Hi-speed films for 3D

[fjf@xxxxxxxxxx (Franklin J. Flocks)]

       John B. asked for my input into the question of using hi-speed
       films for 3D, so here goes:

            1. I'm a Hi-speed film rebel;  I think that Hi- speed 
       films have an important place in 3D photography.  I have used 
       fast films to shoot Rock Concerts, and to shoot hi-speed 
       subjects (such a multi-flash shot of a bouncing tennis ball, 
       where the light output of my Nikon SB-25 flash, was set to 
       1/64 power in order to maximize the number of multi-flashes.)  

            2. When using hi-speed film, use a tripod if you can, 
       and focus extra carefully. A soft image will particularly 
       evident, against the sharp grain of a grainy film. -- But if 
       the picture is super- sharp, the grain seems to matter less. 

            3. High speed films are particularly useful for closeups, 
       or shots of large objects, where fine detail is not extremely 
       important.  The grain will also be less evident, if the 
       picture is to be projected, or published in Black and White, 
       or displayed on a computer monitor; as opposed to being 
       displayed in a Dr. T. red button.

            4. My picture of Jerry Garcia, that appears on page 9 of 
       the May/June 1995 issue of Stereo World, was shot with 
       Ektachrome 1600P, processed at ASA 1600. (The exposure was 
       1/125 of a second at either F. 3.5 or F. 5.6, with 200mm lenses 
       on Nikon 2020's- I used a heavy tripod, with a special stiff 
       mounting bar, that was kindly constructed for me by John B.).  
       Ektachrome 1600P is a 400 speed film that has been optimized 
       for a 2 stop push. (The optimization, helps prevent the blacks 
       from shifting to green with push processing.)  - I have also 
       used Fuji Provia 1600 with similar results.

            5. The stage lighting of many large arenas is balanced in 
       a manner similar to daylight.  - It is for this reason that I 
       often use the 1600 films mentioned above for these shots (both 
       the Kodak and Fuji products are daylight balanced).
       Some professional photographers have told me that they like to 
       shoot Kodachrome 200 push processed to ASA 800 for shows at 
       large arenas.  The main advantage of using Kodachrome, as 
       compared to Ektachrome, is that you don't get a decrease in 
       density in the shadow areas,  when the film is pushed. The 
       blacks apparently stay dark black. -  I have not tried this; I 
       understand that it is expensive to get Kodachrome push 
       processed.

            6. For small theaters, I recommend Ektachrome 320T.  This 
       is a tungsten balanced film.  -The grain structure is 
       considerably better than the 1600 speed films. To me, it  
       looks much like Ektachrome 200. - I have push processed 
       Ektachrome 320T one stop to ASA 640 with good results.  There 
       is also a 160T version of this film, but I have not tried it.



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