Thanks Luke, glad you got to do that! It's definitely an opportunity worth grabbing when you get the chance. Also, I've noticed this before in your videos, but in this one it really stood out to me in both your talking head and the 16mm film: Your color grading is On Pointttt!!
Sick that you shot film! Just wanted to point out one thing, if you're spot metering skintone, and then going 1 to 2 stop over, you're actually just correctly exposing, and not overexposing. most Caucasian skin tone is naturally about a stop to 2 stops over when compared to middle grey. What I like to do when shooting film, is during the testing phase, I set up a soft light source with whoever the main talent is going to be, and preferably all the additional cast as well, and then Incident meter the light, and then I spot meter the face. That way I know exactly how many stops brighter, and/or darker each subjects skintone is when compared to middle grey. After that point, I can use a spot meter and know how many stops over I'll be even if I didn't have the chance to incident meter the image. As an example, if I incident meter the light and it read T4, and then I spot meter the subjects face and it read T5.6 5/10ths, I know that subjects skin tone is 1 and a half stops brighter than middle grey. So if I'm then spot metering on set, and want the image to be a stop over, I'll set the camera 2 and a half stops over what is read by the spot meter rather than just 1 and a half
can you go into some more detail about what you mean by 500T having 'less' resolution? Or where you researched this? I've heard someone else say this recently and am curious, since they are just different speeds - when I hear this in film terms it confuses me because you're getting the same res scans aren't you?
This video was super interesting! I've always wanted to shoot on 16mm film! I've done plenty on Super 8 but 16mm would be a whole new experience. Dropped you a like/sub
I could never shoot on film. When every second is that expensive I think it would just make me work in a completely restricted and confined way. I'd never feel like I can experiment with shots or try something if I don't know how it will turn out. You said it yourself you had to pre-vis everything. I just see no magic or excitement in that.
LOVE THIS! What a fun time it was :):) YOU ARE AMAZING LUKE
Now this is awesome!
Thanks Luke, glad you got to do that! It's definitely an opportunity worth grabbing when you get the chance. Also, I've noticed this before in your videos, but in this one it really stood out to me in both your talking head and the 16mm film: Your color grading is On Pointttt!!
Thank you so much! The color on the 16mm footage was done by Ryan Berger, he did a great job :)
Great video Luke, thanks for sharing!
Luke could explain the dictionary to me 🥰
great video dude, you got some beautiful results!
Thanks man :)
Such a great showcase on how to be prepared and make something awesome on film! Stoked for you!
OK! Dope SAWCE!
Super neat getting to peek into your process - shooting film has always been intimidating, but your approach makes it seem a bit more accessible!
Hey Luke it’s Josh S (JP) congrats on everything man! So glad you’re living your dreams man!
So much SAUCE! This inspires me to rip some cell-cell as they say.
Sick that you shot film! Just wanted to point out one thing, if you're spot metering skintone, and then going 1 to 2 stop over, you're actually just correctly exposing, and not overexposing. most Caucasian skin tone is naturally about a stop to 2 stops over when compared to middle grey. What I like to do when shooting film, is during the testing phase, I set up a soft light source with whoever the main talent is going to be, and preferably all the additional cast as well, and then Incident meter the light, and then I spot meter the face. That way I know exactly how many stops brighter, and/or darker each subjects skintone is when compared to middle grey. After that point, I can use a spot meter and know how many stops over I'll be even if I didn't have the chance to incident meter the image.
As an example, if I incident meter the light and it read T4, and then I spot meter the subjects face and it read T5.6 5/10ths, I know that subjects skin tone is 1 and a half stops brighter than middle grey. So if I'm then spot metering on set, and want the image to be a stop over, I'll set the camera 2 and a half stops over what is read by the spot meter rather than just 1 and a half
That’s a great point! I think I realized that after getting all the footage back. Love the tip about testing with the main talent too!
Hell yeah 🍻
❤❤❤
Ripping that celluloid ✊😔
Ripping that celluloid
Consider that celluloid RIPPED. So fun workin on this with you bro. Incredible results🤟🏼
Thanks for all your help and for some super swag BTS moments :) always so fun working together my bro
hope to see more celluloid
Me too 🎞️🙏🥵
Very dope ! Nigel sent me here. SUBSCRIBED !
can you go into some more detail about what you mean by 500T having 'less' resolution? Or where you researched this? I've heard someone else say this recently and am curious, since they are just different speeds - when I hear this in film terms it confuses me because you're getting the same res scans aren't you?
Yeah it’s still the same resolution scans, but you’ll get a bit more detail out of the 200 cause it has a finer grain structure!
ripping that celluloid
Ripping that celluloid
@@LukeHolliday all my homies love ripping that celluloid
This video was super interesting! I've always wanted to shoot on 16mm film! I've done plenty on Super 8 but 16mm would be a whole new experience.
Dropped you a like/sub
I could never shoot on film. When every second is that expensive I think it would just make me work in a completely restricted and confined way. I'd never feel like I can experiment with shots or try something if I don't know how it will turn out. You said it yourself you had to pre-vis everything. I just see no magic or excitement in that.