News — color photography
Posted by CineStill on
When camera scanning color negative film, getting great color can be a bit of a challenge, even when using a high CRI light source and excellent software like Negative Lab Pro or FilmLab. The real secret to a workable camera scan is getting a good initial capture in camera so that you don’t have to push or stretch the file more than it's bit depth or the software can handle. This means getting an appropriate exposure and color balance at the moment of capture.
With the new CS-LITE, there are 3 color modes built in: Warm for slides, White for black and white film, and Cool mode for color negatives. So for this post, we’re putting all 3 color modes to the test to show you the difference.
This first set of examples is what your capture will look like with the three different color modes when you set your white balance to the coolest setting at 2000 kelvin.
Raw CaptureCool | White | Warm
The Cool mode is most important for color negatives and the CS-LITE is the only light source on the market that offers anything like it. As you can see, even when you pin your color temp to 2000 kelvin, if that’s the minimum that the camera white balance can be set to, only the Cool light mode actually renders any perceivable blues, meaning that the blue channel of the sensor is underexposed and then for the White and Warm modes, the red is overexposed. Without pushing the file with fancy post work, you will never be able to get a good inversion to a positive and you will introduce noise and gaps in the blue channel with color contrast issues.
Due to the orange mask which is present when scanning color negatives, using any other scanning light source (or our CS-LITE set to the White light mode), you will need to do more than just invert the negative with added contrast and adjust color temperature further for good color, resulting in the need to use the fringes of what the sensors is capable of recording, similar to underexposing or blowing your highlights by overexposing your capture, but only in one or two color channels. RAW files are fantastic if you miss exposure a little bit, but there are limits. For example, you don’t want to underexpose your capture too much or you will see a lot of noise and contrast and color will be hard to control.
I didn’t get very far with these in Lightroom using only white balance (all at the minimum 2000 kelvin and appropriate tint adjustment), added contrast and a custom Tone Curve (using a neutral 4-point s-curve for more contrast and inverted RG&B Channel 3-point curves with no added contrast, just a midpoint to adjust color) just to see what we could get using minimal adjustments to convert.
Inverted with LR CurvesCool | White | Warm
It needed hardly any RGB midpoint correction to adjust for the Cool setting and likely only because this was 800T in open shade, otherwise I would have been able to correct color using only white balance if it were shot on 400D or with an 85 warming filter on the lens. It is very apparent that the White and Warm light modes require quite a bit more adjustment, even when adjusting the RGB midpoints in tone curves.
So next I tried further adjusting the white, black and mid-tone points on the RG&B curve channels in an attempt to eliminate any color cast...
Posted by CineStill on
After years of research and development, we’re are proud to release our reinterpretation of classic cinematic chemistry, the CineStill way. Following the lead of our other chemistry offerings, simplicity is key. As with Cs41 “Color Simplified” 2-Bath kit, the Df96 Monobath Single-Step solution, and the Cs6 “Creative Slide” 3-Bath process, we are making at-home processing modernized, simplified, and safe.
Introducing the CineStill Cs2 “Cine Simplified” ECN 2-Bath Kit. Low contrast, cinema style processing for all color film. A complete, easy-to-use, 2-bath process for photographers, which produces low-contrast color negatives synonymous with the motion picture workflow. A safe and foolproof process, without all of the troublesome byproducts of the original industrial method.
Posted by CineStill on
Greetings fellow film makers and film shooters! It is with much excitement that we finally get to announce the Pre-Sale of CineStill 50D in medium format!
Throughout the crowdfunding campaign, it was amazing to see the support for 800T in medium format. After reaching our goal for 800T, we set our sights on bringing 50D to 120 as well. You made your support for it clear so we made it our mission to make it happen. Sadly, we fell slightly short of our stretch goal which could have secured enough funds for its own simultaneous medium format production run alongside 800T. But we remained determined to make it happen.
We built a whole new production facility, encountered many challenges and wound up doubling down, dollar for dollar, to fulfill the dream that we shared with thousands of analogue Film Makers. Following the fulfillment of the 800T 120 Alpha and finally the full retail release, we continued honing our process to a point where we could further invest in our vision to make the world's finest grain color negative film for the world's finest format!
So, without further ado, we are excited to announce that we're finally bringing 50D to the world of medium format! We’ve opened pre-orders on our store so you can be among the first to get your hands on 50D in 120 this summer!
We are continually thankful for all of the support and faith of this awesome community, and are immensely grateful that we get to bring such an exciting new film stock to the market. We’re going to love shooting it just as much as you, and we can’t wait to throw a roll in our cameras!
Stay golden film shooters, the renaissance is still silver!
Your Film Family,