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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 Rich we're back down here in the studio, I'm ready to take a look at some of our Blackmagic Cinema camera footage. And I gotta say just like looking at the back of the LCD on the camera I was pretty impressed with what I saw... >> Oh yeah. >> Upstairs in the studio and I think this is really going to be an interesting kind of, you know, challenge to see what we think about this footage and how it reacts. >> Yeah I mean, I've been reading lots of different reports I've talked to some of my friends that have been working with this camera. Just due to the sheer file size when you're dealing with some of the RAW files. There are some workflow issues, but we're going to look at these from the point of view of color.
And we're, we're giving this a hard task. We're running the footage off of a USB 3.0 drive. >> That's right. >> Which is sort of the lowest common denominator. There's no raids here, so if the performance isn't up to snuff, I'm going to partially blame equipment. >> Yeah, that's fine. It's always easier to blame the equipment than the operator. And what we have here first, Rich, this is a couple shots of our friend Patrick Inhofer. >> Yeah. >> And we have two shots of him just kind of being a nice model there. There's one, there's the other. >> Yeah. Big difference there between live. >> Right off the bat, you see a big difference. Now, when we were upstairs in the studio, we shot Pat in a couple different ways.
We shot him ProRes, we shot him DNxHD. We shot him also in the video mode, just sort of the regular REC709 video color space. >> Yeah. >> And we also shot him as you see on over in this shot in what Blackmagic calls, Film Mode, which is really a log mode. Now what's the difference between the ways these two react? >> Well, there's two things. Between the Avid DNxHD and the ProRes, the DNxHD was a bit smaller, wasn't it? >> Right, but I mean overall visually they were Pretty much similar and I, I couldn't tell the difference. I mean, even bringing them up on scopes and stuff, >> Yeah >> they seem to be about the same.
The only thing that you notice is the caner, the camera kind of resets itself for a second when you switch codecs. But other than that, I mean, it just really depends on your workflow. If you're in the Avid doing a lot of DNX stuff. >> Or even if you're just PC based, like, you know, >> Absolutely. >> ProRes is really only an encoder on the Mac. It's difficult to get the ability to render the files or create preview files >> On the PC side of things. >> Over on a PC. So I would go with the DNxHD if I was on a PC. >> Right. And for me, you know, everything, all my clients, and most of our workflow is ProRes, so ProRes makes a lot of sense. >> Yeah, yeah,. >> Now, in this case, we shot Pat here in this first shot.
Looking at him in sort of the video mode, and it looks pretty good. >> Yeah. >> If I look at the scopes over here. Here's our exposure, here's 100 IRU right here. >> It's nice and below, I mean, we, we didn't, you know, the nice thing was we had zebra bars on set. >> Yep. >> The whites are nice and clean, he looks pretty good. >> We're right around 100 right there, he's right kind of here in the middle of the scope. Now, you could say I could add a little black level, we do that in color correction, but right out of the camera, just by doing a couple of things, setting my color temperature in the camera, looking at a waveform on set, remember we brought up that waveform monitor. We're getting this looking pretty good, but if I go down to this shot, let's look at the exposure as well, the exposure looks all wrong.
>> Yeah. But it's supposed to be this way, now we're going to cover working with log space more in another episode, but could you just very quickly fix this, I mean, we could do this, either, instead of a LUT, let's just fix it with, maybe a three way color corrector. >> Yeah, totally. And again, just to be clear to everybody, the reason that this looks this way is because one of the things that log does is it attempts to sort of preserve your highlight and shadow detail, by sort of smooshing that contrast down, it's logarithmic recording. So this is not wrong. It's suppose to look like this. >> Yes, this is preserving the highlights and the shadows, this is kind of like HDR shooting, where you overexpose the image to preserve the details and the shadows and you under expose the image.
To preserve the details in the highlights. And, in doing this, it actually is working pretty good. So, when he pulls in the black levels there. >> Yeah, I'll do that and I'll pull out the whites till we're getting right about 100 IRE, somewhere right there. Now, you'll notice that he looks very under saturated. Not a problem, we'll come into our saturation control. I'll just use master saturation. And we'll bump Pat up here quite a bit so we get a little bit more saturation on him. >> Yeah. >> Still kind of, still kind of flat. So I could always come back into my three way color controls up here. Give him a little bit more color.
>> Yeah, but we're going to fix this later using a LUT, which is going to be the fastest way and the desired workflow. But the point is, is that all that info is still there. >> Yeah. I mean, really quickly, I mean, he's not, he's not nearly matching sort of the vibrance of this yet, right? >> Right. >> But its better than... >> Yeah. >> Flat, right? Just to give you a sneak peak we obviously can make the log footage look a ton better we'll show you some workflows with that. So this is Blackmagic Cinema camera footage ProRes video or sort of the film mode. Here's one of my suggestion Rich, is that, if you don't know a lot about color correction, you don't want to have to process those images, you just want to sort of take the approach of a traditional video shoot, >> Yeah.
>> You gotta get it right on set, go with ProRes in the video mode, or DNxHD in the video mode. >> Or, if you're going to be handing it off to somebody else who's not familiar with that, you know, you may want to say to the client, Oh, could I speak with the editor? Oh, we haven't chose an editor yet, or we don't know who's cutting this. You know, you might just want to go safe and give them footage that looks good. I, I really think the log stuff is going to be for the client who specifically asks for it, or who's doing, you know, who's going to be doing a color grade session. >> Yeah. I mean, when, because when you get this, this flat stuff, it's going to be, I mean, just by the nature of it, it's just going to need a little bit more work.
So, it's more work, but just keep in mind, if you want the most out of your image, and also to sort of conserve file space, then ProRes or DNxHD on the cinema camera shot in the film mode, is going to give you the most flexibility and leverage later on in post.
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