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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.
>> Now you saw us do some traditional stock emulation. >> Hm. >> And there's a ton more of packages, filters within this package. But one of the ones that I find really liberating is just called Looks. And it's kind of. >> Aptly named. >> Yeah, it's just basically like, and I hate to admit it, but there are times when you or the client have no idea what they want. >> Well yeah, I mean I think that's important, I mean, I, we were just talking about, before we started recording this movie, Rich, about the new Robert Rodriguez movie. >> Yeah. >> Machete, where Robert Rodriguez was using, you know, basically his, NLE and color correcting, using maybe Tiffin or something else, you know, Magic Bullet, or something, and going in there, and then handing off those looks to his colorist, and saying, hey this is kind of what I want it to look like.
>> Yeah. >> So there's a lot of back and forth like that sometimes too. >> And so when I open up the Looks here, it's going to hand it off to a new interface. And now, these are kind of organized in words that clients use. Like why don't you drive for a moment, I'll >> Right, yeah, you know, so, so somebody will say something like, oh, I, you know, I really like black and white, but I don't, I want it to be a little bit more serious. Or you mean like, cool black and white, right? or, you know, they'll say things like I want a high con, that's what it means, a high contrast look. >> Yeah. >> And you have contrast cyan, purple, that kind of stuff.
This is amazingly powerful for getting ideas started. So, if somebody comes in, and he goes, you know, look, I like that kind of serious, kind of blue look. >> Yeah. >> I like some of the diffusion here. I go, okay, that's cool. Then let me come over here to prime parameters and maybe we're doing things like, I'm adding in I, I don't like that particular color blue so I'll come into the gel and we're going to make that gel a little darker. Maybe a little deeper. I'll click OK. >> Yeah. It updates. >> And it updates. Right, so, again you can use these as a great starting point for the discussion. Come over to the parameters and tweak them. And the other thing about them, Rich, is that there's just dozens of them.
>> Yes >> You know what I'm saying? It's just like. >> And you can make your own. >> Right. Exactly. So, I mean I think as a plug-in package the Tiffen DFX plug-ins, which, you know, which work in a lot of things, not just Premiere, you know. >> Yeah. Avid, Final Cut. >> Right. Are amazing for sort of boosting that creativity, and again, when we're talking about this idea of developing shots, sort of, you know, grading them, film looks, that kind of stuff. The thing that I most love about all of the DFX filters is that it gets you thinking outside of the box. Or at least gives you some creative inspiration. >> Yeah, and I got one more thing before we leave this that.
>> Yep. >> I want to show. Let's just give this a nice basic white diffusion level. >> 'Kay. Sort of soft look. That is the craziest thing about this plugin. They have a whole lighting package. Now, this is going to just a second as it updates. >> Mm-hm. >> Yeah, the hand off is not the fastest in the world, but let's come up here to the lighting category. And they have the ability to basically relight the scene. >> Yeah, this is amazing. Everything from flags to glows, even gobos. If you wanted get a little, if you want to custom shape like maybe you're doing like sort of a, a film noir movie right.
And you kind of want to get that, that light coming in from the shades hitting the wall. >> Yeah. >> Right, you can do that very easily. >> So when I open that lighting plug in here, you're going to see that what it gives me is the ability to actually pick a gobo, and then you can go ahead and blur that heavily, but I could actually reposition that light. And basically relight our subject, put a little bit of a flare there on his shirt. >> Right, now I don't know if a gobo works particularly well for an outdoor shot like this but I mean it can, it.
>> But blurred heavily, I like it. >> Right, and the point is, is that you're relighting the shot, things that you might not have been able to do because you didn't have the budget, or the time or you, or the equipment out in the field. You can simulate a lot of that stuff, and simulate it very well here inside of the light effects and the DFX package. >> Yeah so you could do some really cool things and of course for indoor shots as well that'll update. And you see there, we just put a little bit of a hit on things. >> Yup. >> And sort of blew it out a bit. And I like that you know. So lots of options, very quick. All of them with the ability to tweak.
And this works well. But of course, this is just one package. >> Lots of em out there. >> Yeah. And we're going to take a look at one more after this that's also quite popular. It's from Magic Bullet, and they have a whole suite of tools. But we'll just take a look at a couple of em.
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