cutting an hour long doc the she produced and directed and we're this close to picture lock...
 
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Ted Spencer said:
Ok, I'll remember that phrase, and it is new to me. Can you describe exactly how it relates to film as opposed to just "tape"? On the face of it, the phrase sounds like it relates only to videotape.
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Hi Ted:

The deal would be to shoot your S16, have a simple and quick transfer, edit your film and intercut with the HVX material, then output it to tape and take it to a good colorist with instruction to match the two different sources. You would be amazed at how talented some colorists are at doing matches like this. If they were shot within the ballpark, a good colorist could match them amazingly close. Not cheap, but I have used this workflow and it can look amazing.

Or if you are REALLY good, use Color and do it yourself.

Dan
 
It has been a couple of years, yes. Haven't had that much reason to use it.

Yes S16 is going to offer more latitude, certainly. Grain and sensitivity depend on the stock. Of course you can rig out an S16 system to be more sensitive than an HVX -- use a T1.1 or T1.3 prime lens and put 800ISO stock in, and there you go.
 
The latest Kodak vision stocks are more sensitive than the HVX is natively and probably as clean or cleaner than the HVX. With an HVX you can do some trix not available on the film side : shoot at 1/24 exposure and live with greater motion blur, that gets you a stop. You can use a less contrasty Gamma setting and that will help your exposure too.
Film has its advantages too, better lenses, more frame rates, better color palette etc.
You really have to consider how it fits in your movie both photographically and content wise.
 
Thanks for the input, guys. When I sit down for a meeting with the director it'll be good to have all this in my pocket. To know that mixing HVX and S16 is generally regarded as a pretty viable thing could add some intriguing, not to mention cost-saving possibilities to the project.
 
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