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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.
So Pat, just a moment ago, we took a look at using Adobe Speed Grade CC and some fabulous new built-in tools, namely the sort of film sock emulation tools inside of Speed Grade, which, by the way, I think are pretty cool. They add a lot of depth to the image, lot of filmic feel to it, but inevitably what's going to happen is a client's going to come in and go, no, I don't want to use presets. I want you to kind of create my look, right? >> Yep. >> And i-, in my experience, clients would say, can I, can we create a bleach bypass look or a two strip or a three strip sort of Technicolor look? And, you know, those words that clients use, they're often times, they're kind of looks that they've seen or at least heard buzz words from, right? >> Yeah, yeah, so Saving Private Ryan >> Right.
>> or I think of Technicolor three strip, those big like musicals, really colorful musicals, right? >> Yep. >> And those tend to refer to chemical processes, right? I mean the three strip process was a very, very specific process, developed during a very speci-, specific period of time. Same thing with cross processing and >> Yep. Totally. >> stuff like that right? And so people are always looking for ways to do this digitally, right? because we don't have, I can't, I can't wash this in a chemical bath. >> Hm. >> Right? So it's actually kind of difficult to do, right? >> Well yeah, and, and, and I think don't, one of the things that clients often use words that might not not kind of understand.
>> Yeah. >> So one of things I'm always trying to do, is not necessarily tie in to the exact, you know, key on their exact words. But that sort of style >> Yeah, you wan, you want to get the feel out of it, right? >> Right. So, let me just play client for a second. >> Yeah, sure. >> I'm coming in and I'm looking at the shots that we we got out in the field with the, the fabulous Jason Massey. It's cool. It's a tight closeup that we looked at just a moment ago, as well. And it's kind of screaming to me high contrast, and I'm the client and I'm going, I want a bleached bypass look, right? Climate type look. >> Yeah, so the first question I'm going to ask you is are you okay if I blow out the highlights in the clouds? Do you want me to keep that detail or lose it? >> No, I want you to make it as film it, grungy looking as possible.
Do your thing. >> Alright, so now I can get you to bleach bypass. >> Okay. >> Okay. So, what I'm going to do is come in here, and I'm going to start working overall. And I'm going to take a look at my scopes. I'm going to look at where my shadows are and where my highlights are. >> Okay. >> And for the first step, I'm going to expand this out a little bit. I'm actually going to lift up my shadows just a touch. I want to see, what I like to do is just quickly just move it out and see what kind of detail I have in there. >> 'Kay. >> And then I'll bring it back to where I kind of feel like I want it to be. >> Yeah, so you're kind of just seeing where the sweet spot is. >> Yeah, I want to see where the sweet spot is, and then I'll come back down and drop my shadows but I don't want to quite blow them out yet.
And the thing is, you don't have to do everything in one layer. >> Okay, so in other words you might just sort of get the image kind of, in a good starting point with one layer? >> Exactly. Now the one thing I'm not going to do in here is really try to push saturation. >> Okay. >> Right because the bleached by pass look, it's partly kind of a de-saturated look as well. >> Yeah, I want to think about it, I think crushed blacks >> Yeah, >> INAUDIBLE highlights. >> Exactly, >> Not a lot, not a lot of saturation. >> Yeah, now I can do it manually here by adding another layer. >> Okay. >> And I can come in here, now my highlights control, come in here and start working my highlights three way controls in here.
Start blowing that out and kind of do this a little manually, I am allowing some detail to clip out. You see that. >> That's fine, I see the sky is disappearing, I am cool with that. >> Yup, I'm going to come into the shadows now and then I am going to take the mid tones and the shadows and drop them down a little bit. >> Yep. >> I don't want to really clip out that shadow detail because it starts looking clip vid, it gets a little videoy if I do it too far. >> Sure. >> So I will take a little bit there and I'll go to the mid tones and take a little bit out of the mid tones as well. >> Okay. >> Give me a little more there. And now I might come back and say, I want a little touch of color. Maybe we're going to go a little cooler and so overall I'll pull this out and cool it down just a touch as a like a creative choice.
