Wait about 30 years on, and you will watch tutorials a la "How to fake DSLR look":...."close down 3d holographic mode, turn on 2 dimensional image filter, sharpen the image, downsize image to ridiculously small 4K, add some of that good old stylish digital noise in shadows,..."
No one will ever collect a 1975 toyota corola or crave the sound of a 1980s CD player but which is about what you are suggesting. I get the point and you have one. I'm just saying that harsh has few uses.
Uhm, where I live, the 97 corolla actually is a collectors item. At some point everything becomes a collectors item or nostalgia piece. The reason not that many classic cars survived is because people back then thought the exact same thing and had it sent to the crusher, not knowing that many years later, the same car could be highly sought after.
I loved the perspective to mimic not only the technical details but also the perks of working with film, like waiting to watch the footage, not being able to preview footage, etc. really interesting way of approaching digital film!!
I have to say, that's the one aspect of this video I don't really entirely agree with, forgoing certain features like playback or card capacity. I'd rather just discipline myself not to overly rely on them as opposed tricking myself into it by eliminating them. Focus on the shot at hand whether you have playback or not. Minimize the amount of takes you do regardless if you are able to shoot hours and hours of footage. Seems silly to actually "cut your hand off" by depriving yourself of the options, like for example only bringing a small capacity SD card. I'd rather have the option and try not to over-depend on them. At least if you run into trouble you have those tools available. I enjoy shooting on film when I'm able to. But if I'm shooting digital, whether or not I'm emulating film, I don't see the point in giving yourself all the same restrictions as if you were actually shooting film.
Jacky Lawrence I agree with you! I would not try this at all if I had an inportant shoot. However, with this approach you have no other choice and it will get you thinking about the decisions you make while filming. So emulating ‘shooting on film’ will develop those techniques, even when shooting digital...
Bram Naus or you could just shoot on film several times to gain respect for the process. If what you learn doesn't carry over to your normal practices, then you didn't learn anything and it's time to go back. Simulating the process with digital must make the fallen filmmakers of the 20th century turn in their graves...people should learn to appreciate the luxuries of digital without taking them for granted. Intentionally limiting yourself in that way seems like shooting yourself in the foot before you start.
+Same Valentine, exactly. That said, when I can't shoot film I'm always going to at least simulate the aesthetic. Sometimes much more subtly than shown here, but enough to look more filmic than that clean digital gloss.
One final detail you could also throw in, just to get it to that extra level. 16mm has a slight wobble/shake when it is playing due to the actual film running by. Adding a very small digital camera shake into your footage on the Y-axis can introduce that rolling film effect.
Isaac Carlton I know it’s a year later but there’s a great interview done to César Charlone on how he approached the filmmaking of that film. He used a specific oil on the actors skin to give it a distinct effect. He is now an advocate of digital filmmaking and thinks filming on film is incredibly bad for the environment. And by the way he shot “American Made” and you can clearly see his filming style.
I find it amazing that back in the days before digital, filmmakers wished there was a away to see the footage immediately - wished they could make as many takes as they wanted without wasting film - and now that we have (that) through the digital medium, we've become spoiled. - most of us want to return to the "good ole' days" and yes, I agree there was something "magical" about it that has now dissipated. It somehow reflects so, in many modern films shot digitally. as silly as it sounds, that "magic" is strangely gone, even when simulated. I like digital because of it's convenience - it does look good now - it's been perfected alright - but yet, oddly, it lacks soul. Sounds dumb, but those of us who love film . . . really love film, and wish we could afford it - 'know" it's magic and miss it on that screen. Maybe because deep down we know that analogue medium can be used forever - we really don' t need electricity for it, or special programs or additional electronics - just light and shadow and chemicals to react to it, and a mechanical machine that takes it all in.
Film tends to be tuned cooler and more magenta, because older projector bulbs have a yellow tint. That's why color correction on film restorations is usually done based on a projected print.
