Robert Tomassi wrote:Very obviously this show didn't use a LUT or anything digital but I've seen people shoot 16mm film and digital with the same framing and to the naked eye after a lot of color correcting you really couldn't tell a difference (if you're interested:
). I think as long as you light correctly and use the correct filters you can reproduce the look and feel of film like this with some serious grading and color correction. maybe not exactly but close enough. I could be wrong sure, but I would still try anyway. If anything I'll learn something about coloring.
Well, my point is you can't take absolute crap photography and lighting, throw a LUT on it, and get a bright, high-key look like a 1970s
Mary Tyler Moore sitcom. Honestly, 80% of it is not the camera or the medium or the colorist -- it's mostly the lighting and the art direction. People don't want to accept this, but it's really true.
If you want to read more about digital techniques to get closer to a film look, read these:
Resources on the film look:
GRAIN
http://cinegrain.com/http://www.crumplepop.com/http://filmlooks.com/http://www.filmwash.com/shop/https://www.fxphd.com/store/stock/scrat ... ge-bundle/ http://gorillagrain.com/https://www.holygrain.com/http://indieessentials.comhttps://lensdistortions.com/http://www.rgrain.com/https://www.rocketstock.com/video-packs ... -overlays/https://www.smashworkshop.com/film-overlayshttps://vamify.com/collections/vintage-8mm-overlayshttp://vegasaur.com/film-grainEach of them has pros and cons, but I generally find I return to Cinegrain most of the time. Crumblepop, FilmLooks, and Indie Essentials have some good damaged film bits, as does Warren Eagles with his ScratchFX bundle on FXPHD.
If you want to know why film grain looks the way it does, here's a link to a French research paper (in English) which goes into the math and science of it:
https://www.ipol.im/pub/art/2017/192/article_lr.pdfHere's a long discussion about Halation & Gate Weave on LiftGammaGain:
https://liftgammagain.com/forum/index.p ... ave.13056/Noted DP Steve Yedlin has some interesting theories on what distinguishes film from digital:
http://www.yedlin.net/OnColorScience/I would point to Yedlin's work as being pretty definitive, and he's done superb work on several blockbuster films over the last few years (even those shot digitally).