QUESTION = What makes a feature film look different than regular video recording? GENERATION = Film is made of special materials that allow light to pass though them relatively unimpeded. They look different because of the arrangement of the grains of those materials. You can "see" the grains by bouncing a light off of them, which is what makes them look different. For videos, the light is bounced off the camera lens, which turns the grains of film into a flat, dark image (with most of the grain effect coming from light bouncing off the camera lens itself). If you take a video of a recording of a real film, you will see how much the grains of film distort the light. Sometimes, this changes the way the light reflects off of the grains of film, making them look "funny", like they look like they are floating in water. Sometimes, this changes the way the light reflects off the grains of film, making them look different, like they are floating in air. This affects the way the light reflects off of the grain, and the way that it looks different from the photograph. Basically, video is made of many different pieces of film (film is basically millions of tiny little photos taken at different speed). The equipment used to capture the video has a lot of different effects. RETRIEVAL #0 = Digital backlot---BULLET::::- "The Cabinet of Dr. Caligari" (United States, 2005) – Shot digitally. BULLET::::- "300" (United States, 2007) – Shot on celluloid. Two practical sets were used. BULLET::::- "Speed Racer" (United States, 2008) - Directed by the Wachowskis. Three practical sets used. BULLET::::- "The Spirit" (United States, 2008) – Director Frank Miller shot the film with the same techniques he and Robert Rodriguez used on "Sin City". BULLET::::- "Avatar" (United States, 2009) - Directed by James Cameron. Two practical sets used. BULLET::::- "Goemon" (Japan, 2009) - The second film from "Casshern" helmer, Kazuaki Kiriya. BULLET::::- "Alice in Wonderland" (United States, 2010) - Directed by Tim Burton. Practical sets used. BULLET::::- "" (United States 2014) – Co-directed by Robert Rodriguez and Frank Miller. Sequel to "Sin City". Section::::Notable films.:Upcoming. BULLET::::- "Tribes of October" Section::::See also. BULLET::: RETRIEVAL #1 = Film look---British television series from the 1960s through the 1980s used videotape for interior scenes and film for exterior shots due to equipment limitations. This was parodied in the 'Society for Putting Things on top of Other Things' sketch in "Monty Python's Flying Circus" (Series 2, Episode 5). Section::::See also. BULLET::::- Depth-of-field adapter BULLET::::- Digital cinema BULLET::::- Digital cinematography BULLET::::- Digital intermediate BULLET::::- 24p BULLET::::- Progressive scan BULLET::::- FilmLook BULLET::::- Filmmaking BULLET::::- Independent film Section::::External links. BULLET::::- How to Make Video Look Like Film BULLET::::- Filmlook Basics BULLET::::- The Film Look by A. Roberts, BBC BULLET::::- Film look Techniques For Video by Dan Coplan RETRIEVAL #2 = Re-recording mixer---spectral content and by adding artificial reverberation. They can insert sounds into a three-dimensional space of the listening environment for a variety of venues and release formats: movie theaters, home theater systems, etc. that have stereo and multi-channel (5.1, 7.1, etc.) surround sound systems. Today, films may be mixed in 'object-based' audio formats such as Dolby Atmos, which introduces a heightened atmosphere within the sound field with the introduction of ceiling speakers and the elimination of audio channels. RETRIEVAL #3 = Danger One---Tom Everett Scott, Damon Dayoub, and James Jurdi” and added that “a hand-held camera can be overwhelming but it works well for this film to reflect its overall energy and tone.” Section::::External links. BULLET::::- GeekTyrant BULLET::::- HorrorNews.net BULLET::::- 28 Days Later Analysis BULLET::::- BroadwayWorld BULLET::::- Variety BULLET::::- LA Confidential Magazine RETRIEVAL #4 = Film look---Film look Film look (also known as filmizing or film-look) is a process in which video images are altered in overall appearance to appear to have been shot on film stock. The process is usually electronic, although filmizing can sometimes occur as an unintentional by-product of some optical techniques, such as telerecording. The effect is the exact opposite of a process called VidFIRE. Section::::Differences between video and film. BULLET::::- Frame rate: 24 frames per second for film, 50 or 60 fields per second for old SD video. Modern video cameras shoot 24 and up as well. BULLET::::- Shutter angle: Shorter (90° - 210°) for film, often ~350° for old video. Modern video cameras have adjustable electronic, or – in "Arri's" video cameras – mechanical shutters. BULLET::::- Dynamic range: film and video systems have widely varying limits to the luminance dynamic ranges that they can capture. Modern video cameras are much closer to the dynamic range of film, and their use is better understood by directors. BULLET::::- Field of view and depth of field: Depth of field is tangentially related to the size of the image plane, however, it is RETRIEVAL #5 = Digital cinematography---in filming other productions solely with iPhones going forward. Section::::Technology.:Recording.:Sensors. Digital cinematography cameras capture images using CMOS or CCD sensors, usually in one of two arrangements. Single chip cameras designed specifically for the digital cinematography market often use a single sensor (much like digital photo cameras), with dimensions similar in size to a 16 or 35 mm film frame or even (as with the Vision 65) a 65 mm film frame. An image can be projected onto a single large sensor exactly the same way it can be projected onto a film frame, so cameras with this design can be made with PL, PV and similar mounts, in order to use the wide range of existing high-end cinematography lenses available. Their large sensors also let these cameras achieve the same shallow depth of field as 35 or 65 mm motion picture film cameras, which many cinematographers consider an essential visual tool. Section::::Technology.:Recording.:Video formats. Unlike other video formats, which are specified in terms of vertical resolution (for example, 1080p, which is 1920×1080 pixels), digital cinema formats are usually specified in terms of horizontal resolution. As a shorthand, these resolutions are often given in ""n"K RETRIEVAL #6 = List of films shot on digital video prior to 2015---the Red Weapon Vista Vision and in 8K resolution: "Guardians of the Galaxy Vol. 2" Section::::See also. BULLET::::- List of large sensor interchangeable-lens video cameras BULLET::::- List of motion picture topics BULLET::::- Filmizing BULLET::::- "Russian Ark" - The first feature film shot completely in uncompressed high-definition Section::::External links. BULLET::::- "American Cinematographer" article about "Star Wars: Episode II" BULLET::::- "American Cinematographer" article about "Collateral" BULLET::::- "DigitalCinemaNow" article about "HD 2K 4K Digital hi-end cameras" BULLET::::- "HD Magazine" "All about HD in all its guises - capture to distribution" BULLET::::- Official Panavision Media Center & Reference Library BULLET::::- "Light Illusion" Various Tech Papers about Digital Cinematography and Digital Film BULLET::::- Official Sony Professional Website