Something I’ve learned from pushing film is that if you want to retain some shadow detail then try shooting at least one stop over exposed compared to how many stops you plan on pushing the film. EX: If you’re shooting 50D at ISO 400 then try shooting at ISO 200.
So what your saying is that he should have told the lab to push by another stop? Sorry im dumb if you could explain a little further it woukd be helpful
Lara M No you still tell the lab to push the roll 3 stops, but you shoot the roll as if you wanted to push it 2 stops (so the roll was technically shot one stop over exposed).
Hey. Been watching awhile. I love the dedication. I’m 53 and in the day I was the film savant for my friends. Don’t be me. However, good advice for me was treat each push of a stop as 2/3. ie 3 stops of the 50 is 200. You probably already know, but it’s solid. Keep looking reasonably enamoured with photography. Pete. From stra-ya.
Does anyone else than me actually enjoy the muddy effect that he created here? Its so damned rustic and nostalgic. But imagine now a wave of trendy pushing hitting labs around the globe due to GrainyDays' influence... all the sweat and tears, countless hours and immense effort spent developing just for that sweet sweet muddy contrast
Man. These shots are amazing! Trough out the whole video you express some kind of disappointment with them (muddy shadows...shifted colours) but all those "faults" are the best! I envy you that you can visit places that are so inspiring. Made for that kind of photography.
ngl i like the muddy shadows look. it really lended itself to the abandoned buildings and their feel. also really appreciate the explanation using the cheese and proscuitto that cleared that up for me
Love the video! I think the color shift from 3 stops of underexposure could be because the different color emulsions are layered, the 'higher up' layers will get more light and the 'bottom' gets little to no light so the higher level emulsions colors show more, I had a similar thing happen with a wicked underexposed shot on Fuji where there was basically only the blue layer actually getting any light/detail.
Some tips for your new BMPCC from an older user of these cameras: 1. Use the camera with a stabilized lens, it's very prone to micro-jitters. I suggest the Canon 17-55 f/2.8 IS. Great range, speed, and it's stabilized. Good focus throw too for manual focusing. I suggest this over the popular Sigma 18-35 due to having better range and IS (and it's half the price on ebay). 2. Always use variable ND filters outdoors to get some nice background blur with video, but even if you don't, you will need an IR CUT filter both indoors and outdoors regardless. The BMD cameras are very prone to IR pollution, even when not using an ND filter. 3. Fix the green colors turning yellow. If you shoot trees and grass, you will see that this color will turn to yellow with the BMD color science. You can do that manually, or you can use a LUT. I suggest the PocketLexa lut from pocketluts com. 4. Install Davinci Resolve 16.3 beta to get access to the v5 color science, which deals with dynamic range/gamma better. 5. To bring the look of your video closer to that of your film images you need to do 2 things: A. Search for how to get neutral colors (that film has), using the HSV/HSL trick. Look for the tutorial "How To Make More Saturated Colors Darker" by Tim Yemmax. B. Add texture. Right now, your footage looks "anemic", like most of other bmpcc footage by others on youtube. They're missing the texture part, that is part of color grading in high end projects. In the color tab of Resolve, add plugins: Contrast Pop, Soften + Sharpen (0.500, 0.250, 0), Sharpen Edges if required, and Film Grain at the very end. You will need to learn Resolve to get the best out of that bmpcc image. I can provide you with a live tutorial just for you if you like. Your channel is the only one my husband and I watch constantly (he's also a pentax 6x7 shooter).
I am glad you decided to name Baxter “Baxter”! Great update. I am on the 50D right now @ +1. The daylight in Sydney is awesome. I will let you know how it comes out. By the way the BlackMagic is a serious piece of hardware. Happy Days Jason!
