Getting the Film Look with Digital Footage
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- čas přidán 19. 07. 2023
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One thing about tutorials like these (which i love the technical stuff, what are you using) but rarely do people who work in this field express why they choose to use the tool the did and the settings they use. A lot of people are out here of course looking to just straight copy paste looks from others, but for me I want to know why you chose what you did. I want to understand the vision of the filmmaker on how they made that vision come to life. Can you do something like this in perhaps a slower longer format video explaining on of your shorts perhaps?
That’s a great note! I agree. We’ll keep that in mind and start trying to explain all that more. Thanks so much for your feedback!
Are you familiar with Vimos Zsigmond's work?
Small note: Chromatic aberration is the separation of red, green and blue rays caused by imperfections in the lens often at the edges of the image. Halation is a fringing around extremely bright values of an image that is caused by bright rays of light bouncing off the inside of a camera, thereby spreading out those bright values' red and sometimes green light rays.
You always learn more with good CZcams channels!
But people like halation effect.
It would be cool to see how to recreate the sound of older films. For example a movie from the 80s sounds different to current films and I’d love to see you guys make a video on that
I could be wrong but I’m pretty sired it’s only because the hardware has changed. Itd probably be difficult to recreate the “sound” of old films but I’m not an audio engineer so 🤷♂️
So glad you showed this on davinchi! Love this show! Can't believe I've been watching yall since yall started! Don't go anywhere the videos are great!
Been watching you for years. Thanks for everything you do ❤
4:35 - In case of Resolve Film Looks adjusting key output gain will also affect the conversion from Cineon Log to Gamma 2.4. You should create a compound node with CST and LUT inside - adjusting its key ouput gain will only affect the LUT itself.
This is literally exactly what I was looking for. Thank you so much!
In the Resolve OFX - grain control for shadow, midtones and highlights is under the advanced part at the bottom in the inspector. You kind of stopped there and then highlighted that functionality in filmconvert which implied that it wasn't in Resolve.
We have the problem with streaming services that the quality of grain is compromised by the compression. So taking advantage of the OFX in Resolve might not look any better or worse than all the expensive add-ons after uploading to the internet.
"80% of movies are shot digitally" shows 3 chris Nolan posters lol
Really like seeing resolve on a tutorial from you guys. After effects still has a place in my heart but MAN..... I'm really digging the NODE base work flow.
this looks awesome
Thank you for the knowledge
This episode is editor-gold.
This is dope and very helpful, U da bomb
Fantastic job
I just love color grading😗😎
Awesome info ❤
Ryan Navazio's clips at 6:49 are shot on 16mm, not Super 8
Thank you 👍🏾👍🏾
Hey I love you guys channel. But I would like to learn from you guys the changing of aspect ratio mid scene in movies like in Wanda vision or it comes at night
I had no idea about using color space transform before those specific LUTs that ship with davinci. Is there a place to go to know how best to use specific LUTs regarding what output gamma LUTs will need?
I have a bunch of Osiris LUTs that never look proper
doing all corrections after the CST and LUT - walking on a really thin edge there 😨
Thank you 👍
Is the shot list challenge (and its prizes) open and available world wide, or just restricted to the US?
Magnificent 👌
I wouldn't assume everyone knows that LUT stands for Look Up Table. It is a file that contains a set of parameter values. I think knowing that makes it more clear what LUTs are about.
Y'all better check it out.
The imperfection of film has become burned into our perception of what a movie should look like. We take a cleaner digital image and rough it up so that resembles our ideal movie look.
So it makes me question why manufacturers of cameras don’t spend more R&D on perfecting the 4K-6K range of sensors instead of trying to expand into 8K+.
After 20+ years of not releasing a new sensor, ARRI finally released an improved 4K sensor with high dynamic range. They didn’t chase the ever increasing resolution.
