The D.P. can work with the director and the grip and electrics to
light and photograph a motion picture with varying amounts of light.
Nowadays 35mm film stocks can be found that are extremely sensitive
to light, and a very rich and detailed look can be achieved with
a minimal amount of light. Environmentally speaking, low impact
and low budget walk hand in hand: fewer lights, less electricity,
less set up time. None of this need sacrifice the look of your film.
EASTMAN KODAK continues to' produce faster and
faster film stocks, and with their revolutionary "T-Grain"
technology which reduces graininess, their stocks can perform impressively
in less and less light. Their most recent stock, EXR 200T (5293/7293),
is reported to have the grain characteristics of a 100-speed film
and the sensitivity of a 200-speed.
With these innovations, you may find you .can get the look you want
with less light and more portability.
SUPER 16MM: Du Art Film Lab in New York offers
a presentation on the differences between Super l6mm and 35mm film.
The two formats were shot under the same lighting conditions and
are intercut for comparison.
CHEAP FILM STOCK can be bought from New
York Raw Stock Exchange. They buy and sell leftover 39mm
and l6mm stock, black and white and color.
DO SPECIAL EFFECTS like slow motion (overcranking)
in camera. If the director sounds like he might want a shot in slo-mo,
you will save the production expense later by shooting options now.
Reshoots and optical tricks consume money and resources, and you
lose generations resulting in a poorer image quality.
• Even some double exposure can be shot in camera, if it is
planned in advance. Almost alt the effects in Coppola's Bram Stoker's
Dracula were-filmed in camera; The 35mm Arriflex 535 used on that
project was also able to change film speed from anywhere from 50fps
to 5fps during a shot, and take care of the exposure by adjusting
the shutter speed at the same time. All of these effects will become
increasingly possible in the new computer-controlled cameras.