Nowadays, you can shoot anything on digital and get pretty close to the film look, but that shouldn't be a reason to not shoot film. Film has a way of making your shooting and blocking more intentional, and there is a sense of joy and excitement otherwise lost on digital when its just so easy to roll and roll and roll. It changes the workflow and adds a level of precision and expertise that is otherwise lost on a digital format that is so forgiving it almost puts you in autopilot. Any excuse to shoot film is a good excuse, and you executed this wonderfully. I think people tend to forget to overexpose film and you were able to nail it, leaving plenty of latitude in shadows, while still producing a nice and aesthetic grain. Well done mate!
Are you mainly a cinematographer? I've worked on a few big movies (Argo, Angels & Demons, others) and even more TV shows. I wish I would have paid more attention to the camera as I'm now venturing out a lot more on my own and learning about my camera (I started out cheaper with a FX30, though I've built it up pretty nicely with a matte box, ND filters, a monitor, etc.). I do have a good friend that is a cinematographer (and director) on a few shows I worked on, though he's been working mostly on all iterations of the Amazon show Bosch. Even though I recently moved from LA to Denver, I may see if I can shadow him on a couple episodes, even though I'm not working with anything close to the cameras or lighting they use. And I'm mainly a screenwriter (if you were wondering), though I've also done other parts of production as well. Thanks for the video!
35 400' rolls of 500T is $9,100 before tax (and before a bulk discount from Kodak). Each roll is $260.I think the 20K figure you mentioned does actually include processing and scan of 35 400' rolls. So you are shooting somewhere between a 3 :1 or 4:1 ratio, I guess (for a 90min film).
Im curious, did you shoot test charts at 1 stop over and 2 stops over to see what that did to the line pair resolution? did you feel going that far with over exposure reduced the grain, or is any grain reduction mostly youtube here nuking it?
I didnt test with charts. I just went experimental with this one but I found that overexposing made the grainer tighter then the shots that I didn't overexpose. Also overexposing on 16mm I found keeps the shadows alot cleaner and gives a perceived sharpness to the eyes. The grain is more obvious in the shadow areas. This is just my observations, give it a try yourself!
@@chrisajtony Im actually gonna add going this far with some tests Im doing soon (vs 35mm and Alexa 35). I usually only went 1/3rd to 2/3rds over on ultra 16s or master primes with s16 but never went 1 to 2 stops over, mostly due to lighting and power concerns. Your results make a compelling case is G&E resources permit. great work
Thank you for your incredible work. I would like to see more about camera tricks for example a shot from drone following the car then move closer to do transition entering the car. I hope you see my comment. Thank you so much for your beautiful content I starts to learn a lot from it.
I started out on film. Super 8 and 16mm. Never shot 35mm. Still would like to. One day. I'm done with Super 8 and 16mm. I turned to the digital "darkside" in 2008 when I broke down and bought a Sony PMW-EX3. Great camera. Was lucky enough to be able to recently upgrade to a Sony FX9. Even better.
Digital is fantastic for the convenience! I love film because it makes every decision and process intentional which I feel like is a very lost practice.
I'm not sure why this is amazing. When I was at Granada Television we shot A Jewel In The Crown a 14 part mini series on location in India with interiors shot at Shepperton and a couple at Pinewood on 16mm.
I don't think anything about this is amazibg but it was captured and shown on youtube. Im sure if you uploaded some bts of your shoots people would enjoy it .
@@chrisajtony I never keep anything I've worked on. The good thing is others have already done it. most are already available in Blu-ray. The cameras we used were Eclair NPRs. ua-cam.com/video/z6u5yEhdhxc/v-deo.htmlsi=HRGuh8P3w9VlD-JH I was just remembering the logistics nightmare it was. The shot at 37.41 was a difficult one. took 4 days to get it right, because of the weather. Fun part is actually still getting residual checks once a year for the series which today I don’t even cash anymore I just hold onto them .
