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So, Rich, we just came down to our studio. >> Yeah. >> To talk about sort of the post side of matching shots. And when we were shooting earlier, we kind of got it close, right? >> Yeah, we got the settings lined up. >> Yeah, we got the settings lined up, we looked at the waveform monitor. We got the exposure just about right. And when we were in the studio, we said really close we would like to actually get it a little closer. >> Mm-hm. >> But we were rushed so we didn't spend the time and I think that's actually a key point now I want to 99.9% of the time not resort to I'm going to fix it in post right.
>> Yeah you hate to say that as a post guy. >> Right. >> But its close. >> But sometimes you need to get to 98% and see what's there so we actually have the shot. Of Pat Patrick Inhofer, a friend of ours. Colorist who's actually going to join us in just a moment to actually match these shots even better. >> Yeah. And, and this is him, when you applied the actual video LUT in camera. >> Wait. So I was on a Blackmagic Cinema Camera. Shooting ProRes. And sort of in the sort of rack 7 or 9 or sort of the video mode if you will on the camera. >> Yeah, yeah that looked pretty good and you know you shot that two different Kodak's I don't see any major changes between the Kodak's.
>> Yeah one is ProRes one is DNXHD. >> Pretty close. >> There, there about equivalent the azazure. >> And there's the log file. >> Yeah now obviously the log files going to look a ton different right it looks like its shot wrong. Nothing wrong with it, as we discussed in, in in previous episodes and as well as when we were up in the studio. When you're shooting log, you're just going to get that nice flat desaturated look. The way it's supposed to look. >> Yeah. And we got a whole episode all about working with log files. >> Yeah. >> So we're not going to worry about that today. >> Right. >> But let's compare that to the pocket camera. >> Okay. >> Which was a smaller sensor.
>> Yup. >> So, you know, let me load up the log version of the pocket camera. And in here's the thing that's interesting, there's my log file, there's your log file. >> Those are relatively close. >> I think they're extremely close. More so than here is your video look. >> Yep. >> Right? Really rich and saturated. >> Yep. This is the video lookout of the pocket camera. I mean think about it, these cameras were manufactured at different times. Depending on firmware. We didn't, that's the one thing we didn't actually check when we were in the city yesterday. >> Mine was the latest one.
>> I might have been a version behind, who knows. But no they, they are off. But the thing about it that I'm noticing. Is that I'm not completely off right yeah our background is still our background its still nice and blown out. Overall exposure looks to be accurate I can put it up on some scopes we'll let Pat do that in a moment when he joins us what looks to be about the same. What I'm noticing is that the saturation seems to be a little off and I'm not surprised about that this is a different sensor we were using different glass. >> Yeah. >> You were using a native MFT glass on your pocket camera. I was using a Nikon Mount cinema style glass.
It could just have better contrast and better saturation just in the lens even. >> Yes, yes I think the best thing here that I'd love to see I'm going to get out of here and let you guys take a stab at this. >> Okay. >> I'd love to see you put the two, log files head to head. >> Okay. >> And match those really quick and then in the second movie, go ahead and take the two video looks and see how quick you can get these to match. >> So join, join us back in a second. We'll bring back Patrick Inhoffer. Lynda.com author onto the set here and he'll help us mash these shots together.
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