If you’re shooting under artificial light consider using cycled R G B LED lights instead of filters. Less light loss and less heat to melt the ice.
Jeff Kreines
Sent from iPhone. Hi John,
Since Andre mentioned the Cantrills, I will say that their Waterfall is perhaps my favorite color separation film. But more recently, there was Ben River's sloth film, Now, At Last!, and I believe Tomonari Nishikawa has made more than one. I doubt he's on Frameworks but I've always found him to be a friendly problem solver so you might want to reach out to him:
Eric
The films of The Cantrills in a desert of Australia.Time,colour, separations.
----- Mail d’origine -----
De: John Davis <[email protected]>
À: Experimental Film Discussion List <[email protected]>
Cc: Renée Delores <[email protected]>
Envoyé: Wed, 15 Mar 2023 18:05:44 +0100 (CET)
Objet: [Frameworks] Color separation experiment
Hello Frameworkers,
I am collaborating with, and writing on behalf of a friend who wants to
make a film using Ektachrome that will attempt to create a motion/color
separation effect. Here are her words:
"I am seeking advice for shooting a three color separation in 16mm with
Ektachrome color reversal film.
The film will document three fixed-position nearly identical ice blocks
with embedded plant materials. I plan to shoot on the same film reels doing
three consecutive passes, each pass documenting the three ice blocks as
they disintegrate. Using an Intervalometer for time-lapse, I am thinking I
would need to use three different filters/gels to isolate the colors for
each pass as the ice melts and the trapped matter/water fall out of
alignment. Any advice/experience with a process like this would be much
appreciated.
Some questions are:
1. What RGB gels/filters would be recommended to filter out corresponding
colors and produce the positive RGB color separation effect?
2. As Ektachrome is a reversal film, would I use the complementary filters
for red (cyan), green (magenta) and blue (yellow)? Or should I be doing the
opposite?
With the understanding there will need to be light tests, etc, any
additional advice on aperture compensation relative to a triple exposure
(with gels) would be much appreciated."
Sincerely,
John Davis
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