Hi Chris, was this with the Ultra Prime U16 or S35 Ultra Prime. I am wondering what the experience was like shooting with S35 version of the ultra primes on an Arri SR
It was with the s35 Ultra primes. They were great because they go very wide, which helps with your wider vocal length on 16mm. Problem is the distortion if you’re not into that and they’re not as fast as the S 16 version but I love the glass I think they are great. They are cheaper version of the master primes so you can never go wrong, but I would love to test out the S 16 version and see how they hold up. I heard they are way sharper.
Cocaine ruined my life Went from living a good life Had my own place, steady job, great romantic relationship, no debt and overall really good state of mind. 3 years later, I lost everything and even though I’m sober now I’m extremely depressed and fight the urge to end my life everyday. I kept chasing that high but the really high I miss was my life before drugs.
Howdy! We got sold very overpriced stock because we had to order last minute because the producer didn’t order in time. It was because of the limitation of the product in our area unfortunately
No, I don’t think you could have shot this movie digitally and have it turn out the same. Film just requires a trust from your crew and director that you can’t get with digital. If you shot digitally, would you have pushed the director for coverage on that nine minute one-take? Edit: Then again, yes, depending on the crew you have. If you have a crew that will go to Mars and back for you and your director, then the answer would be yes haha.
Nowadays, you can shoot anything on digital and get pretty close to the film look, but that shouldn't be a reason to not shoot film. Film has a way of making your shooting and blocking more intentional, and there is a sense of joy and excitement otherwise lost on digital when its just so easy to roll and roll and roll. It changes the workflow and adds a level of precision and expertise that is otherwise lost on a digital format that is so forgiving it almost puts you in autopilot. Any excuse to shoot film is a good excuse, and you executed this wonderfully. I think people tend to forget to overexpose film and you were able to nail it, leaving plenty of latitude in shadows, while still producing a nice and aesthetic grain. Well done mate!
You hit it on the head. Makes everything more intentional. Love it!
Bro you really know your sh*t as a cinematographer. Thanks for dropping so much value.
Anything for you guys!
Would be cool to discuss the budget of this film and how the funds were raised. Where can we see the finished film?
The final footage looks beautiful, well done 👏
Thank you!
The color correction, photograph, job is amazing in 16 mm! Arriflex SR3 416.
Are you mainly a cinematographer?
I've worked on a few big movies (Argo, Angels & Demons, others) and even more TV shows. I wish I would have paid more attention to the camera as I'm now venturing out a lot more on my own and learning about my camera (I started out cheaper with a FX30, though I've built it up pretty nicely with a matte box, ND filters, a monitor, etc.). I do have a good friend that is a cinematographer (and director) on a few shows I worked on, though he's been working mostly on all iterations of the Amazon show Bosch. Even though I recently moved from LA to Denver, I may see if I can shadow him on a couple episodes, even though I'm not working with anything close to the cameras or lighting they use.
And I'm mainly a screenwriter (if you were wondering), though I've also done other parts of production as well.
Thanks for the video!
Shadowing is such a great way to learn! If you can get a great mentor in this industry that will take you so far
you have a good team. thanks to them
Yes they are phenomenal
Great job Chris! Wonderful to see people working on film.
Thanks my man! It’s probably my favourite medium
This is seriously cool lad, thanks for a class video
🙏🏼 another one about 16mm is coming next week!
@@chrisajtony Looking forward to it 😎
Looks like such a fun time!
Thanks for putting this video out, keep posting man
Thank you Yuval!
dude, so happy i found your channel
Thanks Peter!
How does that video feed (via sdi for example) work on 16mm cameras? And is it an extra component or is it build in
Great video! Love to hear your story how you started and how you end up where you are now.
That might be a video coming soon!
Instant subscriber from me, the knowledge output you provide is actually insane 💯
Thank you Paul 🙏🏼
What configuration did you use to grain your image? looks so good even with the youtube compression :o
Part of my secret sauce 😉
Grt. Would love to see the finished film?!
