Newsgroup: it.media.video.produzione
Titolo: Effetto film



Qualcuno ha idea di come si possa realizzare un effetto film, in modo da
dare

un look da pellicola 16/32 mm ad un video girato in DV?

Ho fatto qualche tentativo, fallito miseramente, con Premiere e After
Effects provando

a variare i colori...

Paolo


pmu...@mclink.it





 

Paolo Murri ha scritto:

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cosa significa effetto film?

16:9 o cosa?

I film che colori hanno? che sei andato a cambiarli?

Spiegati!

Ciao Steve.


Ci sono dei plugin per After Effects che si chiamano CINELOOK (per
cambiare il colore ti da'alcunae impostazioni predefinite e ti dice anche
la marca della pellicola) e FILMRES (crea l'effetto pellicola rovinata
molto realistico) non mi ricordo in questo momento la marca di  questi due
plugins ma mi posso informare ma credo che costino un occhio..
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with Premiere or After Effects or with other Mac applications?
Here are some posts from another list I'm on you might find interesting.
I've found that Cinelook, when used with DV footage, has a strobing look
that can be quite annoying.  However, DigiEffects has released another
product called CineMotion.  CineMotion works very well.  I've shot
footage
in DV with theatrical lighting, letterboxed and ran through CineMotion.
No
one could tell it was shot on video.  Very convincing.  If you want to
take
it a step further, you can run it through CineLook for film-grain
(without
the 3:2 pulldown turned out) and then through CineMotion for the film
style
frame rate.  Very convincing and very CPU intensive (very long render
times).
Actually, a few of the 35mm Fuji filters are pretty impressive when the
original footage is shot on the XL-1. I have just played with the preset
film
stocks...but you do have independent control over grain, gamma,
etc.........so I think with some practice and good lighting that
Cinelook
could look very good............with a good eye and talent to match.
Actually, after I worked with it for about 5 hours I got some of my
digital
footage to look much more pleasing than regular DV footage......way less
"video-ey" with greater warmth, color depth and contrast.
I have always disliked the look of video.........too live, too
raw.......I
think Cinelook provides some good answers.....love the look of some of
the
B&W presets too......
I just wish frame movie mode on the XL-1 did not "break up" so bad with
movement of the camera or image being shot.......Frame movie mode, After
Effects 3:2 pulldown and Cinelook isn't Panavision..........but I am
impressed. I think I am going to use Cinelook on all my TV ads
now........hey
I might even get ambitious and shoot a film!
I have been working with cinelook extensively for about 5 months and
still
am learing more about it-
Like any sophisticated tool it takes time to reveal it's true worth.
People think you can just choose a preset and go- I have found
convincing
results almost never come from the presets - it takes alot of trial and
error
in all parameters to get it right, but I have gotten my trv900 footage
to
look quite convincing according to a DP friend of mine that is quite
critical of this stuff.
Now with final Cut - you see the changes in grain on the TV screen so It
makes workflow much faster and accurate and allows you to tweek it for
each
shot using keyframes quite easily. Also it render twice as fast as in
after
effects.
Aside from rendering speed (which will be here with the G4) I feel
Cinelook
used in FInal Cut is the state of the art in film simulation.  I have
seen
other real time processes and my results are far superior.
BTW cinemotion is great but when used with DV footage introduces bad
artifacts on diagonal lines.  AFX 3:2 pulldown does the same with DV
footage and I don't use it or cinemotion with DV anymore, for the
mostpart.
I talked with digieffects today and they also confirm that the best way
to
use cinelook is to buy their new "cinemotion" to really tweak your
footage.
It's too bad this was not just offered as an upgrade to
Cinelook.......but it
would seem that the few complaints associated with Cinelook, mostly
having ot
do with strobing and 3:2 pull down can be completely solved by using the
two
programs. I am annoyed that I have to spend more money, but word is that
those willing to take time to learn Cinelook and then do the tweaks in
Cinemotion are going to get spectacular results.
I have compilated this info from a variety of sources---Hop this helps..
DAN
Film look
If you don't have the film look plug in, try the poor
man version. Use gamma/pedestal/gain filter in AE. Lower the all three
gamma
levels to .7 or .8 or .9 depending on your source.
If you have a grain filter, add a small amount - it
goes a long way.
If won't look like film, but it will get rid of that
stark video look.
Broadcaster’s forum
DigiEffects Aurorix has "Aged Film" very cool, very slow. Most nonlinear
editing systems havehave color overlay filters. M100 has a sepia all set
to go.
If I may digress into "realism" ... simulating film is as labor
intensive as you want to get (easier to shoot your scen on film in some
cases!)
Old film had several other attributes that make it instantly
recognizable (to those of us who knew or worked with Olde Film)
1. Random subtle flash frames (see Todd's post)
