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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Hi. My name's Rich Harrington. >> And I'm Robbie Carman. >> And welcome to this week's episode of DSLR Video Tips. Rob, I'm really excited because. >> Yep. >> We always cover production. >> Yeah. >> But we finally got some time and some great experts to help us with post production. >> Well yeah, you know the thing is, we know a lot, but we don't know everything. And it's always really cool to get some outside perspective. And the topic that we're trying to cover this week and probably in another week, on another week's episode. >> Yeah. >> Is the idea of creating a film look. It's the sort of mythical unicornesque. >> LAUGH Yes.
>> Type. >> The client is like could you make it look like film. I'm like that's easy, let's shoot on film. No, we can't afford that. >> Right. And then in a way, and what's so funny about this to me Rich is that we've gone, like, this has been decades, right? >> Yeah. >> I remember, you know, a decade ago, everybody was like, 24p, 24p, 24p. And now that everything can shoot 24p, everybody's like, grain, grain, grain, you know. >> Right, vignette. >> Yeah. And so it's a very challenging thing. It's a very elusive thing. But you're right, we've sort of employed some friends of ours, some expert colorists to sort of come in and give us a very quick, but detailed, sort of look at creating a film look in various apps.
>> And, and I want folks to feel confident here. See, the whole idea is that whether you work in production or post, the more you understand about both sides of the equation, the better off you're going to be when shooting. And some of you are Jack and Janes of all trades and have to do both. So we're going to use this sort of as an entryway. You might be so, we'll I don't need a film look, but think of it as an introduction to color grading. Or how to take a digital image and give it more of an analog or a traditional look. Alright, there are two major apps that are used for this sort of task that are used at the high-end of the pro market, but they're both become more accessible.
Rob, what are those apps and, and why do so many more people have them? >> Yeah, that's going to be Da Vinci Resolve, from Black Magic. And Da Vinci Resolve Used to be an application that cost hundreds, if not millions of dollars. >> Yeah. >> And now essentially you can get it for the low, low price of 9.95 for the full version, or better yet, free. >> Free. >> Which is always nice. And then Adobe SpeedGrade, which used to be Iridas SpeedGrade, which was a similarly priced application. >> Yeah. >> High level professional tool, and its now included as part of Adobe's Creative Cloud. So if you have a creative cloud membership, you have Adobe SpeedGrade. >> Which is not free, but chances are if you were already using After Effects Premiere or Photoshop, you don't have to pay anything extra for this.
So my feeling here is lets take a good look at these two apps. Who are you going to dig in with first? >> I think we're going to dig into DaVinci Resolve with Dan Moran. Dan Moran is a London based colorist. >> Okay. >> At Smoke and MIrrors, a big post shop over there in London. And Dan has a, a wide breadth of experience creating commercials, music videos, especially where people are always asking him to do crazy, filmic type stuff. And I think he has a, really kind of a unique perspective on this. And we'll take a look at using, doing two things. Sort of doing it in an automated way, with lookup tables and some presets.
And then of course, we'll dive in there manually and build a film type look on our own. >> Alright well, I'm going to step out of the way because we're pretty broad shouldered, and I feel really bad for Dan. I'll i'm going to be doin is going, that looks nice. >> LAUGH >> That looks good. So, for me, so long. I'll see you guys in the next week. I'm going to get out of here and let Robbie dig in deep to some fun color grading.
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