How to shoot film WITHOUT shooting on Film (Getting the Film look) | Arnold Trinh | Skillshare

How to shoot film WITHOUT shooting on Film (Getting the Film look)

Arnold Trinh, Media Professional

How to shoot film WITHOUT shooting on Film (Getting the Film look)

Arnold Trinh, Media Professional

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7 Lessons (36m)
    • 1. Trailer

      0:58
    • 2. The WHY behind shooting film photos

      3:06
    • 3. Equipment

      3:07
    • 4. Planning your Shoot

      0:58
    • 5. Photo Processing + Editing (Without Presets)

      14:47
    • 6. Photo Processing + Editing (The Easy Way)

      12:40
    • 7. Ending

      0:17
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About This Class

Creating beautiful narratives through film emulation. 

Shooting on film is very aesthetically pleasing but not many of us have the luxury of being able to shoot on a film camera. This class teaches you how to shoot something that looks "film" without having to be on film. I show the behind the scenes process of how I plan my shoot, what equipment I use, and what to look for when I go on my shoots. 

This lesson includes:

• How to shoot engaging photos

• What my post-processing process looks like

• What gear I use

Whether you're new or old to photography, this class is perfect for someone who wants to create a film look in your photos. 

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Meet Your Teacher

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Arnold Trinh

Media Professional

Teacher

Hi friends, I'm Arnold and I'm here to help take your branded content to a professional level. Creating photos, videos, and design that can be useful for all types of digital marketing. 

I'm a commercial content creator with an emphasis in the marketing and advertising world. Professionally I've worked with brands like Blenders, Timberland, and Lululemon to create powerful and engaging pieces to help better market their products. 

These classes gather from my experience and focuses on helping you find your creative flow and get started with crafting a beautiful well polished media.

