Elumere

Dear fellow 996ers,

We've been working on a series of short documentaries on 'future classics' and the trailer is out.





As you can see, I took my 996 out into the dirt to grab some good footage. It's all shot on S16mm film with virtually no budget.

The first few episodes drop in a week or three.

Cheers!

Your team at futureclassics.tv
@futureclassics.tv

ZuffenZeus

If you have "no budget", then why S16 film? Wouldn't a used DSLR or even some of the Black Magic cameras make more sense from a no-budget standpoint?

Beautiful images though!

I would suggest an appropriate gyro stabilizer for all the driving shots. The hand-held motion shots can only tolerated for so long.

Keep up the good work!

Debo18D

LOVE IT!!!!!!!!!!!!




D.

Elumere

16mm is not as expensive as everyone would have you believe. And it forces restraint on what you shoot, which can be a great approach to a project. Since I normally shoot commercially, where endless amounts of footage is gathered to cover any mood change the client might have in the edit, it's freeing in a 'less is more' kinda way.

Pus, the look we get from it is unique in the current car video world, same with the absence of stabilized car **** shots.
(aside a Russian Arm runs 4k plus operator a day and those prosumer gyro stabilizers won't be able to handle the weight of a fully loaded Arri Sr3). So, it's partially budget restraints and partially wanting to create something with a unique character for the car-video/film world.

But yes, I got you on the shake-ness of some of the longer shots.
Thanks for the detailed feedback, really appreciate it!

Cheers!

Elumere

Thank you!

We're prepping for another shoot today with a 450SLC, did a foxbody stang yesterday, and have two more shoot days lined up for early next week.

So, a lot more to come!

ZuffenZeus

I've been in the production business for 20 years+ and completely understand your perspective. I just fell out of my seat when you mentioned 16mm film acquisition in the same sentence as "no budget" hahaha. I feel you dude! It's a beautiful look. No doubt about it. It also may have a marketing edge too given the theme of "future classics".

What is the going rate these days for digital intermediates from S16mm? We haven't touched film in a many, many moons! We also had an ARRI S16 setup when I first started in the business. Those were the days.

Now everything is either ARRI Alexa, Sony F55/F5, Red Weapon, VariCam 35, and on and on... Things are changing rapidly. Lots of indies using DSLR or trying their wings out on Black Magic URSA mini cams. But we come from more of a broadcasting background and so we prefer the ENG style setups for most of our work, but we keep the S35 rigs for high-end projects.

Oh, and lots of ways to stabilize the big boys on a budget. You'd be surprised all the tricks I have up my sleeves. ha!

Elumere

Well, hello fellow film person!

Yeah, these days it's usually always Alexa, and a few times the Red. The DSLRs are just depressing these days, we were forced enough times to shoot on those for Broadcast and trying to save the skintones in color grading, with little success (unless it was overcast, then it usually worked). So, as both my DP and I are working professionals, we try to have this project as a pleasure/passion project and do it the way we love it: small, very mobile, somewhat punkrock, and with the restraint of counting feet of films. We shot just 1200ft of 16mm for this trailer, and 4 episodes (of which shots will be reused, obviously).

I have a small film-enthusiast shop here in North Hollywood where I can get a 400ft roll including process and development for $300. Another guy I know can scan it in his off-time at work for $250 an hour of material. Color grading I have a great hook-up at one of the big color houses out here for very little as well.
Editor works on it for passion (and producer credit), composers are really psyched on it as well.

Thus, it's no-/lo-budget.

I'd be curious to hear about your stabilization inputs, seriously. DM me if you feel like it.

Yay!

Dr_Strangelove

You sound like me in my film school days! Excellent teaser. I subscribed to your channel.

snoopybee

Know nothing about filming industry and I can't really tell the difference between 16mm, 35mm ...
but I just like the video. Subscribed to the channel.

Elumere

Thanks guys!

ZuffenZeus

Still means the same to us today. When a client says they have little or "no budget", that translates in my mind as... they're asking for freebies or want a cheepo video. And in many cases, they're asking for the former and getting the latter. ha!

ZuffenZeus

I must admit, we've gotten lazy in the last decade or so and pay for a chopper with a gyro system to cover these types of shots. He charges $4K/hour. Yea, that's crazy expensive, but the images are super smooth!!! Only problem is you may get chopper shadow and they can't get the super close-ups that you can get from russian arm type gimbal systems. Some people rig up basic jibs on the back of trucks with the camera isolated at the head, but of course, you're limited with the types of shots. I know it sounds crazy, but it works, but if you don't isolate the camera at the head, you'll get shaky video. But you know that. Hey, we've even sand bagged cameras on standard tripods and told the driver to keep it slow. hahaha Lots of indies are using drones with follow feature. Looks pretty good, but the micro sized imager on the drones don't look as good as a S35 or 2/3" of course. You get what you pay for. Cheers!

rporzio

Very well done...

wyovino

16mm, 17mm - whatever it takes.

Nicely done. I used an Arriflex 16mm camera when I worked for a local PBS station in 1973. I'm guessing that many of you hadn't been born yet.

Audidude

Brilliant - love the retro look of the footage - hey we still listen to vinyl!!