❤amazing as always, useful and quick tips. Awesome
Not bad of a tutorial, guys. The closest thing I've seen so far for something that has a similar look prior to this tutorial is someone making their own version of a Digital Bolex, basically using a Canon EOS-M camera with Magic Lantern and some vintage lenses (and I think with some minor LUT used in post production).
You might find this interesting. It’s not a tutorial, sadly, but it’s great just the same - www.yedlin.net/DisplayPrepDemo/
@@filmriot Nice! In case you're interested, here's the tutorial for the "Digital Bolex" using the Canon EOS-M. The test footage they show, it reminded me of the quality and look of the 1995 film "Habit" by Larry Fessenden, who shot the film on 16mm. I'm sure you'll probably notice details that say "Hey, this doesn't look like film and is noticeably digital" a lot more than I can, but the test shots shown definitely invoked a similar film stock look to me (and after looking at the description, he does mention using Davinci Resolve for post-production processing): czcams.com/video/ZmB8OoVKGDA/video.html
@@filmriot Also, topic makes me think back to the VHS/Hi-8 video days, where people attempted to make DOF adaptors, which basically mimicked the look of film but for video cameras (one tutorial I came across involved cannibalizing a CD player and using the clear plastic protective CD that came with the CD bundle packs).
I like how the "low dynamic range" example still has more dynamic range than my camera haha. I want resolve studio so bad lol
great vid still waiting for flash
Will you guys ever go back to more bts/set up/ type videos?
Any way to achieve this halation effect with Premiere Pro?
Can u do it with after effect
4:34 that's wrong - since you convert to rec709 with the lut you need to adjust the intensity of the CST and the Lut together, or else you blend the rec709 output with the cineon image of the previous node. To do this you could create a compound node for example
I have to ask, given recent news from Adobe, is DaVinci Resolve + Fusion the best Adobe Premiere Pro + After Effects replacement?
What news?
@@electrikfrenzy From what I've heard, Adobe developed a surveillance tool that can be used to determine if "copyright infringing" AI models were used. Not to mention Adobe asked the senate to outlaw copying an artist's style about a week ago.
So, are we picking up Davinci now?
Been awhile😂😂
How to make iPhone 11 footage cinematic?
Nice insight. I unfortuantely use After Effects for VFX compositing. :(
Not entirely true - in the 1980s there was a brief flirtation with shooting and editing on 3/4 inch video, then transferring to film for theatrical release. Coppola even produced a couple movies that way, wanting to prove that video could replace film… and not succeeding very well it's the time.
❤from indi
Shoot on the original BMPCC! Has that 'film look' quality, but the advantages of shooting in digital RAW that's easy to edit in post.
The final shot was pretty insanely gorgeous. Like - "put this on a loop," gorgeous. Like - "where is this movie?" gorgeous!
How do you make a video that was not shot in log look like it was?
There’s actually technical LUTs that will convert rec709 to a log look. Doesn’t give you any of the perks of Log, but it looks like it. We have that in most our LUT packs - but I’m sure you could find free ones too.
👏🏽👏🏽👏🏽
7:08 actually that's mostly not the reason for digital noise, ISO amplification REDUCES noise in the final image, it doesn't make it worse!
The main source of digital noise is the quantum nature of light, since it's made of photons the actual amount of photons reaching your detector in a given time will vary even if the average illumination stays constant (kinda like if you measure rain using two cups you will have different amount of drops captured even if you leave them outside for the same amount of time simply because by chance one will catch more drops than the other), that's called "photon shot noise" and it's what causes most of digital noise!
I don't know what photon shot noise is but I would have thought that amplification of any weak signal is going to also amplify the noise. So, with a low ISO the noise isn't super visible but neither is the signal. If you amplify it, you get tonnes of noise even if you can also now see the signal. Where that noise comes from seems sort of irrelevant; it's always there, you just don't see it unless you try to amplify the signal. My point being, increasing the ISO must surely increase the noise, not reduce it. Increasing the ISO doesn't affect how the light is captured, only how it's read back from the sensor.
