Making a 35mm short film | Lab & scanning process

[Music] so it's a super rare opportunity to use one of these things so we thought it would be good idea to share our experience of using this camera and why it's so different to just going out with your DSLR or you'll see 100 or something [Music] I think working with a piece of kit like this really does change the way you make films one thing you'll notice is the camera is big so that means that everything else has to be big as well all the support sporting gear or the grip gear everything has to be able to hold this thing up and we've got to have enough manpower to move it around in a safe way as well as kind of a big deal would you have to make a point about how big it is because it really does affect like everything it affects the way you plan it the way you shoot it and the aesthetic of it so think something that you find is when you have a much lighter set up you can sort of change when you want you can be a purely observational you can move around the scene there's no messing around and that's there's a pressure there that I've never really experienced before where you have to make a decision fairly quickly and efficiently yeah and also it's got to be the right one because as soon as you commit to setting the track that's you know an hour and a lot of people's hard work going into it if the angles not quite right with like your black magic you can just shimmy around but just if it's if it's shimmy in there if it's a few inches off its you've got it you've got to do a lot of work to correct it and first ad me and we'll would like discuss what order we were going to shoot stuff the dolly requires a lot of set-up time this is the shot where around Connors running through the field we walk through the setup with the grips beforehand so they knew exactly where to put the track and then as soon as they got working on balancing and setting up we all went up the field and we did some POV work yeah for the binocular shot at the start and you start getting into this rhythm of planning setups and it almost doesn't feel right to shoot something without people working on at the same time yeah you start thinking more efficiently and working more efficiently the thing I like the most about it is how it encourages everybody to have like a certain etiquette and a certain mindset towards the efficiency of the way you do things when you're shooting digital there's this sort of thing where you keep going every time you're trying to approach a project oh it's like everybody's gonna have their own role and we're all gonna be super professional and it always just turns into a mess over this like run-and-gun mess but with with this kit you don't really have that choice the scanning process has always been a mystery to me so me too it's been a real eye-opener seeing the process that's involved in transferring the physical film into Adobe Premiere cielab invited us to their labs in London and so we could have a look at their facility and see the process how they do it so he comes in goes into the darkroom so the 500-foot lotor fatal footnote and then they'll make that up into two thousand foot real on a wander and then that goes into a magazine and it goes up the processor it goes through various the actual development chemicals and then you're going to the fix which fixes here and there's bleach and there's like innovators have washes and all these different chemical tankers it just goes from him one so next to the next to Nick so a series of pulleys and it comes out the other end on a take up and that 2,000 foot roll comes off and then it will come to me for tennyson lee you'll produce HD dailies with as close as we possibly can for an unattended grade to the final look of the film those farms go to a tutorial down the line I need to talk we all do their aid it and they'll make any deal edit decision list that will come back to us with all the sections that they require for the area scanner the required takes and then the film's loaded back onto the Aerie you'll go through the EDL say okay I want that bit that bit that bit in 2k 4k 6k whatever you want for our film we just had I think a technical best like a full HD 1080p went so pro res file with all of the effects like a non clipping technical grade applied to it and technical best lights a really cost effective way of getting graded dailies we won't push the black levels or the white levels have been no crushing or clipping so although every shot is graded shot by shot by shot we're always just under clip and just above crash so that that means that you can shoot on film the material go through the tawny silly one you never need to go back to it and that provides you with your you can take primaries four four fours or the DPX files if you require as your master because they're not clipped so you've got all the branches there so if you want to grade further tweak it or going to be one with it it's there it's not log so it's not all flat and set up that pro res file was then sent to us and we cut the film and graded it winter with it with premiere and DaVinci what was interesting also it was the way that they used to grade films back in the day yeah massive mechanical division the codec analyzer which is little hey hand driven Flintstones though and the tiny little screen red green blue filled with spinning pout like behind them creating a tiny little image on your head was 50 points printer points of red green blue it's just very filters intensity of filters you just got clean pure light and it will just put even more or less yellow or blue light through you don't look you only and you literally just a trickery blue that was it in density the results with premium because the the the negatives and the and the print stops were so perfectly balanced with this you've got to get your black black they'll keep that pure why there's a relation around that cloud and but we print you wouldn't get there it would just lock it off and it just go pure why so the black said you watch all take care of it's just an overall hue it's not just a load of data sitting on a hard drive somewhere it's nice to know that it it exists like a book in some way of safe as well yeah you know it's not necessary it's not a finished article is it you know as this scanning process is I guess get better than the final result just keep getting better you know films always been 2k 4k signal K it's just we've never had the technology to get that information off of the film it's only there's a tiny ceilings and the scanners have come on that that that the technologies come around so to release all that their information still have these beautiful pictures you know we're all we master in films all the time that people have only seen them on VHS and you know standard definition smeary old horrible pictures but you remaster it and it's shot on film it's like the use of this camera means that every move is very very premeditated and thought-out not only do we go to the location first do a walk-around previous I then sit down and I do a series of drawings on how I envision the action playing out which I then take Adam yeah that's all right that's impossible do a different way or we'll try it with Apple it worth the good motor changing something yeah of course he's different things but for a sort of large moves you have to sort of have a clearer understanding of how everybody's gonna move in that scene so for me storyboarding it's very important it how and it makes for me it makes things it's just about yeah it's just it's just there's none of this Oh what we're gonna do next it's easy just go back to the storyboard and say we just need to do this one anything you take to an actor be it like anything bit of previous video Inge photos drawings it just it paints like a picture in their head which gets them more excited everybody's idea of what's going on is growing then it makes life a lot easier nobody's on the wrong page it's vetting the storyboards for me help everybody get on the same page faster which makes everything faster which makes everything happier we get to go home earlier there is a weight to the picture I don't even know I mean by that but there is a weight and an imperfection as well and you can see it kind of wobbling around a little bit but it's this weighty wobble it's not like the wobble of your hand grabbing onto the camera Terracor yeah definitely it almost feels like really close to almost being like a live thing like when you go you're you're really going and it's rolling in there and the film is money and it's churning away and you have everybody feels like you have to get it now like it has to be right because there's a limited amount you can get in that mag and once it's out its out and if it runs out then we got buy more or book more shooting days which aren't good so there's this thing where you have to you have to nail it you just feel slightly more inclined to be on it and you because you know that you're not gonna get a second chance yeah for me just does everything better it's just got a I'm not just so can eat organic nature and all that but it's a it is it's just got that that natural feeling of experience a beautiful thing films not more expensive to shoot than did you always so that's the complete myth it is it's been proven time and time again it's not and you know looking at pure material side of things you know we know that films gonna you know sit on the shelf for over 100 years and still be absolutely pick it up and put it back on the scanner even film shot and digital we master those back to film for archiving reasons because the insurance companies want a physical product they want it sitting just on them on the drive somewhere he's filmed versus digital films first edition and then the penny drops is like now they could coexist absolutely currencies if you like the look of film shoot on film you

Channel: The Film Graduates

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Keywords: film, filmmaking, films, shortfilm, shorts, indiefilm, 35mm, 35mm film, short film, 35mm filmmaking, motion picture film, celluloid film, film stock, super 35mm, independant film, student, student film, student filmmaking, cinema, lab process, scanning process, telecine, film lab process, film scanning, color grade, color grading, film grade

Id: bYuKhMltKxs

Length: 11min 26sec (686 seconds)

Published: Mon Dec 30 2019