Simon, I just wanted to say that I appreciate your work. I’ve been crap at getting myself started on TH-cam, but you’ve been helping to get me over the hump a bit. I think this is one of my favorite videos of yours, partly because I’m a still film shooter and partly because I enjoy and respect the clear, concise breakdown and the amount of thought that you obviously put into all of this.
This is perfect! I hate seeing tutorials that only focus on post production to make dslr look like film when it's really important that you actually mimic it while filming, it's not just a filter
I'm very impressed with your analysis of the differences between digital imaging and motion picture film imaging, and then your figuring out how to replicate the film look on DSLR! Bravo and Thank You!!!
Love the 16mm cameras! I recommend anyone who's into filmmaking to test out the 16mm - it's definitely not for everyone, but it gives lovely results. Thanks Simon, for yet another great video!
The Filmmaker's Notebook yeah totally understand! It’s not the most affordable option when starting out haha but yeah definitely try it if you ever get the chance :) Good luck with your filmmaking :)
I love that you took this thought experiment past camera settings and to the most absurd extreme (small SD cards, no previews, holding the footage for days). Really interesting to think about the possibilities.
You really do think outside of the box with your TH-cam videos Simon. When everyone else is doing the same old tutorials/reviews your actually creating new content that really make you think. Great stuff.
I've been adjusting my film-simulation techniques for years-- this is by far the best tutorial I've ever seen. Concise, specific, and the side by side comparisons are perfect.
Yes and no, for the feature film the black swan, in tight spaces they used a 7d to mimic the look of the 16mm film. I think there is some strange math conversion between sensor size and 16mm lenses (like how far is a 16mm lens from the film?) btw I'm trying with an old gh1 with c-mount lenses and I get better results with my apsc nex5n. so strange.
Francesco Bonalume They used a 7D because it was the height of DSLR hype and the 7D was the only one able to do 24p at the time. The GH4 and GH5 with it's latitude and lens choices, are be able to reproduce the S16mm "look" with pretty good precision.
Shaun Dobbie when recording UHD the GH4 crops a bit more, at 2.3x relative to 35mm Full framework at 16x9. It gets really really close to Super16mm, so much that it falls inside the usable image circle of most C-Mount lenses.
FilmConvert are the best! There are a lot more factors to consider than just adding a plugin, and once it's done correctly, it provides amazing results.
I'm not sure what big revolution will come after we no longer record digitally, but I wonder if in 2050 there will be filmmakers saying, "I've really gotten into recording digitally on to SD cards recently. It really gives my footage a lot of vintage blocky noise and artifacts."
The context you're describing sounds more like future hipsters choosing vintage just because they think it's cool. I hope that doesn't happen, but it probably will.
ket Chup film produces a much better image. It holds up despite being older technology. That's why people still shoot on film, not just because it's cool or makes them seem interesting.
Very nice analysis. I'd agree that not looking at playback and not overdoing it on takes can move things faster on a shoot, but that's really all about attitude. As someone who has shot a lot of film back in the day, things like heavy cameras, frequent mag changes, and looking out for gate hairs/base scratches are things I don't miss. Not to mention taking the film to the lab, negotiating with the lab every time they bill me for something extra or screw it up, worrying about negative matching, etc. So some things are best not replicated :D One more thing to point out: using old lenses helps get the film look as well.
I love the idea of reducing possibilities and coming back to the core of filmmaking. Something that even the greatest in filmmaking have forgotten these days.
at 2:51 you've made a small error. that's not flickering in the waveform, it's the movement of the film rolling through the gate. It's called film slack. Flicker can definitely add effect though. But it can get annoying when random and not a filmend.
I love this. Thanks for putting out, not only a well crafted video, but also one that is clear and to the point. I especially appreciate that you did not bring up 8-bit, 10 bit or raw as far as the DSLR goes. Excuse me while I got test this out with my EOS R.
