Filming on 16mm these days ⎮ Krasnogorsk-3 ⎮Canon EOSM Crop Mood

[@russo-filmmaking]

I want to apologize: I realized that more than once in the video I mentioned that the material in 16mm was sent to me in ProRes 444 instead of ProRes 4444 (I missed a 4 🤭, sorry for that).

[@filmedbyMakarios]

I definitely would watch this documentary again and again. The storytelling, composition, quality and your filmaking skills are wonderful, and it resonates throughout the whole video. Truly a piece of art.

[@russo-filmmaking]

Oh man, Thanks for your words. I appreciate it so much!!

[@carlosguerreroguerreromuno3275]

I love the way this guy film, amazing🎉❤

[@russo-filmmaking]

Gracias Carlos!! 🙌🏼

[@joshsmith3219]

Absolutely amazing.

[@russo-filmmaking]

Thank you !!

[@d0null]

Superb!! Everything was so on point! 👍👍

[@russo-filmmaking]

Thank you!!

[@fabriziogomez1705]

Great work Sergio 🎉

[@russo-filmmaking]

Thanks!!

[@MehmetKozal]

Well, this is definitely a great way to differentiate your work from others 🙂 well done man, and footage feels so good, makes you warm inside.

[@russo-filmmaking]

Thank you so much!! I'm glad you liked it

[@RobertRussell.]

Another banger, Sergio! Also the footage looks stunning.

[@russo-filmmaking]

Thank you Robert, next step for me will be to shoot a short film entirely in 16mm. Just a little short of about 3-4 minutes

[@RobertRussell.]

@@russo-filmmaking I'm really looking forward to that!

[@RhythmicEye]

Brilliant work Sergio! Your attention to detail is superbly artistic and tasteful. Bravo!

[@russo-filmmaking]

Thank you so much 😀!!

[@FilmSpook]

👍🏾👍🏾Very Awesome, Beautiful Work, Sergio! Thanks for sharing this. I would love to shoot on real 16mm film someday. Those Krasnogorsk cameras are great. Cheers, Bro

[@russo-filmmaking]

Thank you!! It's worth trying at least once

[@varomillen5298]

Maravilloso!!

[@russo-filmmaking]

Gracias!! me da gusto que the haya gustado el video

[@paulofrancopadilla9563]

Nice work Sergio!

[@russo-filmmaking]

Thank you!!

[@VietinghoffAlex]

Beautiful work! Can't beat the organic feel and texture of film.

[@russo-filmmaking]

Glad you like it! Thank you!!

[@starterpvck2043]

Beautifully shot, amazing job on this video and showcasing 16mm

[@russo-filmmaking]

Thank you!! I'm glad you liked it

[@Alex-CPopa]

What a great video! ❤

[@russo-filmmaking]

Glad you enjoyed it! Thank you!!

[@georgepeverill6116]

Amazing stuff as usual! I belong to a film co-op here locally and can rent a 8/16/35mm. Although I haven't it's always intrigued me since I'm born within the celluloid film era (1971). Couldn't possibly afford it however to do anything of length. They are working on getting a dark room set up for processing 16 and 35 mm but at the moment it would have to be sent somewhere to get processed and it would be even more here in Canada to get the film scanned I suspect. I❤🎥

[@russo-filmmaking]

Thanks!! I'm from 1971 too , young men with a lot of experience 🙃. The project of the co-op to which you belong is interesting, and I hope it develops well in the future. I shoot a lot in 35 and 16mm between 1995-2005 for paid works, mainly music videos and commercials. Now that I have this big nostalgia, gradually I want to film some short film in 16mm. It's expansive, but I can afford it filming 1-2 100ft reels probably once every 2-3 months. It's very helpful to understand cinematography and apply it to our digital cameras.

