As part of today's free Adobe workshop on HDSLR feature film workflows (I'll update that post with a link to the archived presentation), one of the commenters brought to my attention a promising DSLR post-production plugin called 5DtoRGB. ((Sorry, whoever it was who commented about 5DtoRGB -- I lost the chat thread when my Flash plugin crashed for the dozenth time.)) I've called DSLR color-correction on a Mac a clustercuss, not just because of the 4:2:0 color space, but because of Quicktime gamma inconsistencies (often related to YUV to RGB conversion). Rarevision's 5DtoRGB plugin, currently in beta, just might be the solution to these problems.
Here's the word from Rarevision:
Many programs use QuickTime internally to perform YUV to RGB conversion which, according to our testing, does only a mediocre job... You're stuck with it if you've converted your footage with Final Cut Pro, Adobe After Effects, MPEG Streamclip or Canon's Movie Plugin-E1 for Final Cut Pro -- all of them use QuickTime to decompress H.264. 5DtoRGB takes a no-compromise approach to quality, ignoring any concerns about speed. 5DtoRGB bypasses QuickTime decoding altogether, works internally at 10 bits and uses double-precision floating point math for its YUV to RGB conversion. It also recognizes Canon's full range 8 bit YUV values (0-255), avoiding clipping and the resulting loss of picture information. The resulting files are the absolute highest quality you'll ever get out of the camera. In fact, you could argue that they're even better than the camera originals since they've undergone high quality chroma smoothing (which you can disable if you want, but you shouldn't).
Presumably this plugin will be much slower than Quicktime-based plugins, and would be overkill for quick jobs or content destined for the web. But for anyone interested in shooting a feature film -- or anything requiring heavy post work or color-correction -- 5DtoRGB just might be the ticket. I've downloaded the beta plugin but can't currently test it as I'm moving (and don't currently have access to my camera or hard drives) -- woe is me. Beyond that, the plugin requires a 64-bit processor, which I also don't have (yet). However, take a look at these blown-up frame grabs -- the first is from Canon's very convenient E1 EOS plugin (which presumably produces the same results as Magic Bullet Grinder, given they're both Quicktime-reliant), and the second is from 5DtoRGB:
Projected in a theater, or viewed on a good HDTV, this difference will definitely be noticeable. Not to mention the greater flexibility a 4:4:4 file will give you in post. There are all sorts of questions that spring to mind related to 5DtoRGB -- transcode time, plugin cost, storage needs, and what a sensible workflow would be (edit native h.264 files or transcoded ProRes files, treating them like proxy files, eventually swapping in the 5DtoRGB files?), but I'm exciting about the possibilities of squeezing the best possible quality out of the 5D for use on my forthcoming feature-length project.
If anyone's had a chance to work with the beta plugin, please share!
In the modern age of digital cameras, it's easy to forget the beautiful edge shooting on film stock can add to your visuals. Many successful movies proudly shot on film were released this year, from indie darlings like Strange Darling to bigger budget fairs like Sean Baker's Anora, Luca Guadagnino's Challengers, and Jeff Nichol's The Bikeriders.
If you're a filmmaker, you already know shooting on film is cool—it's just a heck of a ton more expensive (in most cases) than the much less labor-intensive production styles that come with shooting on digital. No need to buy extra film stock or worry if you make a tiny mistake, you could compromise that stock. That being said, if you have the skill and budget to pull off a successful film shoot, the quality of your picture will more than certainly be worth the stress and money.
On top of shooting on film, there's also the question of projecting on film. Quentin Tarantino famously loves screening projects on film, owning two theaters in Los Angeles, The New Beverly and The Vista, that project films exclusively on film—The New Bev focuses on older restorations, while The Vista does double time with a film currently in theaters and fun midnight screenings and matinees.
It can be extremely daunting if you're interested in film in any capacity—shooting with little experience or even just curious to know more. What do all the different millimeters mean? It can be quite intimidating, so we're here to help. Below, you will find a quick brief of film gauges, as well as a breakdown of the most common formats—8mm, 16mm, 35mm, and 65mm.
Breakdown of Film Gauges
As seen in the super helpful, super technical breakdown above, film gauges come in many shapes and sizes—literally. These different film gauges are measured by their sizes in width, climbing from left to right in the thumbnail above from 8mm to 70mm. The smaller the film gauge, the grainier your final picture, and the larger, the grander the scope.
The little holes just outside of the frames are called perforations, and they work in conjunction with cameras and projectors in order to match frame rate. the lines outside are magnetic strips used to record picture sound.
Before the digital age the standard was 35mm, but older epics like, say, Ben-Hur used larger format 70mm to project a more epic scope—i.e. an "epic". Tarantino also shot The Hateful Eighton 65mm and projected in 70mm with the intention to bring back the idea of a "Road Show", where premieres had a more theatrical presentation than the average theater-going experience.
Let's explore why different movies use different film gauges in the Fandor video below.
