WARP 6 - Shoot on Film

Store description excerpt

Film never recorded what was in front of the lens — it recorded its own account of it. The warmth. The grain. The halo around a street light, and the flicker of a reel run one time too many. WARP 6 puts that back in the viewfinder. Pick a look and the viewfinder changes — colour response, grain, contrast, gate weave, halation, scan artefacts. What you see is what records. There is no rendering step and no filter applied afterwards. You compose through the format, the way you would through a real camera. THE LOOKS ▸ Small-gauge cine, with three emulsions The format families actually owned. Birthdays, seaside afternoons, somebody waving because nobody had told them not to. Choose a warm reversal stock with deep reds and sunlight that flatters every summer; a cooler, bluer reversal stock, the one that came back from the ski trips; or a fast black-and-white negative shot by whatever light was going, grainy and hurried, the stock documentaries were made on. ▸ Two-strip subtractive colour Colour before anyone had solved it. Red-orange and blue-green and nothing else. Teal skies, coral skin, greens that go somewhere they shouldn't. Studios used it for musical numbers and for horror, and it isn't always obvious which you're looking at. ▸ Three-strip subtractive colour The full process at its height, and the reason a certain decade of Hollywood still looks like nowhere on earth. Back-lot forests greener than any real forest, costumes designed to be seen in colour and lit to prove it. ▸ Orthochromatic (studio) The silent stage and the early talkie. Blue-sensitive film under lights hot enough to be a fire risk. Blown skies, near-black reds, faces pale and sculpted the way they were made up to be. ▸ Orthochromatic (newsreel) The same emulsion, handled far less carefully. The reel that ran before the main feature — spliced, scuffed, and shown one time too many. Higher contrast, coarser grain, and the marks of every projector it passed through. ▸ Analogue broadcast The set in the corner and the aerial on the roof. Composite video as transmitted and received: chroma bleeding past the edges, dot crawl, interlace, and the soft noise of a signal arriving from somewhere else. ▸ Ultra-contrast No nostalgia here. Black, white, nothing in between. ▸ Vector display Glowing lines on dark glass. Radar screens, early arcade cabinets, and the cockpit readouts of films that were guessing at the future. ▸ Acid haze The one look that isn't remembering anything. Colour trails that follow movement and lag behind it, like a light show running slightly behind the band. ADJUST EVERYTHING Each look is assembled from separate components, and every one is adjustable. Reduce the grain, push the halation, switch off the gate weave, or drive a setting well past anything the original format could manage. Your adjustments are saved. CAPTURE LIVE Stills and video are captured straight from the viewfinder in real time. No queue, no processing wait, no export step. When you s

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