I really like results. Maybe photos doesn’t have quality as if they were ahot at the box speed, but that colour cast and grain create “vintage, timeless look”, and when it works, it’s really cool, it fits these locations, too. I can imagine photos at 7:30 and at 10:33 as a cover photo for some indie albums. 😀
I found your channel by accident, and damn I happy with that. This is such a box of surprises, amazing love it! very inspiring. Really feel like going out again soon with my 35 mm. :D
Regarding the old "pushing to have a higher ISO in low light" thing, YES it is true, pushing will allow you to treat the film as a higher ISO stock which means you'll be able to use smaller apertures and faster shutter speeds. However, pushing DOES NOT turn your film into a higher ISO one: push processing affects areas of the negative in different ways depending on the exposure they got, meaning highlights will get lifted a lot, midtones will get somewhat lifted as well, but shadows (as you mentioned in the video) will remain at about the same density, and the only increase will be a general increase in fogging (that can be thought of as "noise" for a digital sensor). This uneven effect means the resulting contrast will be higher, and one must be careful in their choice of subjects: photographing a contrasty subject with pretty strong highlights trying to preserve the shadows will result in the highlights being blown up completely; vice versa, trying to preserve the highlights will result (as shown in the video) in dark, textureless shadows that only contain the normal filmbase + fog density. This is just to say, for anyone floating around in the comment section wanting to try push processing: while it might be tempting to think "there's not a lot of light, I'll push the film a stop or two" while loading the camera, you should also consider that trying to then treat it as a "normal" higher ISO film, shooting it as you would a normally-processed roll, using a global meter and so forth, will probably result in a majority of the photos being far from ideal and requiring a lot of post-processing to correct, if at all possible
@@Mcelle100 pushing works best when you want to increase contrast in an otherwise flat subject, so pushing is a powerful tool you can use if you're planning to shoot scenes that need extra contrast. Most indoor subjects usually have limited contrast, as do landscapes at particular times of the day like before dawn and after sunset, and so on. In some cases, even if your subject is pretty contrasty, you can choose to sacrifice highlights if they're not relevant to the composition (i.e. the sky when shooting a portrait) and that may work for you in some cases. But there is no "solution" to using a 50 ISO film as if it were a 400 ISO film: there will be differences in the way it handles the same scenes and the same light conditions.
Came across this video after searching to see if Cinestill 50D could be pushed 3 stops. I love the blend of the film review with the pocket 6k review! the battery life of that cam is definitely what stopped me from getting one. Went with the S1h back then, and now have preordered the R5C :)
An interesting tip I've heard is to stand develop pushed color film in Rodinal to develop those shadows so they don't look nearly as muddy/color-shifted. Apparently it means the color developer has to work less to develop the colors. Haven't been able to do it myself, but the results I saw posted online looked cool. They had used CineStill 800T pushed to 6400 and it looked really good.
A liked a large number of those photos a lot actually, a couple I think worth buying prints for too. Also, even with what you said, I'm going to attempt this. Side note, literally loved every video I've seen. Please keep these coming and I can't wait to see you guys go somewhere with a podcast also!
Hi Jason - greetings from Ireland. The mullet will be nice when it's finished. More importantly, you've got to go back to that location and shoot it in medium or large format with Portra 400. Love the videos and the humour. Keep up the good work.
Nice! CineStill 800T in daylight with an 85 filter at 500 makes my favorite colors. Btw it’s 500 ASA for your cameras TTL and it’s 320 ASA when you meter externally because of the 2/3 stops the filter takes. Basically, rate 800T at the box speeds of the original Vision 3, 5219 500T Kodak stock.
The T in 800T sands for tungsten. It means that the film has a white balance for 3200K warm indoor lighting. If you shoot this film outdoors without the filter, you’ll get blue pictures. You can correct that in post the colors and contrast is generally nicer when shooting with the filter. I’m always shooting it at 500 ASA with an 85 filter in daylight.
@@VariTimo confirmed, using color correction filters with film results in better colors and contrast than correcting the scans in Lightroom. Same for indoor shots with an 81A, there’s really no comparison.
This is actually what the cinestill guys recommended to me over on their IG account. Same with the 800t if you plan to push it 3 stops. You should still meter for 3200 and develop 6400
Hey man! I haven't personally done this, but I've seen some videos of people that just rate the film at 400 without pushing it, developing as it is. I believe even Cinestill claims the film has enough dynamic range to get it done like that. The shots I've seen done this way, if a little bit flat for my own taste, turned out to be pretty decent, I don't know if you've heard of such thing, or maybe you could try it next time. Anyway big fan of your work, send my regards to Baxter.
I'm not an expert on what you can do in a darkroom to "salvage" color negatives that look like the ones you show at 5:26, but I imagine that, even with lowering the contrast and adjusting yellow, magenta and cyan, it wouldn't be as drastic a change as what you achieved in Lr (but I might really be wrong). If that's the case, then... I think it's a good thing, because to me, the "unretouched" pictures you show have a certain feel and look and mood that is more dramatic and "filmic" than the heavily corrected ones. But maybe I'm just crazy :)
I like the thrashy way that the experiment come up! I think it kind of syncs with the locations. But it looks so bright and sunny so i don get why the push. Like it so much anyway.