[@88Tariel]

Very beautiful and inspiring this mini-documentary. I've been waiting for this clip and I must say that "sono molto contento". I hope one day I will have the chance to shoot on film, I already own a Krasnogorsk camera like yours. In your case, the footage made with Krasnogorsk looks gorgeous, but also the color grading make the difference. Is indeed something unique about the footage, and I mention here the nostalgic look, but also something that suggests a more organic and tridimensional feeling in relation with the material. I know you made already some interesting videos on lighting, but maybe you can suggest us what lights and other materials at an affordable price we can buy to suit some interesting scenarios to film. I'm really interested in this part. Thanks!

[@russo-filmmaking]

Thank you so much!! and yes I'm thinking to shoot some video talking on how we can lighting our scenes on the budget in different condition.

[@gemini9424]

Great great video my Friend. Well done on a great piece of work. You make it look so easy even though we all know this is no easy task. Well done.

[@russo-filmmaking]

Thank you so much!!

[@mikaelsaetereid]

Loved this, thank you!

[@russo-filmmaking]

Thanks for watching!!

[@guerweb3830]

Hermoso trabajo Sergio! se trasmite perfectamente tu amor por el cine y el filmico, buena mixtura entre video\tutorial de youtube y cortometraje. Verte enrollar la cinta metrica despues de medir la distancia focal filmado a su vez en RAW con la primera mirrorles de Canon con ML, el mismo dia que salio el DJI focus pro, me hace reflexionar en la convivencia entre tecnologias, sin que necesariamente se vuelvan obsoletas unas a otras. Yo tambien tengo la EOSM, la pocket 4k y una Contax para fotografia. Que hayas usado la EOSM para este corto me parece una sabia decision, siento que de las digitales es lo mas parecido a 16mm y con la nueva vida que le da el crop mood es gratificante ver que puede estar a la altura de una producción profesional como esta, me diste ganas de volver a experimentar con ella. Yo tambien trabajo de colorista, quedo al pendiente de ver tus hallazgos de emulacion de filmico a partir del metraje!

[@russo-filmmaking]

Muchas gracias por tus comentario!! Agradezco mucho tus palabras y si en el proximo video presentare los resultados de las mismas tomas echa usando película y digital, y ver si se notará la diferencia

[@42ndStreetMatthew]

Great video. I've been shooting on Super 8 for awhile, but have been debating getting a K3...

[@russo-filmmaking]

Thanks!!! If you get a K3 in good shape and conditions, it’s worth to make the change

[@thousandoaksmall1995]

Excellent. Please keep making K3 films.,

[@russo-filmmaking]

thanks, I'll do. Next will be a 16mm short film

[@jpr-tech]

You have been my go to KZbinr since your EOS-M videos. They've helped me a lot. To the point that now my EOSM is my A-Cam and my modern FUJIFILM X-H1 is my B-Cam. 🤣 I'm sorry but I gotta ask... what modes did you mainly shot at? 4.2K? 5.2K? I think I saw some 1080P in the BTS scene of your test shots with the K-3. Regardless of the mode, the film was fantastic!!! Can't wait for your next project. Cheers!

[@russo-filmmaking]

Hi, I follow your channel too. Your footage has always a great quality. I always use 1x3 mode in my videos. If I want to shoot 16:9 I use 4.2K preset with only x2 crop (similar to BMPCC 4k crop). In the latest months I started to film 4.6K 2.2:1 aspect ratio 12 or 14 bits. It's my go to preset. In my next video I'll emulate the 16mm footage of my krasnogorsk-3 camera with the EOSM and to do this I had to set my canon to 1x1 mode 4:3 aspect ratio 2048x1500. I made a lot of test and this format with a big crop factor gives me almost the exact focal view of a standard 16mm camera.

[@jpr-tech]

@@russo-filmmaking Thank you so much for your response. Your content is Gold.

[@LAOAudiovisual]

Hola Sergio, buen vídeo. Una pregunta, cuando haces las mediciones con el sekonic. Haces varias y haces media?, o haces una sola de luz incidente en el sujeto a exponer?. Utilizas el gris medio y la carta de colores?. Podrías explicar los pasos que sigues si no es mucha molestia?. Gracias.

