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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.
Welcome back to another week of DSLR video tips. And Rich, last week, we started our exploration of creating what I refer to as the mythical. >> Yeah. >> Film look. And we had Expert Colors' Dan Moran on who showed us some tips and techniques inside of Da Vinci Resolve. >> Yeah. >> And the thing you know, I think is an interesting discussion point is what do we really mean by the film look? And the cool thing about it is that some people think it's all about contrast. >> Yeah >> Some people think it's all about color or grain, or whatever. Depending on who you ask, you get a different opinion.
>> Well, there's two good things here. One is, is that it is subjective, which means this is an opportunity for creativity. >> Totally. >> Or for you to come up with your own look. The second is, and I'm just going to be blunt here. It's an opportunity for you and the client to spend more time working on the project. And depending upon how you run your company and bill, this is an opportunity to have a little bit more time and to take it that much further. This is that last 5% of the polish that could take 25% of the time. >> Well, yeah, and I also think, you know, the, the, the idea of creating a film look with your video projects is something that, when your new to it, you have the tendency to kind of just want to go over the top.
>> Yeah. >> and just experience like, hey we're going to crush the blacks, make those highlights blown out. Pink, blue, yellow, whatever it may be, and that's cool. Have fun with it. It sort of informs your experience. But I think the other thing that's more practical is a lot of the time a client will come in and give you keywords like. >> Yeah. >> Hey, I want to bleached bypass look. Or, I want to two strip or a three strip, or a cross process type look. >> Well, you work with clients that apparently have more terms than mine. We play the adjective game. We're like, how do you want it to feel? Ooh, kind of crunchy and aggressive. >> LAUGH >> And, and so, we'll, we'll write those things down.
But yeah, if, if you've got a client that knows some of the terminology, get that, otherwise, just play a simple game where they describe the shots. But I do want to bring up one point. You mentioned going too far. One of the tricks that I apply, and I learn this from the photo side, is by you. >> Go really far and dial it back. >> Dial it back, or always keep an unaffected copy around that you can put on top or blend back in, or fade or mix. >> I think that's a really good key point. Especially in video color correction and grading. When you're developing a quote unquote look, is that you always want to be setting yourself up to be able to turn something on.
You like this part of it? Don't like that part of it >> Yeah >> I see a lot of amateur people getting into color going oh, all in one layer or all in one node. >> Yeah. >> I'm going to to do everything. So, when, then, then, there's one thing somebody doesn't like, guess what. >> Boom. >> Yeah, you have to blow it all up and start all over again. And I think that's a really important part. Now this week, we are lucky enough to have a special guest contributor. >> Yeah, yeah. To the series, Patrick Inhofer. Pat is actually an author on lynda.com online library. If you want to learn Adobe speed grade check out his excellent up and running with SpeedGrade CC, where you can learn about all the tools and all the buttons.
But this week Pat's going to guide us to sort of creating a film looking two different ways in SpeedGrade. We're going to first take a look at using sort of more automated tools. He's going to show us using what to look up tables to create that look, and we'll dive in and create a very popular look that clients always ask for the bleached bypass look, and he'll show us how to do that manually some of the things to think about. >> And this is what I'm excited about SpeedGrade. I, I love resolve and I love what it does, but for me in my own shop. Here's the deal. I didn't have to pay anything extra for SpeedGrade, it's in the box and with one or two clicks, I can go from Premier Pro to SpeedGrade to back.
>> Absolutely and, and the guys, i'll give it to them. The whole Adobe team and the way that they've been thinking about color in the last couple of years. An integrated color pipeline and, and making the whole work flow more efficient It's pretty phenomenal. So when we come back in just a moment, I think Rich is going to step out and take maybe a little siesta >> This is, this is week two of me being basically insignificant. I am going to let the experts do their thing, and I am just going to stand on the sidelines and watch and go, oh, I like that. That's good. That's okay, you don't have to be perfect in all aspects of creativity.
I'm going to perfect at looking at the monitor right now and, and let the experts do their thing.
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