why is it that so many big production
movies are still shot on film it
certainly isn't cheaper nor easier in
fact it's the look a certain look that
digital cameras can't yet create but
there's a solution to give digital
cameras the look the film hey guys it's
dirty here for 10 account and dad net I
once shot a short film on 60 millimeters
it was a great experience many things
went wrong as well but the image that
came out of that after the emulsion was
something extraordinary and image that
my brand new canon 5d mark two at the
time couldn't create now I was very
fortunate to call up Shane her but he's
a great tournament agra fer who shot
many features on film and still does
that to date i'm shane her but i'm an
ASC cinematographer also a Academy of
Motion Picture Arts and Science member
and a member of the Directors Guild of
America Shane started out shooting a lot
of video clips for bands like you
rolling stone Smashing Pumpkins and
Nirvana the later he also made tons of
feature films such as active Baylor and
meet for speed and such and having so
much experience with film and asked him
what make that look so unique I think
what makes film look so unique and so
much not like digital is what i call the
gods effect film has a texture to it
that digital still does not have all my
films that I have shot digitally I have
added that texture back in it to be able
to give it that gauze you know add the
grain to the image add that texture and
that gauze and I think that's what's so
wonderful about film it's photochemical
it's organic right it's something that's
not a based with uh with pixels catching
light it's an emotion that
when life comes down the barrel the lens
it exposes it and it just has a very
with match digital video coming from
something like a canon 5d 22 real film
first you would use older lenses that
are a little softer to take off that
edge older lenses from Hollywood are
still pretty expensive such as the cook
series but there is also a cheaper
solution for us DSLR filmmakers and
we've written out more about these older
lenses and Arab block stores again a
link in the description below to that
article next you want to add the
sharpness back in post important is that
your digital sharpness in your camera is
also turned off you want to get an as
clean as possible image from your camera
I'm in the mutual picture style and it's
turned down everything especially the
sharpness if you want to learn more
about these picture styles again a link
in description below the best results
are achieved with the effect unsharp
mask and this can be found in any
program whether you use after effects
photoshop or premiere what's this effect
allows you to do is specify where the
sharpness has to be added we have the
amount control which adds more sharpness
the radius is going to alter the
contrast white of your sharpness and its
threshold tells you which parts exactly
have to be sharpened in this shot I want
to make sure that only the subject is
sharpened which means Kim in this case
if you would sharpen the background as
well it will only increase the digital
noise the background is nicely out of
focus so leave it that way the next step
is the color grading and I'm again
referring to a great tutorial that we
have that covers everything about the
basics of color grading link is again
down below now we can add the film stock
onto the clip but before we do so che
get a great tip on how to handle that if
I was doing night exteriors I hit it
with heavier green when i was doing day
exteriors i had it with lighter grade
just like it would be if i was doing a
feature film shooting on 50 a SA stock
during the day it's going to be very
clean and then if I go to 500 a SA stock
at night it's going to have a little
more grain texture so on need for speed
and act of valor we were balancing these
the whole time making a cleaner in the
day making it more grainy at night and
active valor had a film component to it
as well because I shot about twenty five
to thirty percent on 35 millimeter and
it really created this I don't know
whether this is film or 5d and that was
the magic in the rocket stocking motion
back we can find different types of
drain 4 8 16 and 35 millimeter film and
you want to use the more fine grain for
daylight shots and the coarse grain for
darker scenes there are different types
of grain so you can try them out to fit
your style just lay the drain on top of
your clip and from the audacity select
your desired of blends mode I found to
blend modes that work very well
typically you want to choose overlay it
works for most charts definitely for the
more low light seems it's more subtle
and it won't touch that much and you
highlights you can dial into the opacity
as well if you think the grain is to
present now when there are many
highlights that are blown out I would
tend to choose multiply this takes to
drain more presence and highlights and
somehow connects the overexposed areas
back to the rest of the shot now this
blending mode works very aggressively
and alters the exposure a lot your
overexposed areas are now very slushy
and grain so what I'll do is increase
the exposure of the grain to compensate
for that and now I find the typical
overexposure from digital cameras to be
more filming I want to thank Shane
Hurlbut for the very inspiring chat I
has with him he also has an educational
platform arrears always great knowledge
and experience you can find a link to
its website in the description as well
make sure to visit our block as you can
download the demo clips that we use as
one sample grain to practice with pretty
cool versions of these film grains
please follow the link in description
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