Silbersalz are doing it the way it should be done - even for still photography: Offering ungraded (or only slightly pre-processed) 16 bit (!) TIFFs with 21 MP resolution (nice!) sounds just perfect. And in this light, their offering is very reasonably priced, too. Thanks for letting us know about them (never heard of Silbersalz before, even though I'm living in Germany myself …)!

I've been a filmmaker & photographer since the early 80s (never truly adopted digital) and I pretty well stopped watching any analog- based channels on KZfaq because either they don't do their homework, just get it plain wrong, or seem to be in it for misguided sense of fashion. I've watched 10 of your videos in the last day and I really do commend your thoughtfulness and thoroughness; this is so rare and a real pleasure (and I'm even learning something). Bravo, you have a new subscriber!

That's a beautiful film and a great service that I've been looking forward to try in the coming months. These guys are doing a great job. As for film/digital, I think people tend to spend too much time comparing and arguing about it instead of just embracing both. Things don't need to replace each other and we are blessed to have more than one option. Life would be so boring if we only used one camera brand, one computer, one car and all ate one food.

I love how cinematic the pano shots from the Mamiya feel. I think the aspect ratio must be very close to 2.35:1, which is a standard widescreen format for cinema.

I really appreciate the in depth cover of this process. I will definately try it out. Great work with the channel as well. Keep up the good work!

It's been more pleasant than ever to watch your videos. Great balance of information and shooting action, great tone, soundtrack and atmosphere as usual and very inspiring as well. You have reached a sweet spot in production. Thank you gentlemen for the beautiful work!

This was very helpful and well done. Thanks Max and Jules

Jules photos from the subway and his trip to Poland are sublime. Aslo the portraits are great. Interesting video.

This is brilliant! I’m so glad I found this channel!

Thanks so much for a great review. I have been very curious about their offering and I am now going to order my first pack.

Thanks so much for this comprehensive video! I have 8 rolls of Silberzalz in my fridge waiting patiently to be shot this summer!

What an enjoyable video as always. Great overview, step-by-step. Really interesting film stock.

Great video as always. Absolutely fantastic pictures from Jules in Poland, the swans are almost as if they come from a fairy tale.

Though I will not use this interesting Silbersalz material because I am still far away to call myself an analog photographer this was an absolute interesting video because it broadens my knowledge. And it was well produced as always. So thank you for this.

Many thanks for your intense insight review, it helped a lot to understand the philosophy much better and how to perfectly use this film. I've already ordered 3 packs and I'm looking forward using them. It seems to be a great offer with lots of value, I really appreciate those kinds of companies with so much passion what they are doing. Thanks again for your great video!

Thank you, Max, for this thoughtful presentation. I liked the way you told the story, saving the jpg/tif part for later in the report as, truly, in seeing those first rather flat looking images, the first reaction was "What is the attraction?" Then as you worked up these essentially "raw" files, it was enlightening to see what you were able to bring out. You also answered another question that had immediately occurred - just how is Silbersatz any different from the same stocks (with remjet removed) being offered by Cinestill for C-41 processing. I had not considered the fact that the ECN-2 process is greatly more complex and might just give the shooter more to work with. As you point out, with all the superb C-41 and E-6 films available, Silbersatz is not necessarily going to convert a lot of still photography people to a more complex post workflow. Yet the prospect of thinking and grading as a DP might with cine film seems like an interesting challenge with its own unique learning curve for each stock.

I had wondered about cinefilm. This was very interesting and informative.

Thx for the valuable info. I have a pack of Silversalz films sitting in my board for about 6 months. I'm happy that I haven't exhausted the film material so far. I welcome the advice to use an orange filter with the tungsten film outside and to add one stop to the film. Great job!

All your videos are great but specially this one is very interesting. You are amazing!

is that Ed Sheeran using the ARRI camera? 😂

I thoroughly enjoyed the deep in-depth knowledge in this video from the cinematography history to how a cinematographer looks to shoot film. Blown away by Jules shots during his trip at the end ! What would Tungsten with a orange filter do exactly? I haven't tried filters yet. I'm currently shooting 200t. I've definitely shot these 4 rolls (on 3rd roll now) really slowly over the summer since I can't see my results till all 4 are shot. Also, which was your favorite film you got to try out of those different variations?

OMG Jules' frames!! Stunning. I think the company should use them as promos. The colors and dyanmic range are sublime. Replayed them so many times.

Great video and i truly loved the length of the video too. Silbersalz is an interesting alternative and i hope i can complete my 4 films soon 😀 I am also happy that i didn't use the T's yet because i was not aware of the orange filter "hack". But on the other hand i am also curios to shoot the T's in daylight and geht these very strong red tones 👍🏻 I love your chanel! Servus 😀

I used this film a lot for my 135mm cameras but I want this film in 120 like Cinestill! I manly use 120 and I love the Silbersalz Film .. I probably would only shoot Silbersalz film if there were 120mm Silbersalz film !