See full profile

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Photography Creative

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Transcripts

1. Trailer: uh, one. Welcome to this course. In this course, we are going to be talking about how to shoot film without actually shoot on film. Now you may have noticed in social Media, the recent trend is to shoot something that looks like it's shot on film. Now shoot on film may not be as accessible because yet by the film, shoot on the film by only 15 shots develop their shots and it also is very money intensive . So in this course, I'm gonna show you my exact step by step process of how it shoot, edit and deliver the full experience of having something that looks like it is shot on film . So if you're ready to get started, I'll see you on the inside. 2. The WHY behind shooting film photos: all right? Yeah. Welcome. What up? And today we're discussing why? To shoot film like photos. So the process behind why I should feel like photos is basically film Looking photos gives me this, this Plainfield to be able Teoh shoot as raw as they can and also edit in a way that captures the most raw images and makes it look acceptable, professional and deliverable cause ultimately, as a photographer, you want to deliver some content. That is, you know, it looks good to the eye, and it could capture in motion and tell a story. So with something like film this film, look, you can shoot anything as long as you create the scene that looks epic. So, like I'm going out and shooting this lifestyle type stuff since mostly everything I shoot is lifestyle like served skate California beach palm trees and all that and like hanging out ultimately when capturing is this lifestyle. And sure, there's a lot of framing what not that goes on behind it. But ultimately what it comes down to you is this lifestyle this feeling that you folk through your photographs? So with that blending with the perfect timing of the trend of bringing that film photos makes this very relevant for right now. So for what I go out and shoot basically a couple things that I keep in mind. One is to have the most fun that I can and you always have as much of a good time as I can and also trying to make everyone that's with me have as much of a good time as they can to because some of those images end up turning out to be the best. So, for example, if you're going out, you're shooting somewhere, and you know you're both still trying to feel it out. The photos won't turn out as nice as you know when you're warmed up and you and the person you're shooting with have this photo chemistry, and it turns out to just be a fun hang out time. And those are the best photographs, like a lot of brains that book you to shoot certain things again. Like I said, shoot lifestyle type content and the best way to get left out content is actually lived that lifestyle, so a lot of times I would go out and I would skate with my friends. And as I'm skating, I would shoot those photographs because again, that is the rial lifestyle. And when you're doing something like that, you know, with an action sport with dynamic movements and with people moving around, you might end up getting images that are blurred out, or images that just tend toe not be completely perfect in the sense of what traditional photographers would say is perfect, which is completely sharp, completely clear. Everything from focus and the beauty of shooting in this film type style is that you can bypass all of that. You could shoot something that's wrong and fun and riel and put it in this film like frame and look and you've still get the same message across, maybe even better than if you had everything sharp and clear. 3. Equipment: in this video here we're discussing my equipment and equipment ultimately isn't very important because you're just throwing it in this film like effect. But I'm gonna go through what I have, which is here The one D s that it really like. This is actually a very, very old camera. It's a one D s Mark two from I think, like 2000 and six. And the beauty about this camera is that it has this type of look to it that I really like . And it's hard to describe because it look is kind of like it's old, like not not super old. It's like old enough where it's still digital. Um, but like it's old enough that the colors and stuff aren't completely like the colors that you get these days and something about that whole feeling make it work really well. The other thing I have on here is the nifty fifties, the Cannon 50 f 1.8, which is just about the lens that I think everyone should have in their arsenal. It's very useful for basically everything. You can shoot people, you can shoot objects, you can shoot whatever you really want with this. And I remember this quote from some famous photographer back in the day where he talked about like somebody asked him if you had one lens that you can use forever. What would it be? And his response was the 50 millimeter lens, which is this, Although back in the day they probably had 51.2 or something with the lower F stop because , I think, uh, with manual lenses, it's just easier to achieve a super low f stop. So here I'm using F 1.8, which I think is still pretty good. Essentially, anything up to like 2.8 is good enough for low aperture stuff. And that's the thing about old film. And that look is that low aperture is very in and looks very cool. So when you shoot, utilized as much of a lower apertura as you can, because that just creates this separation between your subject and the scene behind them, and it causes this like background blur that really highlights your subject. But if you don't have a canon one D yes or some fancy camera, you could really just use your iPhone or whatever is convenient. I also have this cannon t three i rebel t three I, which is an entry level camera that I still use these days. Whenever I want to get something quick and easy, I have a 35 millimeter that I use with this because it is a crop censored camera. So with this, my Canon one DS, it is actually a full frame camera and 50 millimeter on here would look like the 50 millimeters back in the day when that you would use vintage film cameras because those are also the same sensor size. Now, with a more modern camera that uses a crop censored type of cancer, we will have a more zoomed in image. So 50 on this would look a bit more zoomed in than with my one DS. So with this, 35 would be perfect because it would look more like a 50 4. Planning your Shoot: Okay, so now that you have all the equipment and the mindset in mind, let's go on and get ready to go on your shoot. So basically, when I go on the shoot, I look for a location that you're able to do something in, and that's something. Could be just looking at the store or just e ice cream. As honest, it's dynamic that makes