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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, Rob I, I like that direct link workflow. >> It's cool, right? >> Yeah. And I could see that being very beneficial but I also know that not everyone who edits in my facility is going to have that skill. Or maybe I just want to preset that I can use all the time for my Black Magic footage. >> Right. And, to be clear, it doesn't have to be just Black Magic footage. It could be Arri Alexa, it could be, it doesn't even have to be a log to, to linear workflow. It could be, I wanted to create a nice warm look. >> Sure >> Or a really nice cool look, or a look with a heavy edge in the air. And you don't know anything about color correction, I want to be able to pass that look off to you so that you can use it whenever you want.
>> I almost feel like I should be offended but I know that you're just using an illustrative thing. >> Yes. >> But compared to Rob, I don't know anything about color correction. >> Right. So here's, you know, before we started in Premiere, we direct-linked this over to SpeedGrade. Actually what I'm going to do now is start actually in Speed Grade. And this is important distinction now in SpeedGrade 7.1 and premiere 7.1, is that Speed Grade can operate in two different ways. It can operate in the direct link workflow where large portions of the interface are basically grayed out and you're not doing anything with them. >> Right because what it's trying to do there is only generate, eh, eh, essentially it's eliminating the SpeedGrade interface to only the things that can be handled in a lut, right? >> Or, not just a, no, not just a lut, but just in that, that, in that work flow between Premiere because remember again what we're doing is we're running Premiere inside of SpeedGrade.
>> So there's certain features, some of the more advanced features that are turned off. >> Correct. >> Okay. >> But in this case because I started SpeedGrade from scratch, what I'm going to actually do is create a new SpeedGrade RICP project. This is a way of opening and running SpeedGrade as a stand alone tool that has nothing to do with Premiere at this point in time. Okay so I'm going to start a new, SpeedGrade project and what I'm going to do is navigate over here in desktop view but I actually have a shot of, Jason Macey our, our, our music star here that we recorded earlier. I'm just going to double click on him. Load him up into my project, I'll press D on my keyboard.
>> Okay. >> And here you can see, yes again once he is, he's pretty flat. Yeah. >> He needs, he needs a little help. Now if I come back down here to my Look tab, you'll notice that I have other options available now. Timeline, Clip, Look. Some of these tabs that weren't available prior, in previous, previously when we showed the workflow between Premiere and SpeedGrade. Again that's because, I'm using SpeedGrade as, a standalone tool. I'm going to do the exact same thing that I did before. I'm going to come down here and click on the Plus button to add a custom look layer. >> Yep. >> I'll come to lut. And remember that gives me a weird kind of response there? >> Yep.
>> I'm going to come up and I'm going to shoot Pro Res, cause I know we shouldput Pro Res on a pocket cinema camera here so I'll choose that profile. And just a second, yeah, making it a little bit better, again, if I toggle that on and off. You can see that yeah. >> Yeah. >> It did some, some leveled transform, but we want to do a little bit more with that so let me go ahead and slip in a primary layer. We'll take those whites here in my overall category and blow them out just a little bit, not too much. I'm going to let it go, let it bloom a little bit, and maybe bring my midtones up, there we go. >> And a little more contrast in the blacks. >> Yeah, I'll lower my blacks, let me add some saturation here first, get that guitar nice.
>> Yeah, and remember folks as you brighten up an image, you typically need to put more saturation in and with the log space, you are going to need more saturation. It's pretty much a given. >> That's right. >> And just keep in mind, the one weird thing about SpeedGrade is that it's not a traditional lift gamma gain model. This control right here, which is called an off set actually tweaks the majority of the image. So it's just one of those things where you're getting into and you're thinking that this is a blacks control. It's really not. It's an off set control. So if I go and say just for the fun of it, make this pink, you'll notice that it makes not just the blacks pink, it's making the the whole image kind of pink.
>> On behalf of musicians everywhere I'm offended by your grade. >> Yeah so I'm going to go ahead and reset that. So let's just say that I got this in a remotely good place. I want to do one more thing with it. I know that everything that we're going to shoot in this scene, I don't know, let's just say I want to have, an edge vignette. >> Sure. >> I want a kind of a, a black edge vignette there. So I'm going to add a new primary layer here, by clicking the plus P button. I'm going to come over here to my Mask controls, right here. And I'm going to go ahead and add a new, aptly named. >> Yeah. >> Yep. >> Mask. And we'll click on that. And then using this on-screen control here, I'm going to go ahead and just size it up a little bit.
We'll expand it out just a touch like that. >> Yeah. >> Soften the edges out. Do that a little bit more. >> And then do a little exposure pulldown. >> Yeah. So then we'll come back out, and I'm going to use these controls down here on my layer stack. This one right now says, hey the mask is just not doing anything really. Do I want to affect the inside of the mask or do I want to affect the outside of the mask? So I'm going to go to the outside of the mask, come into my overall gain control and just tuck that down just a little bit >> Yeah. >> Just to give it some, a little bit of edge vignette. >> Okay. >> So, I'm happy with this. >> Yeah. >> I mean, that's not a beautiful look, but it's there.