I am in love with this video, the background music with your small and rustic voice, combined with something I have a passion for is a guarantueed long time favorite
Yes... but you know, you can do any kind of telecine and color grading on a film, making Super 16 looks the you want. In any case, digital can be similar to a film stock but you can ever recognize that is digial
Looks great and a side note that I know you’re aware of: generally super 16 and 35mm film projects are still color corrected and graded and usually end up looking nothing like the original stock... Just like digital it’s just a starting point depending on the look you’re after you’d start with a specific film stock...
Best tip: consider to use a memory card with smaller space, as it influenced for years and years the narrative and the structure of the most wonderful movies out there, somehow The Russian Ark never amazes me as an old Tarkowsky's film. Limitations at times are the best tool for an artist. Good video👍
Ugh you simply just know what to post! I hadn't realized I was familiar with the look of the super 16 but now, I want to experiment!! Thank you for inspiring ☺️
Nice headspace to be in. I remember the days of waiting and then viewing in the viewing theatre or on the Steinbeck. Sometimes you need to take a breath and think about the creativity instead of having everything instantly and being able to 'perfect' everything. Imperfection and accidents are what makes something individual. Analog and chemicals is a 'live' organic precess and once it's 'born' it lives as an individual! Thnx for all the great vids
Thank you so much for this very helpful, philosophical and entertaining tutorial! When I started out with photography there was no digital, kind of miss that sometimes!:)
I think you really nailed some of the differences. I'm sure there are more to be noticed when shooting in different scenarios but it turned out well! Coming from a large format guy.
Great video, loved the shot at 2:57, very Wes Anderson-y, it's like the window frame is kinda making a 4:3 crop adding to the whole vintage-grand-budapest-hotel look.
Amazing video, im doing colour grading for a film at the moment and ive wanted to give it a subtle film look just to make it look more cinematic and this video has really helped with that!
Falling in love with the super 16mm look after this video. even though its very soft I like the whole feel of the super 16. Thanks Simon for this good video. keep it coming.
Nice tricks! Deactivating the automatic stabilization (IS) and using manual focus or reducing its response can also help a more organic (chemical/mechanical) touch. Even synthesizing some lens flaws helps.
Great video as always but theres one thing I would say you left out, High light roll off. On film its a lot softer and just rolls off into the rest of the image a lot nicer, you can see on the window example on digital it clipping on one edge which looks a bit harsh. Using soft diffusion filters on the lens or diffusion in magic bullet looks in post can help start to solve that.For all my films I go for a shot on film 35mm kinda look and thats one of the main things I've noticed so I always try to prevent over exposed blown out high lights and areas that clip. Hope this helps some people out there just trying to give back to the community that has helped me so much!
This was great idea! And thank you for the specifics on how to achieve it - especially pointing out that flicker is also part of the film look...that was a good insight.
I was doing similar experiments with my gh1 to mimic the 16mm look, but your results are way better! I'll try the magenta shift thank you so much (and flickering too). The best dslr channel on youtube
If you really want to get into super 16, I strongly suggest you get your hands on a couple of recans and short ends and rent yourself an Aaton Xtr package. Getting to know 400' mags and better optics as well as crystal sync is pure charm. I've learned cinema on 16mm, editing on Steenbeck tables and honestly, I never found the guts no to shoot on it. I may add that I currently study cinematography at Université de Montréal, in Canada. That's right, we're still learning on 16mm stocks. I'm currently working on a feature film shot in super 16 and believe it or not, I believe the workflow's easier than your typical Red or Alexa camera raws simply because data's lighter and grading easier. Highlights never "burn"!
I tip my hat to you Simon Cade. The title isn't accurate, it should be "How to simulate the super 16mm film look". Every digital film maker who calls themselves a film maker needs to watch this video and subscribe to your channel. Keep filming!
Eyyy Simon,if possible,could you also include in the next video your developing options,like do you send it to a lab or develop the roll at home,and your scanning methods and all maybe. Cheers mate.
