Get The Film Look To Your Digital Videos in Adobe Premiere and After Effects | David Miller | Skillshare

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Get The Film Look To Your Digital Videos in Adobe Premiere and After Effects

teacher avatar David Miller, Multimedia Artist For Primordial Creative studio

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (37m)
    • 1. Film Look To Digital Video Intro

      2:09
    • 2. Frame Rates

      3:19
    • 3. Posterizing Time in Premiere

      6:20
    • 4. Film Grain

      9:19
    • 5. Vignette

      5:58
    • 6. Film Flicker

      3:52
    • 7. Lumetri Presets + Adobe Looks

      5:48
    • 8. Wrap Up

      0:36
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About This Class

In a world of digital video, it's possible to achieve a film-like look within Adobe Premiere and After Effects without expensive plugins.  We'll cover applying film grain, creating our own set of color Looks, chopping up the frame rate in interesting ways, vingetting and more in a series that breaks down why these particular effects are part of film history.  See you in class!

Meet Your Teacher

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David Miller

Multimedia Artist For Primordial Creative studio

Teacher

I'm David, a multimedia artist in Phoenix, and my studio is Primordial Creative.  

 

I have always been interested in the visual arts from an early age- drawing, painting, and clay- but around my high school years I became interested in photography for the social aspect of involving other people, the adventure inherent in seeking out pictures, and the presentation of reality that wasn't limited by my drawing skills.

 

One thing in my work that has stayed consistent over the decades since then is I have an equal interest in the reality of the lens next to the fictions we can create in drawing, painting, animation, graphic design, and sound design.  As cameras have incorporated video and audio features, and as Adobe's Creative Cloud all... See full profile