@@clonkex you're right, amplifying increases both signal and noise, but what we perceive as "clean" in an image is neither of those, it's actually the signal to noise ratio, which ideally stays constant when you amplify.
That however is true only for the sources of noise that you get at the moment of capture, while the additional noise you get when you actually try to convert the signal from analog to digital is added after the amplification and stays the same, that's why if you fed the converter an amplified signal the final SNR will be better.
@@v0ldy54 Ah true, ideal amplification is multiplication so the SNR stays the same. So I guess additional pre-amplification noise is worse while additional post-amplification noise is not so bad.
One month and I'm still waiting for more of the flash effect
It’s not in the schedule right now. But we will revisit eventually.
@@filmriot oh ok thank you guys!
What are all the movies at 6:46? Harry Potter / American Beauty / Léon / ???? / Fear and Loathing in Las Vegas / ???? (Emma Stone) / Amélie / ???? / ???? (Margot Robbie) / Mad Max: Fury Road / The Revenant / ????
The Machinist. Birdman. ??. ??. The Royal Tennenbaums. I do think the one after Amelie is Shaun of the Dead.
@@dixielandfarm OK, took me a minute. It's Hot🚓Fuzz, not Shaun of the Dead ;)
She's Got the Look sang the duet Roxette 😉
Really liked this video. Another tutorial outside of Adobe which I can’t afford 😂.
There’s a free version of Resolve. Most features we used are available in that I believe - I’m pretty sure the denoising is not available in the free version though.
Please show some magic symbol vfx please
I've made some great LUTs from Shotdeck; cool site and easy to use! But even as a "keen amateur" who's seen thousands of movies (I am 75 now), I fail to fully grasp the "mania" (IMNSHO) in the industry of "getting back to film look" when digitally emancipated many (especially us keen amateurs who could never afford expensive film and its processing costs). Maybe someone might convince me one day that to look like a "pro," I must have the "film look." The best way to "get the film look" (IMNSHO) is to shoot with film, eh (and its related costs)?
or just buy a fujifilm camera, learn how to use it cinematically, and attempt to make your other cameras like your panasonics to look somewhat like it.
cameras today can already create the look you want or closer to it than your phone... so explore the gear wisely.
you d be surprised what a white balance and a highlight S curve could do.
hi you forgot about audio but great content
I built AI generated grain a few months ago and uploaded some clips on my actual channel. Paramount contacted me shortly thereafter and made me an offer and I took it.
Comment for tht algorithm
We appreciate you.
Magic symbols tutorial?
Hoping to get that out in the next few months.
1:00 most movies here were shot on film
It's a list of older and modern films, with most of the current films shot digitally and all of the older shot on film. I guess we could have been more clear on that.
I get it...but I'm just guessing that most of your subscribers are using Adobe Premiere!?
The contest says no vfx like why the f 🤦
For some reason the before looks better. Just feel like you guys went overboard with the contrast. And yes I am watching in 4k.
You can just shoot on film too!
None of that made it look like film to me. But then again I am just a layman.
This is really interesting, I'd like to point out that Nolan's Batman was amongst the films you were showing that were shot digitally. Doesn't Nolan refuse to use Digital cameras?
That list was just a general list of big films, not ones shot digitally or with film
Ryan how do I get in touch with you, Love your youtube page, directing and your in depth explanation of what you do and how you do it. I am a aspiring director and filmmaker working with meta kings podcast and would love to chat with you personally.
ok
Erm… you sure about film having more dynamic range??? Once it’s scanned you don’t really have more than about 10 stops (or so does most sources state that on the inter-webs). That’s a very common miss conception / myth thats floating around about film having huge DR. Its just aesthetics. Digital passed film long ago.
Did we earn ourselves an earring? :) Also, HBO’s latest film/camera test shows that Arri, Sony and RED have exceeded film’s DR now. We have crossed another line.