35 400' rolls of 500T is $9,100 before tax (and before a bulk discount from Kodak). Each roll is $260.I think the 20K figure you mentioned does actually include processing and scan of 35 400' rolls. So you are shooting somewhere between a 3 :1 or 4:1 ratio, I guess (for a 90min film).
Im curious, did you shoot test charts at 1 stop over and 2 stops over to see what that did to the line pair resolution? did you feel going that far with over exposure reduced the grain, or is any grain reduction mostly youtube here nuking it?
I didnt test with charts. I just went experimental with this one but I found that overexposing made the grainer tighter then the shots that I didn't overexpose. Also overexposing on 16mm I found keeps the shadows alot cleaner and gives a perceived sharpness to the eyes. The grain is more obvious in the shadow areas. This is just my observations, give it a try yourself!
@@chrisajtony Im actually gonna add going this far with some tests Im doing soon (vs 35mm and Alexa 35). I usually only went 1/3rd to 2/3rds over on ultra 16s or master primes with s16 but never went 1 to 2 stops over, mostly due to lighting and power concerns. Your results make a compelling case is G&E resources permit. great work
Thank you for your incredible work. I would like to see more about camera tricks for example a shot from drone following the car then move closer to do transition entering the car. I hope you see my comment. Thank you so much for your beautiful content I starts to learn a lot from it.
I started out on film. Super 8 and 16mm. Never shot 35mm. Still would like to. One day. I'm done with Super 8 and 16mm. I turned to the digital "darkside" in 2008 when I broke down and bought a Sony PMW-EX3. Great camera. Was lucky enough to be able to recently upgrade to a Sony FX9. Even better.
Digital is fantastic for the convenience! I love film because it makes every decision and process intentional which I feel like is a very lost practice.
Looks like I finally watched enough film photography videos to get the hidden gems of motion picture film recommended as well, haha!
I'm not sure why this is amazing. When I was at Granada Television we shot A Jewel In The Crown a 14 part mini series on location in India with interiors shot at Shepperton and a couple at Pinewood on 16mm.
I don't think anything about this is amazibg but it was captured and shown on youtube. Im sure if you uploaded some bts of your shoots people would enjoy it .
@@chrisajtony I never keep anything I've worked on. The good thing is others have already done it. most are already available in Blu-ray. The cameras we used were Eclair NPRs. ua-cam.com/video/z6u5yEhdhxc/v-deo.htmlsi=HRGuh8P3w9VlD-JH I was just remembering the logistics nightmare it was. The shot at 37.41 was a difficult one. took 4 days to get it right, because of the weather.
Fun part is actually still getting residual checks once a year for the series which today I don’t even cash anymore I just hold onto them .
Hey man, really enjoyed the video. Seems the film was shot with sync sound. Any tips on losing the film noise?
Wish I had more answers about sound!
What’s the framing app you use for blocking?
Might be an app Im developing ;)
Kudos for shooting it on film. It looks really good. May I ask how much the budget for the film was (ballpark)?
I don’t know what the total budget of the whole project was but it was pretty small. Probably around 100k or less
Hi Chris, was this with the Ultra Prime U16 or S35 Ultra Prime. I am wondering what the experience was like shooting with S35 version of the ultra primes on an Arri SR
It was with the s35 Ultra primes. They were great because they go very wide, which helps with your wider vocal length on 16mm. Problem is the distortion if you’re not into that and they’re not as fast as the S 16 version but I love the glass I think they are great. They are cheaper version of the master primes so you can never go wrong, but I would love to test out the S 16 version and see how they hold up. I heard they are way sharper.
this was a great video!!
Thank you!
Sick dude!! Well done!! where can we see this movie?
Still in post production!
How do you get funding and find crew for a film like this? Loved the video btw!
You build connections over the years with crew that you enjoy working with! This project was self funded by the producer
King Christopher! I'm your biggest fan and you are so handsome!!