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Transcripts

1. Film Look To Digital Video Intro: Hello out there I am Phoenix, Arizona multimedia artists. Filmmaker, photographer educator David Miller. I want to talk to you today about creating the filmic look in our videos. And what I mean by this is creating video that evokes things that normally are associate ID with 16 millimeter, eight millimeter 35 millimeter film. There are a lot of filmmakers out there today who swear that digital media is ugly. It's to clean its to clear. It doesn't hold together visually. There might be too high a frame rate to sit comfortably with somebody who is used to watching film. And certainly there are filmmakers who work digitally but are able to evoke a sense that you're looking at something from the 20th century, something from the 19 sixties, 19 seventies and 19 eighties. So we are going to explore how we can use digital tools and alter our existing digital footage to give it a sense that it has been created on film. There's nothing like the real thing. I absolutely agree with that. But there's a lot we can do with our work to get it closer to that particular aesthetic. The tools I will be using our adobe premiere Adobe after effects in some cases. And then there are some assets that I actually purchased, but we can either generate them on our own or look for where we confined free options for those I'll show you. All of those assets could mean anything from creating your own grainy film stock to over light vignettes and mats that can go over your existing digital footage. We'll explore all of that when we get to it. Believe me, it's a lot of fun to convert your digital finish to something that looks like it's from another era. So I hope that you get a lot of value out of this class. In the meantime, let's begin. 2. Frame Rates: So one of the first things you're gonna hear about any time somebody talks about movies. Things that were shot on film is that it had a frame rate of 24 frames per second and digital video defaults to a frame rate of 29.97 frames per second. A few extra frames makes a big difference. Things look smoother and crisper when they hit you at 29.97 frames per second. Sometimes you watch a movie like Mad Max Fury Road that has sequences that are shot in much higher frame rates and things look really jittery. Uh, this is something that you notice in your brain if you don't notice it with your eyes. Now that 24 frames per second of film involved single shots on a long strip of film, 24 of those in a sequence is one second film. So if you can imagine the days of 35 millimeter photography when you bought a 24 framed roll of film that would be one second of a movie. And prior to that frame, rates were less than 24 frames per second. Some cartoons used to be 12 or 10 frames of movement per second. That choppy look. The lower frame rate will forever be associate ID with film, not video, not digital video. But with film, the original filmmakers had to hand crank their cameras to keep up with the rate of shots needed to present seconds of film. And today you have a couple options in whatever digital video program you're working with. One is simply to output your sequence of video as 24 frames per second, and simply doing this to your digital video is not going to complete the filmic look we're going for. But it's a start. The other is a function called posterized Time, and I utilize this in both W premier and Adobe after effects. I've experimented with posterized time on virtually every bit of digital video that I shot , minus these kind of tutorial YouTube videos. But overall, I find the look is really satisfying for making your work not look so pristine. And I know that sounds counterintuitive to what a lot of people are aiming for when they're making work. But we are going for a particular aesthetic. We want something to look age. We want it to look like it was on film. We wanted to look like it was found from a prior decade before the world became obsessed with HD Ultra HD so on and so forth. So this is the first step in getting our filming look. 3. Posterizing Time in Premiere: the footage will be working with is footage I shot last year with a dancer at a local park in Phoenix, Papago Park, and this was shot on my Fuji X t two, which is a mere list camera. You can use any footage. Of course. This WAAS HD footage shot at 60 frames per second so I could slow it down. As you can see, 60 frames per second gives us this kind of jittery motion. The intention was always to portray her dance in slow motion. When I am working in premier, I generally have my resolution set to quarter because working at full resolution takes up a lot of RAM and gives you something that slows down the rest of your effects. So that's how we'll be working for the majority of our editing. But we will outputs full size video when were complete. The posterized time effect in premiere can be located in the effects panel. You can type in your effect posterized time shows up here You can also located under video effects time posterized type. Now, before we do that because I shot this footage in 60 frames per second, I'm going to slow it down. I know I shot at 60 frames per second because that's the setting I had on my camera. But I can also right click it and check out its properties. You see, it was 1920 by 10 80 pixels, 59.94 essentially 60 frames per second. I'll go ahead and slow this footage down by half because that's the way I wanted it. Output in the first place. That's the way I wanted to output it anyways. So I right clicked. I right, clicked or control clicked. I right clicked on the footage control click on a Mac went to speed, duration and speed is going to be 50% going to ripple edit. So it shoves my fish and now I have what I was looking for. This camera shake, you see, is inherent in the footage because I was hand holding my camera. We aren't going to explore how toe correct camera shake here. We're working on making our footage look like old footage. Something were shown on film. But if you were interested in correcting that camera shake, the effect is called warp stabilizer, and it's right here back to Posterized time I'm going to apply the effects by dragging it onto my footage. And here we have the default rate of 24 frames per second. So this is the footage at two frames per second. Incredibly choppy. 