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Eastman Color Negative II - 100T

Hi Alex, firstly thanks for creating the most comprehensive set of Sony Picture Profiles I've ever seen! I've used your Gold Luxe settings and tweaked them slightly to make my version of Eastman Color Negative II - 100T (5247) I've got my White Balance set to 3200K A3.5 M0.25 for Tungsten & 5500K A3.5 M0.25 for Daylight

I was hoping to get a similar look to some of my favourite films from the 80's like E.T, Indiana Jones etc

I'm really happy with the way these images look, and they're straight out of camera with no color adjustments!

Thanks again, and looking forward to seeing what other people can do with these profiles.

4 comments

Comments (4)

kean japan

Aug 08

I would love to see this recipe on the A6700!!

Heath McKinley

Jul 01

Thank you!

These were shot with the A7CR.

I used the "bicycle chase" scene from E.T as a visual reference but didn't go as far as using a Vectorcope. Great to see these details.

I'll definitely add a variation with Cine 1 or Cine 4 to my Recall Memory to test it out.

The settings I have are:

Black Level +2

Gamma Still

Black Gamma Narrow -7

Knee . Manual, Point 75%, Slope +4

Color Mode S-Gamut3.Cine

Saturation +9

Color Phase +7

Color Depth R +5, G +2, B -1, C +2, M+5, Y -3

Detail Level 0, Adjust= Manual, V/H Balance= +2, B/W Balance= Type3, Limit= 7, Crispening= 7, Hi-Light Detail= 4

Edited

Veres Deni Alex

Jul 01

Replying to

Interestingly enough, these references have an even stronger magenta cast over the whole image. It can be more easily notices when you check out the scopes. Yellows are shifted towards orange pink, reds are pink and blues are magenta.

It's crazy when you look at older movies, the colors remind me very much of my old Sony a7III which had a very similar color science.

Great example of colors in a slightly overcast day. From what I've noticed Blues will almost never go towards cyan. Greens are deep and desaturated, and you can still notice the blue magenta cast over the front window of the car.

Again, check the color mapping and the subtle yet evident magenta cast over the image.

Skin tones are again pink.

One last thing to mention. When checking movie references online, I found out some movies although shot on film, they can be color graded later in the final stage of the movie. Like the Asteroid City from Wes Anderson for example. So you need to read about each movie to see if it was or not color graded afterward.

Edited

Veres Deni Alex

Jul 01

Lovely shots! What camera model have you used here?

Interesting project you have. Maybe I can help.

Just from a quick search on the film stock and movie I have a couple steps which might help you get closer to the same look.

First of all, the reference you have provided are based on a Blue Amber color harmony. The line goes straight from Amber to Cyan-Blue and the colors seem bright and vibrant.

While references from the movie Indiana Jones and the Temple of Doom (1984) which was shot on the same film stock, showcase a similar but different color characteristics.

For example:

In the movie, the image is much softer with slight underexposure in midtones. The Cine1 or cine4 or even S-Cinetone gamma is much more suitable for this soft look. Cine and S-Cineton gammas were made to replicate film.

In Indiana Jones (1984) skin tones are very deep and almost red (check skin tones below)

There is a slight magenta predominance in the overall color balance.

Overall, there is a color predominance of deep red magenta. It's also because of the clothing chosen for certain indigenous characters, but if you check white shirt, it's not perfect white, but rather magenta.

Indiana Jones skin is almost red, and skin color for indigenous people is actually pink. I guess Jones was also tanned in this movie, which also adds up to the deep red skin.

This next image is a great example of the colors on a sunny day. Here the colors rather go from amber to blue velvet, rather than Blue Amber.

In many occasions, the skies have a velvety blues hue rather than cyan blues.

And finally, in the last reference notice how the line is rather curved than straight from one end to another, and with a magenta cast which gives this old nostalgic feeling. Colors are deep and well saturated.

In a sense, this color science reminds me of the sony a7III which is quite similar on certain aspects.

I might try to replicate this look on my a6700, and if I succeed, I will add it to the PDF in the next update.

Edited

Eastman Color Negative II - 100T

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