Thank you for the deeper insight into their service. I considered it but with the additional postage and VAT it is too costly for me here in the U.S.

Vielen Dank, habe so viel gelernt heute, hatte das Angebot vor einem Jahr genutzt und war von den jpegs so enttäuscht, dass ich die Tips gar nicht versucht hatte zu bearbeiten. Auch das mit dem Orange Filter für die T Versionen war super. Werde mal mit meinen bestehenden Tifs anfangen, diese zu bearbeiten 😀

Thank you for the vid. I really enjoyed it! have shot 250d with remjet and removed it before developing in c-41. I have also shot CineStill. I order a 250d pack from this company and excited about shooting it.

Too expensive for me (postage costs add 50% to the price) but please know that your hard work and dedication to all things that have to do with films is appreciated

Silbersalz is amazing. Thanks for this episode! I did fast forward to see portrait samples....I guess next time :)

I've processed Cinestill and the original Kodak Vision films (with remjet) side by side shots in ECN2 and in C41. For me there is a difference as you mentioned Max, but the C41 scans can be made to look like the ECN2 scans with additional post work. My take away from my own tests was ECN2 processing was more difficult but colour correcting the scans was easier. C41 processing was easier, but colour correcting the C41 scans takes more work. Very interesting to see Silbersalz equipment, amazing they built their own ECN2 developing machine. :)

Thanks for the in-depth video, that was inspiring.

Danke für das ausführliche Video! Schöne Ergebnisse! Hab mir gleich mal ei Set bestellt. LG Rüdiger

Very interesting video. Thanks a lot for this awareness ! I will try it for sure :)

Great video! I absolutely love the look you get with cinefilm and I've been wanting to try the Silbersalz package for a while now. In the mean time, I've been using CineStill 800T with a warming filter as a daylight film. It works remarkably well. Super nice and rich colours, and very little grain. Plus you can just remove the filter for inside work. Very good film to push process too. Still looks good pushed three stops!

Very interesting video. Thanks Max

6:38 "fresh sh.t" :-) Hi Max, this is a great video. The quality and depth of your production goes well beyond a film review, it is really a top notch documentary about the film industry. You should have a 30 minute monthly slot on Discovery.

Very nice look of your portrait and the pictures you shot in Poland. It really improves your work.

I love the Cinestill stocks, shooting mostly 120. How do you find the grain when comparing the 500T against the Cinestill version, 800T. Does the difference in processing alter the appearance of the grain?

Really helpful and interesting - thanks!

Great video again!

Very informative video. Thanks.

Great Video. What Scanner do you normales use?

Another excellent piece. You guys are quickly becoming my favourite and most relevant film channel. Evidence - I'm ordering an Oberwerth bag, looking for a Leica SL2, and just ordered 6 SilberSalz35 packs (24 rolls). A question re: SilberSalz35. Are they dedicated to 35mm only? I can imagine that might be the implication of using film stock for the movie business, but note that CineStill offers 120. Also, how do you find the quality of their scans? Are they generally dust free? Comparable with or better than the typical film lab? Again, thank you.

Servus, danke für das gute Video! Den Film muss ich mir auch mal anschauen, sieht vielversprechend aus, vor allem wegen des ECN-2 Prozesses. Echt cool übrigends zu sehen, wie viele Plätze in München (U-Bahn Frauenhoferstraße usw.) an denen ich täglich vorbeikomme, auf dem Film aussehen!

It’s also not entirely true that most movies are only shot on one stock. That only goes for short films and commercials. It’s actually very rare that feature films are only shot on one film stock. Usually they shot 500T for night and indoor work and depending on what they want the other stocks.

Hi, thanks for the informative presentation. Did you find the tiff files to be fairly “malleable” in terms of fine color adjustment/color balance? Do you know if you shot the tungsten film outside in daylight, whether the tiff file can be color balanced to render a good daylight image without using a filter? (I know, that would probably be just wrong to a cinematographer, but I thought I would ask :) Again, thanks for the review. When they are back from holiday, I’ll have to try some.

Great video. I have almost got through eight rolls of this stuff as it’s a reasonably cost effective way to use the postal service. Looking forward to the results. One thought I had was if you are going to routinely tweak the tiff files in Lightroom or Photoshop then is it really necessary to bother with a filter for the tungsten films in daylight? A quick slide of the white balance slider should do the trick, right?