2. Changes in film stock between shots (vary the color or contrast
between clip edits)
3. Gate weave (side to side motion that was a combination of smooth
slipping and randomly sharp leaps, especially at splices)
4. Jitter (up and down slippage)
5. Dirt, hair, gunk, dust and little cueing holes punched in the upper
left corner
6. Splices that caused minor jump cuts (dropped frames and skipped audio
... er, audio is 16 frames out of synch, btw) and severe vertical leaps.
7. Odd soundtrack glitches like weird hisses and pops caused by
scratches on the optical track or the ratcheting sound of perf holes
running over the head
8. The odd projector calamity like jammed film, torn film, burned film,
and broken splices.
yours,
David bogie
http://www.forge.net/---Crumpled
 paper
Aged film is wonderful, but I've only used it for making video look like
really old, scratchy film. For a more subtle filmlook, I....
* Add some noise to give texture
* Boost saturation a tad
* Boost reds a bit
* Slow down the frame rate to 28 of 29 fps
* Blur the image 1 pixel
The one ingredient I'm not sure I like is adjusting the frame rate. I'm
not sure it doesn't just make it look jerky. It may depend on the
footage you've got.
Variations on this recipe produce different results of course.
Good luck!
Sorry if slightly off topic, but I use my poor man's filmlook technique
in Premiere with the levels filter. By exaggerating the white and black
levels and squashing the thresholds I seem to get a fairly nice grainy
and slightly washed out look.
Use the After Effects with thes filters:
-Use Posterize time (@24fps) effect (in Time submenu)
-First add noise (in stylize submenu).
-Then put some fast blur on it (0.7 max, in
the blur and sharpen submenu).
tip.. layer two versions of the same image together using a noise grain
generated from random pixels but make one verson slightly darker and the
next slightly lighter
and this gives a more grainy feel
Well it works on a henry!!!
How to Create a Feature Film Effect Using After Effects
FaxYI number 205629
------------------------------------------------------------------------
Professional film editors often use non-linear video editing to combine
video segments with feature films. By applying a combination of effects,
they can give the video segments a "feature film" appearance. Using
After Effects, you can manipulate the video's the frame rate,
graininess, or color to achieve a film-like appearance and give
digitized video footage a more artful appearance. Use these techniques
individually or in combination with each other.
Applying a Standard Feature Film Rate
The standard feature film frame rate -- 24 fps (frames per second) --
gives footage a steppy, film-to-video appearance. To create this effect
using After Effects, change the frame rate by doing one of the
following:
- Apply the Posterize Time effect to your video by selecting a video
layer in the Composition window and then choosing Effect > Time >
Posterize Time and set keyframes rate to 24 fps at the beginning and end
of the time line. Then, render the composition at 60 fields per second.
- Set your composition's frame rate to 24 fps. Then, when rendering,
choose a Field order compatible with your compressor from the Field
Render pop-up menu, then choose any option from the 3:2 Pulldown pop-up
menu. Using 3:2 Pulldown while rendering causes After Effects to render
your 24 fps composition into a 30 fps movie, creating a film-like
appearance.
NOTE: Because you are not trying to match actual film footage, the
option you choose in the 3:2 Pulldown pop-up menu won't affect the
footage.
Adding Graininess
Film appearance has a grainy quality; to add graininess to footage, use
any of the following techniques:
- Apply the Noise effect by selecting an image or layer in your video,
and then choosing Effects > Stylize > Noise. The Noise effect randomly
changes pixel values throughout the image -- creating a grainy, noisy
effect. If you select Use Color Noise, you can add noise to individual
colors (i.e., red, green, or blue) or add noise evenly across color
channels.
- Use a third party filter such as Cinelook or AgedFilm, which are
included with DigiEffects Aurorix 2.0 filter pack for Mac OS. The
filters simulate a film-like appearance by adding grain, dust, hair, and
jitter. For more information, see the DigiEffects Web site at
(
http://www.digieffects.com
).
- Using Adobe Photoshop, create your own grain filter by drawing dust
flecks and scratches on a transparent background, then layer it over
your video, and then use a transfer mode such as Screen or Hard Light to
blend the layers.
Adjusting Color
Film responds to light differently than video does, producing a deeper,
more subdued color with less overall glare. To achieve a similar effect
in video, you can experiment by adjusting gamma levels and color
saturation:
- To adjust gamma, select a layer, then choose Effect > Image Control >
Levels. In the Effects Controls dialog box you can adjust individual
gamma levels in one-tenth increments or by using a slider bar. You can
change the gamma level for all or individual colors (i.e., red, green,
and blue). The default gamma level setting is 1.0.
- To adjust saturation levels, select a layer, then choose Effect >
Image Control > Color Balance (HLS).

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