the effect of film look really, really cool. So for me, like I said earlier, I like to serve. I like to skate. I like to be by the beach, and this is the area that I live in, so I try to capitalize on that as much as I can. So when I do something like that, when I shoot, I tell people, Hey, let's go and shoot some skates stuff or let's go and shoot some beach stuff. Let's go shoot some bikini stuff. What it comes down to is that you should take advantage of what you have that's interesting around your area. Find a dynamic activity that you could do. Tell your friends, your models to come and do that dynamic activity, and they captured that magic 5. Photo Processing + Editing (Without Presets): Hello everyone. So for this part, I have a few photos and I want to show you how to edit these from scratch. So there's nothing going on in these photos right now. Is just click Reset just to be safe. This was a copy, but i o, as we said again, and this one is clear as well. So let's start off with this one and we're going to edit it to look like a film type ligand photo from scratch. So what this photo, first thing that we're gonna do is we're gonna go bring up the shadows. As you can see, the shadows is a bit dark compared to everything else. The colors are warm and nice, so that's really nice to work with. But let's bring up the shadows a little bit. Then see how it adds so much more life into the details. But as we bring up the shadows, I notice that the highlights, we're starting to get blown out on this side. So I'm going to bring down the highlights a little bit. Then you starting to get some detail back in there. But it's already kind of overexposed and these highlights are blown out, so we're just going to leave it right there. And typically I like to post on Instagram, so I want to do in Instagram type crop, which is four by five for vertical photo. And a dude here sometimes even crop out the top of the head, which, you know, I've noticed doesn't make too big of a difference. A lot of photographers in Victoria Secret and other fashion magazines do it often. But maybe this one we can leave the top of the head in. Okay, So I'll keep the crowd like this. And as you notice, there is a bit, There's another, there are some there. Okay, so we'll go down and we will go to our tone curve. And with the tone curve, I like creating three dots at first, just so we can give this photo a simple s-curve. And an S curve is nice because it gives it the punch that, you know, a normal raw photograph doesn't have. The punch is really important, like it, it really makes a dramatic, see, this is the other way, but like this you have like an S type curve. You'll give it a punch in the highlights and the shadows. And that just brings out a lot of the photo that typically is. So I did that and this for the most part, it looks pretty good. Now, with your eyes, I would actually brighten up her eyes a bit because these are a cool detail. And typically I have my spot brush here with exposure up. But this exposure was bit too high. I just bring the exposure up a little bit. I'll add some clarity. Clarity brings out a lot and eyes. And depending on how it looks, you can add some saturation to it too. So maybe it through in a bit of saturation. Okay, great. So now we have this photo. Pretty damn good. But to make this a vintage type look in photo, it really is are in the split toning. So we can go on the highlights and we can play around many times. You can add some green to the split tone to make it. Green is typically very vintage looking, but not too much. Let me put some green and you can see where it comes in. Okay, so I added some green to the highlights. Now for the shadows, I could add some red, blue. But if I add the blue takes away from the Sun, so I might just give it a light hue of blue. Okay. And the thing with these older photos to is the blues tend to be a lighter type of blue. So what I would do is I would go to the colors pain or right here. And I would bring the blue. Sometimes these are offered to you, but I would bring the hue of it to the left. And so it's actually blue on this one. But we do it. You notice that the blue on this corner will change a little bit. Now let's see where blue. This, There's not too many. Did, we did add that blue in that a bit more blue. And sometimes with editing these photos, you have to go back and forth to finally get the desired effect that you want. Okay, cool. Now, there's too much blue here now. So I'm going to just going to move it back a bit. Okay. Cool. Just to be safe will make your hue for the blue a bit to the left and always Enable Profile Correction. And this was shot on the Canon. Actually, I think this was on the Sony. Sony 24 millimeter. 2008 is 24, then sorry, this was around the Sony. This is on the Canon 24 to 105. Okay, cool. Now we edited that a bit. And even sometimes too, when you correct all these colors, you're like, Hey, maybe actually didn't need to do that. So just like I showed you earlier, we go through other colors and realize that you didn't need to go and do the blues too much. So to finish off this whole process, I like to add some green to it. Greens really important because it, it packs a different type of punch to the photo. So I usually start off with 20, 25, 50 to see it a bit of a grain, few to it. And if you want it to really grainy, really when to G, You can turn the size of the grain up and the roughness of it up. Sometimes if the photos are ready blurry, I just turned it really high because then that way it kind of balances out the very blurry image. And it makes it look like you just shot it on a film camera. Okay, so this is a bit too green for my liking. The size is too big, so I am going to bring it back down to where we had it. Maybe around here. Rough this not too rough, maybe just a little bit of grain. And I would say this photo is pretty good. Now we'll move on to the next one. And now we have this photo here really well exposed. Everything's in order. And first of all, we're going to go back and do a typical edits, which is given that S curve. So that it has that punch to the photo. Okay, now we have the S-curve in and you can see right away how there's a punch, new punch, the photo. And then we'll go and give it that four by five Instagram crop. And even out your horizons, that's one of the most important things to do right away. And then OK, now we have this image looking pretty all right? So another thing to do is to up the shadows again. As you notice, the shadows are pretty dark and we'll apply the shadows and she's exposed. Who? And I usually like to turn down the highlights just to be safe. We'll turn down all the way and you know, that too much of a difference, but I'll turn it out a bit and then go down and add a bit of texture to this image. Because as you can