Well, I look back a few episodes and see you had it for a while. How do I miss these things? Or, was it there all along and my mind has been permanently altered by alien DNA that one time I tried octopus that I was unable to notice something like that? Or….wait, maybe you didn’t know it was there and you’ve been earmarked by the octopi overlords… ooooh yea…. An earmark joke…. I’ll see myself out.
Feel like this video was 50% advertisement. Like a video for the sake of fulfilling sponsorship promises
Nothing inside this episode was a sponsor minus the ad in the middle. We made no money from anything other than the actual ad. Everything else was included because we believe it is a value to our audience.
You guys need to get some better designs on your merch! I was disappointed with the selection
or just shoot on film )
It's like getting a $1000000 camera, to take a real looking photo, then using a crappy 'instagram filter'...
know I am probably gonna be called blasphemer here, but how about you lean into the the digital a bit and given a tut on those beautiful John Wick 4 grades.....that will be sweet
It simply cannot be done
It’s difficult, but it certainly can. www.yedlin.net/DisplayPrepDemo/
You will NEVER be able to get the true film look. You'll be able to copy an aesthetic, but the true film look really is almost dead and buried unless you shoot on film. Go watch the 4k Blu-Ray of Blade Runner and then watch the 4k Blu-Ray of Blade Runner: 2049. 2049 looks fantastic, clear and crisp, but it looks like really good video. It will always look like really good video, because that's what it is.
Check this out - www.yedlin.net/DisplayPrepDemo/
@@filmriot That's really interesting, thanks for the link!
Or just shoot film? It's not THAT long a process and not THAT expensive.
Be disciplined with your budget, break the script down meticulously, storyboard and block every shot in detail, and rehearse, rehearse, rehearse. Record your table readings and cut together mock-ups with that audio and your storyboards (or even shoot your in-person rehearsals with your phone for the same if you have complicated blocking). I make 3D sketchup models of office rooms, buildings and alleys which tend to help with staging and storyboarding. I track the sun (there are apps for this or use a low-tech almanac) and discuss lighting issues with the DP and gaffer. Film negative doesn't blow out highlights like digital sensors: you can recover a lot of detail with HDR scans. With a liberal amount of pre-production elbow grease you can get your shot ratio down to ~2:1 or even less when your cast hits their stride. You should be doing all this if you are shooting digital principle photography anyhow, but keeping your shot ratio trim keeps your film budget trim, your location expenses trim, your cast/crew budget trim... etc.
On our August 2022 shoot of ~12 pages I budgeted the film very accurately and burned through 15 of the 18 400' cans I ordered. The February 2023 shoot I burned 12 of the 12 I had ordered and still had the 3 leftover from August. Now I can use those 3 for pickups if I really want to, or roll off some bits of promotional material.
I like shooting 35 but 16 is half the price and b/w, which I also prefer, is half the price yet again. IF you can find short ends, recans and nos that is even more cost effective (and you can have snip tests done if you are really paranoid). If you shoot 35, shooting 2-perf will get your film expenses in the territory of 16mm. We shoot 35 anamorphic so 4-perf is our M.O. but 2-perf is always an option.
Shooting film is really a great experience, it forces you to be disciplined and it looks effing amazing. Film transfer for a digital intermediate is not that big of an expense any more and if you want someone like us to transfer your negative we'll do it cheap with our Cintel II which is native hardware for Resolve.
There are ways to shoot film without having to cheat digital to look like it. It is exciting for your cast and crew on set because it's a unique experience and everybody tends to shine when you call 'roll camera' and that steampunk monster starts whirring away.
AND if you are looking for a career in filmmaking, having an actual FILM credit to your name is sure to raise eyebrows and enthrall interviewers. People who matter know what it takes to shoot film: discipline, organization, rigor, knowledge and a pair of brass b*lls.
To be fair, these videos are primarily aimed at home and indie videographers with a budget of approximately zero. Why would you spend what little you have on film when you can shoot digital for no cost and maybe pay an actual actor or two?
If you have the budget for real film then you're already well ahead of most people watching this channel.