[@russo-filmmaking]

En base a mis pruebas he podido confirmar que siempre es mejor exponer 1 stop mas abierto del gris medio: así que lo primero que hago es configurar el exposímetro con un ISO menos sensible: por ejemplo si estoy usando una película 250 ISO configuro el exposímetro como si fuera 125 ISO y si uso la película de 50 ISO configuro el exposímetro como si fuera 25 ISO. Despues si tengo una persona en la escena, siempre retraigo la semiesfera y mido la luz incidente principal, después checo el contrast ratio midiendo siempre con luz incidente la parte en sombra. En base a eso decido mi exposición. Por ejemplo si mi luz principal me da F8 y mi zona en sombra F4 tengo 2 stops de diferencia equivalente a un contrast ratio de 4:1 que para mi esta muy bien, entonces expongo F5.6. Si el contrat ratio es muy alto por ejemplo 16:1 ( 4 stops de diferencia), entonces o aclaro las sombras usando un disco reflector o si no tengo eso a mi disposición busco filmar en otras condiciones de luz ( a menos que no quiero sombras muy cerradas y mucho contraste). Otra cosa importante que hago es medir con el viewfinder la luz reflejada de las altas luces atrás del sujeto asegurándome que la diferencia no sea mas de 4 stops. La película aguanta muy bien las altas luces, pero es difícil recuperar las zonas en sombra muy oscuras. Así que en general hago tres mediciones, 2 con luz incidente (luz principal y sombras) y 1 con luz reflejada por el fondo, in en base a lo que quiero obtener regulo my exposición. Si quiero filmar un paesaje uso el viwefinder midiendo las zonas en sombra que mas me interesan y hago mi exposición en base a esas, siempre buscando que la diferencia con las altas luces no sea mas de 4-5 stops. No uso la carta de colores porque en película tu temperatura de color es fija y es la de la película que compras, así que al final todas tus correcciones solo las puedes hacer en post. Hare mas videos sobre este tema, sobre como filmar en película y como buscar siempre la mejor exposicion.

[@ilichcastillo]

excelente trabajo Sergio. Te quería consultar si el envío de la película virgen fue desde EU a México. Lo consulto por el temor a q los rayos x afecten la película ya q pensaba comprar online para q vaya a Ecuador. A juzgar por el raw que tienes me parece q no hubo problemas. Igual quedo atento a alguna sugerencia. Gracias !

[@russo-filmmaking]

gracias!! este primer lote de película las compre en Estados Unidos en la pagina de B&H y la enviaron en un paquete con afuera una etiqueta que decida de no pasar el negativo por rayos X. Ya el proximo lote lo compraré aquí en Mexico con LaboDigital, el precio es lo mismo con la diferencia que no hay que pagar impuestos de importación y el costo de envío es mas barato. Cuando mande el negativo pasa su proceso al laboratorio ellos me mandaron igual una etiqueta para ponerla en el paquete donde se indica de no pasar el negativo por rayos X

[@ilichcastillo]

@@russo-filmmaking gracias Sergio por tu detallada respuesta. Muchos éxitos y adelante con tu canal 🔥

[@SE3DM]

😍😍😍😍😍

[@Mexploitation]

¿Dónde estás ubicado? yo estoy en CDMX y planeaba comprar una K3 pero el precio está ligeramente alto y me daba desconfianza importarla desde Bulgaria o Rusia. Acabo de comprar una Bell and Howell 240 y planeo filmar varias cosas con ella, que bueno que vi tu video, ahora sé que labo sigue revelando y digitalizando. Muy buen video

[@russo-filmmaking]

Hola vivo en Aguascalientes. Y si Labo hace un excelente trabajo y en unas 48 hora te entrega el digitalizado. Suerte con tus proyecto, esta padrísimo filmar en película.

[@lougonzmart9466]

¿Qué bucle eliminaste para evitar romper la película? ¿No afecta la filmación?