>> Okay. So now I'm playing client again. It's not enough Pat. Go further. Go further. Go further. >> So let's go, let's do this what I might do is then I'm going to turn off this primary now by breaking this into layers. >> huh. >> And doing it steps at a time. The client doesn't quite like that. I can turn off that layer, keep my base grade that I did, >> Gotcha >> So I don't lose that now. And I'm going to come in here, and I'm going to add a custom look layer, >> Kay. >> And there is in fact an effect. And I can come up here and hunt for >> There we go >> Bleach bypass. >> Whoa. >> Now, that's extreme.
>> LAUGH >> That's a look. It's kind of cool, right? >> Right. >> I mean, you know, depending on what you're doing. Number one, it's a music video, right? >> Right. >> So, music videos, you can go anywhere with a music video, right? >> It's true. So, that's a little too much for me. >> Alright. So what I'll, now I'll do is I have to leave this primary I'm not using anymore. >> Okay. >> I'll come down below it and add a new primary. >> Okay. >> Drag it below. Alright, now I'm going to then use this second layer to kind of drive how this bleach bypass works. >> Okay, cool. >> So I'm going to come down here overall, and I'll again, drop down my highlights, and you can see just how clipped are we are in the scopes here.
>> Mm-hm. And as I drop them down you can see more and more detail coming back. >> Okay. >> And then I'll probably have to bring up my mid tones a little bit. And now we're starting to get something. >> Yeah, because what I like about. >> That looks kind of interesting. >> What I like about this is the really flat sky. The really kind of deep shadows that's happening on the subjects hand. Now I'm going to have you do one final step that's going to make me, as the client, really buy into this film work. >> Oh, yeah, yeah, yeah. I know what you're going to ask for. >> I want to a vignette. >> A vignette. Of course. >> I, I want a heavy edge style, you know, lens style vignette. Can you make that happen for me? >> Yeah, and what I'm going to do in here is I'm going to add a new primary layer.
>> Okay. >> And I'm going to come into my masked tools. >> Okay. >> And when I come into my masked tools, I'm going to add a preset mask here that has a soft edge feather. Speed Grade has this nifty widget that allows you to reshape and resize. >> That's cool it's like, it's like a nice big on screen control to do all the kind of transform properties you need to do. >> It is including rotation, and what I'm going to do is try to going to kind of focus on the area that I want to focus on here. >> Cool like it. >> And I'm going to click out the shadow a little bit more, the edge vignette.
>> So it's not so obvious. >> So, whatever I do is going to be feathered. >> Okay got it. >> And now I'm going to come down and in this layers stack I can choose whether I'm going to work on the inside or on the outside. >> Okay. >> And now I'm going to start doing a big move on the gamma mid tones. And I'm working on the inside right now, which is not what I want. >> Right. >> So I can just come over here and click and select outside. >> I see now it's doing the darkening on the outside of the shape. >> Now it's doing the darkening on the outside. And now you start seeing this nice heavy vignette coming in. And I can toggle that on and off so that the client can see the before and after.
It's probably happening too much on the hands there. >> Yeah. Yeah. >> So I can come back and I can reshape this out so that I can. >> Maybe add a little more softening. Or something like that. >> Add a little more softening, make it a little bigger. >> Yeah, there you go. >> Alright and then, softening. A lot of softening will help solve this. >> Very cool. Yeah, I think that's working pretty well. I mean, it definitely is a stylized heavy contrast look, I love the edge vignette, now. >> And I kind of like how the blue's coming out, I don't know about you. >> Yeah, it's really cool. Now, the one thing I just want to be clear about is that there's a million, trillion, bajillion, whatever number you can think of in your head, types of approaches to creating the film look.
And it doesn't matter whether you're using Adobe Speed Grade or you're using tools maybe built into Adobe Premier or you are using the Venture Resolve, really creativity is sort of the only limit here in creating what could be considered a film look. >> Yeah and the one thing, the one thing I'd comment on about creating the film look. One of the challenges of creating a film look. It's easier to get it done on one shot. Try getting it done on multiple shots, right? So the film look, part of the film look, is not only being able to do it once but continue to do that, right? >> Absolutely but we'll save that part for another weeks episode.
Thank you so much for joining us Pat. >> You're welcome Robbie. >> And absolutely go out there and try to create some awesome looks of your own inside of Adobe Speed Grade CC.
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