see, there's a lot of different textures. I go water, safe and sky even. Okay. And then we'll go down, do some more split toning. And what this one is really Sun City, so we can maybe throw some red in and see how that looks. Okay, so that really brings out the sunset glow of the night. Then for shadows, we can add in some more green like we did in that last photo. But not too much. More towards the green and yellow side. Okay, cool. We have it on the green and yellow side, and it seems pretty film. We're ready now to finish off this touch or to finish it off, we just give it that. Well, first off, profile correction in 242105. And to finish it off, we're going to go and add some green to it. Maybe start off with 50 this time. Okay, and now 50 is too much. But you can see that this looks, you know, filmy already. But we're going to go down to maybe 30, 29. Okay, so from here, what I see is that the roughness is too much on this and the size of the grain is actually too small. So we're going to bring up the size of the green. We're gonna make it a little less rough. And we're going to experiment with having more green and less green. So maybe a bit more, maybe 15. But we, the number. And you zoom out, just get a better peek of what's going on. And I would say 20 was good and maybe even 25. Who grades. And now we have this one. Okay, So finally, for our last photo here, it's really poorly exposed. But that is the beauty with film photography. Because there were photographs or photographs that look like film. Because typically in the old days you wouldn't have so many different chances to shoot many different photographs. You would only have filmed 15 shots maybe in your camera. And you can do is just shoot those photos, those 15 photos that you have. So this, and we're going to start off with a crop. And I am going to crop it in a way that Let's see, either show bit of the skyline but the sky is too little. So was it a crop it in a way that shows just the ocean in the Seine and her running. Happy pictures or a lot of say in her running, but I think having more ocean little saying in her running as best. Okay, so first off, The shadows are really dark. So we'll bring up the shadows and see how it looks. Great. So the shadows are back. We don't have to have it all the way bright. This actually makes it look less filmy. Pledges have it a bit underexposed. Now we could also bring the exposure up is to play around with it. And okay, that's cool. And as you can see, highlights a really strong near, some actually going to bring down the highlights. And we get more details and everything in here. And I'll even throw in some texture. Texture is nice. Sometimes it really picks like it really puts a punch into the image, just like on the S-curve here that we're going to add. This is also another patch that we're going to add into your photo. And it does look like she is a bit bright earlier. So having this and the shadow side brought down makes your darken up a little bit and that works just in her favor. Okay. So we're also going to go back to the highlights and the split toning section and add some red to the highlights because it is, since it in a little bit of red really brings out the glow of the golden hour or a beautiful sunset. So there you have it. There's that was turned bet on and off. It's subtle, but it makes a big difference. And then for the shadows, I'm going to add a bit more of that green and yellow hue like the other photo. And see if you bring it up, it's going to look really feel me and warm. But I'm going to keep it at a medium right around here. And then we'll do the profile correction again with a canon 240105. And finally, we're going to add some more green to it. And now this one's actually a perfect photo to add a ton of drain tube because it's just already blurry. Now, throw in a lot of grain and just looks like you are a 100 percent here and just take a look at it. Now this is actually too rough, but high grain isn't too bad. An image like this just because it's supposed to be pretty filmy looking and it's already blurred and out of focus. So this is not too much, It's just blending the whole image together. And that is essentially kind of the point of grain and makes it so the viewer, when they see it, they associate the whole image with this one piece of grain that covers it, just connects it all together. And there you have it. How to edit three different photos from scratch to look vintage. Going back to this one, I would add some more green to it. There are three images. 6. Photo Processing + Editing (The Easy Way): Okay, so after you finish your shoot, you have a gallery of images. Let's go through some of the images that I've shot for this year here. And then we can go through. And I'll tell you what images I shows and how long ago and edit them. OK, so here I have picked out five images from my last photo shoot. And as you can see, they're not the most spectacular photos I quote unquote spectacular there photos that I thought were cool and that could tell a story of what is going on. So here we are in Point Loma. We skated around and we captured a few shots. And the way I like to think of this is if I had a film camera back in the day, I wouldn't be able to take 100 shots. I would just be able to take it, feel limited shots that capture the magic of the moment. So you look at this. You see, it's really not spectacular, but I'm gonna run you through the process of what I do to make these beautiful, powerful photos. So first of all that's going to developed, and I have here the's film emulation presets from different brands like Mast in Labs and Fisk. Oh, and I personally like using Visco a lot. I think they do a great job with their film emulation, so let's go ahead and go through these different types of looks. So what I would recommend is for you to actually get familiar with the type of life that you're going for, the type of film that you want to be working with. And then from there you apply your look. So for this, we can try different looks right here. Here's what at Optima 100 looks like not the look that I kind of want to go for, so we keep scrolling. But I know for sure a lot of people used Kodak Portrait 400 for the rial film stuff. So let's go over and look at the Kodak Poor Tre type of film. So here's Portal 1 60 whose portrait? 