10 frames per second. This looks more like multiple. Okay? And this effect is very similar to if you were holding down the button on your camera to shoot multiple frames in a row, 18 frames per second, closer to what we're looking for 18 Transfer second seems to get me to a place there. I want to be This definitely evokes older footage. And if we want to do a little comparison between what 60 frames per second and a posterized time version that has 18 transfer second looks like I'll go ahead and remove posterized time and you'll be able to see the switch. With this transition here, I've always found the sweet spot to be somewhere between 18 and 23 frames per second, strong enough to evoke a look but not so strong that it becomes overwhelming and gimmicky. If we wanted to utilise after effects to apply posterized time, we simply create a new composition with their footage by dragging it here, Going to our effects library up here. Same as premier typing posterized time, dragging the effect onto our footage and making application the same exact way we did previously but hadn't set this to 19 frames per second. Have a resolution set to quarter, and you can see a nice preview of the effect whatever frame rate you choose for you, our main video piece. When we introduce other assets into our work, such as a film, grain zone and so forth, we need to maintain this frame rate across everything we do. Otherwise, the illusion that this was shot on film on individual frames really falls apart, and it just looks like a student project with a bunch of layers. If you get my meaning, when you pick a frame rate for one piece of footage, try and keep it consistent across anything else that you layer on top of your work. Otherwise, it just doesn't make any logical sense in regards to how things used to be shot on film cameras 4. Film Grain: and now I want to talk about mixing in film. Grain Grain is a by product of different I. So speeds of film and I so is simply its rating. How sensitive it is too light. When I was young, we would go to the store. We could pick film that had a picture of a son on it that was rated ice and 100 then it was good for shooting in daylight. We could shoot film that had a party hat on the package that was I so 400 meant you could shoot it indoors. And then there was, like indoor outdoor film around I so 200 that I don't remember the graphic on it, but you get the picture. There was different speeds you could select when you bought film for your 35 millimeter camera. Same with film cameras in movies and television. So the reason why people would select the higher number I so is because the molecules of light sensitive material were larger, they would absorb more light, and they'd be more effective in darker scenarios in indoor scenarios. So on so forth. Grain is not something that you get with digital video, you do get noise and noises uglier. It's more like an artifact, and I would watch something like The X Files when it's digitally transferred. A lot of that was shot in the dark. You would get this weird, blocky nous to areas that were smoky, where the lighting was super subtle. I always prefer the look of film grain over digital noise. Film grain can hold the entire piece together because it's an artifact of a past era. It certainly has a nostalgic quality to it. And I also find that film grain is, uh, just something that dances in front of your eyes and the way that digital noise doesn't. And that little dance sparks our brain and keeps us engaged keeps us hypnotized as to what's going on on the screen so you can certainly make your own film grain loops that you can incorporate in your video work. Uh, I'm going to do a short cut to making our own film grain loops, because while I think that sounds fun to me, I think for a lot of people who don't have scanners, you don't have, ah, the ability to shoot their own blank 816 100 speed film on a 35 millimeter camera. Get it all scanned and you create animated loops out of that stuff. It's probably beyond what most people are interested in doing when you can simply purchase these assets. Buying film grain is actually quite easy and inexpensive because there's a lot of people out there making their own loops, adapting stuff from archival footage we have over 100 years of film Teoh whole, these grainy loops out of and a lot of that's in public domain. So not hard at all to find, Ah, huge swath of digital film grain. Now, if we were to search for film grain, we're gonna find a lot from stock agencies and previews on how its utilized I'm going to utilize a company called Gorilla Grain have used them. I've used film convert as an artist. I like to utilize stuff that's kind of overwhelming versus more commercial minded people who utilize more subtle work. So my collection of guerrilla grain are move files and says appears pro rez. That means it's un compressed, and you don't have to work with UN compressed video files. They tend to be higher quality, of course, because compression takes things down a layer. But when working with grain, I find that artifact ing. The little blocking us you get from digital transfers really shows up. The more compressed it is kind of like in an MP three file an audio file. There are certain tones that really fall apart when you compress it down in certain tones that don't fall apart so much. On an MP three file, you can get clear base in a more compressed file than you can say symbols. So if you were to listen to kind of free jazz record, that was a compressed MP three file. It would sound really terrible. But if you were to listen to, like Miami bass type music, it wouldn't sound quite as bad. And I bring this up because there are many free grain samples out there. This is from a company called Holy Grain, and it's a free grain stock, and it might be difficult to see in this tutorial. You certainly could see little bits of dust and hair and flicker that happened across it. But if I were to blow this up, there's a general blah keenness to this grain. It's very subtle. Other people might not notice it. As far as I'm concerned, I want to make the best looking videos I can, and I don't want people to be distracted by compressed grain. This particular one is called 35 millimeter G three dirty, and it is an MP four. If you're every dealing with MP four files, that means they are compressed. Move files generally are un compressed. That doesn't mean they didn't come from compressed MP four files, but more likely than not, they are un compressed and the highest quality you have. So I'm going to go ahead and utilize one of the heavier grains on this. We have 789 course, muddy hair, dirt course, dirty hair flicker. Why not go all the way? Go ahead and drop it on my footage. And as you can see, it's opaque as a mouse. Through it, you can definitely see the flicker that changes in exposure, which was common on things like home movies of the past. Not to see through this. I am going to go over to my effects controls, and I'm not going to just lower the A pass ity to see through, but I'm going to mess with the blending modes so I'll turn the opacity up all the way, go into blending modes and cycles straight down to overlay. I'll go ahead and set my resolution