Famous Artists That Focus On Fashion And Neutral Colors Film Look – How To Make Video Look Like Film

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Film Look – How To Make Video Look Like Film

What’s wrong with your video?

Maybe you shoot video for a living – doing corporate work, TV documentaries, or advertising. Perhaps you’re a student filmmaker or an enthusiastic amateur. Regardless of what you do with your video, chances are you want to make a movie, even if it’s just for yourself, your friends, or your family. If you’re new to video production, the idea of ​​a “film look,” or giving a video the look of film, may seem completely new. If you’re unfamiliar with the idea of ​​a film look, or only know that you want your video to look like film, trying to figure out what you need to do to make your video look like it was shot can be a daunting task. There is a nature. on celluloid.

Aiming for a “film-like” look!

The term “film look” or filmization (as it’s called in wikepdia) is a general term applied to many processes, physical, chemical and now many digital processes. Celluloid (film) is expensive, wasteful and slow to develop. Also, it goes without saying that there are risks. Destroying film footage is too easy. Tape is cheap and easy to use, and the quality of video cameras has improved significantly in recent years. With the advent of digital video, almost any camera can now record acceptable quality video. Analog cameras were generally not suitable for the film look unless they were high end pros. Today, DV, HD and HDV make it easier than ever to create high-quality movies with the look and feel of film.

DV, High Definition, “Film Look”

It’s important to realize that the better the camera you shoot with, the better your filmed work will look. Not only the quality of the camera but also the format used is important. DV, or digital video, is the lowest quality format you should use. Ideally, shoot in HDV. This is a highly compressed high definition version of DV or a professional HD variant.

So what creates the “film look” of a video?

Have you been to the theater recently? Film is very different from raw digital video. There are many reasons for this, but the most basic and obvious notion is the difference in nature between film and video cameras, and more importantly video is a digital/magnetic medium whereas film stock is a chemical-based medium. Celluloid’s chemistry allows it to record colors the same way our eyes do, with a much wider range of brightness and without terribly clipping shadows and highlights. . Digital video stores image data in a finite range, and brightness is stored linearly. This is completely different from how the human eye sees it. The motion is also different, the motion in the image causes much less blur.

The Evil Legacy of Analog Video: Interlacing

One telltale sign of video is the serrated, jagged edges produced by the interlacing process. In other words, interlaced refers to half-frame display of video. Each frame is divided into odd and even lines, recorded and displayed overtime to increase the amount of motion recorded. This means that still images have a higher resolution and videos (albeit at a lower resolution) have more motion.

To create a true cinematic look, interlaced video should be progressive (or single frame) using a 24p or other progressive format camera or deinterlacer. This progressive frame, assuming it is properly deinterlaced, does not feature motion artifacts caused by interlacing.

Color correction/grading

A lot of the film look is determined by grading/coloring. The video uses gamma and contrast adjustments to give it a more film-like look. The most common way to give an image a film-like approach is to use the Curve tool to create a soft s-like curve. The s-curve simulates the way film responds to brightness in a non-linear fashion relative to the straight line of the video.

Color correction is used to bring down overly bright and saturated video by one. Color correction is also used to style your work. Film cinematography is often much more complex than video lighting where the lighting is exposure based, so this helps with the look of the film.

The film stock flashes and color timings that occur in the development lab after shooting can be easily simulated in software and contribute significantly to what most audiences subconsciously perceive as the look of film.

Trading Tips: Advanced Lab Processes

Filmmakers often use some kind of treatment in the lab to achieve a certain look. Movies like Saving Private Ryan and Munich use a process called the Bleach Bypass. This improves contrast and reduces color saturation by leaving silver halide on the negative. It is usually washed away to reveal the newly developed image. Basically bleach bypass can be simulated in Adobe After Effects and similar packages by blending a black and white version of the image with the original color image. However, if you want serious bleach bypass, you might want to consider filmlook software, known as plug-ins for post-production systems.

Other important indicators for film-based production are optical filters such as diffusers and neutral density filters. These change the quality of the light by softening, darkening or blooming certain parts of the image. Diffusers work by affecting specific sections of the tonal range, such as shadows and highlights. The Neutral Density filter toned down overly bright skies, resulting in sunset shots like those seen in many Bruckheimer and Simpson films of the 1980s and his 1990s.

Depth of field – the shallower the better

For those looking for an authentic look, there are a few other issues to consider. The first is depth of field. Depth of field refers to how well the image is in focus and how blurry it is. The camera can only focus on one point (depth) of him in the image, and things closer or farther away from the lens are progressively out of focus. Depth of field describes how quickly an image loses focus with distance. A narrow depth of field results in a narrow depth of focus, and a lens with a large depth of focus will keep most of the image in focus.

Focus is directly related to the size of the receiving device, whether it is a digital CCD/CMOS sensor or a cluster of halogen particles in a piece of celluloid. Achieving film-like depth of field (relatively shallow) requires a large sensor. Some cameras, such as the Panavision Genesis, have 35mm size sensors, but such video cameras are expensive. Inexpensive professional and prosumer cameras have much smaller sensors and a much greater depth of field than film cameras.

To achieve true film-like depth of field with some cameras, you need a lens adapter that can create a film-like depth of field. His one highly recommended 35mm lens adapter is the M2 from http://www.redrockmicro.com.

Film grain – non-digital artifacts

Film grain is actually very small. I only watch movies consciously in theaters where the images are large. When aired on television, the film grain tends to disappear, making this a glaring mistake for the Seeking Film look. Such unsuccessful attempts include using some form of noise generation in the NLE or post suite to simulate film grain. Such noise not only doesn’t look like film grain, it’s too loud.

Grain simulation should be avoided at all costs, except for the old film look.


It compresses highlights and lowlights to the visible range and preserves detail. I then extend the range with the Film Look plugin, but it is essential to capture as much detail as possible while shooting.

Also, think about your lighting. Why use lights in your video to emulate your favorite movie lighting style? Three-point lighting is better for simple setups than for creative images. This article cannot be expected to cover the wide range of lighting techniques used by cinematographers. Research is important because you actually need to read as much lighting technology as possible.


If you’re creative with your lighting, trying to create a shallow depth of field, and wisely using a film look system such as Halide: Film Look System[http://www.ambervisual.com/halidedemo.asp]) should look a lot like the movie. Getting the perfect cinematic look isn’t easy and takes practice like any other area of ​​filmmaking, but it can yield amazing results. As some might say, viewers respond well to stories that have a cinematic nature – videos are strongly associated with news…and reality TV.

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