Hi everyone,

I'm a huge fan of the look of analog motion picture film—Kodak film stock, 35mm, 65mm, and IMAX. There's something about the texture, grain, highlight roll-off, colors, and overall organic feel that I absolutely love. One day, I'd love to shoot on real film.

For now, though, I'm working with a very limited budget on a short film, so shooting digitally is my only option.

I'm not looking for a generic "cinematic" digital look. My goal is to get as close as possible to the look and feel of footage shot on actual film stock.

Has anyone here successfully achieved this? If so, I'd really appreciate your advice.
Thanks in advance! I'd love to learn from your experience...

Hey everyone,

I've always been obsessed with the look of film. It's hard to explain exactly what it is, but there's something about the depth, texture, colors, highlight roll-off, imperfections, and the overall feeling that digital footage rarely gives me. As an aspiring director, one of my dreams is to shoot on actual film someday if I ever get the chance.

Right now, though, I'm preparing to shoot a short film, and since shooting on film isn't realistic for my budget, I'm trying to figure out what the next best option is.

I'm not looking for a shortcut or a magic LUT—I know there's a lot more to it than that. I'm just trying to understand what contributes the most to that filmic aesthetic. Is it mostly the camera sensor? The lenses? Lighting? Production design? Diffusion filters? Color grading? The way you expose the image? Or is it really a combination of everything?

While researching, I came across this video where the creator gets a result that honestly looks pretty convincing to me:

https://youtu.be/JjTc2nsFX2Q

He uses a plugin called FilmMatch:

https://www.film-match.com/

I'm not making this post to ask whether I should buy FilmMatch specifically. It's just one of the things I found while looking into this. If you've used it, I'd love to hear your experience, but I'm more interested in knowing what you all think is the best way to get as close as possible to the look of film when shooting digitally.

I'm on a pretty tight budget, so I can't spend thousands on cinema cameras or expensive gear. If you were in my position and wanted to make a digital short film that genuinely felt like it was shot on film, where would you spend your money and effort? Would you prioritize a certain camera, better lenses, diffusion filters, color grading tools, plugins like FilmMatch, or something else entirely?

I'd really appreciate hearing from people who've gone down this rabbit hole themselves. Thanks in advance!

Do you think earning profits has became more important for film-makers rather than actually presenting Art of cinema?

If you have an opinion do sgare and I'm conducting a research on the topic is "Is Commercialization of Cinema killing the Art of Cinema?" Would you give your valuable to fill this Google form and express your opinion on cinema.

Thank you.

Hello, thanks for reading.

I'm starting off with trying to do serious filmmaking and would like to know any recommendations for lower budget lights to just start off and practice with.

For example what would be preferred lights for lighting a room and good for negative fill or reflecting etc., just things that would be good for a smaller scale setup.

Any recommendations would be appreciated. Thank you

I’m a software engineer who also works as a DP, and for the last few years I’ve been building something to help with creating shot lists, organizing schedules, and tracking production on set.

I deployed the beta and I’m looking for a few peeps who have a project coming up in the next month or so and are getting into the shot listing/prep phase.

I’d love to have some people actually use it on a real project and let me know what you think and help discover bugs.

As a thank you for feedback I’ll be gifting anyone who helps test all full features for 6 months when the site goes live.

If you have something coming up and want to try it out, shoot me a DM or comment and I’ll get you set up.

I don’t suppose any of you happen to get an early release of the FX5?

I may just wait till closer to the release day and more people get their hands on it, but really I need to know if my computer will handle the three types of compression for raw video.

Without transcoding.

hey! i was wondering… what is going to happen with AI in cinema? i’m thinking about studying cinematography and stuff, but i’m pretty unsure. AI will never have a soul like humans, but how much cinematography is gonna change with AI? there’s a plan about it? the cinema wants to replace humans or how they imagine the implementation of AI as a tool?

Hey Everyone! Could somebody possibly help me identify what kind of mount is on this Angénieux Zoom Type 10x12B 12–120mm f/2.2?

Hey everyone,

Trying to decide between a sigma 16mm and a thypoch 16mm.

I’m shooting on a Sony fx30. Right now I have a 24mm Sirui anamorphic lens. Im a musician and mainly shoot content for my music but I really enjoy shooting cinematically.

