Color Correction Filters - Necessary for E6 Scanning Workflow?

[John Rodriguez]

I only started shooting film this year after shooting digital for the past 6. For the most part I've been able to color balance in post, but I think it would be easier if the chromes were color balanced from the start. However, the big downside is the extra time to setup, I missed an amazing clearing mist shot this weekend because I couldn't get setup in time after already waiting for an hour for the light to be right, adding filter setup time (especially if bothering with a color meter) wouldn't have made it any shorter

So - Do you recommend using color correction filters in an E6=>Scan work flow?

* I'm shooting outdoor landscape exclusively, using Provia (sometimes Ektar neg when I need the range).

Recommended filters to start?

[Mark Stahlke]

I missed an amazing clearing mist shot this weekend because I couldn't get setup in time after already waiting for an hour for the light to be right...

Umm, John, what were you doing during that hour you spent waiting for the light?

When I'm shooting E6 films in cloudy conditions or shade, I like an 81B filter. It only takes a few seconds to screw a filter onto a lens. No need for a color meter.

[John Rodriguez]

Umm, John, what were you doing during that hour you spent waiting for the light?

Waiting to see where I was. Visibility was about 25 feet through the fog, so I couldn't find my exact composition until it started to clear (I'd scouted the location the previous day but couldn't find it in the mist).

I know that Charles Cramer was rather exacting in measuring color temp and using the exact appropriate filters to match when he shot film, but I wonder if he'd still take that approach now that he prints digitally.

[Ari]

I leave the colour correction to PS.
If you have to present the chrome as a final, then I'd use filtration.
A good thing to try is a Fujiroid; it will show you, roughly, what's happening in your frame wrt colour temp.

[Mark Woods]

I always use a CT meter when I shoot color. The reason being that if the image being shot is too blue (cool) you'll get noise in the reds when you color correct. If the image is to orange/red you'll get noise in the blues. I'm a firm believer in correcting in camera. This goes for negative too. BTW, it doesn't take that long to take a CT meter reading and place filter over the meter's sensor to see what you're actually getting.

[vinny]

I leave the colour correction to PS.
If you have to present the chrome as a final, then I'd use filtration.
A good thing to try is a Fujiroid; it will show you, roughly, what's happening in your frame wrt colour temp.

Except with LF and the long exposures that go with it, fuji instant film becomes quite blue. It's only useful for up to a couple second exposures.

I only use an 81A from time to time. There are cases where I need an 81b or c but not that often. I'll pick one up eventually. Any corrections are done in Photoshop.

[Ari]

Except with LF and the long exposures that go with it, fuji instant film becomes quite blue. It's only useful for up to a couple second exposures.

True, true; good thing to point out.

[Asher Kelman]

I always use a CT meter when I shoot color. The reason being that if the image being shot is too blue (cool) you'll get noise in the reds when you color correct. If the image is to orange/red you'll get noise in the blues. I'm a firm believer in correcting in camera. This goes for negative too. BTW, it doesn't take that long to take a CT meter reading and place filter over the meter's sensor to see what you're actually getting.

Mark,

What filters do you use. The decamired color compensation filters seem so logical when using a meter. Or do you use CMY filters? They can be so expensive for 5" wide size to cover all my lenses!

Asher

[Mark Woods]

Hello Asher,

I have both the blue and red decamired filters and a complete set of 81 filters (including the 85 B & C). The film I've shot for many years was all tungsten balanced, consequently I only have a few of the blue CCs. I know the cost, I have about 100 6.6"x6.6" filters along with series 9. I'm developing a system to use the series 9 filters on my LF cameras. BTW, you're right, the decamireds are a wonderful solution for CC correction.

How's the room camera coming along?

Mark

[Asher Kelman]

Hello Asher,

I have both the blue and red decamired filters and a complete set of 81 filters (including the 85 B & C). The film I've shot for many years was all tungsten balanced, consequently I only have a few of the blue CCs. I know the cost, I have about 100 6.6"x6.6" filters along with series 9. I'm developing a system to use the series 9 filters on my LF cameras. BTW, you're right, the decamireds are a wonderful solution for CC correction.

How's the room camera coming along?

Mark

Hi Mark,

All the lenses are at S.K. Grimes for mounting in a system to use one shutter. I'm just critiquing my current planning for my Packard shutter and lens filter mount. Have to make sure that there's no vignetting because of the filters. I'm trying to work out whether or not to put the filters together in front of the lens, or having the shutter mounted to the lens board and filters behind the lens attached to the rear of the lens or else in an intermediate rear of the lens matte box with slots for the filters or some combination. The filters are very expensive. If you have 100, then you have a huge investment in filters more than most folk have in their camera!

I am wondering whether 5" square filters would be sufficient. Do the Tiffen glass decamired filters fit into the Lee filter slots? BTW, what are the "series 9" filters?

Asher