400 portrait 800 and these This looks pretty cool right here. I kind of like this one. So I'll click on this. And one of the main things that you have to keep in mind is that these presets aren't like a one click solution. Sometimes they are, but a lot of times they're not. So after I click this portrait 800 plus, I noticed that this is what my photo turns out to look like. So, first of all, the highlights were blown out. So let's bring it down my highlights and see what we get. Okay, so we can't really save too much of it. Um, for us, we got bit of too much grain here, so let's bring down some of the grain. I did like how the grain look, though, but with a bigger size grain, maybe it would look a little better. So up the grain a little bit and the photo is curved, so I'll just it, uh, ever so slightly and a boom. Here's one. And then, since I like this look and this next photo is also a similar shot, I'm just gonna hold command. See? Copy this on, pace it over, and then I have this. Okay, So right off the bat, I noticed that these two photos look completely different even though they just use the same settings. So, in order to master the first photo, I'm gonna have to see what's different. So I notice. First of all, we gotta strain it, and this is a bit darker than the other one. So I'm gonna lighten it up. And as a line it up, I noticed that it doesn't have enough warmth as the other photo. So warm it up ever so slightly and see how it looks. Okay? Started. Look, a little better. Noticed. This highlight is still bit blown out If we could turn the white down and see how that looks, OK? Not too bad being vegetarian that all the way, but I'll give it a bit of light here. Okay, Go back to this one. Okay, So I noticed also that this photo that we're working on now is a bit too green or the tent is a bit too green. Said one. Bring this to the right Ever so slightly, not too much. Because then you have started noticing that it gets purple. Okay, this is a bit too warm now, and yeah, I think this is a good match between these two. So let's be want to the next one. So here we have her by this flower, she's out of focus. The flowers were out of focus. This looks like a mess, but let me show you how it's done so earlier. We are at Kodak or 100 or 400. They both look pretty good. So doesn't matter too much. Unless you're really particulary in this scenario. I think I would go with the Kodak Porsche 400 maybe 400 double plus, uh, see what 1 60 looks like. Okay, so let's go with the Kodak port for 400 double plus. And first off, we noticed that both all the back is way blown out. So let's bring down the highlights. All right, So now you see, the detail is back in this photo, and what else is weird? Okay, it's a bit not straight. Here you are now fixing the straightness. Okay. Boom. Straight. Great. And I actually think this is a bits two x over exposed, not overexposed, but it's about it's exposed a bit more than I would like it. So I'm gonna bring this down a little bit. Maybe up the contrast, lower the shadow so that it gets a bit more contrast in there. Blacks orbit too, huh? And there you go. All right. This is really strong. Powerful. You might be a bit oversaturated, though, so let's see what it looks like. It zero All right. No one's negative. 28. Looks like that. That's way too too low and under saturated. So even even negative five looks kind of all right. But I think at zero might be the death. Straighten this out a little bit more. I feel like it's a bit bit okay. And this died here? Yeah. All right. So I noticed that a lot of times when you make the photo bit darker, it brings out this, like this Death of dimension to it. So I put this. I'm starting to like the color a little bit. I want to add some warmth, though. I feel like there's still bit more to work with. The whites are a bit bright still, so let's see if I could dark it. Have a look. Okay. Yes, it looks like it's not too bad we darken it a bit so dark in a little bit. I notice you that there is grain, but I want some more grain to this. I want this to feel very vintage e. So let's go down and find some grain. Okay, We're at 35 for the amount sizes at 30. Let's have this size at 50 and we'll see what this looks like. And this might be a bit too small. So So I'll bring it up. Okay? Yeah, even at 100 green. Is not that band for the size at least. Okay, cool. I like this effect. So let's keep this copy this because this next shot is also at a similar location and then dropped this in, and now we see what this shot. It's too dark. I'll bring the exposure up. And there you go. We have it done already. Yeah. Now, with this one, I do feel like the green is a bit too much, so I'm gonna go and lower the grain the size of it a bit. L East. Okay. And here we g o. There you go. I think this photo is done And ought your last one. This one here, standing next to this Christmas Like the Inglis photos, Super dark looks like it's under exposed, but once we apply something here, we can make it look cool. And the thing is, sometimes these colors this end up not working too well, so we have to play around with it and see what works. Good. So I noticed that at the normal look straight off the camera, the tent was a bit too purple. So I want to bring it bit to the left side. Don't want to be too much. Otherwise would be to green in a up the temperature a little bit. Um and let's just see what we could do with this. I'm thinking something that more on the look of this with a good faded if the whole image completely faded like this. But maybe not as green. Okay. And since perhaps, were posting on Instagram, I'm going to make this crop a 45 Now, let's see what this looks A All right. So I noticed that the details on the outside kinda don't tell the story as well as it could . Is this trial with this? This looks like she's just standing next to a reef of the war. If a little bit all right and less to read to pick now I se a plus three would be the best . Cool. Now does look a bit under exposed to the whole photo. Bring it up a little bit. Okay? Who wanted to be at a balance of being properly exposed, but at the same time have as much depth of color as we can. Okay, so now is that zero Cool. All right. And at this point, if either save this or I also start to see that there's another image in here that's able to be extracted. So I made a extra coffee, and I'm gonna crop this down. And here you have another photo. And this might be good for a profile photo or just something that shows a person of clothes . It is like that thing in the back there. You Gil. This works too. And, yeah, here's two photos from one. And this is looking a bit too pink for me now, for some reason. So bringing negative four. So of the tent, maybe up to 10 per share. Cool. All right, There you have it. Here are some photos and editing process behind them. So now that we have this one, we could either publish and post us already or we go another step and make it even more vintage filmy, so we'd seal the deal 7. Ending: Okay, That's it for the class. Thank you for checking this out of those. Helpful. Please write me a review. Those were very, very helpful. And helps this class get seen by a lot of other people too, and help other people as well. So if this was helpful, please click Subscribe. Follow somewhere and I'll see you next last.