Garret you legend I take my inspiration from you ;)
hey, great video, BTW, what's the song name?
damn, you guys are legends!! Amazing job!! What was the budget for the film and how did you secure financing?
Not too sure how they secured financing as it wasn’t part of my job but it was about 100k for the budget
@@chrisajtony Nice!! That's a good budget. Congrats on a great job.
Great video
Thank you!
Killer video, would love to see more content like this! Also what's a movy / ronin gimbal?
Thank you! They are bigger motorized gimbals. They are like a RS3 or Zhiyun crane but for big big cameras! Look it up. Ronin 2 its a big toy
Cocaine ruined my life
Went from living a good life
Had my own place, steady job, great romantic relationship, no debt and overall really good state of mind.
3 years later, I lost everything and even though I’m sober now
I’m extremely depressed and fight the urge to end my life everyday.
I kept chasing that high but the really high I miss was my life before drugs.
I would watch this movie...
Awe thank you! Me too hahaha
Love your work keep doing it..✌️
Thank you!
your voice has a lot of proximity effect yet you seem to be using a lav mic (?), is it just your voice? otherwise what mic are you using?
Ill make a youtube short tutorial. Its pretty crazy what I am doing.
Best videos 👌🏻
Thank you so much!
Anyone knows what camera he's using?
Arriflex SR3
@@chrisajtony Thank you.
Legend tells they never filmed on film ever again 😂 - so cool!
Hahah thank you!
POP OFF SIR
hahahah
yo wheres a link to the feature film
its in festival runs so wont be released to public for awhile
@@chrisajtony all good man, I love you work… I’m so excited to see all these bts films for real!
@@ryanphotographs1 im excited to show yall!
Every time I hear "hey watsup guys" in the beginning, I just close the channel and never ever get back to it.
Hahah then you’d miss all the valuable info
Looks awesome. The audio seems to clip or distort. Sounds kind of bad on headphones. Maybe normalizing it. Subscribed
Thanks for the subscription! Learning audio as I come from a visual medium haha
Whait how is 35 cans of 16mm Kodak Vision3 500T worth 20k? That's less than 9k worth of film
He is probably talking about the cost of processing and scanning the film with that 20k cost.
But honestly, in my experience, it should still actually be a lot closer to 15K all things considered (including shipping).
Howdy! We got sold very overpriced stock because we had to order last minute because the producer didn’t order in time. It was because of the limitation of the product in our area unfortunately
@@chrisajtony There was a shortage of 16mm film that happened, so I understand. Nowadays, Kodak has caught up and makes those orders very easy.
If you think that camera is heavy, try shooting on an Arri 535 with 1000ft mags.
Hahah most definitely been there! I think I was mentioning the weight in turns of why we didn’t use a gimbal besides the creative look of a gimbal.
I always find it amusing, no matter how small a camera gets people still complain about the weight..@@chrisajtony
@@rossclarksonHKSC did you shoot Vixen?
Yes
@@chrisajtony
How about a Mitchell BNC or Panavision PSR 200? 4 crew members were needed to lift it.
I will never understand scanning especially 16mm film at anything higher than HD. It barely resolves HD resolution.
You can get scans up to 4K for 16
Points of silver in the celluloid film = pixels in a video
What was the budget of this film?
it was a micro budget so around 100k
How long is the final cut?@@chrisajtony
@@chrisajtony THATS A MICRO BUDGET?
No, I don’t think you could have shot this movie digitally and have it turn out the same. Film just requires a trust from your crew and director that you can’t get with digital.
If you shot digitally, would you have pushed the director for coverage on that nine minute one-take?
Edit:
Then again, yes, depending on the crew you have. If you have a crew that will go to Mars and back for you and your director, then the answer would be yes haha.
Couldn’t have been said better!
I hate film… never worked with it, will dread the day it necessary. It is inferior in every way.
hahaa just wait till you do then youll love it.