Why Film Survived Digital's Rise
60sChallenges the common belief that digital is always superior, highlighting the unique look of film that can't be fully replicated.
▶ Play ClipAI Summary
This video explores why motion picture film persists in the digital era, covering both the aesthetic and practical reasons filmmakers choose it. It then provides a detailed breakdown of the entire film shooting workflow, from pre-production stock selection to post-production scanning and finishing.
Chapters
[1:00]
Why film is still used
Film offers a unique look (highlights, sharpness) that digital cannot fully replicate, and a more disciplined on-set atmosphere due to the cost and scarcity of film.
[3:03]
Selecting film stock
Cinematographers choose stock based on ASA, colour balance (daylight/tungsten), and look (grain/texture). Kodak is the only remaining manufacturer.
[6:22]
Loading and shooting on set
Film is loaded into magazines in a light-free tent, labelled with red (tungsten) or blue (daylight) tape. The gate is checked after each shot to ensure cleanliness.
[8:56]
Post-production workflow
Exposed film is developed chemically, then scanned (e.g., Scanity HDR) into DPX files at 2K/4K. These are edited, graded, and output as a DCP for digital projection or a film print.
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Mentioned in this Video
Tutorial Checklist
1
3:03
Select film stock based on ASA, colour balance (daylight/tungsten), and desired grain/texture.
3
6:56
Load film into camera magazine inside a light-free changing tent. Label magazine with red (tungsten) or blue (daylight) tape and write roll number, stock code, footage, and developing instructions.
5
7:53
DP measures light with meter and sets exposure. Optionally use a digital stills camera at same ISO/shutter to confirm aperture.
6
8:25
After each shot, check the gate for dirt or hairs. If clean, announce 'good gate' and proceed.
8
8:56
Create camera report with all roll details. Send one copy with film to lab, one to production, keep one backup.
10
11:03
Edit DPX files in digital post-production, colour grade, mix sound, and output as DCP for digital projection or film print.
Study Flashcards (8)
Which company is the only remaining manufacturer of motion picture film stock in the world?
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Which company is the only remaining manufacturer of motion picture film stock in the world?
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Kodak
3:03
What three factors does a cinematographer consider when selecting a film stock?
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What three factors does a cinematographer consider when selecting a film stock?
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ASA (sensitivity), colour balance (daylight or tungsten), and look (grain and texture).
3:03
What colour tape is used to label a magazine for tungsten film vs. daylight film?
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What colour tape is used to label a magazine for tungsten film vs. daylight film?
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Red tape for tungsten film, blue tape for daylight film.
7:23
Who is responsible for loading film into the camera magazine on set?
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Who is responsible for loading film into the camera magazine on set?
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The 2nd assistant camera (2nd AC) or a dedicated camera loader.
6:22
What equipment is used to load film into a magazine without exposing it to light?
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What equipment is used to load film into a magazine without exposing it to light?
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A light-free film changing tent.
6:56
Who performs the 'check the gate' procedure after each shot?
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Who performs the 'check the gate' procedure after each shot?
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The focus puller (1st AC).
8:25
What file format is produced by a Scanity HDR scanner when scanning film?
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What file format is produced by a Scanity HDR scanner when scanning film?
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DPX files (uncompressed, lossless, high dynamic range).
10:31
How much scanned film footage can be stored on 1 terabyte?
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How much scanned film footage can be stored on 1 terabyte?
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About 24 minutes of footage per terabyte.
10:31
💡 Key Takeaways
💡
Film's aesthetic and workflow advantages
Summarises the core reasons filmmakers choose film: the unique look and the disciplined, focused atmosphere on set.
1:00
🔧
Using a digital stills camera to set exposure for film
Shows a practical modern hybrid technique where DPs use digital cameras to confirm exposure before shooting film.
7:53
📊
Scanity HDR scanner capabilities
Provides concrete technical details about the industry-standard scanner: 2K/4K resolution, 15 frames per second, DPX output.
9:59
⚖️
Discipline from limited film stock
Highlights how the cost and scarcity of film force careful planning and focused performances, contrasting with digital's 'spray and pray'.
2:03Full Transcript
[00:00] This video is sponsored by Sonata. The best royalty-free music for your videos. Although there was a time when many thought
[00:27] So sit tight while I go over why some productions
[01:00] You can view the rushes immediately. The list goes on. When it comes to listing the pros for shooting
[01:33] However, I’m still yet to see the highlights
[02:03] marked difference in the vibe on these sets. Because you’re shooting on an expensive
[02:32] So for filmmakers that value both the aesthetic
[03:03] film stocks, or use their prior shooting experience
[03:34] grain and texture that they have. Stocks with a lower ASA, like 50D will have
[04:07] correct the colour temperature, or shoot without
[04:36] Short form projects like commercials will
[05:03] but you also never want to run out of stock
[05:29] Selecting the right track is incredibly important
[05:53] That’s why I’ve started using their music
[06:22] With film stock in hand, or in the back of
[06:56] That’s a good chunk of money down the drain. The 2nd uses a light free film changing tent
[07:23] code that identifies the stock, how many feet
[07:53] camera ISO to 500, the shutter to 1/50 and
[08:25] Any dirt of hairs on the gate means the shot
[08:56] At the end of the day they will make a camera
[09:31] This sets the image on the film as a negative. Once developed, the film can now be handled
[09:59] A scan is slower, more expensive and records
[10:31] These DPX files are uncompressed and lossless
[11:03] Once edited, those lossless files will be
[11:35] print, which is projected in cinemas the old