Very interesting, thanks AI team! Wondering what the difference is between manipulating C41 and cine-film tiffs. If the cine film scans need work to get you there, and the C41 scans also need work, and you have a "look" in mind which isn't there until you've brought it out in post, why not just go with C41? Aren't your objectives going to determine the final look either way?

Have purchased a pack of 250D some days ago. Keen to see the results some time later.

Danke für das informative Video. Wie immer top produziert. Werde erstmal den Cinestill aus dem Kühlschrank mit meinem alten cto Korrektur Filter schießen. Jetzt bestätigt sich die Ahnung, des eher Halbgaren, im Vergleich zum Silbersalz. Anschließend versuche ich mal die Tungsten von Silbersalz. Das gefällt mir, wenn ich noch etwas editieren kann.

A very interesting video. I shoot Kodak 5207 Vision 3 250 D which I have been buying here in the UK. The cost of film + processing + scanning is about £25 per film so although the shipping charge to the UK by Sibersalz seems expensive, for 4 films it works out cheaper. I will definitely buy my next supply from them and try their service out. I also have some Fuji 8522 F-64D in the fridge still to shoot.

Thank you for this great video! I have a question concerning the TIF-files you get from Silbersalz. Are they already converted to positives or are they just the RAW scanner-files?

OMG, it's really itching now... ;-)

I finished my mixed set, but I'm curious if I have to send the black box the film came with, back as well? Some information here? Maybe I have read over some information?

Really looking forward to trying it out this summer. Thanks for all the information, especially about needing to do colour grading manually. I went to see Rise of Skywalker yesterday and spotted lots of lovely Kodak film grain! So I could take pictures with the same film they used! Interestingly Silbersalz say movie directors tend to use one film stock and either filter or adjust colour balance rather than switching films. For Rise of Skywalker they apparently used a mix of D and T kodak film. From IMDB - "Negative format: 35 mm (Kodak Vision3 50D 5203, Vision3 500T 5219) , 65 mm (horizontal) (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219)". Maybe other directors use one film stock to reduce costs? Probably not something JJ Abrams would have to worry about!

Actually I love your content as we as consistent of pros and your attire for your video ... it’s really make great clean visual impacts on viewers ...

The scenes over the Tems in Spectre were shot on the Alexa 65.

Nice work 👍 Appreciate the time you took and the company to explain their product and process. Would the TIFF files be available for return on USB?

I'm a little late to watch this but in speaking to movies shot on film - I have the opportunity to see Once Upon a Time In Hollywood ON film as well. That is to say it was presented using a film projector. I have to say I was pretty floored. I haven't seen that look in quite a long time. It made it a very special and unique experience and also looked just gorgeous! Digital cinema has its place perhaps but I really hope to see more films, both shot on film, as well as presented on film.

Really interesting.Thanks.

can you make a video about the different stiles from the different films?

I miss RGB which used to have most of the Eastman stocks loaded into 36 exposure rolls..Tungsten balanced film with the ECN process is very nice. Overexpose the 500T Vision 1 stop and print down was a cool way to get more saturated colors and smaller grain

What song is that at the beginning of your video?

This reminds me of the Eastman 5254 and 5247 movie films of the 1970's and 1980's. (The pre-personal computer days, when Photoshop was not quite ready for prime time.) Some labs required the photographer to use an 85B filter for daylight and returned a package of negatives and slides. Other labs created color-corrected daylight slides and a roll of negatives. These were, as I recall, ASA 100T or 400T films designed for 3200K lighting at 1/50 sec. shutter speed (Deviations from these set points yielded interesting color casts and densities, quite different from consumer grade, daylight balanced Kodacolor or Fujicolor.) Computer scanning is the game changer here, since one can "Photoshop your way to 'Reality" these days.

Please review the Pentax program plus!!! Is a almost forgotten underrated film camera

So far I developed my Vision films in RA-4 1+4 paper developer with the same CD3 color developer that works quite well. I also use a Colorchecker (well known in digital photography for camera calibration) on some frames to get proper profiles with my digital hybrid devices after development. This gives you the original colors of the film. I really can't understand why still photographers don't do any calibration by shooting a color target - the moviemakers do! I have seen quite many scans of friends from Silbersalz. Some were excellent but many were not adjusted for colors and turned out too green, etc. In not few cases the shadows were cut off by Silbersalz' scanning device (maybe it was the jpeg). Even in this video the shots hardly show any pure white. I have now ordered a package of 50D from Silversalz and will compare with their calibration and with mine by Colorchecker. I just started with RA-4 and colorchecker a few weeks ago, so there is still some room for improvements. But here are the first results: flic.kr/s/aHsmK7G3yp This video provides a good insight and was a lot of work - highly appreciated!

