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Super 16 film footage has some interesting characteristics which make it quite different from the near-perfect footage we can get from DSLRs and mirrorless cameras. It's easier to think in terms of reducing negative video artifacts and characteristics than it is to think abstractly about a film look.But I would tell you that probably two common aspects of standard video that many people try to minimize to get away from that look is: (1) motion reproduction of interlaced-scan video, and (2) depth of field from using cameras with tiny sensors and thus very short focal length lenses.I think everyone defines what they think a film look is individually, so you need to spend more time thinking about what you want to accomplish visually.I'd suggest finding a 16mm camera on eBay and going through the process of buying film, shooting, processing and transfering a few times to learn what's involved. Most of the productions I work on still are DV, but if you've shown you can handle film and know a little something about lenses and depth of field, then that'll instantly put you a few steps up above the rest.What's with this "24P filter" stuff? Give your footage an extra special professional analogue film look in 4K! Give your footage an extra special professional analogue film look in 4K! Get about $60,000 raised then start looking. But play around with lighting, and it might look a little more professional.Certainly shooting in film will automatically give you a film look technically-speaking, but I think you'll find that it won't necessarily give you a professional or cinematic look if you don't know what you're doing with that film camera. Also most people who own their own gear have more debts/bills to pay than someone who doesnt and so NEED to be paid upfront and cannot risk working 3 weeks (at least) for potentially no pay. Here’s what you need to know in order to achieve the S16 look when shooting on a digital cinema camera. The cinematographer saidThe image readily converts to NTSC/PAL (1.33 ratio), HDTV (1.78 ratio) and to 35 mm film (1.66 [European] and 1.85 wide screen ratios), using either the full vertical frame, or the full width (intersprocket) frame, and at times, portions of both, depending upon the required application. I'm working with both 16mm and video now days and I've come to find (in my amateur experience so far) that the majority of it is in lighting. the second dvd is one they have comparing video and film. Yeah, there's a fear factor of focus and exposure plus lab mistakes but that goes with the territory, and means you need people around you that know what they are doing too. If you're asking the question you'll probably want to take David's approach. For this 16mm old film look. The two major suppliers of 16 mm film today are Kodak and Agfa (Fuji closed its film manufacturing facility on 31 December 2012). With tape being $7 at Wally-Mart for 60 minutes running time, I could shoot for weeks straight on DV for the cost of my last 6 minute epic in Super 8. Super 8mm Film Super 8mm film measures 8mm across and has sprocket holes down one edge. I think that this variance is so subtle that it plays on us viewers subconsciously,I agree with this totally. The British Broadcasting Corporation(BBC) played a large part in the … I suppose it can be cheaper but it still takes real capitol, something I have yet to aspire to.As others have said there's a huge qualitative difference between images captured on film and images captured digitally. if he watches it with you he will change his tune.So I went to my father's lab ( he is a photographers technician) and we spend a whole week going through looks and presets on a DVX-100A ( to me similar historically with the NPR), and said- ok what about if we fu** around with the glass?, a lot of the time the look starts from there we open the camera, and we change parts of the glass with other brands of glass that my father had in his lab as parts. It can't.I know folks that have shot for a 60 second spot and brought in 4 tapes - full. Focus on capturing the best possible source image, with the least amount of digital artifacts, as it’s always easier to degrade your footage after the fact, as opposed to having to salvage it in the editing room. Giving you 57 unique variations of FilmGrain to choose from. For example "Film grain" effects usually just add more "Noise" to the image.I'd like to say how much I agree with this statement, especially in my case. $50.00. No 16mm stock was manufactured on Nitrate base, though it was used for 35mm films … Video will look like video; however, the guys are right. What part of the "look?"