WARP 6 - Shoot on Film

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 streetlight, the flicker of a reel that had been run one time too many. WARP 6 puts that back in the viewfinder, and puts you behind it. Choose a look and the viewfinder changes: colour response, grain structure, contrast, gate weave, halation, scan artefacts. What you see is what records. There is no rendering step and no "apply filter" button — you are composing through the format, the way you would through a real camera. THE LOOKS Small-gauge cine — the flagship, and the format families actually owned. Birthdays, seaside afternoons, somebody waving at the camera because nobody had told them not to. Three emulsions: A warm reversal stock, with reds that run deep and sunlight that makes every summer look better than it was. A cooler reversal stock, cleaner and bluer, the one that came back from the ski trips and the school outings. And a fast black-and-white negative, shot indoors by whatever light was going — grainy, hurried, the stock that documentaries were made on. Two-strip subtractive colour — colour before anyone had quite solved it. Red-orange and blue-green, and nothing else to work with. Skies turn teal, skin turns coral, and greens go somewhere they should not. Studios used it for musical numbers and for horror, and it is not always obvious which one you are 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 the point. Saturated, separated, and completely sure of itself. Orthochromatic (studio) — the silent stage and the early talkie. Blue-sensitive film under lights hot enough to be a fire risk. Skies burn out to white, red goes almost black, and faces come back pale and sculpted, the way they were made up to. 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 has been through. Analogue broadcast — the set in the corner of the room and the aerial on the roof. Composite video exactly as it was 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, and no negotiation 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 is not remembering anything. Colour trails that follow movement and take their time catching up, like a light show running slightly behind the band. FULL CONTROL Every look is built from separate components, and each one is yours to adjust. Take the grain down, push the halation up, remove the gate weave entirely, or run a look far past what the original format could do. Your settings are remembered. CAPTURE Take stills or record video straight from the viewfinder, live and in real time. Nothing is queued, nothing is processed afterwards, and nothing needs exporting. It is finished when you stop recording. CREATORS EDITION A single one-off purchase that adds two things: • Captures come out clean, with no WARP 6 mark. • Load video you have already shot and run it through any look, with the same controls, as though it were live. Every look and every control is included from the start. WARP 6 is not affiliated with, endorsed by, or sponsored by any film manufacturer, broadcaster, or studio. All trademarks are the property of their respective owners.