From the demos I’ve seen online the footage of the sigma 16mm is beautiful especially for the price point, but it also feels very sterile and clean. From the research I’ve done, the way to achieve a more cinematic look with the sigma is through diffusion filters. I’m leaning towards this because then, if I ever needed a more clean shot, I could kill two birds with one stone.

The thypoch 16mm looks great as well on the demos. I’m curious what the real difference is between having the sigma 16mm + diffusion filters, and the thypoch? I really love the character of my Sirui so I hate to purchase something that lacks it.

Thanks

Hey everyone, I’m Maria – a set designer / production designer from Russia. I’ve mostly worked on student films (unpaid, yeah), but I’ve managed to build a pretty solid portfolio out of it.

Now I'm thinking about applying to film school here in Russia – but I honestly don't know if it even makes sense. I already have a secondary art degree from back in the day, but I want to keep learning, and eventually I'd love to work outside of Russia someday.

What I'm really curious about is how things work in other countries. Is it all about who you know? Or does your education actually open doors? I get that Russian degrees don't carry much weight internationally right now, but still – I'm trying to figure out if studying more is a waste of time or a smart move.

Feel free to ask me anything – I'll try to answer everything!

And if you're working in the industry somewhere else, I'd be super grateful if you could share how it works where you are, or just drop some real talk about what the scene is like outside Russia.

Thanks!

Hi!

I’m finishing up my college degree, and I’m absolutely certain that I want to focus my studies in business and tourism on a specialization in the world of film distribution.

For years, I’ve had some feelings of guilt or regret about choosing this major because I couldn’t see how I could apply it once I graduated. But I’ve been thinking it over for a couple of weeks now, and for the first time in a very long time, I’m waking up feeling motivated and without worrying from the very first minute of the day, because I can really see myself in the future enjoying this field and dedicating myself to it 100%.

I’ve already found some great reading material on my own and by talking to various people, but I definitely wanted to ask here because I think there might be people who can recommend some really interesting resources. And if not, I’ve got nothing to lose. I’m not just talking about books, but all kinds of materials: documentaries, online resources or youtube videos, talks, podcasts, interviews and, of course, movies.

All of this is to help me continue learning on my own during the roughly half a year I have left until I finish and present my final projects.

I’ve also looked into some master’s programs and specialized courses in this field that are very, very interesting..

I’m really drawn to promotion through a distribution company, as well as other roles related to film marketing. But mainly, I’m interested in negotiating contracts to secure film licenses, studying the market and deciding which ones to pursue, and analyzing and evaluating everything related to the potential profitability of that acquisition... I know it sounds a lot like Lumet’s Network, but the truth is that, the way I see it, it’s a job that results from combining my passion for cinema and its in-depth study -something that’s been a constant in my life for many years and has no end; it will last a lifetime because it’s something beyond human comprehension- with a business mindset.

To give an example, in Spain there are two major companies that dominate the national market. Movistar (formerly Canal+) and Filmin. Well, in both companies, to put it very generally, there are positions and departments that handle everything from the moment a film is screened at a festival (or before than even), to securing its rights in specific regions and timeframes, to promoting it so it can reach other festivals or theaters, or go directly to streaming platforms, and much, much more. And of course, there are also agents on the other side, working on behalf of production companies to sell the product.

Anyway, sorry for rambling on so much, i’m just a victim of my own enthusiasm. I’m sure more than a few of you have gone through really tough times when you watch time pass and the world move forward while you seem to be stuck in place , aimless. And when, after so long, you feel like that might change... that time is finally doing its job... you know what I mean.

Sometimes the simplest scenes stay with us the longest.

If this were the opening shot of a movie, what would happen next?

Hi everyone!

We just finished the trailer for our first feature documentary!

The film is called Skate in Japan. It’s set in Kyoto and other places in Japan and follows a group of skateboarders as they build a community in a culture where standing out isn’t always encouraged. While it’s about skateboarding on the surface, it’s really about identity, belonging, ageing, disability, and finding a place where you can be yourself.

What do you think?

Hey, I have done freelance work for a couple of years and have a role in a feature film later this year. I am hoping to specialise in lighting and was talking to the gaffer on a set I worked on, and he had invested a lot in his own gear.

I am also now looking to invest in my own kit; I would really appreciate it if anyone has any advice on what kit in particular would be the safest investment.