I avoid cinestill like famiy get togethers. Your video was like the gossip I crave to hear from my aunties and uncles talking about me, only to find out no one even mentions my name..
A little bit of extra colour correction or a LUT on the BM footage I think, it looks a bit flat. Idk if you did some? But that camera is a beast, enjoy!
Hi Jason , could you consider doing a video where you go and shoot some pictures and then show the unnedited and croped side by side with the final image? As a learning photographer who doesn't realy (know how to) edit his images i am always a bit discouraged when i see amazing pictures like yours and wonder why i cant come close to that. I know i should really learn how to edit and compose better but in the mean time i think seeing the location and raw image would help a bit. Thank you!
I’ve heard shooting Portra 800 at 400 and pushing it to 1600 looks great, haven’t tried it tho. And please make the white borders larger. It’s super small on my large-ish phone.
I though grain was locked into the film? The literal average crystal size of the film? This is changed in development?? Also thanks for the upload. You push the film so I don't have to push my self of a bridge.
Great video as per usual! Quick question, when you say you're pushing the film, three stops, are you referring to pushing during development? Development? Does that mean you would be shooting three stops negative and then developing by pushing three stops positive?
Pushing +3 stops
The lab: This Little Maneuver's Gonna Cost Us 51 Years
Cinestill50d: hold my layers
Fujifilm Klasse s this joke is not getting the recognition it deserves, I am choking
Yeah, a new Video! I've been watching the old ones a third and fourth time now, showing them to all my friends and family.
same here!
Dang, the effort put into grading all those shifted shots was probably more than editing the video. 😂
Something I’ve learned from pushing film is that if you want to retain some shadow detail then try shooting at least one stop over exposed compared to how many stops you plan on pushing the film. EX: If you’re shooting 50D at ISO 400 then try shooting at ISO 200.
Definitely good advice
So what your saying is that he should have told the lab to push by another stop? Sorry im dumb if you could explain a little further it woukd be helpful
Lara M No you still tell the lab to push the roll 3 stops, but you shoot the roll as if you wanted to push it 2 stops (so the roll was technically shot one stop over exposed).
Hey. Been watching awhile. I love the dedication. I’m 53 and in the day I was the film savant for my friends. Don’t be me. However, good advice for me was treat each push of a stop as 2/3. ie 3 stops of the 50 is 200. You probably already know, but it’s solid. Keep looking reasonably enamoured with photography.
Pete. From stra-ya.
Grainydays: "haha yeah this is a cool film related username"
Also Grainydays "Yeah I dont like the grain actually...."
Does anyone else than me actually enjoy the muddy effect that he created here? Its so damned rustic and nostalgic. But imagine now a wave of trendy pushing hitting labs around the globe due to GrainyDays' influence... all the sweat and tears, countless hours and immense effort spent developing just for that sweet sweet muddy contrast
All those shots taken on this trip combined with your reasurring voice and those chillin songs really made me come to peace - outstanding masterpiece!
“Psychosis , impotence , blood shards and death” damn that got me 😂
I thought he said "blood sharts".
Mathew Chatterton didn’t he?
Datman aren’t you Datman from Gotthem city?
Lew Huai yeh dat me!
Datman hi ! im a big fan of u hope i could drive ur datman mobile one day
That gradient door shot at 10:20 is insane
the shot that "did not come out at all" was one of my faves! 03:57
Man. These shots are amazing! Trough out the whole video you express some kind of disappointment with them (muddy shadows...shifted colours) but all those "faults" are the best! I envy you that you can visit places that are so inspiring. Made for that kind of photography.
ngl i like the muddy shadows look. it really lended itself to the abandoned buildings and their feel. also really appreciate the explanation using the cheese and proscuitto that cleared that up for me
Love the video! I think the color shift from 3 stops of underexposure could be because the different color emulsions are layered, the 'higher up' layers will get more light and the 'bottom' gets little to no light so the higher level emulsions colors show more, I had a similar thing happen with a wicked underexposed shot on Fuji where there was basically only the blue layer actually getting any light/detail.
12:16 "the light was fleeting as much as your interest in this video" dang i felt that
Some tips for your new BMPCC from an older user of these cameras:
1. Use the camera with a stabilized lens, it's very prone to micro-jitters. I suggest the Canon 17-55 f/2.8 IS. Great range, speed, and it's stabilized. Good focus throw too for manual focusing. I suggest this over the popular Sigma 18-35 due to having better range and IS (and it's half the price on ebay).
