Beautiful. your the only cinematographer online that provides such a cohesive channel that hits all the marks about being a cinematographer; financial, mental, learning, failure. true inspiration and motivation to me, thank you.
Official explanation for that side lever “The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter. The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) WHEN THE VARIABLE SHUTTER IS FULLY CLOSED, NO LIGHT ENTERS THE FILM PLANE Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.”
Enjoyed the video! @7:23 when you are metering, you don't have to cover your hand over the meter since the bulb is retracted inward. It's not catching that spilled light.
Carlo Stigs has shot a feature film but doesn’t know how to use a light meter! You have know excuse. (And by you I’m accusing myself of not going out and filming more and making passion projects just because of my so called perfectionism) Great video Carlo. ad you’re falling in love with film! It’s called filmmaking after all and you have such an amazing eye. Looking forward to seeing what else you shoot. Can’t wait to see what you do on 35mm
That's really cool that you tried shooting on 16mm for the first time! I definately had a lot of similar struggles too when I shot my first roll of 16mm. The key I think is to give color negatives plenty of light, I usually overexposed them 1 - 2 stops depending on how much shadow information i wanted to retain, as pulling down the scans in post resulted in deeper blacks and less grain in the shadows while the incredible highlight latitude will still maintain everything, and film has next to no information in the shadows if you exposed at box speed. Another thing is that your lab seems to be really expensive! I recommend the negative space, because they have an amazing scanner (Lasergraphic 6.5k HDR), and very consistent and very very cheap! full resolution hdr scan + developing + online uploads are only 0.55 cents per feet, so if you have 200ft of film it would have been about 110 dollars or so. Also I don't personally like bolexes a lot, because of how small and dim their viewfinder is, which makes it hard to compose and focus, and due to their reflex prism if you adapt regular pl lenses it will add a lot of chromatic abberation and softness. If you rent a 400ft professional camera like a aaton and arri sr series/416, you will be able to mount a lot of PL lenses on these cameras, and if you get a modern lens set like masterprime/tokina vista or ultra 16s or really sharp zooms like the Angenieux 7-81 or cooke 10.4 - 52mm and shoot on 50D? your 16mm will be incredibly sharp with a high resolution scan. Even rivaling 35mm 500T.
Shots look great man, probably too much to ask but it would be so great to download a couple of these clips in HQ so I can study them for film emulation!
Hey man, great video! So well broken down and informative. Random question, what brand of clothes do you wear to shoots? I'm just starting out and want to dress appropriate given the shoot, I typically wear lulu but wanted to get your brands of clothes you typically rock on shoot days that provide the best quality for run and gun shoots. Thanks man!
Dude, I've tried shooting Super 8 twice. The first time it was just a bad camera. The second Time I rented a well-working camera, but I must have forgotten to shut it off or somehow exposed entirely wrong because I had black and white after the first 30 seconds of film. The film medium is tough.
Hey Mr. Carlo, amazing video and the footage looks great!! The light meter can be tricky at first but over time it gets easy. When in doubt about the exposure you can overexpose the frame by a stop. Keep up the amazing work and looking forward to next 16mm project you do!!🎥🙋🏾♂️
Shooting a 35mm on stills can help you build the confidence you missed… its a total different ball game and most the times you are just metering for the shadows opposed to the highlights as with digital
@@carlostigs also, over exposing by 1/2 to 1 full stop would increase density in the negative that from my understanding gives more information for the scanning process :)
Cool video! I’m curioud, did you also generally overexpose by a stop? Or do you when shooting digital? There‘s actually no real need to use filters for color temperature compensation. As a colorist it’s a pretty easy fix in post. So you can safe one stop of light if needed. Personally love the look of tungsten balanced film stock shot under daylight. (color corrected though)
dope in the middle of my 16mm rabbit hole now. got my first 2 rolls ever recently developed as well. loving my Bolex Rex3 but now I’m eyeing Arriflex 16S on ebay 👀
“Was it worth it? 100%. The reason? Because I… freaking loved it” 😂 This video was so interesting to watch! I had never seen a walkthrough of how film is actually produced, so this was super insightful. And the footage turned out incredible! Great job 👏
12:35 The little lever on the side of the camera that controls the amount of light coming in is used to perform real fade-ins and fade-outs. If you move it down at the end of a shot, it will create a fade-out, and if you move it up at the beginning of the next shot, it will create a fade-in. You can also create a real crossfade using the same technique. To do this, count how many frames (or seconds) you used for the fade-out on the previous shot, convert it in film length, rewind the film by the same film length (using a special crank on the side), look at the length indicator to make sure you rewound it enough, and start the next shot by pulling the lever up at the same speed to create a fade-in. If done correctly, you'll achieve a real organic crossfade :) The lever is also used to create a double exposure effect by shooting a shot with the lever in the middle position, rewinding the film to the length of the previous shot, and then shooting another shot over it with the lever in the same position. It's like placing two shots one over the other on your timeline with 50% opacity on each. (Sorry if my english is not perfect, it’s not my mother tongue :)) Hope this helps you! Love your videos keep going!
