'Breathing Wild' S16mm Short Stills

[Mark K.]

Hey fellas,


We just locked picture on a short I shot in December called 'Breathing Wild'. We shot the whole thing on Vision 3 7207, 250D stock. I'm pretty delighted with the results. It's beautiful stock, and I have to say, the simplicity of shooting film again was an a real pleasure.


It was my first time shooting film in eight years, but since my workflow hasn't really changed (I still light with my meter) there was surprisingly little difference to my usual digital shoots. What I found particularly interesting, was how much easier shooting film was (compared to digital) primarily thanks to Vision 3 having such incredible latitude in the highlights.


Camera package was an Aaton XTR, paired with Zeiss 16mm Superspeeds, and a Zeiss 11-110mm zoom (which breathes like an asthmatic doing athletics!).


Here are a few grabs:
























 

[Mark K.]



















 

[Timothy Jones]

Hi Mark,
Looks amazing ! I've never shot film before, but colors are beautiful.
I also own all those lenses, which I use to use on bmpc.
This is after a pretty big grade right?
Thanks for sharing.
Tim

,

 

[Mark K.]

Cheers Tim,

Count me jealous, I wish I had a set of the mini Superspeeds myself.

And one of the things that's amazing about Vision 3, is that this wasn't a big grade at all. It was a cineon LUT to normalise the scans, then some contrast curves and a little bit of colour correction to balance the shots to each other. That's pretty much it.

 

[Jacek Zakowicz]

That sure takes me back.
These colors.... nothing beats colors on properly exposed film- dare I say it ;-)
We thought we have arrived with digital but we still have a lot of room for improvement in the color department...

 

[dio Zafi]

Cheers Tim,

Count me jealous, I wish I had a set of the mini Superspeeds myself.

And one of the things that's amazing about Vision 3, is that this wasn't a big grade at all. It was a cineon LUT to normalise the scans, then some contrast curves and a little bit of colour correction to balance the shots to each other. That's pretty much it.

great..I just worked with super 16mm and it was basically good out of the can.. I really enjoyed it too

 

[Mark K.]

That sure takes me back.
These colors.... nothing beats colors on properly exposed film- dare I say it ;-)
We thought we have arrived with digital but we still have a lot of room for improvement in the color department...

In the past few years, I've thought I've been getting pretty close to matching the colours of film with digital (God knows I've invested some time in the effort!), but shooting on film stock again, it's pretty immediately apparent when you pull the footage up in Davinci, that we still can't quite touch those colours (that film has intrinsically).

I really want Fujifilm to come out with a Digital Cinema Camera, their digital stills cameras have the prettiest colour science out there - so if we could get that in a motion picture camera somehow, that might finally get us there.

great..I just worked with super 16mm and it was basically good out of the can.. I really enjoyed it too

It's really nice to work with isn't it? I just love the simplicity.

 

[Hans von Sonntag]

Love it. Shooting film ist like riding a bicycle. You never will forget it. Good exposure! You know how to do it.

---

Still got my Arri SrII S-16 in the closet. I also own a Canon 8-64 wich I prefer much to the 11-110. Next time when you are back on old paths try this lens. It's been a remarkable workhorse back in the day, and the rather wide entry focal lens is IMHO more useful than the longer end of the Zeiss. It also breathes less and is as much sharp but is losing some off its sharpness from 35-40mm onward. It's pretty prone to diffraction but all S-16mm lenses have that problem to some extended. Just don't stop too much down.

Hans

 

[Hans von Sonntag]

I really want Fujifilm to come out with a Digital Cinema Camera, their digital stills cameras have the prettiest colour science out there - so if we could get that in a motion picture camera somehow, that might finally get us there.

Won't cut the mustard. Arri's colour science is so much close and still far away. Red is not bad either but has its own aesthetics, less film-like. Digital is digital.

 

[dio Zafi]

In the past few years, I've thought I've been getting pretty close to matching the colours of film with digital (God knows I've invested some time in the effort!), but shooting on film stock again, it's pretty immediately apparent when you pull the footage up in Davinci, that we still can't quite touch those colours (that film has intrinsically).

I really want Fujifilm to come out with a Digital Cinema Camera, their digital stills cameras have the prettiest colour science out there - so if we could get that in a motion picture camera somehow, that might finally get us there.



It's really nice to work with isn't it? I just love the simplicity.

yes and breath taking images

 

[dio Zafi]

Won't cut the mustard. Arri's colour science is so much close and still far away. Red is not bad either but has its own aesthetics, less film-like. Digital is digital.

+1

they're just different

not in competition but in collaboration

 

[Jake Wilganowski]

I hope I get to shoot 35 sometime in my career...