Well, I thought maybe this was F35 stuff but was way off.

V

VinceinLA

Carbonite Member
I thought this series might be F35 stuff that someone here shot and spent like a week in post trying to make it look like film but after a minute the highlights and greens and skin just looked too good and the dust wasn't digital looking. Then one of the other episodes had fire at night and knew it wasn't any digital camera. I streamed it onto the big THX screen and knew something was up! Turns out, Cinelicious was involved. (And Johnny Depp.)

I started to guess that maybe they did this in 2perf 35mm but was still wrong.

You may sh** your pants when you realize this is anamorphic 16mm! I mean, damn. I need to rethink things. WTF.

https://vimeo.com/channels/talesofthewild/179937479 I'd love to see the uncompressed version!
 
Yeah, it's too bad that most people have nothing but 35mm on the brain these days. 16mm is a wonderful format. As my handle suggests it is my personal favorite sized motion picture format for general purpose small crew/solo shooter production. The modern crop of 1" format digital cameras can produce a similar aesthetic, though not as refined as film by any means.
 
Aiiieeeesh. Well that was a gorgeous series. After I watched that there went about 3 hours researching where I can rent Arriflex 416s, where to buy film, where to get it telecined... now all I need to do is sell my F35, take a cold shower and punch myself in the crotch enough times to summon the courage to rob a bank and fund my next 16mm adventure.

I also contemplated a bm micro cinema camera and adding grain but the moment I see aliasing I get sad and want my F35 again.
 
This is a great find! and I'm not surprised, film is still a beautiful medium that unfortunately many young filmmakers never used..I try and shoot film at any given chance.

from watching it feels (and might be wrong here), they didn't shoot a lot, and tried to create a very specific vision and look, after all, film stock is expensive and limited. I do think it would have been better to use a small light or two for the interview c.u.
 
I'd love to be on a set where the crew is so focused simply because you can literally hear the $$$ spinning. A 400' reel = 11 minutes and I get pissy because my 64gb cards only hold ~20 minutes on my 5DM3 w/ ML raw. And I have 4 of them. And you can reuse them. Discipline = freedom when it comes to just about anything, but especially filmmaking.
 
trafficn said:
I'd love to be on a set where the crew is so focused simply because you can literally hear the $$$ spinning. A 400' reel = 11 minutes and I get pissy because my 64gb cards only hold ~20 minutes on my 5DM3 w/ ML raw. And I have 4 of them. And you can reuse them. Discipline = freedom when it comes to just about anything, but especially filmmaking.
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A 400 ft mag of 4 perf 35mm runs 4 minutes, which was (is?) standard for handheld and Steadicam...reloads allowed everyone to make adjustments on set if needed. Missing that part more than anything these days. But you did have to make choices between going again and reloading or risking roll-out, that part I don't miss. Worst scenario was shooting a doc on 8 perf IMAX, the "lightweight" camera I had on Steadicam was 45 lbs plus the rig, and the 400 ft mag lasted 2 minutes. In a doc situation, this meant a continual debate about re-loading and missing something!

16mm got really viable with fine-grained stocks and improved telecine--if HD hadn't taken over, it would have continued to flourish in a number of sectors, like television narrative.
 
I can't imagine trying to shoot a doc on film. You also reminded me of Al Pacino's long take phone convo in DOG DAY AFTERNOON. 10 minutes into a largely improvised performance? Oh, just fire up the 35mm B cam.

BBC lifted its ban on 16mm a couple of years ago... INSANE to think a committee of people just arbitrarily decided what perceived resolution they want to exhibit no matter the content.... I can almost smell the same thing happening with 4K at some point.
 
VinceinLA said:
I thought this series might be F35 stuff that someone here shot and spent like a week in post trying to make it look like film but after a minute the highlights and greens and skin just looked too good and the dust wasn't digital looking. Then one of the other episodes had fire at night and knew it wasn't any digital camera. I streamed it onto the big THX screen and knew something was up! Turns out, Cinelicious was involved. (And Johnny Depp.)

I started to guess that maybe they did this in 2perf 35mm but was still wrong.

You may sh** your pants when you realize this is anamorphic 16mm! I mean, damn. I need to rethink things. WTF.

https://vimeo.com/channels/talesofthewild/179937479 I'd love to see the uncompressed version!
Click to expand...

Two of the biggest give aways for digital to me are fire and water motion. Even the Alexa and Alexa 65 don't seem to handle water "well". I thought The Revenant generally looked great and I was pulled in, except for certain shots with water when I was immediately pulled out and felt like I was watching "video" on a very large screen.
 
GORGEOUS stuff. I'm not sure I've ever seen anamorphic 16mm before. I wonder how wide the lenses get? Or if they were stuck with S35mm anas.
 
I'd love to think they used these https://www.vantagefilm.com/en/products/hawk-anamorphic/hawk-2x/v-lite-16

Funny to think how much energy and money goes into producing a modern lens like that used presumably so infrequently.

14mm with 2x squeeze with a 3x S16 crop is ~24mm, right? I could live with 24mm. Possible they used the 1.3x squeeze.. it doesn't look 2x to me now that I watched again.

This is a pretty good thread but things get nerdy REAL quick http://www.cinematography.com/index.php?showtopic=49817

Time for me to watch ENTER THE VOID again! Shot on mostly aaton xtr
 
The standard in 35mm is 3-perf and a fast growing 2-perf market. 2 perf 400ft loads last 9 minutes which is great for any narrative needs.

Consider that most of the best docs of all time were shot on 16mm by people who didn't feel the need to get 6 hours of footage a day and have 100's of hours to edit later! The brain can learn to really concentrate it seems to me, and make better work from it.

The Walking Dead is all 16mm. Aronofsky's The Wrestler and Black Swan, and the one he's shooting now is all S16mm. Some people just get it, and I love how they stand apart in this area of moviemaking. After seeing this series, I wish more people would get anamorphic 16mm!

They used Hawk lenses, btw, with 1.3x! 14mm is the widest, which isn't bad in anamorphic, but in spherical 14mm is a more "normal" in its field of view. Check out these bad a** things!

God I wish I had money. https://www.vantagefilm.com/en/products/hawk-anamorphic/hawk-1-3x/v-lite-16

 
trafficn said:
I'd love to be on a set where the crew is so focused simply because you can literally hear the $$$ spinning. A 400' reel = 11 minutes and I get pissy because my 64gb cards only hold ~20 minutes on my 5DM3 w/ ML raw. And I have 4 of them. And you can reuse them. Discipline = freedom when it comes to just about anything, but especially filmmaking.
Click to expand...

On serious narrative films, it helps SO much. I did a short for a guy in LA recently on B&W reversal 16mm and it was damn refreshing to have a director not wanting to just roll and do everything over 8 times because the first take sucks, like usual, because no one cares to practice, focus or even get their dolly marks nailed. With film, it really changes how many perfect or almost perfect takes you get. The takes, even so called bad ones, seem like they are 50% more use-able overall too.

I've seen similar things happen when the hard drive is almost full too, but that digital footage never looks as good, ever.
 
VinceInLA-

Can you shoot me a PM.

There is a question I wanted to ask you off-line?

Thanks in advance.

Be well.

Rob
Smalltalk.Productions
 
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