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Color is a powerful signal in video; it can subtly project emotion, mood, time of day, and location. Learn to manipulate these visual elements in a variety of shots, from interior spaces to outside landscapes, with color grading. Filmmaker, colorist, and experienced editor Simon Walker shows how to simulate a light source and different types of light, and choose an evocative color for your footage to tell the story of a particular location. Plus, learn techniques to change the time of day, the type of room, and the overall mood of a location.
Simon works with Adobe Premiere Pro and the Magic Bullet Colorista II and Looks plugins, but these lessons can be applied to any color correction workflow.
One of the nice thing about Magic Bullet Looks is it's extra tools that allow you to do fake depth of field. So, I'm going to choose the Magic Bullet Looks sequence here, and apply it to this clip. I'll just grab the Looks from the set of effects filters and I'll click Edit Look to bring up the Looks builder. Over in the Lens section, we've got a vignette tool. And the Vignette tool with its screen controls, lowers the luma values of the edge of the image to allow us to focus on the subject in the center. Here's the before and after.
But next to it, there is also in the Lens section, an Edge Softness tool. The Edge Softness tool is used in a very similar way as the Vignette. You can change the aspect, and you can move it around the screen. And everything inside the center area of this tool, is not blurred, and everything outside is blurred according to the blur quality amount in the settings. I've always found that the blur size of three is a little too much for this effect, so I tend to reduce it down to one or one and a half.
And the idea is to isolate our individual and just subtly to make the background less interesting to look at and so we're looking at him. Here's the before and after. I'll turn off the Vignette so we can just see the effect. And that's very subtle. You'll can see on the line here that this is without the effect applied. And if I apply it there's a very subtle blur so perhaps I need to increase the amount of blur there to maybe right about two for after.
And deselect the tool so I don't get the onscreen controls. Now I can turn the tool chain off and on. And that's a bit less subtle, but it's easier to see the effect. We'll probably go for somewhere in between one and a half and two say one point seven. But the thing to remember about this effect is that it's not as technically accurate as shooting depth of field in your camera. You can see here that his shoulder is on a similar plane to the side of his face but it's still not in focus here whilst his face is.
And I see this effect all the time on TV shows. Whether it had to work on a budget and work quickly, and this is the trade-off. Somewhere in the line between the most perfect elegant workflow and actually getting the job done in time to transmit the program. When you're on a deadline, every second is precious. So, having access to easy subtle methods like this, of exaggerating depth and focusing interest is extremely useful.
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