You don’t have to use film-emulating LUTs to address this, but it’s a quick and easy start in to an otherwise intimidating world of color grading. Instead, what makes film so beautiful is in the gradation and transition. And it’s not just about ‘hipster colors’ – the reason film emulation is so popular in digital photography and the reason cinematographers prefer shooting on film for big budget productions has everything to do with the dynamic range and latitude of film.ĭon’t get me wrong – some modern-day sensors blow traditional film dynamic range out of the water, but it’s actually not about how much values of light and dark you can fit in to one scene. Photographers and videographers alike are in a constant pursuit of the ineffable qualities of film. In fact, many cameras don’t have this pitfall, so take this one on a case-by-case basis. Now, if your camera shoots in RAW like the Black Magic Pocket Cinema Camera, there’s no sharpening applied. Another great thing you can do in post is to add rough film grain as an overlay, hiding any unwanted sharpening artifacts and giving your footage a subtle texture and soul. In post, we can drop contrast, specifically raising the black point so that the harshest areas of sharpness don’t look quite so crunchy. I pair my star filter with the ancient, moldy Helios lens for a beautifully glowing, cinematic look that almost takes you back to 1920. Haze filters, star filters, Vaseline on a UV filter – whatever you have to do to drop the contrast and clarity on the light going in to your lens. So how do we combat this crunchy look? There are a few ways. The cinematic look As soon as you stop recording, your camera – in an effort to be helpful and give you usable, out of the box footage – runs an algorithm that applies coloring, contrast, and sharpening to the edges of all the details in your scene. Here’s what’s happening to create this look. Surprise! Visually, the single biggest betrayal that your footage came out of a DSLR, mirrorless, or iPhone camera is what’s known as ‘over-sharpening’, and frustratingly, it often occurs in-camera. But if you’ve ever felt like your footage looked nothing like the cinematic stuff you see on Youtube, TV, or in the theaters, it’s probably because of these 3 reasons. If you’re going for that look – and in that case, you may be a pioneer of a new movement – this article probably isn’t for you. digital footage: crunchy, contrasty, and jittery. In this case, “bad” means that it looks like. Do you ever feel like the video footage that comes out of your DSLR or mirrorless camera just doesn’t match the stuff you’re seeing on Youtube? Maybe it’s not even close – maybe it just looks straight up bad.
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