2:42 The shot almost looks identical now, but look outside the window and compare the colors there. Look how blue the ocean is and how green the bushes are. Look at the grey pier. All those colors are lost in the digital DSLR shot. That section alone needs a color correction too.
btw, i decided to switch to BMMCC because of love to super 16. It has the same sensor size, so you can use C-mount lenses with it, colors are amazing for grading and no rolling shutter after all. And you can get those camera about the same price as middle DSLR ($1000)
i am working right now on a project that was supposed to be shot in super 16. but is now being shot on an Alexa Plus for reasons of convinience, for us the tricky thing was that film grain cant really be seen as an overleigh for the image, because the grain usually looks diffrent across every step of apeture. so what we did was filming the chosen stock, against neutral grey, and filming it on every step of apeture. later the 0 grane, as i call it, is aplied thrue a script ontop of the digital film result and categorising itself into the right step. will post exsamples after release of the film...
That flickering effect is also from gate weave. If you added that it would have just pushed it that extra bit to look more real. I’d also soften the brightest things in your shots so they have a bouquet over spill.
here's the flicker overlay file in case you want to use it: www.dropbox.com/s/kbgumcease5wdzu/flicker.mov?dl=0
Thank you, Simon!
Thank you😊
Cool! Thanks for the extra help
DSLRguide I just got my full frame stills film today.
Side comparison was a bit short in this movie of the flicker filter. Tumbs up for the rest. THX for the download. :)
Wait about 30 years on, and you will watch tutorials a la "How to fake DSLR look":...."close down 3d holographic mode, turn on 2 dimensional image filter, sharpen the image, downsize image to ridiculously small 4K, add some of that good old stylish digital noise in shadows,..."
76boromir wtf so true
dead lmao
No one will ever collect a 1975 toyota corola or crave the sound of a 1980s CD player but which is about what you are suggesting. I get the point and you have one. I'm just saying that harsh has few uses.
Uhm, where I live, the 97 corolla actually is a collectors item. At some point everything becomes a collectors item or nostalgia piece. The reason not that many classic cars survived is because people back then thought the exact same thing and had it sent to the crusher, not knowing that many years later, the same car could be highly sought after.
Danny Taddei nobody will ever collect a 1975 corolla? That is simply not true
I loved the perspective to mimic not only the technical details but also the perks of working with film, like waiting to watch the footage, not being able to preview footage, etc. really interesting way of approaching digital film!!
I have to say, that's the one aspect of this video I don't really entirely agree with, forgoing certain features like playback or card capacity. I'd rather just discipline myself not to overly rely on them as opposed tricking myself into it by eliminating them. Focus on the shot at hand whether you have playback or not. Minimize the amount of takes you do regardless if you are able to shoot hours and hours of footage.
Seems silly to actually "cut your hand off" by depriving yourself of the options, like for example only bringing a small capacity SD card. I'd rather have the option and try not to over-depend on them. At least if you run into trouble you have those tools available.
I enjoy shooting on film when I'm able to. But if I'm shooting digital, whether or not I'm emulating film, I don't see the point in giving yourself all the same restrictions as if you were actually shooting film.
Jacky Lawrence I agree with you! I would not try this at all if I had an inportant shoot.
However, with this approach you have no other choice and it will get you thinking about the decisions you make while filming. So emulating ‘shooting on film’ will develop those techniques, even when shooting digital...
Bram Naus or you could just shoot on film several times to gain respect for the process. If what you learn doesn't carry over to your normal practices, then you didn't learn anything and it's time to go back.
Simulating the process with digital must make the fallen filmmakers of the 20th century turn in their graves...people should learn to appreciate the luxuries of digital without taking them for granted. Intentionally limiting yourself in that way seems like shooting yourself in the foot before you start.
+Same Valentine, exactly. That said, when I can't shoot film I'm always going to at least simulate the aesthetic. Sometimes much more subtly than shown here, but enough to look more filmic than that clean digital gloss.
check out this guy's instagram @k3super16mm. he seems crazy
One final detail you could also throw in, just to get it to that extra level. 16mm has a slight wobble/shake when it is playing due to the actual film running by. Adding a very small digital camera shake into your footage on the Y-axis can introduce that rolling film effect.
