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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.
Okay, so Dan, just a moment ago, we did sort of the automated approach to creating a film look. >> Yeah. >> Now, to be clear, we just kind of set up the overall contrast of this, kind of a, kind of a high contrast, bleach bypassy look. I could go and do more things to make this more filmic. >> Oh, yeah. >> I could add vignettes. I could key out the guitar. >> Oh, yeah. >> I could do all sorts of fun stuff. Why don't you show us, how to do this, in the manual way right. >> Yeah, yeah. >> because a lot of times, you know, clients will go, I don't want anything that's pre-built. >> Yeah, yeah. >> because I don't want my footage to look like the other guy's footage. >> Yeah, yeah exactly. >> So you're going to be asked to do this from scratch so how would you start with the shot? >> So that's a really good point actually.
One thing I would like to, give anyone advice on if you are trying to make a unique crazy look just break the rules. >> Mm. >> Like that's why I'm going to go straight to the curves. >> 'Kay. >> So I've reset my image. And again I'm going to add another layer, so we're going to use another nodes. >> And a lot of people are obviously familiar with curves you have curves in Photoshop and AfterEffects, and the principles exactly the same here in the venture resolve. >> Yeah, so traditionally you don't want to mess with your black point and your white points. >> Mm-hm. >> But I find really cool look where I'm, where I'm grading at the moment just to make it look like a really kind of bad film print. >> Okay. But without going for scratches and you know, your traditional plugins over the top.
>> Yeah. So like a bad film transfer almost? >> Yeah exactly. >> Like 70s esk kind of thing right sure. >> So normally what I do is you add, you know, your kind of normal points as if you were doing like an S curve or something like that. >> Mm-hm. And then you scoop your black up. Now, as I do this, you'll see just kind of along here, see the way the texture is completely changing? >> Yeah, it gets very flat, very, kind of, muddy almost. >> Yeah, so we're, I mean I'm messing the image up, but, you know? I, I've got the license to do it at this stage. >> Sure! >> And what you can do is you, I don't intend to do it to the highlights, because highlight detail always makes it look a little bit more expensive.
>> Okay >> So, you can do it on the opposite end and you get the same kind of texture, but. >> Gotcha >> Let's just go straight on this. >> Okay. >> And then that's our like starting point, so if I just make it full screen so you can check it out. >> Yup. >> Then we can go crazy. >> Yup. >> So first thing I'll probably do is add some saturation, like you want to over-saturate it so you get like kind of a, like almost the opposite of a bleach bypass overloaded. >> Yea almost like almost like a Kodachrome kind of like seventies look on it, okay. >> And then If you want to do, you know lets just take it to 11. We'll add a note at the end, so I'm going to do appended notes which just goes at the very end.
>> Okay, great. >> And you know I like these I'm going to use my YS effects. >> Now this is a very unique feature inside of Resolve. And what does YS effects really mean? >> It's the kind of tool that when you use it, you go, oh god. >> Yeah. That's how most of the time I use it. >> Yeah. >> Now one of my favorite, you know, this thing is where you were going to go, is that everybody always asks me these days, besides the film look, they're like. Can you make it look a little more instagram-y? Right? And think of the YSFX controls as the instagram control. >> Instagram in a can.
>> Instagram in a can. I like it. So, show us how it works. >> The first thing you want to do is go to your curves again. You want to un gang them, as we don't, like invert your whole image. I always go straight for the blue channel. Blue is the prettiest I think. >> Okay, okay. >> What you do is, see this white arrow here, you want to grab it and slide it. So, see the way we're getting kind of purple in the shadows. >> So, because we. So because we're in the blue channel, when we drag that down, we're adding in color kind of from the opposite side of the color wheel? >> Yeah, yeah, exactly. So if we do it to the green, you can see we're getting some crazy pinks and red should be kind of like a cyan and blue.
>> And I'm guessing if you did it to the lumen channel, you'd kind of get like an x-ray kind of type effect. >> We're going back to the 80s. >> Oh, yeah, there we go, love it. Okay, cool. >> So yeah, like it's always good to just give it a little bit of this so you get like a nice warm look. Maybe you want to take it pinker. >> Yeah and I, I think, do you ever get that kind of look. That's really cool looking I mean. It has a flat look, that sort of yellow-y type, kind of, little bit in the pink highlights that you did there. >> Yeah. >> Gives me the impression of like a 70s type film right? And i think that there's a couple of different ways that you can create the film look. One is with contrast as they ended with the lot where we had it in the previous movie, and here with the curves raising that.
>> Yea, exactly. >> And then, using a little bit of outside the box thinking whether you did it with heavy color push of the highlights or the shadows. >> Yeah, yeah. >> Or if you have unique tool like resolve has with ysfx you can really easily create a very nice filmic look. Let's play this back one more time and take a look. Yeah, that's look pretty cool. >> It looks at least very, very different. >> Awesome. Thanks for watching.
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