p.1 #2 · Don’t use film presets to get that film look
Huss - You're kidding, right? 17 minutes to listen to what could have been written in one — OK, two —short paragraphs. And, of course one needs an M11 for this film look, as a lowly M10 couldn't handle it. Gimme a break! Apart from this, listening to this guy's pronunciation of the Japanese word "bokeh" makes me think of the American (correct) pronunciation of "Boca Raton", with the "Bow" pronounced like "bow and arrow", not "bow" as in "taking a bow." Now that I got that off my chest, I can go on my Cobalt-Image film emulation profiles for Portra 800.
p.1 #3 · Don’t use film presets to get that film look
Cam is so far up his own ass it's laughable. If you dare make any sort of contrarian point in his comments, his defensiveness is hilarious.
The most I'll go on this is the title, and to that end, he's right! It's basically impossible to accurately replicate film digitally. The best we can do is "vibe-matching".
p.1 #4 · Don’t use film presets to get that film look
"Don’t use film presets to get that film look" - I never do. If I want a film look, I shoot film. Very simple. I never even once had the need to make any of my digital photos look like film.
p.1 #5 · Don’t use film presets to get that film look
I don’t think it’s cheap to try to recreate the film look. It’s often seen as gimmicky and amateurish but the fact is that the science of colors that went into film was no joke and the process of it is still a good tech.
Digital is more futuristic but not perfect either, the film look is also a good result, since digital always needs quite a lot of editing compared to a simple film scan, why not try to achieve something that is a good result, film sets some good examples of that.
p.1 #6 · Don’t use film presets to get that film look
"Don’t use film presets to get that film look."
Yeah… and don't eat veggie burgers if you're not a vegetarian, right?
Shooting film isn't just about the look...it's the whole messy, magical experience. Loading the roll, metering by feel… even developing it yourself. But now that you've brought it up, I might just start using film presets specifically to get that film look. Out of spite. Just to cause chaos.
p.1 #8 · Don’t use film presets to get that film look
No one younger than Gen X probably experienced what color film processed and printed on high-end photo paper at a pro lab (with fresh chemicals) looks like anyway. In recent years, I've had color film processed at several different national "labs" only to look like expired slide film colors. Probably the closest we can get for color film is home souping and digitizing the negatives with a DSLR. Even then, once the person digitizing the negs takes them in to edit, they may have no idea what the reference point for the final color edit should be.
p.1 #9 · Don’t use film presets to get that film look
Desmolicious wrote:
Just watched this. Reminds me of the kind of response you'd get by asking the average person to explain quantum mechanics. Only thing he said that made sense to me was at the end (paraphrasing here), "You need to brainwash yourself with film by shooting film... then you can learn/understand the film look."
p.1 #10 · Don’t use film presets to get that film look
highdesertmesa wrote:
No one younger than Gen X probably experienced what color film processed and printed on high-end photo paper at a pro lab (with fresh chemicals) looks like anyway. In recent years, I've had color film processed at several different national "labs" only to look like expired slide film colors. Probably the closest we can get for color film is home souping and digitizing the negatives with a DSLR. Even then, once the person digitizing the negs takes them in to edit, they may have no idea what the reference point for the final color edit should be.
When I was shooting film, I made friends with a decent one-hour lab in the area. They let me see the process and make some adjustments to my prints. At one point, they got a new machine (Noritsu?) that scanned the film and printed digitally. The quality dropped, so I switched to a "high-end" lab in NYC. It turned out they were using the same machine and had the same quality of output.
That was over 20 years ago. I imagine a fully analog process now only exists on the fringes.
Those machines were able to correct/shift colors a lot. Same with the current labs like GelatinLabs. They offer you scans and prints of your film with a flat, neutral, warm profiles, and they all are dramatically different.
So what does film color even mean?