I just watched City Of God for the first time. The cinematography is incredible. I really love the imperfections of Super 16.
Isaac Carlton I know it’s a year later but there’s a great interview done to César Charlone on how he approached the filmmaking of that film. He used a specific oil on the actors skin to give it a distinct effect. He is now an advocate of digital filmmaking and thinks filming on film is incredibly bad for the environment. And by the way he shot “American Made” and you can clearly see his filming style.
Yeah, i'm brazilian and Fernando Meireles it's a great director, nowadays he shots only in digital.
You are a genius. Its only because of you, I am not upgrading my canon T3i :)
Hello from the future!
That flicker takes everything to the next level! Many thanks for this!
#teamflicker
I find it amazing that back in the days before digital, filmmakers wished there was a away to see the footage immediately - wished they could make as many takes as they wanted without wasting film - and now that we have (that) through the digital medium, we've become spoiled. - most of us want to return to the "good ole' days" and yes, I agree there was something "magical" about it that has now dissipated. It somehow reflects so, in many modern films shot digitally. as silly as it sounds, that "magic" is strangely gone, even when simulated. I like digital because of it's convenience - it does look good now - it's been perfected alright - but yet, oddly, it lacks soul. Sounds dumb, but those of us who love film . . . really love film, and wish we could afford it - 'know" it's magic and miss it on that screen. Maybe because deep down we know that analogue medium can be used forever - we really don' t need electricity for it, or special programs or additional electronics - just light and shadow and chemicals to react to it, and a mechanical machine that takes it all in.
Film tends to be tuned cooler and more magenta, because older projector bulbs have a yellow tint. That's why color correction on film restorations is usually done based on a projected print.
Simon, I just wanted to say that I appreciate your work. I’ve been crap at getting myself started on TH-cam, but you’ve been helping to get me over the hump a bit. I think this is one of my favorite videos of yours, partly because I’m a still film shooter and partly because I enjoy and respect the clear, concise breakdown and the amount of thought that you obviously put into all of this.
This is perfect! I hate seeing tutorials that only focus on post production to make dslr look like film when it's really important that you actually mimic it while filming, it's not just a filter
I'm very impressed with your analysis of the differences between digital imaging and motion picture film imaging, and then your figuring out how to replicate the film look on DSLR! Bravo and Thank You!!!
I love how you go through the right details thoroughly and then go beyond what's expected. You have such a feel for this media my man.
Love the 16mm cameras! I recommend anyone who's into filmmaking to test out the 16mm - it's definitely not for everyone, but it gives lovely results. Thanks Simon, for yet another great video!
The Filmmaker's Notebook yeah totally understand! It’s not the most affordable option when starting out haha but yeah definitely try it if you ever get the chance :) Good luck with your filmmaking :)
Film is absolutely more magical, in all it's forms.
I have a 8mm camera with a nice electric zoom lens and even slow motion mode. Just wondering where I can buy 8mm color film?
Mike Handschin I absolutely love 16mm film cameras
Simon, I'm constantly blown away by your productions, man. So, so inspiring. Thank you for continuing to make YT content.
This is the greatest film look video ever made
there's something calming and relieving and nostalgic about super 16. just learned the team but glad I did!
I love that you took this thought experiment past camera settings and to the most absurd extreme (small SD cards, no previews, holding the footage for days). Really interesting to think about the possibilities.
You really do think outside of the box with your TH-cam videos Simon. When everyone else is doing the same old tutorials/reviews your actually creating new content that really make you think. Great stuff.
I've been adjusting my film-simulation techniques for years-- this is by far the best tutorial I've ever seen. Concise, specific, and the side by side comparisons are perfect.
You're a Great TH-camr as well as a Film maker!