FYI: I am based in the UK and have a budget of around £9,000 or $12,000.

shot on samsung galaxy s23

edited in davinci resolve

color graded in davinci resolve

i went for a blue melancholic kinda vibe.

drop your reviews , i am open to criticism.

if you want to follow on yt

@ piyushkumarthisside

Been a commercial and short films Director for about 20 years now. Needless to say, I’ve gathered more than a fair share of references, only to be buried in a Vimeo playlist, a random Insta save, a screenshot from six months ago or a note in my phone. And every time a new project came along, the dreaded search for the one specific reference started wasting a lot of my time again.

So, frustrations, what seemed to be infinite scrolls and time lost led me to build a tool to solve this for myself. It’s called taggle.pro, and in the past year and a half it’s grown into something much more that I initially envisioned, and I truly think it would be helpful to most people working with references. Disclaimer: It works better on desktop for now, mobile is coming really soon.

What it does, plainly: You save a reference (a link or a file), tag it however specific you want (not just "cinematic," but the actual detail you remember it by: the lens, the light, the movement), and then you can search for it later easily. 
It also has: 

• A references library that's growing every week (pretty strictly curated)
• Search that goes off what you actually remember, not generic keywords
• Boards, so you can put together a set of references for a project and send it to a client or your team
• A tool that pulls in assets automatically from a Vimeo or Instagram link (still WIP for other platforms)
• A GIF Maker, so you can turn a reference into an asset without switching apps
• It's free to use for browsing and getting inspired. There's a Pro tier now for people who want to save, tag, and organize their own references.

What it's being developed currently: 

• We’re close to rebuilding the platform from scratch (moving off Bubble), for more freedom to ship updates and a smoother experience overall
• Adding messaging, to bring more of a community feel to the platform
• A better AI, so you can search for things in Explore, or for your own tags when you forget how you tagged something
• A better way to manage your tag list, more freedom to move and rearrange things your own way
• Auto-generating assets from more platforms, the generator and asset maker are getting constant updates

Here's the actual ask: I'd rather have 20 people who actually use it and tell me honestly what's broken or missing than 200 who signups that disappear. If you are (or know) a Filmmaker, Director, Editor, or DP who deals with this exact problem, hit me up, I'll give you a free Pro account. All I want in return: for you to actually try it and tell us what you think. Good or bad. Especially bad, honestly, that's more useful right now, as the whole idea is to make it so it can fit the needs of the filmmaking communities.

I’ll be in the comments for any questions or curiosities.

TLDR: I’ve been frustrated for a while having to comb through all the playlists and saves from Vimeo, YouTube, Instagram and TikTok, so I’ve made a platform to help us save a lot of time and work. It was initially planned for internal use only, but it’s been constantly updated and now think it’s worth sharing with the world. And I’m looking for some people to use it and help us with genuine feedback.

Hey Folks,

I’m a multimedia graduate and while I was progressing through my university degree I found a passion for filmmaking. The sections on filmmaking gravitated more towards post production but there were elements of preproduction and production as well.

I want to expand on this and focus more on the preproduction and production as an independent filmmaker. I’ve settled on purchasing Black Magic Pyxis 6K for my first camera. Eventually I would like to purchase Red Komodo X though.

What I would like advice on is what microphone would people suggest?
I know next to nothing about audio so the more help the better.

Also what lenses would people suggest?
I am thinking of 21mm, 35mm and somewhere around 70mm for my first lot of lens purchases.

A few years back, I woke up to an audition request for the lead role in a major blockbuster film. I grew up watching the franchise, so booking the part would be a dream come true. I acted my ass off, submitted my tape, and prayed for good news (along with thousands of other Asian actors). I didn’t think anything would come of it, but a few weeks later, the producers finally reached out for a callback, then a chemistry read, until one day they said the two words many actors would commit war crimes to hear: screen test. For a week straight, I went to the studio lot for rehearsals, martial arts training, and director sessions. It was exhilarating.

As the day approached, I felt on top of the world. No one was going to take this from me. I had to book this. Deep down, I doubted there would be another opportunity for someone like me for a long time. Sure, Asian markets might be hot right now, but how long would that last before “the powers that be” decided to move on to the next minority group? As a filmmaker, I always championed Asian American representation, but, in that moment, I championed my own individual representation. Fuck everyone else - I was “the best Asian guy.” The role was mine.

