Here’s the first edit from Snöyran Snowboardcamp I filmed last weekend in Gällivare. It was a fun, chill few days filled with lots of friends.
I saw that Eric Johansson posted a photo on facebook of the gang with the description ”Class reunion”, and it really feels like that when filming with Lemke and the northern boys. Hope to hang around with them some more this winter!
What’s unusual for me with filming this edit is that I only used handheld DSLR. No tripod, dolly or crane. I also used only three lenses: The samyang 14mm f/2,8; a nikkor 35mm f/2; and a nikkor 50mm f/2. I could never do this without my Swedish Chameleon DSLR Rig, and the big hardcase to fit all my stuff.
As you can see I also used my beloved furry mic. DSLRs mostly won’t give you pro audio, but it sure helps with stereo and a decent windstopper! I also had good use of my DÖRR LED-panel when filming the after party. Not so sure everyone enjoyed it at the club though.
There will be one more edit coming from the main event. I’ll post that later. And if you’re wondering about the colours in this edit, I simply applied a ”cross process effect” using this tutorial for photoshop, but applying it in After Effects:
I got a request at my ”Ask a question”-tab to do a tutorial on how to create the classical ”Film burn effect” (You know when the screen flickers in red and yellow). It may have other names, but that’s my name for it.
The film burn effect, together with the 8mm-film effects, is probably the most played-out effect in actionsports film history. There are many reasons for it, the biggest one is historical.
Before the rise of digital cameras like the hi-8 and DV, all actionsports films were shot on 8mm film (some also on 16mm, which was the weapon of choice for higher-end films). This is relevant because that’s where these effects come from, they are actually analog distortions, artifacts that weren’t really meant to be there! (Film burns appear when the film is exposed to light in other ways than it’s supposed to – like when the film is removed from the camera, cut/stiched during editing etc.)
When actionsport filmers moved on to using digital cameras, the image was often concieved as ”too clean”. It turned out that the analog distortions had aesthetical value – film burns are simply quite beautiful! Adding them to digital footage was also simply a way for low-budget films to mimic the look of the big players. That is still the case – now with DSLRs takin the filmic look even further – film burns have become a common addition to any low budget project, wishing to achieve a more expensive look.
Personally I like to look at videos and try to figure out whether the film burns are real or not. Quite nerdy I know, but sometimes I look at my granddads old double-8mm films just to see how 100% authentical film burns ”behave”. So anyways… Film burns are an easy (maybe not so original) way of adding an extra ”creddiness” to your film. I’ve made this tutorial since I myself searched the internet (without result) for a tutorial on film burns only a few years ago.
Before we start, here’s a list of what you need:
1. Adobe After Effects, and basic user skills (most versions should do).
2. Actual stock footage of film burns on black video.
3. Some kind of videoclip.
4. A nice cup of coffee to help with your artistry!
Note: Actual stock footage of film burns can be bought from several stock video sites like artbeats.com and others. Prices vary, and if you are not the kind of honest person with a concience (as if you paid for a legit version of After Effects!), you’ll probably find it somewhere else for free. However! I managed to find some free clips for downloading (crappy quality, and I’m not sure about the copyright…). Download from this link:
When you’ve got a hold of some film burns and After Effects, it’s quite simple. Just follow these simple steps. If you can’t see the details, click to enlarge the photos!
1. Open After Effects. Import your film burns and your ready-to-get-burnt-footage into the project. Make a new composition from your footage and drag both the footage and the film burns into the comp. Settings don’t really matter, but here’s what I did:
3. If the blending modes aren’t visible for the layer, click the ”Expand or Collapse the Transfer Controls pane”-button.
5. Hit RAM-preview and check it out! If you need to time it out differently, just click-and-drag the film burns layer to the part of your clip you wish to burn.
What you end up with should look somewhat like this:
We could just be happy with that result, or we could take it even further and add some vertical rolls. This is to mimic the analog distortion that happens when the film frames have been misaligned to the projector. It looks like the images roll or jump up and down. There are several ways to do this, but this is how I prefer doing it:
11. Now for the actual roll: select the bottom layer and click P to bring up the position value. Find the point in time when you want the vertical roll to start. Click the stopwatch button to add a keyframe.
15. Now the wiggler will add a random vertical position for your bottom layer by +/- 500 pixels every second. The other layers will follow the bottom one, since they are parented to the bottom layer. Your keyframes should look something like this now:
Now hit RAM Preview to see how the roll looks like! If you think the roll is too slow/fast adjust the time value. If you think the roll is too violent adjust the amount.
16. To add to the film-look even further you should also add some colour correction and grain to the original footage. If you don’t already know how to do this, don’t worry, i’ll explain it in another tutorial. This is what I ended up with:
Voilá! Now you should have created the illusion of a really burnt out film on a faulty projector. There are several more ways to further mimic the film look (apart from making beautiful images from the start), but that’ll have to wait until next time. So long!
I’ve been wanting to try this technique out for very long but never got around to do it – until yesterday. Kind of funny that my last post was about HDR-timelapse, and then this which is kind of the exact opposite…
What do you think? Personally i kinda like it!
I’m gonna take this one in Swedish since it’s already been blogged about in english by Vincent Laforet and many others. Read his post here.
Jag skrev tidigare om den nya ”Cinestyle” Picture Profile för Canon EOS-kameror som ger dig ett mycket bättre resultat om du kan göra lite färgkorrigering. Just färgkorrigering (a.k.a. grading) kan ju dock vara en pärs för en del, och därför tänkte jag nu tipsa om två väldigt kraftfulla men enkla och bekväma gradingverktyg som nu har släppts gratis!
Det första verktyget heter Magic Bullet Colorista Free, och är lite som en lightversion av deras Colorista II. Man kan ladda ned det som en plugin till flera olika program (Adobe cs5, Final Cut m.fl.) på denna länk (man måste fylla i sitt namn). Verktyget är superenkelt. Det består av tre hjul, ett för skuggor, ett för mellantoner och ett för högdagrar. Vart och ett av dessa hjul kan separat både nivåjusteras, för att kompensera för fel exponering (ljusare/mörkare), och färgkorrigeras för att passa in färgtoner. Med andra ord ger det en ganska så full kontroll över alla grundläggande gradingbehov.
Det andra verktyget heter Magic Bullet LUT buddy, och finns på samma länk som det ovan. Detta verktyg är lite mer komplicerat i botten, men i det här fallet är det ett idiotsäkert sätt att få ditt Cinestyle-material att se bättre ut. Låt mig förklara: när du filmar med Cinestyle får du en ganska tråkig och grådaskig bild. Detta är bra om du vill lägga tid på gradingen. Det kan dock finnas tillfällen när du snabbt vill visa det med mer ”äkta färger”. Då är detta verktyg perfekt, bara att lägga på effekten och sen ser det bättre ut! Det funkar såhär: du lägger på LUT buddy på klippet, sen importerar du en fil med otimerade grading-data från de samma som skapade Cinestyle. BOOM! Sen är det klart.