>> No, it's a nice simple good base exposure >> Yeah. >> That would be very useful to all log footage. >> Totally. So here's what I'm going to do now. Down here at the bottom of the interface, you'll notice all these various tabs. And if I actually click on this little button right here, I can go into mini mode or my full mode of what's called my Look Manager. >> Okay. >> And if I flip through some of these tabs, you'll notice that these are actually looks that you might have seen somewhere else. Rich, where have you seen these? >> Oh, over in the elementary browser in Premiere Prompt. >> Exactly. And these are preset looks that, the SpeedGrade team has developed for things like film stocks or desaturated looks or whatever.
And what I can do is using sort of the file tree over here, I can click on one of these tabs and then navigate to wherever I want to save my .look file. >> 'Kay. >> So I'm going to .look file just out to my desktop which. >> Right. >> Which is fine but I could create a new folder or whatever. One little trick, don't get frustrated. Right now you can't actually create new folders from within the application. You have to flip back out to the OS level, create the new folder and then pick it. >> Now just a little side trick, I actually target my creative cloud folder. >> Oh that's a good one. Yep. >> So it sinks between my machine so I always have my, my, my luts everywhere I go.
>> That's, that's brilliant. So, I'm just going to save that to my desktop here. And the way I'm going to do that is by clicking on this little button right here. And, and if you look. >> It's got an arrow going to the drive. >> Yeah, it looks like a hard drive, go here, right? >> LAUGH >> So, that's my save.look file. I'll save it. And you'll notice, here it is, right there, save.look. >> Yep. >> And I'm just going to go ahead and rename this. Okay. >> Yep. >> So now if I go out, and let's automatically save for a moment, just hide this for a second. We'll hide Premiere Pro as well. And take a look here at my desktop. There it is right there, a lock in version, and it actually saved a little thumbnail of it, of it as well.
At this point, Rich, I could just hand this, this .look file off, you won't even have to include the JPEG, and hand it off to you, other team members, whatever, but how do we actually use this is the real question? So, let me come back into Premiere here. >> I usually use an adjustment layer. Do you prefer that or do you direct to the clip? >> Eh, it's six and one half to the other, if you're going to do a whole scene, it might be useful to do an adjustment layer. >> Yeah, I sometimes find it helpful because if I can't modify the lot sometimes it's so close, but the client's like, oh it's a little too strong. I could back it off just a little. >> That's, that's a good point.
We'll do it both ways right? Here, so here I have the same shot with Jason playing earlier right? >> Yeah, yeah. >> And what I'm going to do is come over to my effects, tab here, and let's just search for lumetri. Right? And there it is. It's in the Color Correction Video Effects category. >> Yep. >> And I'm going to take the lumetri effect and drag it onto this clip. Directly apply it to the clip. And when I do, all of a sudden Premiere pops up and says, okay, >> Choose a look. >> Where's the .look file that you want to work with? So I'll go to the Desktop, choose that look, click open and in just a second, it's.
>> Nice. >> Applied that look with a vignette and with everything applied to it. >> So, Rob, we've applied this look here. >> Yeah. >> My concern any time a file navigation box comes up is that I've gotta like. >> Managing more files, all kinds of stuff. >> Yeah. Where do I put that? >> Yeah. So, like if you move to another system and it wasn't there, but you had already applied it to the clip, it's going to stay with the clip. >> Okay. >> However, just the next time that you want to use it, really, you're going to need to recreate it or find it. And actually, the same thing goes true with what if you want to make a change. That's what somebody asks all the time. >> Yeah. >> Like, hey, you know what, we were too heavy on the vignette. I want to lighten that vignette. What you're going to have to do is go back over to SpeedGrade, save a new look or overwrite the existing look and then reapply it to the shot.
And the way that you would do that is simply come up to the effects controls, click on the set up button which once again says hey where is your .look file? >> Yeah. >> And just like you said, I think it's the creative cloud folders a good way of doing this. But also stay organized. Things like, warm looks, cool looks, you know, utility looks like this would be like a, like a conversion. And the beautiful thing about this is that yeah, it's not maybe as seamless as the direct link work flow, but it gives you a little bit more flexibility because you can have sort of a library of looks that you develop. And any time you want to apply them, just apply them directly to the clip, or as you said, we could always simply come down inside of our, project panel here, click on the new item button and do a a new adjustment layer.
>> Yeah, and that absolutely works, just put it above and apply the information. >> Right, you can apply above a whole scene, stretch it out however you want. >> Yeah. >> And you could apply it the, the .look file with the lumetri effect to that adjustment layer as well. >> Well this is very exciting and we are seeing looks and lots pop up in more and more places. Though throughout the entire Adobe workflow, you got Photoshop, AfterEffects, and Premiere, and of course SpeedGrade, you got this workflow over in Divinci Resolve. >> Oh yeah, yeah. >> And we, we also have third party utilities like Luck Buddy from Magic Bullet which is also bringing it into even more systems.
So I think that this is going to be a primary way that you're going to want to start thinking about working with color grading. Well I'd like to thank you for joining us, I hope you found this week's episode helpful and you're going to see more and more log footage popping up in your productions.
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