This
is always a hot topic in micro budget filmmaking communities,
as it should be. The costs of shooting film are prohibitive,
yet a ‘film look’ is what we are all trying to
achieve. But what film look? What exactly about film looks
so much better than video? Nothing! It’s just different.
Film has existed for around a hundred years, while home
video only for thirty years. As moviegoers, we expect the
film look when we watch dramatic materials and we expect
the video look when we watch reality (like the evening news).
To make a digital movie look more like film, understand
the differences between the two and modify the video however
possible.
What
are the differences? If you don’t care about the differences,
or get confused because I’m horribly unclear about
explaining things (don't worry), just scroll down to my
solutions.
Film
is shot at 24 frames per second and video at 60 interlaced
fields per second. Think of recording motion pictures as
sampling time. Film cameras normally sample time 24 times
a second at 1/48th second each. Video cameras normally sample
time 60 times a second at a minimum of 1/60th of a second.
This difference in the way time is recorded makes motion
look different on film compared to video. As moviegoers
all our lives, we are conditioned to think the way film
captures time (and motion) is better and more desirable
for drama than video.
Film
also tends to record a greater contrast ratio. This is the
difference between the brightest thing in the frame and
the darkest thing in the frame. When you take your camcorder
to the beach on a bright sunny day, you’ll have trouble
properly exposing the bright sand and your family under
an umbrella at the same time. This is because the contrast
is too great. The human eye is said to have a 10,000+:1
contrast ratio. Film (depending on what film) is said to
have a 1,000:1 contrast ratio. Video is said to have a 100:1
contrast ratio. Video sucks.
Very
similar to contrast ratio is what’s called 'gamma.'
Gamma is the relation of how light intensities are recorded
and displayed compared to what they were originally. The
“gamma curve” is an expression of this relation.
For a theoretical example, if different areas in the frame
are intensity 1 (the shadowy area under a tree), 2 (a dark
painted building), and 3 (a big gray rock in the foreground)
on a scale of 1 to 10, with gamma curve "x," they
may be recorded and displayed as intensities 3, 3.5, and
4, respectively. ...What? I don’t get it!... Unfortunately,
I can’t think of a better way to describe it and I
haven’t found a better description online (someone
e-mail me one). Just know that the intensities of light
are often displayed differently than they are in real life
and film gamma tends to be more curved (exponential) than
video.
Resolution
is also different between film and video. [Standard Definition]
Digital camcorders have a resolution of 720 pixels wide
by 480 pixels high. Film has a varying resolution depending
on film stock, but it easily is 4,000 units wide for 35mm
stocks. That is a big difference.
Grain:
Film has grain. So does video. Unless it’s for a specific
style, grain is bad. Video’s grain normally occurs
when the video signal gain is electronically increased.
It is most noticeable in dark areas of the frame and appears
black and white. Film grain tends to look more multicolored,
smaller sized (because film has a greater resolution), and
can be noticeable in different parts of the frame (dark
or light or both) depending on the film process.
Things to do while shooting
Often overlooked are things you can do while in production.
First, Light video like the pros light for film. If you
are new to dramatic lighting, start with basic 3-point lighting.
Master the basics before you start breaking rules. In addition
to 3-point lighting, divide the frame into different areas
and light each area separately. For example, use 2-3 lights
for the actor, and then another light for the wall behind
the actor. This way you can adjust intensities separately.
Try making the background darker and the subject lighter.
Cinematographers think about lighting areas within a frame
in terms of how light or dark they are comparatively. They
use varying brightness' to draw attention to different areas
of the frame and add another level of emotional intensity
to the movie. You should do the same.
In addition
to lighting video like film, shoot video like film. Keep
the camera on a tripod. Make use of a home-built steadying
device, dolly or jib arm for better camera moves. Minimize
the use of zooms. Vary compositions from long-shots to close-ups.
Use high or low angle shots to convey a character's power
in a scene (camera at eye-level is neutral). Plan more complex
camera moves out to spice up a scene.
Now,
adjust the camcorder as close to a film camera as possible.
If you have a Panasonic DVX100/A, you can capture 24 frames
per second. Use it. If your camera has a ‘movie mode,’
test it out to see if it looks good. If it looks good, use
it. For any camera with shutter speed and aperture controls,
keep the aperture as open as possible (lower number) and
the shutter speed as long a possible (normally 1/60th sec).
If this overexposes the image, use neutral density filters
to reduce the light coming into the camera. Also, try and
work with the camera more zoomed in (but never digitally
zoomed in!) and physically farther away from the subject.
This flattens the frame and narrows the depth of field (creating
a blurry background)–this look is associated with being
more cinematic. Keep the focus and exposure on manual so
they don’t drift mid-take. Also, consider getting filters
for the lens. Neutral Density, Circular polarizing, and
UV filters are a basic kit. Also sold are contrast-reducing
filters–these can work great, but can also be very
tricky to master. Gradient filters are great–I’ve
never used them (other than in postproduction)–but
this is something I hope to use more of in my productions
to come.
