Color Grading film

looks relatively neutral with the usual/traditional blue midtones. 16mm looks fairly solid right out of the gate once you get it out of the flat pass (aka just crank the contrast). My guess is they lived on 7219 and degrained a bit, though some of the daylight stuff might be 7207
 
Salomon Ligthelm's directorial work is always top notch. Stuart Winecoff is an incredible DP and these two teaming up on 16mm makes for a great look and feel. To me it's more of the way it was shot that creates the look.

I spoke with Avery Peck recently about grading 16mm film and he mentioned one option of using printer lights inside Resolve, as this is generally how films were graded in the past and will keep the workflow very traditional. Although this is less precise, he said the rational is it makes for a more authentic match to the film look. But again, I think maybe the look you like is the way it was shot more than the grade.

I shot a little 16mm test with my canon scoopic 16 original model, which is no where near the quality of the Bearcubs video but it was shot on 7219 rated at 800 pushed 1 stop in processing. I used a color chart and just balanced the images from a ProRess 444 flatpass file that came from the same lab that Bearcubs was processed, Metpost NYC. This will give you an idea of what 16mm looks like, kind of out of the box with minimal grading. https://vimeo.com/276748595

In Resolve I balanced my tungsten stock to Daylight and that was essentially all I did.
 
The keys to 16mm looking best are 1 a steady, modern, colimated camera (sr2, sr3, aaton xtr and up, arri 416) 2 sharp, calibrated professional end lenses (zeiss super speeds, optars, Ultra16s, SK4s), 3 lighting. To emphasize #3, film LOVES light, and even a little extra kick from a reflector on your subject goes a really long way.

btw if you're doing vfx on it, you want to use a scanner with optical pin registration. it'll keep the image steady (where as the older spirits wabble a bit as the film goes thru the gate)
 
rphill100 said:
looks relatively neutral with the usual/traditional blue midtones. 16mm looks fairly solid right out of the gate once you get it out of the flat pass (aka just crank the contrast). My guess is they lived on 7219 and degrained a bit, though some of the daylight stuff might be 7207
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+1

Film is good right out of the can(one lite)
 
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