@Aman Tech Tips
Mm-hmm
He's a good person too, the world needs more people like him
But why does he sound so sad
He's one of the most mature youtube photo/videographers. Integrity and quality. Bravo!
He has yet to make a great film so I'm not sure what you mean. This video was just more camera tests.
The music is so nostalgic... perfectly fits the great video
Lukas _ any idea what the music might be?
@@faeirieswearboots Summer Memories by Simon Cade
Because micro four thirds is roughly the same size as 16mm it should be a bit easier to replicate. I'm going to try it out!
Yes and no, for the feature film the black swan, in tight spaces they used a 7d to mimic the look of the 16mm film. I think there is some strange math conversion between sensor size and 16mm lenses (like how far is a 16mm lens from the film?) btw I'm trying with an old gh1 with c-mount lenses and I get better results with my apsc nex5n. so strange.
Francesco Bonalume They used a 7D because it was the height of DSLR hype and the 7D was the only one able to do 24p at the time.
The GH4 and GH5 with it's latitude and lens choices, are be able to reproduce the S16mm "look" with pretty good precision.
Micro 4/3 is around 4 times larger.
Shaun Dobbie when recording UHD the GH4 crops a bit more, at 2.3x relative to 35mm Full framework at 16x9. It gets really really close to Super16mm, so much that it falls inside the usable image circle of most C-Mount lenses.
Lol I forgot about that, I even have a GH4.
FilmConvert are the best! There are a lot more factors to consider than just adding a plugin, and once it's done correctly, it provides amazing results.
your passion for filmmaking is infectious
Your color-matching skill is impeccable.
I'm not sure what big revolution will come after we no longer record digitally, but I wonder if in 2050 there will be filmmakers saying, "I've really gotten into recording digitally on to SD cards recently. It really gives my footage a lot of vintage blocky noise and artifacts."
Yup, really fascinating to think about!
The context you're describing sounds more like future hipsters choosing vintage just because they think it's cool. I hope that doesn't happen, but it probably will.
Sam Valentine of course it will and what's the difference between that and all the people who shoot on film now.
ket Chup film produces a much better image. It holds up despite being older technology. That's why people still shoot on film, not just because it's cool or makes them seem interesting.
its like how the real hipster are shooting on vhs now.
Very nice analysis. I'd agree that not looking at playback and not overdoing it on takes can move things faster on a shoot, but that's really all about attitude. As someone who has shot a lot of film back in the day, things like heavy cameras, frequent mag changes, and looking out for gate hairs/base scratches are things I don't miss. Not to mention taking the film to the lab, negotiating with the lab every time they bill me for something extra or screw it up, worrying about negative matching, etc. So some things are best not replicated :D One more thing to point out: using old lenses helps get the film look as well.
Watching your videos, listening to your voice, your background music choice. It feels like i'm watching a film. Really intriguing.
Your analysis of detail is far beyond my inexperienced ability. This was extremely enlightening and I thank you very much for doing this.
I love the idea of reducing possibilities and coming back to the core of filmmaking. Something that even the greatest in filmmaking have forgotten these days.
Your videos are ALWAYS more than a simple tutorial. It's all about how to feel the things as humans. That's what i like you the most.
This guy still repping that T3i... Gotta love it.
at 2:51 you've made a small error. that's not flickering in the waveform, it's the movement of the film rolling through the gate. It's called film slack. Flicker can definitely add effect though. But it can get annoying when random and not a filmend.
Seriously reminded me why I love film so much
I love this. Thanks for putting out, not only a well crafted video, but also one that is clear and to the point. I especially appreciate that you did not bring up 8-bit, 10 bit or raw as far as the DSLR goes. Excuse me while I got test this out with my EOS R.
This is one reason I like M4/3 for shooting. It really splits the difference between S35 and S16 very well.
I am in love with this video, the background music with your small and rustic voice, combined with something I have a passion for is a guarantueed long time favorite
I love how calm and informative your videos are.
I've just created my own "flicker" filter. That's a really great tip, it makes the video breathe and pulse like film.