@@clonkex I'll bite (from another account). But let me lead off with this: to be fair, do whatever you want. Do whatever makes sense to you. Really. Shoot it with a smartphone. Get an old gopro Hero3+. Borrow gramps' old VHS camcorder and some NOS tapes. Heck, buy a TVC-8000 and make your movie on that. Do whatever, just make sure you have one thing: a rock solid script. Or not. If you want to go bad movie, go bad movie. Water Neil Breen's eye. Do 'Birdemic' and be featured on RLM in 5 years after you go viral. Do whatever makes you happy.
If you're still with me, my crew and I shoot film exclusively. It's really not that bad, it just takes some planning, budgeting and discipline. But hey, don't call me 'the expert' at anything, I'm just some dumb garage indy guy lurking in Albuquerque who makes a FILM once every other year or so. And that's the thing: we spend a lot of time in prepro. A LOT.
Now, I recognize there ARE some things that worked in my favor, right place/right time: I bought my Lomos in 2010 before they went crazy expensive and mega trendy. So, I got my glass cheep. I got my cameras in 2011 as Kodak was in bankruptcy and the ol' 'digital revolution' was taking place... for PENNIES. Bro, I got 2 Moviecam SLs for like a thousand bucks each. New in the 90's those things went for hundreds of thousands. And they are SWEET engineering. Yes, film has made a little bit of a comeback so you won't find cameras cheepo anymore; but even the Arri 435XT I picked up last year was still pennies on the dollar at auction. So, you might ferret out a deal here and there or, more importantly, find a collaborator who has a film camera who is enthused in your project.
I'll say it again: IF planning, budgeting and discipline are not in a particular filmmaker's forté, that filmmaker will join the ranks of people who say to their office colleagues over lunch, "You know, we tried to make a movie 10 years ago, we even shot a scene or two, but it just didn't work out for some reason." If you CAN plan, budget and be disciplined, you CAN shoot film. The time and effort you spend in post making video look like film is time and effort you could have used in prepro lining up your ducks and assembling what I'm arguing are the proper resources.
I don't agree with what Ryan says sometimes; but where we do agree is on one point: prepare, prepare, prepare. I add in a modification: there comes a time where you just have to pull the lever and DO it. We cannot all be Kubrick with warehouses full of prep work; but, he is a very good figure to take as inspiration.
My $.02 for what it's worth... which ain't much.
@@etenebrisentertainmentprod1358 I don't disagree. In fact, I agree wholeheartedly. Preparation is everything and you can do a tonne with some planning and budgeting (and it's not even that hard). But my point is, when you're on a shoestring budget, shooting on real film is not worth the cost even if it's doable. You gain some built-in nice aesthetics and maybe some street cred but you lose flexibility, budget, time and ease of use. Just because you can doesn't mean you should. But I also agree that you should shoot however you want to shoot. There's no right or wrong. I simply don't think film is the smart choice for the vast majority of indie filmmakers.
@@clonkex I'm a gen-x slob which means 1. I'm a cranky douche by nature, and 2. I grew up using film cameras, the tail end of vinyl record players into tape cassettes and then CDs and ATnT rotary phones with answering machines... and saw all that technology evolve ever more rapidly, and that trend has certainly not slowed, as we know. And I double-space like a BAWSS. So, I'm familiar and comfortable with analog gadgetry as well as digital. I've lived the bridge between both sides (I even used to shoot 3/4 inch tape in the cable days... try editing LINEARLY by the way). This being the case, FILM has several big advantages, of which only 1 I'm going to reference here to avoid the wrath of the Spanish inquisition... okay 2. Not 3.