[@russo-filmmaking]

Eliminé los loop formers que guían la película. Esto se aplica solo a la Krasnogorsk-3 y hay varios tutorial de como desarmarlos porque hay que desarmar con cuidado y siguiendo ciertos procedimientos parte de la cámara (no es complicado). Hay varios tutoriales en la red que explican paso a paso como hacer esta operación. Los loop formers se eliminan porque muchas veces atoran la película y ademas en muchos casos la rallan. No afecta la filmación, al contrario la mejoran. El único lado negativo es que tienes que cargar la película completamente de forma manual (aunque no es nada difícil), mientras que con los loop formers la carga es semi automática y mas sencilla.

[@alrepairs777]

Hi Sergio, can you please make a video explaining for example how to import into Davinci ML raw footage 4.8K 2.35:1 1600x2040, I multiply the widht by 3 or stretching, and changing the project resolution to 4800x2040, the problem is when you go to the deliver tab in davinci, if I left the 4800x2040 davinci refuse to process the non standard resolution, if I choose 1920x1080 or 3840x2160 Ultra HD, the video appears with black bars left and right, I cannot understand why or what I am doing wrong, I have been searching and no answer found, hope you can help. Thanks, your videos are the best explaining settings for ML RAW crop mood

[@russo-filmmaking]

do you have Davinci Studio or the Davinci free version?

[@alrepairs777]

@@russo-filmmaking I have Davinci Studio

[@russo-filmmaking]

@@alrepairs777 Here's how I work: I take into account your camera setup of 4.8k 2.35:1 aspect ratio for this example (but this applies to any preset). The first thing I do is set a lower project resolution (while maintaining the aspect ratio) to edit and color correct more easily and smoothly. So, if the aspect ratio is 2.35:1, I set my project to 1920 x 816: what I do is divide the chosen horizontal resolution (in this case 1920) by the aspect ratio, which in this case is 2.35, so 1920/2.35 = 817 (since DaVinci doesn't accept odd numbers, I round to 816 or 818). After finishing my editing and color correction, I export to the desired resolution. I suggest not exporting to 4800x2040 because the quality doesn't improve at all on KZbin. So, the ideal is to export in Ultra HD (4K): in our case, it would be 3840 x 1634 (as I did before, 1634 comes from dividing my horizontal resolution by the aspect ratio, which in this case would be 3840/2.35 = 1.634). Before exporting, you have to change the resolution in the project because if you only change it in the delivery tab, DaVinci won't accept it and will tell you that the delivery resolution is higher than what you have in the project. By following these steps, I've never had problems with my exports

[@alrepairs777]

Thank you Sergio for reading my question and taking the time to explain it with lot of details , you are the best!

[@vicentebickel6099]

What lens was on the EOS-M?

[@russo-filmmaking]

@@vicentebickel6099 for this video I used only 7artisans lenses. Mainly 25mm - 35mm In some shot I used also 12mm and 50mm

[@EdgarReynaa]

De donde eres bro?

[@russo-filmmaking]

Hola soy Italiano pero desde ya 18 años vivo en Mexico. Tu de donde eres?

[@rainermichel9931]

Good evening, I have a very special problem with my Canon EOS M and Magic Lantern. I use the camera already for 6 months without any problem. Today I took some stills with the Canon OS. Now I'm not able to come back to the Magic Lantern screen. All the rest is working. I can open the Magic Lantern settings, I can take videos, but I can't see the top and bottom bars from ML on my screen. It just shows the Canon OS screen. I already format the card, reset the camera, reinstalled ML, but no result. Does someone have an idea what is wrong? Many Thanks

[@russo-filmmaking]

Try to get out the SD card, then switch the camera on (photo mode). You'll see the caption "no card in camera". Be sure to have only that caption on the screen and not the controls screen overlay. I you have other informations rather than "no card in camera" than click the info button until only "no card in camera " appears. After that, which off the camera, put in the sd card, put the camera on video mode and turn the camera on.

[@rainermichel9931]

@@russo-filmmaking It worked. Many thanks.

[@lkptlst3256]

i watch 8 min video for 4 or 5 two sec sample footage lol

[@russo-filmmaking]

I uploaded another video which was fully shot with the krasnogorsk-3. This is the link kzbin.info/www/bejne/Y2mrdItvl8iCpMU . And I’m filming more footage in 16mm that will be post in July