August 31, 2016 at 5:32PM, Edited August 31, 6:31PM

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Best Way to Get Super 16 Like Footage??

I am looking to shoot my gritty indie short on something that would replicate super 16 film footage. I was set on the Digital Bolex D16 camera but it seems that is going away. If anyone can tell me about the Digital Bolex D16 that would be great. I have access to the Red, A7s, lots of different cameras at the school I go to. I would even shoot on actual film. But I'm looking to do some test footage first. Also any filters or editing tricks to make it look vintage, retro, indie, super 16, all around crappy/distorted like would be great. My number one inspirations for this film are Trash Humpers, and Listen Up Philip, shot by DP Sean Price Williams.

MOOD TRAILER
https://www.youtube.com/watch?v=_TB23mgJRuw

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Use the RED , and get the plugin "Red Giant Film" and use a 16mm film stock within the plugin.

You can either window the sensor from within the RED, or just crop it in post to get even close to the 16mm look. I would not be purchasing a camera to replicate a old look, use post-production to emulate it.

September 1, 2016 at 9:20AM, Edited September 1, 9:20AM

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In my opinion, the "look" of Super16 is based of the following factors:

1) The Format. The imaging area of Super16 is approx. 1/2 that of standard 3-Perf/S35. Thus lenses will effectively appear to double in focal length because of the narrower Field of View (FOV). However, the Depth of Field (DOF) remains the same. Consequently, when filming on Super16, wider lenses are often necessary to achieve wider perspectives which then in turn impacts perspective and DOF. - https://acinematographersjournal.wordpress.com/2016/08/16/part-3-1-captu...

2) Film "Look". If you are referring true Super16, then you must also be alluding to the "look" of celluloid. This is a distinct look. However, newer technologies enable one to now emulate that look quite effectively. - https://acinematographersjournal.wordpress.com/2016/05/06/part-2a-captur...

3) Grain. Super16 often "appears" grainer then it's 35mm counterparts, but this is misleading since essentially they are all the same stock, meaning grain particles essentially the same. The big difference is projection ratio. Since Super16 is a smaller format, it must be projected/magnified to a larger degree, thus increasing the perceived appearance of grain. Again, film emulation tools allow you to emulate this on digital devices. - https://acinematographersjournal.wordpress.com/2016/02/26/16mm-filmmakin...

So, in my opinion, take a look at cameras like the Digital Bolex*, Blackmagic Pocket/Micro Cinema, and GH4 in 4k UHD mode which all have a format close to Super16.

If your budget allows, the ARRI Mini and Amira have a center crop mode that "windows" a Super16 equivalent area out of the normally Super35 sensor (this would be my preferred personal route since the ARRI sensors have a "look" that is very similar to film).

I love the Super16 format and I am very happy to hear your willing to give it a try. Happy Shooting!

* Noam Kroll recently had a blog on this same subject:
http://noamkroll.com/some-digital-bolex-d16-screengrabs-from-my-upcoming...

https://acinematographersjournal.wordpress.com

September 1, 2016 at 11:38AM, Edited September 1, 11:49AM

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John Dimalanta
Freelance Photographer/Cinematographer
448

Thank you so much. You helped a lot!

September 8, 2016 at 8:14PM, Edited September 8, 8:14PM

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Rachael Hoffman
DP, Director, Production Designer
88

I'd personally go for the Blackmagic Pocket Cinema Camera with some Super-16 glass. It actually has a bit more dynamic range than the D-16, so you can get a bit more information from the highlights. There's a guy on Vimeo that uses this combo and get's great results: https://vimeo.com/76197137

He also used this Kodak 2393 LUT which gives a nice retro brown look. Reminds me of "Hannah and Her Sisters" or "Margot at the Wedding". The LUT can be found here: https://vimeo.com/57785040

For diffusion I'd go with the 1/4 and 1/8 Black Pro Mist filters from Tiffen. Sean Price Williams used them on his film "Christmas, Again". You can see them in action here: https://vimeo.com/147614395

Here's a link to the ASC article with Sean talking about his lighting process on that film: https://www.theasc.com/ac_magazine/February2015/Sundance2015/page3.php
And BTS footage from "Listen Up Phillip": https://vimeo.com/124527554

September 11, 2016 at 10:48AM, Edited September 11, 10:48AM

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