The music is so soothing
Simon is a very talented filmmaker especially for his age!
I like the end result and I also like your points on being focused when having a shooting on film mentality.
Yes... but you know, you can do any kind of telecine and color grading on a film, making Super 16 looks the you want. In any case, digital can be similar to a film stock but you can ever recognize that is digial
Looks great and a side note that I know you’re aware of: generally super 16 and 35mm film projects are still color corrected and graded and usually end up looking nothing like the original stock... Just like digital it’s just a starting point depending on the look you’re after you’d start with a specific film stock...
Best quote on film practice, whether it is still or motion, "it make you stop and think"
this is such great artistic advice and i think it applies to other creative areas, such as music production, as well.
I've listened to this background music for months now ever since the fake super 8 video ❤️
You could always snap the disc in two to simulate footage lost by exposure or developer blunder.
I just love your "hacks" to go with a smaller SD card and to disable the preview button.
I love 'Just carry on', Simon! Everything you create is so perfect!
I love your voice so much it’s so calming
Best tip: consider to use a memory card with smaller space, as it influenced for years and years the narrative and the structure of the most wonderful movies out there, somehow The Russian Ark never amazes me as an old Tarkowsky's film. Limitations at times are the best tool for an artist. Good video👍
Ugh you simply just know what to post! I hadn't realized I was familiar with the look of the super 16 but now, I want to experiment!! Thank you for inspiring ☺️
+Diana Chamomile welcome :)
This was a fantastic watch. Extraordinarily relaxing, and engaging throughout. Thank you for creating this
I grew up using reg and super 8 and am quite thankful for digital. Your videos are great and keep up the tremendous work.
Nice headspace to be in. I remember the days of waiting and then viewing in the viewing theatre or on the Steinbeck. Sometimes you need to take a breath and think about the creativity instead of having everything instantly and being able to 'perfect' everything. Imperfection and accidents are what makes something individual. Analog and chemicals is a 'live' organic precess and once it's 'born' it lives as an individual! Thnx for all the great vids
u still tha goat Simon. appreciate your work man. -a very long time fan.
Dude, this video is amazing! The content, the way you are passionate about being authentic to Super 16, this video is a poem. Thank you
I love film. I hope more youngsters will embrace it and make it popular again and perhaps more theaters can project on film too.
The music is perfect for that camera
Thanks for that! I'm glad you re-used that music again, I loved it the first time 😊
I was just about to shoot a short with a super 16 look... it’s like you knew!!!! Thank you so much for this, super helpful video as always
Thank you so much for this very helpful, philosophical and entertaining tutorial! When I started out with photography there was no digital, kind of miss that sometimes!:)
Whenever I loose focus, I watch your videos, you always have a precious statement.
Loved this video too,, can't wait for the super 16 video.
I think you really nailed some of the differences. I'm sure there are more to be noticed when shooting in different scenarios but it turned out well! Coming from a large format guy.
Great video, loved the shot at 2:57, very Wes Anderson-y, it's like the window frame is kinda making a 4:3 crop adding to the whole vintage-grand-budapest-hotel look.
Awesome! Just awesome! THX a bunch for this. In a world of gaming and 4k tutorials this was a need breath of new air.
Amazing video, im doing colour grading for a film at the moment and ive wanted to give it a subtle film look just to make it look more cinematic and this video has really helped with that!
Falling in love with the super 16mm look after this video. even though its very soft I like the whole feel of the super 16. Thanks Simon for this good video. keep it coming.
Nice tricks! Deactivating the automatic stabilization (IS) and using manual focus or reducing its response can also help a more organic (chemical/mechanical) touch. Even synthesizing some lens flaws helps.
Man, you are so poetic! Really enjoying watching your videos! And your music is so good for the mood you inspire! Keep up the good work!
