Julien Vallée explores the “After Light”
By Alixandra Rutnik on Apr 09, 2024
Discussing the craft of AI filmmaking with a YG6 winner
So far, my relationship with AI is pretty weak; I’ve only bounced around between asking ChatGPT dumb questions and clicking on HubSpot’s AI lighting symbol to rewrite, expand, or change the tone of my emails. AI is the latest “it” tool for pretty much everything, and some people are embracing the new technology more than others.
Director, Designer, and YG6 winner Julien Vallée takes us on a deep dive into the craft of AI filmmaking. “After Light” was created by utilizing Runway (we interviewed the co-founder), Midjourney, Luma AI, and Adobe After Effects. Without all of these tools, making this film would have been impossible, so if you’re curious about incorporating AI into your work, Julien gave us the details on how he used AI to make “After Light” happen.
What was your inspiration for making the creative short “After Light?”
The motivation behind creating “After Light” stemmed from our curiosity and fascination with AI generative tools, particularly Runway. The film began as an exploration of these tools, seeking to understand their potential and intricacies. The inspiration evolved from blending unused footage from past productions with new content we shot for it, creating distorted landscapes inhabited by unique characters.
Why did you choose the song “No Loss” by Canon?
The choice of “No Loss” by Canon was likely driven by the energy that emerged from the video. We started by editing some footage of Darren “Outrage” King, a dancer known for his krump and popping skills. We shot him in 2017 while in Los Angeles for a project that unfortunately got shelved. Looking back at this footage and listening to Canon’s track seemed like a very good fit in both the music and dancing rhythm.
Even though the visuals are cut to the music, we consider this an artistic exploration more than a music video. The narrative was driven by the visuals and the music is a great complement to it.
The title “After Light” plays on the phrase “After Life,” suggesting a departure from the conventional and an opening both in the character’s journey of the film and the new approaches in AI filmmaking.
What does “an exploration of our mutable selves” mean to you?
“An exploration of our mutable selves” suggests an investigation into the ever-changing and adaptable nature of humanity. As film directors, this concept likely reflects an openness to evolution and experimentation. Over the years, we have adapted our approach to filmmaking with the different technologies available and adjusted the creative process to elevate the possibilities of productions with these advancements.
“We have adapted our approach to filmmaking with the different technologies available and adjusted the creative process to elevate the possibilities of productions with these advancements.”
“‘After Light’ suggests that even though we may be losing parts of our intrinsic nature to artificial influences, we are also on the brink of a new kind of existence - one that we are just beginning to grasp.” Let’s dive deeper into this statement.
The statement reflects a dual perspective on the impact of AI on human lifestyles, work, creativity, production, etc. On one hand, there is a recognition that certain aspects of our intrinsic nature may be influenced or altered by the emergence and integration of these new tools deep into our lifestyle. This could include shifts in creative expression, decision-making, or even perceptions of reality.
In a decade or less, discussions about the novelty of these tools will likely fade, and the acceptance of these tools with our current way of life, with or without, won’t be as prominent. Maybe the distinction between creating something with or without AI won’t hold the same significance as it does today. Much like how we currently assess digital art alongside traditional paintings, these remain human individual sensitivity.
I think the role of AI in the creative process is poised to integrate seamlessly into the array of tools we employ in the future. Much like the array of media we consume today, the question won’t always be, “How is this made?” or “Who made it?” but “Does it touch me?” and “Do I resonate with the idea?” — emphasizing the emotional and conceptual impact over the method of creation.
The gains from AI tools already start to encompass the ability to explore creative ideas that were once constrained by production costs, like this “After Light” piece. It offered filmmakers like us the opportunity to bring this project to life in ways that wouldn’t be possible only one year ago. The evolving landscape of AI in filmmaking opens up possibilities for storytelling and visual exploration that were previously unattainable for most of us.
“The evolving landscape of AI in filmmaking opens up possibilities for storytelling and visual exploration that were previously unattainable for most of us.”
What were the bare bones of this film, and how did you build on them?
When we started creating this piece, we were in a phase of exploration, which somehow turned out to be way more playful and hands on, reminiscent of our early days. Eve (Duhamel) and I, rooted in a background of handcrafted visuals and visual art, were accustomed to crafting most visual effects in-camera, utilizing post-production as a tool to enhance or connect footage elements.
The process of crafting “After Light” closely mirrored our traditional methods, as surprising as it can sound. We pieced together daily-captured footage in sync with the evolution of our timeline. For instance, consider the scene featuring a car floating on water with a character dancing on it. We used Midjourney to render the car scene.
On the same day, we shot myself on a white wall at the studio, using an iPhone and natural light. After a rough comp in After Effects, we ran the composition through Runway to experiment with various visual styles. I can’t imagine how much money, time, and resources it would take to capture a scene like that. Frankly, we would still be dreaming about it, and the idea would have died in the pages of our sketchbook.
“I can’t imagine how much money, time, and resources it would take to capture a scene like that. Frankly, we would still be dreaming about it, and the idea would have died in the pages of our sketchbook.”
In other scenes, like the spiraling camera above a car, we employed the Luma AI app. I stepped out of the studio, went next block, and shot a car in a parking lot with my phone. Using the software, I animated a camera sequence starting with a match cut of the previous car scene and spiraling into the air. On the same day, we generated different visual styles in Runway and were able to create the scene. We then generated different visual styles in Runway and were done with them within the same day.
It’s a little hard to determine precisely how long it took to create the piece, given that 25-30% of the video footage we used is issued from unused or repurposed footage from our previous projects. But from the moment we started working on it to completion, it took roughly three to four weeks.
Underneath each scene, there is either a piece of footage with dancers or actors that we shot, then comped together using traditional filming techniques. The visual aspect was developed afterward, mostly through Runway and Midjourney. We employed our past projects as a reference for the AI tools, providing insights into color palettes, textures, and patterns frequently featured in our work. This served as a means to align it with our existing body of work.
You were Young Guns 6, and we are coming up on Young Guns 22! How has the growing Young Guns community benefited you and your career over all these years?
Well, this certainly doesn’t turn back the clock! Joining Young Guns marked the beginning of my career and offered a platform that significantly boosted my visibility within the creative community. This interview is also a testament to the continued impact of Young Guns on my career, and I truly appreciate it. I remain genuinely honored and proud to be part of this group alongside an ever-growing roster of exceptional talents that grows year after year!
What are you filming now?
We just finished a six month long production for the global campaign of Coach “Find your Courage.” We are now starting to work on another passion project, this time for the OFFF Festival that is held in Barcelona every April!
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