Examples of Movies Different Film Gauges
As noted above, some of our favorite film buffs like Quentin Tarantino, Paul Thomas Anderson, and Christopher Nolan swear by shooting on film and use it almost exclusively. Some recent notable directors who are as set on it but still utilize it in interesting ways are Sean Baker and Steven Soderbergh. Not that shooting on digital is in any way a crime, but if you watch any of these director's movies you can almost instantly appreciate why they chose film.
As noted, the more millimeters, the cleaner the look—with some directors mixing different gauges for different tones and visual language. With 16mm, it's typically grainier, but also more warm and intimate. If shooting for 35, it's more standard, straightforward, and with 70mm it's bigger scope, baby.
The most interesting choices noted from Fandor's video above are from Soderbergh and Baker, who portray different feelings with different gauges while also incorporating digital.
In The Florida Project, Baker shot the entire thing on 35mm until the very last montage, shot on iPhone. This gave a disjointed tonal shift that implied Brooklynn Prince's Moonee's trip to Disney Land was simply a fantasy—a tragic ending that made me bawl my eyes out.
Soderbergh uses it in an even more intricate way, portraying different stages of Steve Job's life through different formats. The early years are 16mm, the come up years are 70mm, and his final, successful days are shot digital. If there's a better way to portray the different advantages of shooting different formats and gauges, I'm interested!
Below, let's briefly explore some of the different ways we can use different gauges of film, and with some examples of how they have been and can be used.
8mm Film Gauge
Old school as can be, 8mm (or Super 8) is a teeny tiny format that is used primarily for style. It's the grainiest, dirtiest gauge for certain, but if you have a stylistic way to incorporate it into a project, it looks cool as hell. It's rarely used these days, but when it is, it stands out.
It might be intimidating, but shooting on Super 8 can be pretty straightforward with some proper instruction (as seen in the vid above), The most important things are finding the right equipment and film stock, and setting yourself up for success.
As noted in Fandor's video, a modern example is Porto, which uses Super 8 to show intimate memories of a failing relationship. Some other notable examples are Raging Bulland one of my all-time faves, Paris,Texas.
16mm Film Gauge
Although twice as wide as 8mm, 16mm is similar in its practical use. Similarly grainy, modern movies shot on 16mm can still be cleaned up pretty nicely. I recently rewatched Todd Hayne's Carol, and that's a great-looking movie that uses 16mm to add an intimate warmth to the story. Shooting modern movies on 16mm can also add an aged feel when trying to evoke an older, simpler time.
Some notables referenced above are Texas Chainsaw Massacre, Moonrise Kingdom, and Evil Dead which all have that vibe to them, if you know what I'm saying.
35mm Film Gauge
With 35mm, we get the standard, most modern look out there of all of the film gauges. That being said, you can still pull off a cool vintage style with the proper lens and camera setup, as seen with the above video from Kodac for Asteroid City, a very pretty lookin' flick.
An even neater Kodac breakdown, however, in my opinion, is Kodac's breakdown of Licorice Pizza,Licorice Pizza,shot on 35mm with vintage cameras and lenses. This is a nifty exploration of how your specific camera setup can bring the audience back to a specific time period, as was the case in Licorice Pizza for the '70s.
While film gauges may inherently bring a more stylized look to your project, the wider they get, the more inherently modern they look. That being said, it comes down to what you shoot on and how you color your picture where all the true art and intentions are solidified in your project.
65mm Film Gauge
The largest in size and scale, 65mm is the big dog of film gauges. As mentioned above, it is the go-to for adding scope and giving your image that larger-than-life feel you can't quite capture on smaller gauges. This video especially shows off DP Hoyte Van Hoytema's method of using black and white 65mm in Oppenheimer to express scale and scope, while also portraying two different time periods through color.
Hoytema is a frequent Nolan collaborator, a perfect voice to cap this exploration of film gauges. Nolan historically swears by shooting on film, but he'd be nothing without his dude behind the camera who's working with Nolan to pull off shoots on film to the scale he's known for.
Another notable example of 65mm pulling off massive scale is PTA's The Master, where he uses 65mm to portray the grandiose nature of Philip Seymour Hoffman's Lancaster Dodd. The Master is a beautiful film with beautiful cinematography that might be my favorite of the modern examples of 65mm in scope for the human nature of it—it isn't showing a giant battle, or whatever, but rather the giant scope of the man at the center.
Now that's moviemaking, folks.
I hope with all my heart this article was a helpful, intuitive look at different film gauges and how to use them. If it wasn't? You can comment and tell me all your woes. You can fix me.
As part of today's free Adobe workshop on HDSLR feature film workflows (I'll update that post with a link to the archived presentation), one of the commenters brought to my attention a promising DSLR post-production plugin called 5DtoRGB. ((Sorry, whoever it was who commented about 5DtoRGB -- I lost the chat thread when my Flash plugin crashed for the dozenth time.)) I've called DSLR color-correction on a Mac a clustercuss, not just because of the 4:2:0 color space, but because of Quicktime gamma inconsistencies (often related to YUV to RGB conversion). Rarevision's 5DtoRGB plugin, currently in beta, just might be the solution to these problems.
