The Beauty in Analog & Digital

Description/Purpose: Everyone can tell when a video was shot on film. It has those vibrant reds and blues, a slight jostle between frames, and it might even elicit some sort of nostalgia. To me, motion pictures feel precious, and I wanted to study not only the images captured by an analog camera, but the process of capturing as well.

My hope for this project was to understand how film cameras mechanically work, how their manual operation slows and changes the process of shooting, and how the 16mm film material responds in different lighting scenarios.

I studied this by first working with Colorado College’s film and media technical director, Madi Powell, in order to learn about mechanical elements such as shutter angle, shutter speed, aperture, film sensitivity and light metering. Once I felt comfortable technically, I took both a digital and 16mm cinema camera into urban and rural Colorado landscapes for filming where I took extensive notes not only regarding camera settings, but the actual processes of shooting with each camera. I was curious to see if the qualities of film and the preciousness of film material makes me more thoughtful and meticulous in my framing, composition and lighting when capturing images.

Methodology: I researched the differing aspects between digital and analog cinematography, through both quantitative and qualitative analysis. I accomplished this by taking both an analog and digital camera to varying locations and lighting situations. Then, I took detailed notes on numerical camera settings such as shutter speed, shutter angle, ISO (light sensitivity), and aperture. After shooting, I sent the film material to be processed, which allowed me to compare the digital and analog video side by side. By shooting with the same settings on each camera, I was able to isolate variables in image quality such as, dynamic range, density of color, and blooming of highlights. In doing so, I was able to determine how each camera performed various environment.

Additionally, I kept a journal throughout the filming process, this way I was able to document how shooting with analog slows and therefore changes the recording process or, how digitization allows for greater mobility and creativity? After filming, I compared these notes and determined how each process varies, and created a guide outlining which circumstances each camera excels in.

Lastly, once I received the footage, I showed the side by side videos to classmates, family and professors. Afterwards, I asked them a series of questions regarding their different preferences and feelings towards either video.

Findings: The finding of this project were particularly surprising to me, and not contained to just my original questions. For instance, although film captures details in highlights more effectively than digital, film struggles in darker areas. If there is not enough light to expose the film emulsion, grain is introduced, which makes the video visually unappealing or "muddy". Furthermore, unlike digital footage, film is not as flexible to be color graded on digital softwares in post-production. This means the colors and contrast captured on set are baked into the footage permanently; or in other words, there's less room for error.

A standard film role provides roughly 11 minutes worth of material. This combined with the expensive nature of analog, encourages meticulous planning in pre-production in order to make the most of your film material. More specifically, when working with talent, it is vital to make several rehearsals before even rolling the camera. While this can be exhausting for participants, it often results in a better performance and moment captured. The preciousness of film motivates an extra attention to detail and carefulness while filming. However, the 11 minutes limitation also resulted in missed opportunities and an added pressure on the talent. For example, when shooting a music video, the artist made a mistake in their performance which resulted in less available film to capture B-roll (video not of the subject that contributes to the ambience, environment or tone of the film).

Despite the technical disadvantages of analog cinematography, such as grain, less flexibility in post-production, and less coverage of a scene, I found that most people preferred the look and feeling of film. Whether it be a triggering of nostalgia, the charming jitter between frames, or some quality that's less easily identifiable, the analog film camera seemed to produce a more compelling image.

Personal Impact: Video documentation is changing rapidly as high quality cameras and digital storage space become increasingly accessible. Because of this, both new stories are being told, and stories are being told in new ways. My aim in shooting on 16mm was not only to gain a more holistic understanding of film’s roots, but to also examine how it changes my own documentation of the world. 

As an aspiring cinematographer, I feel that I have not only strengthened my technical skills, but have begun to question more nuanced decisions in visual storytelling. While I aesthetically prefer the look of film, I now understand that it is important to weigh numerous variables when deciding whether to work with analog or digital technology. Essentially, the stories needs must always come first.

Next Steps: As a film major and aspiring cinematographer, I am not only excited to continue shooting projects such a my thesis with analog technology, but I am also eager to encourage other students to take advantage of Colorado College's film equipment. Having many professors and mentors teach me how to successfully use film cameras, I am excited to share my knowledge with peers, and hopefully expand their production skills.

Additionally, inspired by the Venture grant opportunity, I intend to apply to FAMU's (Film and TV School of the Academy of Performing Arts) cinematography master's program in Prague. In a world where digital dominates, FAMU's commitment to analog film offers a unique chance to continue working with traditional film cameras not just as a technical challenge, but as a way to connect with the foundational principles of cinematography. I am sincerely motivated to continue my education as a visual storyteller.