of my video playback down to quarter, and occasionally you can see bits where the dust particles show up. You definitely can see the flicker, particularly in the cloudzone. This is definitely starting to feel like on old home movie. For contrast sake, let's look at the footage with and without our overlay without the overlay with And if you find the effect is too overwhelming, you certainly can start messing with capacity to keep it consistent all the way across. I'm going to turn off the stopwatch, pull it down to 29% now. This footage currently has posterized time frame rate of 23 frames per second. You want to be consistent between your grain and your footage here. If I have a posterized time effect on this footage, I'm going to also put that on my grain overlay. And the reason for that is we're creating a world where there genuinely is a video that has 23 shots on a roll of film, her second. It doesn't make logical sense for this grain have more frames than the footage. It currently has a frame rate of 23.976 something that most people would recognize if we had this posterized time down to something like 16 frames per second, it's going to be very noticeable that the grain is moving faster than the frames of our imaginary film. The flickering doesn't line up, and in fact, for me this is very difficult to watch, so I'll go ahead and copy posterized time and paste that effect right onto the film grain, so it's consistent between both layers. 5. Vignette: along with film grain. Another vestige of the 20th century filmmaking process is thieve in yet, and even yet is essentially the dark and corners of whatever kind of video whatever kind of film you're looking at. So even yet was something that a lot of photographers and filmmakers did not want in their work. But it certainly is effective, particularly if you're telling something that's noirish and dark, maybe a horror story, a crime story so on and so forth. The vignette is simply a result of having a round lens project onto a rectangular film plane and not having a light that comes through that circular lens perfectly project across the rectangle. So when you project a circle onto a rectangle, there's bound to be some areas that don't have the same amount of life unless you have a really well designed lens. And in the early days of film, lenses just simply weren't designed that well. And that's what would cause the vignette ing on old films. So now we're in after effects, and if you've never worked with you before you work with compositions, a composition is simply a bunch of footage and assets combined to create your finalized video and to create a composition once we've imported are footage here using the import dialog box. It'll show up over here in the project panel. We can drag our footage to this composition icon and now we see Cassie dancing away. This is the composition here. Within the composition, there is only one thing. It's this video file. If I were to get my 35 millimeter film layer, I could see it here. It ends at a certain point, So to get it to loop, I would right click or control, click on the Mac, interpret footage main and then loop it as many times as you think you need. I just type 20 because I know it's going to fill up the 60 seconds or so of space that this takes up. And then you see, the Green area is where that footage currently is the grays, where it could be a drag it. And just like in premiere, I'm going to switch the blending mode to overlay. So now I have those two bits of assets together. I want to create a vignette around both of these vignette is the dark ng of the edges, so I am going to right, click or control. Click on the Mac pick new, solid and that's solid is going to be the same size as the rest of my composition. 1920 pixels by 10 A. P. If I click the colors, I can make sure that I got your black It okay, now, within this solid, I want a vignette that fades in so this middle area should look normal, and then it should get progressively darker towards the edges. Don't want it completely black on the edges, but way we're going to start here. I need to create an oval that mimics the lens effect that creates actual vignettes. And to do that, I'm going to mask it out. The masking tools are either the pen here or your shape choices, and we didn't know shape choices. We see an ellipse before I pulled out a lips down. I want to make sure that I actually have the layer selected because I'll show you what happens if you don't have the layer selected. If you pick us a shape and you start drawing ellipses, they become their own shape layer. That's not what I want. So go ahead, delete that. I'll choose my black solid one got my oval and now it has masked out everything but the oval I drew. That's kind of the opposite of what I wanted. So I'm going to invert that mask you can see on black solid masks. Mask one now inverted, and I don't want it to look like this loony Tunes hole. I want it to be really feathered. So I'm going to twirl down that menu, find feathering, expand it, and if I wanted to expand the mask in general, I could do that. Here is well now I definitely have a circular vignette. It is pretty harsh vignette, and it's also staying the same all the way across, which is not exactly what I want. I want a little bit of a flicker on my big yet, so to address the opacity issue, I can either simply take the opacity down here or it can utilise the blending modes. Something like a soft light is good in this case. Now it's not completely black. And then, if they do a blend of my soft light blending mode and taking the opacity down, it's a bit more subtle effect. Go ahead and click away from the black solid so we can see it all together. 6. Film Flicker: Okay, so we currently have our vignette added, I'm going to re order these because anything that is in the frame that's supposed to have this film, uh, layer effects needs to be underneath it, and it doesn't make sense for the vignette to be on top. It's going to catch some of the grain, some of the hair, the dirt and the flicker if it's the low it in the hierarchy. And that looks pretty good. If we wanted to create our own exposure flicker, go ahead and turn this off. So we're not affected by the one that I have my film green. We can create a new adjustment layer an adjustment. Layers are by default blank. They have nothing to them until you add an effect, I'll go ahead and type exposure, and I'm going to scroll down to color correction exposure. Drag it onto that adjustment layer within the exposure controls. I'm going to add 0.5. She can see that brightened that up considerably, and then within the effects menu where I find exposure, I'm going to twirl down this master menu, and I'm going to hold Ault as I click exposure to create an expression. This is where you can