The first advantage is not quantifiable but it is my opinion (and I've heard others say this) that, as a director, you get a very different performance from your actors on film. When you show up on set with a funky-looking, steam-punk camera that makes little whirring and clicking noises, there is palpable excitement. Mystique. Not quantifiable. It's like using really big matte boxes. You have to shoot film to understand and see it firsthand. It's just different. And it's a real treat after all the script revising and rehearsing and and and... All that work deserves the little step of buying, handling and rolling Kodak. Or Orwo if you're into that kind of thing. You say it isn't little. I say it is. So, we're at loggerheads. Short ends and re-cans have become really tough to find, and that IS true. But, again, the resourceful producer finds a way. I've been buying up NOS 16mm film for my A-minima since 2017 and have quite a stash at this point. It's all expired by a couple of decades, but snip tests help there at 10 bucks a pop if you have your undies in a bind about it. And everything I do is B/W so I really don't care if the red dyes have drifted a little. I'll de-saturate in post, call it 'artsy' (just like Ryan does here) and move on with my day.
The second advantage is a topic that has fallen off the radar scopes: the 'digital nitrite'. People are still finding clips of 100+ year old film... more and more bits of Metropolis keep showing up for instance. Anyhow, I'm going to spitball here and say your average enterprise HDD won't last 100 years. IF one did, you have the problem of system and file structure. Will NTFS still be around in 100 years? I don't know. But I do know that even if there were an apocalypse, I could light a candle and see my footage with it. That's an exaggeration but you get my meaning. Cloud storage? Mmm. For terabytes of footage? Nah. Not sustainable. LTO? Sure, good luck with that. Long-term storage is a BIG deal and I'll bet we have major gaps in cinematic history spanning from 2010 through 2030 a hundred years from now. There will be lost Marvel movies. Lost indy stuff. Now, Ai may change some of that somehow, but don't get me started on Ai. I boycott it flat out. Keep it the heck away from my projects, full stop.
Film is not the villain people make it out to be. Kodak has an awful history of awful customer service. They bankrupted themselves and they were the dang inventors of the digital sensor. You can't make this up. I'm not a big-time producer (except in my own mind, okay) and I scrimp and save from my regular job and make it happen. I'm not special, if I can do it others can if they put their minds to it. You know, there was a dude on this platform called ShanksFX who toyed with film. Neat guy. Joey something? Not sure what happened to him. Really clever.
Anyhow, this has turned into another session of 'ask the Luddite' so I'm going to take my computer out back and set it on fire. Cheers, and if you ever get the bug, shoot film. Or not I guess, but you're missing out.
@@etenebrisentertainmentprod1358 If you put any of that sense of humour and attention to detail into your films I might be convinced to take a look. I like how you write. I could already tell you were older than me because you double-space between sentences (which no one does any more, and which also took me by surprise when I saw people doing it at my first office job a few years ago); I was born in '95. Oh wait, that's actually what you meant by "double-space like a boss". Maybe I'm thick too, lol.
I completely agree that digital is ephemeral, and it's scary. I'm a programmer and general IT person so I think about these things from time to time. On the other hand, one might argue that the bigger issue is how companies hoard every little bit of IP they get their grubby little paws on, now exacerbated by the rise of streaming platforms. Digital might be ephemeral but it also means unlimited copies without degradation; if every person were allowed to keep a copy of films they licensed there would be near-zero chance of ever losing a movie. Swings and roundabouts.
I don't think AI will turn out to be nearly as world-changing as everyone thinks, nor as scary. I think we're already near the top of the S-curve of discovery and progress. I think it will never be controllable enough to generate entire films like I've seen some people say. But who knows; trying to predict the future rarely turns out well.
I can see your point about film, and I don't doubt it for a second. I think it probably makes the acting, filming, direction and editing more deliberate and purposeful, and maybe creates a better end product. But like I tell amateur photographers, gear is only 5% of success. You can take amazing photos on your smartphone. When you want more control, but a DSLR or mirrorless, but don't go crazy; you're much _much_ better off buying a cheap used 80d from eBay and spending actual time practising than you are a brand new X-H2 and ending up with no time to actually use it because you're working overtime to pay for the darn thing. Film can be fun, but it won't magically make you a great photographer. OTOH if it's enough to get you out and practising for the fun factor, maybe it's worth the cost. Swings and roundabouts.
Use vintage lenses