2. Always use variable ND filters outdoors to get some nice background blur with video, but even if you don't, you will need an IR CUT filter both indoors and outdoors regardless. The BMD cameras are very prone to IR pollution, even when not using an ND filter.
3. Fix the green colors turning yellow. If you shoot trees and grass, you will see that this color will turn to yellow with the BMD color science. You can do that manually, or you can use a LUT. I suggest the PocketLexa lut from pocketluts com.
4. Install Davinci Resolve 16.3 beta to get access to the v5 color science, which deals with dynamic range/gamma better.
5. To bring the look of your video closer to that of your film images you need to do 2 things: A. Search for how to get neutral colors (that film has), using the HSV/HSL trick. Look for the tutorial "How To Make More Saturated Colors Darker" by Tim Yemmax. B. Add texture. Right now, your footage looks "anemic", like most of other bmpcc footage by others on youtube. They're missing the texture part, that is part of color grading in high end projects. In the color tab of Resolve, add plugins: Contrast Pop, Soften + Sharpen (0.500, 0.250, 0), Sharpen Edges if required, and Film Grain at the very end.
You will need to learn Resolve to get the best out of that bmpcc image. I can provide you with a live tutorial just for you if you like. Your channel is the only one my husband and I watch constantly (he's also a pentax 6x7 shooter).
do a bath salts review for the next video. Whats up with the lens hood? Where'd you find it?
I am glad you decided to name Baxter “Baxter”! Great update. I am on the 50D right now @ +1. The daylight in Sydney is awesome. I will let you know how it comes out. By the way the BlackMagic is a serious piece of hardware. Happy Days Jason!
Aw, no Color Plus Plus Plus. I'll just have to keep dreaming.
I really like results. Maybe photos doesn’t have quality as if they were ahot at the box speed, but that colour cast and grain create “vintage, timeless look”, and when it works, it’s really cool, it fits these locations, too. I can imagine photos at 7:30 and at 10:33 as a cover photo for some indie albums. 😀
I found your channel by accident, and damn I happy with that. This is such a box of surprises, amazing love it! very inspiring. Really feel like going out again soon with my 35 mm. :D
Did you just attach the motor winder to your Canon to give you a better workout?
Yep, now I'm straight yoked bro
Keep in mind he's wielding a 6x7 most of the time, so it might be a softer workout
The Power winder is there to sync the shutter curtain with the BPM of the soundtrack
@@grainydaysss your thumb is getting weak though. How do you expect to win thumb wars with a weak-ass thumb? You gotta think about your future, bro.
The composition @10:04 is just mind-boggling. Hopper couldn't have done it better. Thx dude.
Regarding the old "pushing to have a higher ISO in low light" thing, YES it is true, pushing will allow you to treat the film as a higher ISO stock which means you'll be able to use smaller apertures and faster shutter speeds. However, pushing DOES NOT turn your film into a higher ISO one: push processing affects areas of the negative in different ways depending on the exposure they got, meaning highlights will get lifted a lot, midtones will get somewhat lifted as well, but shadows (as you mentioned in the video) will remain at about the same density, and the only increase will be a general increase in fogging (that can be thought of as "noise" for a digital sensor). This uneven effect means the resulting contrast will be higher, and one must be careful in their choice of subjects: photographing a contrasty subject with pretty strong highlights trying to preserve the shadows will result in the highlights being blown up completely; vice versa, trying to preserve the highlights will result (as shown in the video) in dark, textureless shadows that only contain the normal filmbase + fog density.
This is just to say, for anyone floating around in the comment section wanting to try push processing: while it might be tempting to think "there's not a lot of light, I'll push the film a stop or two" while loading the camera, you should also consider that trying to then treat it as a "normal" higher ISO film, shooting it as you would a normally-processed roll, using a global meter and so forth, will probably result in a majority of the photos being far from ideal and requiring a lot of post-processing to correct, if at all possible
So what's the solution? 🤔🤔🤔
@@Mcelle100 pushing works best when you want to increase contrast in an otherwise flat subject, so pushing is a powerful tool you can use if you're planning to shoot scenes that need extra contrast. Most indoor subjects usually have limited contrast, as do landscapes at particular times of the day like before dawn and after sunset, and so on.
In some cases, even if your subject is pretty contrasty, you can choose to sacrifice highlights if they're not relevant to the composition (i.e. the sky when shooting a portrait) and that may work for you in some cases. But there is no "solution" to using a 50 ISO film as if it were a 400 ISO film: there will be differences in the way it handles the same scenes and the same light conditions.
