Yeah. Enough sorting through things in advance taught me that red filters were off the table from the start. I'll look for that book at my university library, but I'm not sure if they're liable to have it. I'm still baffled by the serious blue of indoor, fluorescent-lit scenes (and this was with that orange filter!). It was the last thing I expected, and I've not yet seen anyone else with anything like it.
Indeed. Digital people are now trying to emulate it by tinkering with alpha channels on their IR-hacked cameras, but it's nowhere close.
Because I only have a few rolls of EIR, it isn't likely I'm going to buy a set of Wratten filters (and the equipment to use them) unless they end up in a Freecycle pile. I'll just work with what I have in terms of screw-on filters. But I'll try the next roll at 200 or maybe 250, as I worry that going 400 will make it really grainy. I typically like grainy, but for EIR I'm finding the crispness somewhat intriguing given the unique colour palette.
Also, one more thing: I shot blue skies late in the day, and the hue is a light blue, even marginally cyan. It's pleasing, but it wasn't totally expected. I've seen other EIR shots where the sky is deep blue, verging on black. Is this the use of a polariser atop the colour filtering?
Thanks for the advice!