Great video. Loved the portraits of the Hitler Yoof kid. Scary little bugger isn't he? Ill be ordering some Silber up. Got to try it!

I was one of the first customers of Silbersalz35. Was quite pleased with the daylight films, didn't liked the tungsten films at all (neither filtered nor balanced afterwards). May buy again, but I had to try other films before getting back to cine film.

I watch from Japan. I want Japanese subtitles. The channel has been registered. Also looking forward to the future. Thank you.

I have been occassionaly using this film for about a year. I messed up a project with the 50D but I can definitly can recommend the 250D. Looking at the package you buy in Germany: Film, plus development, plus scanning then it is very good value. I just bought another two sets of 250D. 20MP are more than enough for most people. They also have made some changes: Newly ordered film is DX coded and set to one stop overexposure - I think I have read this correctly. There is no longer Tiff but jp2 lossless (Jpg 2000). They probably changed because of long download times and sometimes the aborted downloads. However, I muchly prefer the Tiffs because it processes so much much quicker. JP2 have a longer decoding time per image. There option would be wonderful. Peolpe could opt for tiffs or jp2 when sending the film back. But I know another option is also another confusion.

Very informative... and long. 😅 I had no idea that Tom Cruise only takes part of movies shot on film. 👌 Here in Vienna I am also charged extra to have tiff files and I don't understand why.

Радуюсь я, смотря на вас, как вы занимаетесь своим делом, молодцы.

If I wanted to be grading commit for each image, I'd just shoot digital. Shooting Portra 400 and Fuji 400H, there are still tweaks to be made but they require little enough editing that one can still get a good result, printing with an enlarger.

Based on this video I purchased a 4 pack from Silbersalz! Excited to see the results. I’m curious as to how your friend was able to load a 35mm film canister into his Mamiya 6????

Where is the transport museum? I am planning a trip over, would love to go here!

What are the negs like to print in the darkroom? What filter pack would be a good start?

One problem I can see with this is if you were to sell this film in overseas markets (meaning Asia and Nth America) how well would it be received considering the fact that not very many places would be using ECN2 or even have the machines to process it. To become more popular and widely used amongst analog photographers, you would have to see the costs of ECN2 come down and more machines being available to process the film. If that were to happen, then this could be a good film to use as the ability to be able to grade stills much like film for movies would appeal to quite a lot of photographers. Gives them a greater control over the creative process when post production occurs and allows for much greater license in how they want their photos to appear.

Shooting on film is not necessarily more expensive if you and your crew are experienced with film. The benefits of digital filmmaking or photography for the less experienced, is the ability to review and correct immediately. The added costs of reconvening a cast and crew, or travel back to a location at a later time to re-shoot will destroy a budget.

What Museum were you shooting in at the beginning?

Beware! It’s mentioned to use an orange filter for daylight balancing the 200T and 500T. Sure, that might work and give a decent result but the correct way is to use an amber 85B filter.

Hey great video! It'll be great to add chapter points if the video is going to be very long

I am a Silbersalz35 convert!

Thanks.

Fascinating, .. thank you Max. You mentioned some movies shot on film. I assume they used 35mm stock, and not 70mm. .. ?

I wish that the logistics to and from Costa Rica where I live would be sorted favorably for me to get some of this Ausgezeichnete film!

what price..cheers

I would much much much more have liked to see a *lot* more of the film scanner. More b-roll in general and less talking head would have been nice as well, but not showing a lot more of the Cintel scanner was a real missed opportunity. Also, how have Silbersalz overcome the difficulties for processing and scanning these short-in the cinema world-individual pieces of film? Are they combining many rolls in the processing and scanning (if so, how?) or are they really running 36 exposures at a time through the process? How can they do this in a way that makes business sense?

Thanks for a very interesting video although I think they should have named the machine Peggy 😊

Da seid ihr mal in meiner City und ich habs verpasst-_-

What happened to this film? The site has been down for days. Is this project over?

I much prefer being able to edit my files, I edit all my shots in some way ways anyway. At the least some dodging and burning.

This film does not need to be returned to this company. It seems like the old scam from the USA called Seattle Film Works. I do enjoy and subscribe to your channel.

Pre digital, in my days as a professional photographers, we used colour neg. OF COURSE there's more exposure latitude. This product is a con. Just process your own C-41, scan and you will have just as good results at a fraction of the price. Even lab processed C-41 scans well. If he gave actual technical details I might believe this.

i watch your videos at x1.5 speed

good to see that guy who wearing hat in this video again 😁😂

So it's just Kodak Vision 3 film....

I enjoy your reviews but the music is jarring and too loud compared to the voice.

Too expensive

Sorry, I've had to quit. Just toooo long for my taste.

oh my god, terrible music, what is this? 2003?