Lara M shoot a faster film stock if it’s dark
Damn, Jason. What a sick video. It's nice to see a brand like Blackmagicdesign recognise you. We're proud of you!
None of your videos are shitty, keep doing what you do my guy
Came across this video after searching to see if Cinestill 50D could be pushed 3 stops. I love the blend of the film review with the pocket 6k review! the battery life of that cam is definitely what stopped me from getting one. Went with the S1h back then, and now have preordered the R5C :)
An interesting tip I've heard is to stand develop pushed color film in Rodinal to develop those shadows so they don't look nearly as muddy/color-shifted. Apparently it means the color developer has to work less to develop the colors. Haven't been able to do it myself, but the results I saw posted online looked cool. They had used CineStill 800T pushed to 6400 and it looked really good.
Cool to see Blackmagic gear on your channel! I work for BM customer service for Europe (EMEA) and I fucking love your videos and humour!
Would be cool to see you guys shoot at Cero Gordo or one of the close abandoned mine villages.
A liked a large number of those photos a lot actually, a couple I think worth buying prints for too. Also, even with what you said, I'm going to attempt this. Side note, literally loved every video I've seen. Please keep these coming and I can't wait to see you guys go somewhere with a podcast also!
Everyone asks and dude you gotta let us know “ what 28mm lens hood is that”
Looks like Leica’s lens hood
Similar ones are sold on ebay from generic brands for all sorts of thread sizes. I am curious as to which specific one this is though
Hi Jason - greetings from Ireland. The mullet will be nice when it's finished. More importantly, you've got to go back to that location and shoot it in medium or large format with Portra 400.
Love the videos and the humour. Keep up the good work.
I was thinking the same thing, though the ants are probably eager for round 2
12:24 was my favorite image. love your channel.
Congrats on your first sponsored bit of content!
i love you, father.
Hey, it's you!
You can get good results shooting 50D at 400 by metering for the shadows, and processing without pushing.
Show your video
@@Zetaphotography ruclips.net/video/nTYyBOIAsrk/видео.html
You can keep shooting on your phone. I’d love to see you shoot CineStill 800T, 35mm, with an 85 filter in daylight, at 500 ASA and pulled one stop.
it's on the list!
Nice! CineStill 800T in daylight with an 85 filter at 500 makes my favorite colors. Btw it’s 500 ASA for your cameras TTL and it’s 320 ASA when you meter externally because of the 2/3 stops the filter takes. Basically, rate 800T at the box speeds of the original Vision 3, 5219 500T Kodak stock.
what it does?
The T in 800T sands for tungsten. It means that the film has a white balance for 3200K warm indoor lighting. If you shoot this film outdoors without the filter, you’ll get blue pictures. You can correct that in post the colors and contrast is generally nicer when shooting with the filter. I’m always shooting it at 500 ASA with an 85 filter in daylight.
@@VariTimo confirmed, using color correction filters with film results in better colors and contrast than correcting the scans in Lightroom. Same for indoor shots with an 81A, there’s really no comparison.
Man，u re the first human being that hv ball to introduce ‘Cinematic camera’ that way. I love u，man
The landscapes of the video and these photos give me major Western vibes, more akin to The Searchers. I really dig that.
Made my wife watch instead of talking to me at dinner. "Wher Baxter" - Wife
Thank you for convincing me to never do that to color negative film.
Also, me love you long time.
Hey, try the Shanghai film stock. If you can get with actually film inside the canister.
I actually really like the loss of detail in the shadows, it gives it an almost art-deco graphic aesthetic.
1:50 what a hat 💛 ✌️
Even his wristwatch is analog. This guy was born to live in the beautiful past. 🏌️
Love me some abandoned Palmdale. Groovy video...
“So I’ve had a Mohawk for the past month, here’s my review”
This film might look nice exposed as 200 and developed as 400. Great vid!
This is actually what the cinestill guys recommended to me over on their IG account. Same with the 800t if you plan to push it 3 stops. You should still meter for 3200 and develop 6400
@@blahblahblah2243 Yeah, also I think most of the shots in this video might be slightly underexposed.
Today was truly a grainy day
Hey man! I haven't personally done this, but I've seen some videos of people that just rate the film at 400 without pushing it, developing as it is. I believe even Cinestill claims the film has enough dynamic range to get it done like that. The shots I've seen done this way, if a little bit flat for my own taste, turned out to be pretty decent, I don't know if you've heard of such thing, or maybe you could try it next time. Anyway big fan of your work, send my regards to Baxter.
