Film Noir film stocks

[MDR]

In 1938 Kodak introduced their new faster film stocks better known as Plus-X (not to be confused with the film we know as Plus-X) and Super-XX (ISO 100) they replaced Super-X and Super Sensitive Cine Negative Panchromatic Film. Super XX lasted quiet some time and was the fastest available Film stock at that time.
+1 For John Alton, ASC's Painting with light which is still considered the text on film Noir type lighting and it was written by Film Noir director of photography.

[Mark Sawyer]

Film Noir movies tended to be a bit contrasty and grainy as they often pushed the film a little in developing to make up for the low light and sensitivity.

[RodinalDuchamp]

Film Noir movies tended to be a bit contrasty and grainy as they often pushed the film a little in developing to make up for the low light and sensitivity.

I am also interested in their procesing. I'm not a fan of pushing film I haven't had desireable results with it. The way they would have done it preserves some of the nice tones especially in indoor shots unless they processed dark and well lit shots differently.

[MDR]

I am also interested in their procesing. I'm not a fan of pushing film I haven't had desireable results with it. The way they would have done it preserves some of the nice tones especially in indoor shots unless they processed dark and well lit shots differently.

Processing was done in Kodak D96 or something similar the closest still film developer that is still made is Kodak D76. You don't have to push the film you can blow out detail with artificial light. What is often missed in the discussion of MP Film is the printing stage Kodak offered several printing stocks with different contrast (soft, normal and hard) what you see on the screen is more often the result of manipulation at the printing stage than at the neg. developing stage. Good lighting and a good lab are the way to great results. One could also say the labs are the unsung heroes of the MP world.

On the net you can find the formula for D96 and D96a (ascorbic acid)

[brucetaylor]

The "timer"' (printer) at the lab was so important they sometimes got credit on screen. That job is called a "colorist" now, and they are always credited. They worked closely with the cinematographer to the achieve look desired. Rarely would they be filming in "low light" unless it was intentional, just about all of the lighting is artificial to at least some degree (even daytime exteriors).

[MDR]

The "timer"' (printer) at the lab was so important they sometimes got credit on screen. That job is called a "colorist" now, and they are always credited. They worked closely with the cinematographer to the achieve look desired. Rarely would they be filming in "low light" unless it was intentional, just about all of the lighting is artificial to at least some degree (even daytime exteriors).

Let's call it controlled and not artificial. Francois Truffaut made a cinematic tribute to artificial nights "La nuit americaine". It's also interesting to note that at the height of the Studio System pretty much every major Studio had its own lab and camera dept. This also made sure that the movies had a certain recognizable look. Warner Bros. hard and gritty, MGM Glamour, Paramount a very sophisticated look with an european twist, etc... The cinema goers knew what would expect them on the screen not like today were the fashion changes every few months and the Studios change to the next it look within seconds. It was a very restrictive but I believe also a very artistic system and despite being commercial companies the Studio Heads were proud of their Studios and the Movie they made.

[Bruce Barlow]

In the age of carbon arcs, they sunburned many an artist, and blinded a few too.

I'm told they set Hawaiian singer Don Ho on fire once.

[Peter De Smidt]

How they lit the scene, imo, is more important than specific films or development.

[RodinalDuchamp]

Right thats a given. But there is lots of good info to be gleaned from the film specifics as some have previously given insight

[AtlantaTerry]

I was hoping someone would know or know where to find what types of film where used during the Film Noir era (Double Indemnity, Maltese Falcon, etc.)

I shoot a ton at night and have recently been interested in trying my hand at trying to recreate some stills on LF.

I know lighting plays a huge role in the look but maybe the film stocks had particular characteristics that made them more successful than others, I cant imagine they were using "fast" film.

I also don't know anything about how video cameras record an image which may also play a part.

Not only do I work with large format cameras but I also work on indie film and television productions as a Director of Photography or Stills Photographer. I am a big fan of the film noir look.
http://www.imdb.com/name/nm1669504/b...read/100119963

IMHO, if you want to try to emulate what the cinematographers in the '40s and '50s were doing but in large format still images, use a slow B&W film such as Shanghai or Arista Edu Ultra. As mentioned by others, much of the mystery of the images in those films was from very contrasty lighting with minimal shadow detail. Backlight with little fill would be a must. Of course other effects such as fog, wet streets, etc. would help, too.

Use older uncoated lenses or try to emulate uncoated lenses by putting a sheet of regular plate glass in a filter holder (matte box). A Lindahl which will accept 3" or 4" square pieces of glass and other special effects filters, several years ago I had my local glass shop cut some for me just for this purpose. (Be sure all of the edges are polished to prevent your getting cuts!) You can also add a bit of flare from lights in the scene by putting some black mesh in front of your lens. Don't use a fine mesh such as panty hose because that would be too much. Go to a fabric store to see what they might have. You can also use a can of black spray paint from a couple feet away to put a bit of mist on a UV filter. Another thing to try is to put some small dots of clear fingernail polish onto a UV filter. Experiment with your digital camera then apply what you like to your LF B&W work.

Let us see the results.