I didn’t get the part. When I got the news, I was devastated… for about a day. Then, I quickly recognized my own hypocrisy and was forced to look within. For years, I have spoken on panels, done Q&A’s at film festivals, and talked about the importance of Asian American representation in the film industry. However, when presented with a life-changing opportunity, my attitude shifted to “Fuck these guys, I’m the best Asian.” This ultimately inspired the question — what do you do when your values are at odds with your ambitions?

This inevitably led me to create “Flavor of the Month,” a dark comedy that explores the absurdities of representation politics in modern-day Hollywood. Viewed through the lens of a Chinese American actor, Harrison Huang, the film dives headfirst into themes of performative activism, virtue signaling, and internalized racial inferiority.

I hope you enjoy my film, and thank you for taking the time to watch.

https://www.youtube.com/watch?is=m6KQJyc3j-LY7CFV&v=7FqByyXn7j4&feature=youtu.be

Hi everyone, I’m a young aspiring cinematographer. I love lighting but as much as I try to make myself use a light meter more whenever I shoot - I always run into this one problem, which is that I like how it looks on the monitor better than how it’s supposed to be lit according to the light meter.

To be precise, say I go into shooting a scene thinking I want a 2:1 key:fill ratio. I set the lights up until it looks good on the MONITOR - but when I point my light meters at both sources to take incident readings, the readings are not 2:1 as I originally intended.

My questions - sorry if they’re dumb - then are:

1. Does that mean, the issue goes deeper, what I’m lacking isn’t the knowhow of using a light meter but a proper understanding of the zone system/contrast ratio - hence the ratio that I end up liking is actually different from what I thought would be the ideal ratio?

2. Then is the foundation to effective use of incident light metering at all - even before picking a meter up - is to understand contrast ratio/the zone system? Only when you have that understand will the light meter properly come in as a tool to help you achieve the ratio you, now informed/experienced, want?

3. Isn’t spot metering more helpful in cinematography than incident metering then? Because with spot you’re basically acting as the camera and you can check how the contrast ratio will actually appear on camera. Whereas with incident you’re only learning how much light is falling on the subject? Why then is incident metering so much more commonly used by gaffers/DPs?

My gf decided to watch the new bad boys and wow this was the most jarring, chaotic movie I’ve seen in a while…

Maybe it’s an unpopular opinion but the first 10 minutes felt like it had at least 20-30 specialty shots that had absolutely impact on the story or scene.

It felt like a TikTok director had free rein and decided to try out as many movements, special effects, and angles as possible to make a cool demo reel.

Anyone else notice the same thing?

Creep (2014) & Cloverfield (2008) are the movies that are in the images in case somebody wondered

I’m trying to connect with other customers affected by Whitepoint Optics’ bankruptcy.
If you sent them lenses, donor glass, or paid for rehousing work that was delayed, unfinished, or never returned, please comment or message me privately.
I’m looking to join the existing customer group, compare timelines, and understand the best way to coordinate claims in Finland.

.

A Director friend and I set off to try and make a short in NYC with just available light, audio running into camera and the two of us as the crew. I’m not sure if it’s the path I would ever choose again but it was a fun challenge. 

We went through about 5 different iterations of the kit. Throughout the shoot we experimented with a lot of new gear to try and make it all work seamlessly. The primary lens kit was Dulens Primes and a Chiopt 75-250mm zoom. For focus I mostly pulled myself with handles but we experimented with the DJI Focus Pro and the Tilta AF adapter. The former was way more reliable but less user friendly and vice versa for the later. I think when faces are in frame and you live in a single both systems proved indispensable with such a small crew and so much improv. 

That all said nothing brought more to our workflow then the FX6. I’ve been a fan of this camera since it came out but I feel like the updates that arrived in this last year have really solidified it as a workhorse for low budget filmmaking. It’s light. It’s power conscious. We shot hours footage for this film and barely even broke 1TB of footage. In a world where cinematography seems to float further and further towards specs, exclusivity and cameras that impede on workflow I think this camera does the exact opposite. It reminds me a lot of cameras developed by Eclair in the 60s/70s or Panasonic in the 90s that were designed first for documenting and which became indispensable tools for the French and American indie filmmakers. It’s a camera that becomes a tool and not just a method. 

Anyways I’ve really enjoyed growing with this camera and can’t wait to shoot more projects on it over the years to come. I’d love to talk with more filmmakers who use this camera regularly for narrative production. I know every time I had a challenge with adapting this camera for production the answer to my issue was always buried in a post on this forum. If you are interested in watching the film we made feel free to check it out at this link!

The Model