I'm sure George will love the hair cut!
I like the color on the left at 5:28.
Damn it the shot at 9:24 is like a painting.
shoutout to that mullet "brah" keep shooting the damn thing
I'm not an expert on what you can do in a darkroom to "salvage" color negatives that look like the ones you show at 5:26, but I imagine that, even with lowering the contrast and adjusting yellow, magenta and cyan, it wouldn't be as drastic a change as what you achieved in Lr (but I might really be wrong). If that's the case, then... I think it's a good thing, because to me, the "unretouched" pictures you show have a certain feel and look and mood that is more dramatic and "filmic" than the heavily corrected ones. But maybe I'm just crazy :)
Interesting and witty as always 🙂 I love watching your videos, thanks a lot.
I like the thrashy way that the experiment come up! I think it kind of syncs with the locations. But it looks so bright and sunny so i don get why the push.
Like it so much anyway.
Push 2 stops, but meter just 1 stop over 👌🏼👌🏼
I see a new 1.90:1 aspect ratio has been used for the video - nice 👌🏻
I avoid cinestill like famiy get togethers. Your video was like the gossip I crave to hear from my aunties and uncles talking about me, only to find out no one even mentions my name..
50D at 2+ is my favourite, looks great in most situations
A little bit of extra colour correction or a LUT on the BM footage I think, it looks a bit flat. Idk if you did some? But that camera is a beast, enjoy!
I've heard great things about pulling Portra 800 to 400 - maybe one to try next?
Great videos as always.
Sup man love the mohawk. What kind of lens hood is on your 28mm for the canon?
I was considering doing the same with my roll of 50D, but it’s probably better you beat me to the punch.
That mohawk is the first step towards his transformation, next will be a British accent
You are so hilarious man 🤣 I’m definitely enjoying your videos Jason - keep it going 🔥
Awesome video, and saved me from finding out that pushing 50D sucks. I've always rated it at iso 32 for insane detail.
I have some doubts about your USD to Peso conversion but all in all, great video!
Perfectly timed video for me.
I thought overexposing Portra was bad. This. This is just a new level of hip.
You should try to push Fujifilm C200 +1 and take photos in a really green environment, I think you will like the colours:)
Loved that cheese and prosciutto shot Jason 😂
i love the mullet hawk thing
Id love another video in the same format as the Apollo mission moon chrome video.
Hi Jason , could you consider doing a video where you go and shoot some pictures and then show the unnedited and croped side by side with the final image? As a learning photographer who doesn't realy (know how to) edit his images i am always a bit discouraged when i see amazing pictures like yours and wonder why i cant come close to that. I know i should really learn how to edit and compose better but in the mean time i think seeing the location and raw image would help a bit.
Thank you!
That Mohawk caught me off-guard.
Only you can try this crazyness! Genius
I'm just imagining all those rusty nails waiting to get stepped on.
Mind blown by that food model of how cinestill works lol
Go to a wedding next and underexpose fuji 400H -3 stops, make Kyle Mcdougall, and these wedding photographers cry.
RIP Fuji 400H btw
That mullet is actually dope lol
I want that upside down car picture very cool
"Just pull the trigger" HAHHAHAHHAHHAHAHHAHAH
gracias señor, buen video.
UR A MAD LAD FOR THIS ONE
dope video man, super informative
I almost left for the mohawk mullet. But I stayed for Cinestill.
Im getting Fallout:New Vegas vibes from this! Love it!
Hey, I had this great idea, you should try pushing Color Plus 6 stops
Have I finally gone crazy, or am I hearing various versions of "the lick" in that background music?
No, that’s totally the licc
wowzers
bro. cool shots! but honestly all I care about now is that Lens hood on your 28mm! what is it?
I’ve heard shooting Portra 800 at 400 and pushing it to 1600 looks great, haven’t tried it tho. And please make the white borders larger. It’s super small on my large-ish phone.
Wow, he did it again
came for cinestill stayed for the cowboy hat and that sweet ass mohawk mullet
Welp, guess I'm off to shoot the one roll of 50D I have!
Sweet hat!
I though grain was locked into the film? The literal average crystal size of the film? This is changed in development??
Also thanks for the upload. You push the film so I don't have to push my self of a bridge.
Great video as per usual! Quick question, when you say you're pushing the film, three stops, are you referring to pushing during development? Development? Does that mean you would be shooting three stops negative and then developing by pushing three stops positive?