define, uh, how many times her second, you want a change to occur. So if I want this exposure to flicker up and down a little bit every so often, I can type wiggle parentheses. Just go ahead and do five comma 0.5. Let's see what happens, and you can see as I scroll through this the change happening over here, so that might be a little too crazy for our purposes. Also, it's kind of slow. I want a more subtle flicker, and I want it to happen more frequently. We can play around with these parameters to see if we can get something we are in love with . Now it's bouncing around in that 0.5 range 10 times per second. I wanted to bounce around a little less, so I'll go ahead switch 2.2, and in Brighton the image too much overall to begin with. So I'll go ahead and switch the original exposure to zero. Then the difference between the footage as we're viewing it here and the pledge we hadn't premier is that this is still 60 frames per second, so I'll go ahead and slow the footage down, right, Clicking on the footage going to time, Time stretch. We want to stretch it 200%. And this footage does not have our posterized time effect applied. I'm gonna go ahead and apply posterized time to everything here. So rather than just dropping it on the original footage I'm going to right Click creates in new adjustment layer. Posterized time will affect that 18 frames per second. So we have our slow motion intact. We have our flicker. I turn this film layer on. We have our film adjustments. We have a vignette ing. 7. Lumetri Presets + Adobe Looks: in this section, we're going to cover something called Lumi Tree Looks, and this is gonna wrap up what we're going to be doing in Adobe Premiere to get our filmic look. Dmitry Presets are essentially filters that came with premier, and you can locate them in the lower left corner under effects under Lemi tree presets. They have ones that are pretty clearly named cinematic. I'll just go ahead and drop Sinise base onto this one. And within that filter, if you go to your effects panel, you have a lot of options for color corrections. Now this one is really obnoxious with its color. I happen to think that it's it's very overwhelming in its oranges, and it's not the presets fall entirely. I shot this at a very colorful location around Phoenix called Papago Park. That's hole in the rock back there, but we can make some choices within the controls in the FX here. For one thing, we can turn up faded film, and that essentially turns the black areas of our images to this sort of faded grey. The reason why film faded in the first place is because it was a chemical process that was affected by temperature and other factors, so certain colors would genuinely rot out of the film. Depending on how you stored it, and similar things happen to anything that was a physical media, such as printed materials. They would come out with pristine colors when they were created, and then over time, certain colors would rot a little bit faster. You can genuinely effect each zone here. So if you just wanted to change the highlights, maybe kick them a little cooler and color, you could kick the shadows in a little more red direction. That definitely looks like some faded film there, and you can also affect the intensity of the overall look. So right now it's intensity is set at 50 and can pull that back or crank it up to get something that no one who would wanna watch. But something in the neighborhood of 70 definitely has old timey film, home movie style look to it. So that's just one of many Lemi tree presets that come with premier. There's film stocks. I happen to think the film stocks look a little more pleasing to the eye if you bounce from the editing tab to the color tab, you have the same set of controls that you have in the editing tab. I kind of like to stick within editing and the effects controls here. It's just nice to keep everything in one space beyond these Lumi tree presets. You can also utilize looks and looks are something that are unique to everybody who has a creative cloud subscription because looks or something you create. So they would be in your adobe library and we can access them under libraries. So my collection of adobe libraries includes dogs, things that I've done for specific projects like this hero Twins, Starter Assets, comics so on and so forth. The easiest way to create a library with your adobe creative cloud account is to utilize a mobile app called Adobe Capture. This allows you to do a whole, but ah, this allows you to do a whole bunch of things, including making vector shapes out of photographs or illustrations, sampling colors for looks, which is what we are going to be using, creating patterns once again out of any kind of image you throw at it, be it through the camera or a preexisting image for the purposes of this class, we're going to stick with looks. So I'm going to search my current library for looks and I have to results from dogs. This look is something that I generated from a picture of my dog, Yoshi, when he was a puppy. And it has a variety of colors, all based off of what was in the photograph. Yoshi is a white and grey dog shot outside on concrete. Four. I drag it onto this particular video, I'm gonna bounce back to it and pull off the Lumia tree. Look, that's currently existing. So you can see what happens when I apply my look. Go ahead back to libraries, grab the look from Yoshi and apply it. I think I genuinely like how this look came out on this particular piece of footage because it muted everything. And that is really what we're going for in the filmic look when we are trying to mess with the color something that is muted and understated because that's what happens to fill materials as they age. They don't get crazier colors. They don't become more contrast e they become less contrast. They d saturate if there are dark colors In there, those dark colors become faded and mixing a little more gray rather than black. When you generate looks within the mobile app that all connects through the adobe creative cloud in updates on WiFi. So this is something that you can create on the fly and have access to right away. 8. Wrap Up: Hey, friends, I want to thank you so much for sticking with this course, and it was a lot of information to take in, but I hope you got something of value out of it. Feel free to check out the other courses on my tutorial channel. We have courses on a daily products photography, animation, video editing as well as courses on how you can achieve your own personal goals on becoming a more creative, more prolific, more successful artist. However, you want to interpret that, so feel free to check those out. I know there's a lot out there that might be a Value T. In the meantime, best of luck on your own visual art creations talk to you next time.