Great video as always but theres one thing I would say you left out, High light roll off. On film its a lot softer and just rolls off into the rest of the image a lot nicer, you can see on the window example on digital it clipping on one edge which looks a bit harsh. Using soft diffusion filters on the lens or diffusion in magic bullet looks in post can help start to solve that.For all my films I go for a shot on film 35mm kinda look and thats one of the main things I've noticed so I always try to prevent over exposed blown out high lights and areas that clip. Hope this helps some people out there just trying to give back to the community that has helped me so much!
2:58 is a beautiful frame. I would love to see someone give you the money to make a film on Super 16.
This was great idea! And thank you for the specifics on how to achieve it - especially pointing out that flicker is also part of the film look...that was a good insight.
thanks Edward, it's a remarkably simple effect, but makes quite a big difference I reckon!
I was doing similar experiments with my gh1 to mimic the 16mm look, but your results are way better!
I'll try the magenta shift thank you so much (and flickering too).
The best dslr channel on youtube
If you really want to get into super 16, I strongly suggest you get your hands on a couple of recans and short ends and rent yourself an Aaton Xtr package. Getting to know 400' mags and better optics as well as crystal sync is pure charm. I've learned cinema on 16mm, editing on Steenbeck tables and honestly, I never found the guts no to shoot on it.
I may add that I currently study cinematography at Université de Montréal, in Canada. That's right, we're still learning on 16mm stocks. I'm currently working on a feature film shot in super 16 and believe it or not, I believe the workflow's easier than your typical Red or Alexa camera raws simply because data's lighter and grading easier. Highlights never "burn"!
Thoroughly brilliant video, simple but deep ideas! Bravo
I just love it. i love everything what you do. Please don't stop.
That's insane, I was looking for a video just like this a few days ago and boom a perfect video just uploaded
i just make a super 8 video and now you just upload super 16. i can't wait to shoot outdoors because of this video
I tip my hat to you Simon Cade. The title isn't accurate, it should be "How to simulate the super 16mm film look". Every digital film maker who calls themselves a film maker needs to watch this video and subscribe to your channel. Keep filming!
Great thoughts, Simon - loved the piece on intentional shooting.
The grading you did on this was excellent. nice work!
Eyyy Simon,if possible,could you also include in the next video your developing options,like do you send it to a lab or develop the roll at home,and your scanning methods and all maybe.
Cheers mate.
The return of the best DSLRguide soundtrack haha
Great video, I feel inspired to move closer to film now! Very helpful
2:42 The shot almost looks identical now, but look outside the window and compare the colors there. Look how blue the ocean is and how green the bushes are. Look at the grey pier. All those colors are lost in the digital DSLR shot. That section alone needs a color correction too.
btw, i decided to switch to BMMCC because of love to super 16.
It has the same sensor size, so you can use C-mount lenses with it, colors are amazing for grading and no rolling shutter after all.
And you can get those camera about the same price as middle DSLR ($1000)
Great video nice to see you back sharing you interesting thoughts on filmmaking
i am working right now on a project that was supposed to be shot in super 16. but is now being shot on an Alexa Plus for reasons of convinience,
for us the tricky thing was that film grain cant really be seen as an overleigh for the image, because the grain usually looks diffrent across every step of apeture.
so what we did was filming the chosen stock, against neutral grey, and filming it on every step of apeture.
later the 0 grane, as i call it, is aplied thrue a script ontop of the digital film result and categorising itself into the right step.
will post exsamples after release of the film...
The other thing you need to add is a little shake. The slightest amount. When film rolls sometimes frames can be a touch off center.
That flickering effect is also from gate weave. If you added that it would have just pushed it that extra bit to look more real. I’d also soften the brightest things in your shots so they have a bouquet over spill.
Love the shot at 2:57 . Great work!
Everything you said make sense. Thank God I really don't know how I came to this video, Superb really superb.
That music is awesome.
film has soul, feeling, and depth. digital is perfect, sterile - white swan
These "how to fake" videos are great. The music is beautiful!
These shots are beautiful!
Thank you for the overlay and information here...awesome channel!