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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.
Rob, throughout the years you've probably used a Tiffen filter on a shot, whether a photo or a still. Anything come to mind, some of their Hallmark glass filters? >> Yeah, I mean they have a lot of I like the graduated filters that they have, some of the warming filters, but even, you know, as simple as >> The ever popular pro mist. >> Pro mist, or even something as simple as like a haze reduction filter, which a lot of people just on the camera lens just to kind of protect the the front element. >> Yeah, and, and the thing is, is that Tiffin went ahead and built a digital suite for both photo and video.
>> Yeah. >> That literally is an exact digital version of their physical filters. >> It, it's awesome you know, I had a lot of times where, you know, when I, when you first showed me this, I was just like, whoa. I spend you know, five, ten minutes doing that and you just selected one thing and it just did that, which is pretty cool. >> Yeah so let's take a look at some of the major things. We'll start by using a few of their corrective filters. >> Yep. >> Then we'll do some stylizing shots. >> Cool. Let's jump in. >> So we'll go over to effects here, and they have a lot of folders. >> Yep. >> You know all the word Tiffin making it a bit easier, and they're really kind of organized along this idea of.
Film lab for looks. >> Yep. >> You mentioned diffusion. >> Yep. >> What's diffusion usually used for? >> kind of softening things out, taking the edge detail off of things and improving kind of the organic softness of a shot. >> Yeah, and then they have some gradation for working with things like skylines and the darkening of part, you know, the overall image, so we can do things like simply change the F-stop in post. So, literally the idea here is you apply the effect, and then you decide that you simply want to change it and so we can go ahead, gang the exposure and pull the exposure down a little bit and it's just trying to basically stop down.
>> Right. Sure. >> Or stop up. >> Sure. >> And it's interesting in that notice how the highlights tend to bloom a little bit more. >> Well, exposure because it's sort of a non-linear kind of math when involved in an exposure, you know what I'm saying? >> Yeah. >> And so this doesn't, this is different than just taking a contrast slider and going You know, it's sort of taking the overall image and doing that sort of in a logarithmic way. >> Yeah, and there are other options in here like I really like Ozone for doing a black and white adjustment if you ever find yourself. Wanting to work in this. This allows you to basically adjust the zones independently.
>> Mm. Even down to the colors, yeah. >> So, you can do the zone system, which was made popular by Ansel Adams actually, and that's basically what that is for mm-hm, color grading. But let's, let's start getting right into sort of that film look. So, I'm going to start by going into the lens category here a little bit. >> Okay. >> Start to do one of those classic things right away. A vignette. >> Mm-hm. >> And, I you know, it's little strong to begin with, so what would you typically do to a vignette to soften it a bit? >> Yeah, so the first thing I'd probably lower the overall opacity on it, so I don't have just a black hole.
>> Right. >> You know, looks like I'm looking through the end of a lens. I might also play with the kind of the blur sometimes depending on the subject you might want a little blur on the outside sometimes not. That's, that also helps. >> I'm just refining the brightness inside the center there with the f stop, so, we can reposition this as well and moving it so it's a little more over our subject, correct. >> Yeah, and that's one of the things I was going to say is that I'm not the biggest fan in the world of kind of just stock edge vignettes, right? I like to make them motivated by what's going on in the scene, right? So whether I have a light source, or I'm trying to put some attention on a subject, I like to move with them so I'm not having sort of just the same, sort of canned look all the time.
>> Okay. So if we click that centre target there, it brings that up or we can actually adjust the shape down here. And this is where we can adjust the overall size, the position, and we can sort of nudge that so it's more over our subject. >> Right and just think about going out from the sort of circle default. Having things that are more oblong, stretched across the frame. I'm also a big fan of using what, I can the band technique. >> Mm-hm. >> And you might add this effect multiple times, and have different bands of exposure. >> Okay. >> You know, only the top of the image, the middle of the image, the bottom of the image, to give you a little bit more control over what's going on with the light fall off in your shot.
>> And I do like that you can actually see the shape here if you just want to look at the vignette on it's own. You can actually sort of see it, and there I introduced a little bit of randomness with the distortion. >> Yep. >> So it wasn't a perfect ellipse and that's kind of cool. It really let's you, get in there, and sort of refine that, and we can you know, blur that out a little bit more, but it's working for me. >> Yep. Now, at this point I want to get a little bit heavier and do some stylizing. >> Okay. >> So, we'll go right into sort of the film lab? >> Okay. >> And we'll start with just a simple preset.
>> Okay. >> So, we have the ability, you mentioned a bleach bypass before. >> Yeah, I don't think a bleach bypass is going to work for that great on this particular shot. Let's see what it's some of the film stocks do if they give us a bit more of a texture or feel to this. >> Okay. Well these are sort of meant to be starting points, and you apply it. And the first thing you're going to notice after you apply it is that nothing really happens until you click this button. >> Okay. >> And then it's going to open up a, a Custom User Interface, and we have the ability to sort of grab traditional stocks that are simulating all sort of manufactures.
>> Yeah all these FUJI stocks, these Kodak Stocks, and this is awesome right, because when you talk to a lot of people who actually worked in film. And they're getting fewer and fewer between. >> Yeah >> One of the things that DP's and colorist and color timers really liked is that they got to know these stocks. They now how they reacted in a photo chemical way, and there's no quicker way as far as I'm concerned of getting sort of an image, sort of a feel or look, by emulating some of these stocks that kind of getcha, kind of in the mood. And the cool thing I like about here, in this, in the DFX film stocks, is that you can select a look.
Just like that Kodak Golden Royal 400. Give me a nice 70s feel, but then over on the right I have unbelievable amount of control. Things like how the density is going to work, I'm color correcting the shadows and highlights. What I worry about using presets is that my stuff is going to look like everyone else's stuff, right? Well you can come in here and really tweak what you need to do. >> Yes I can lift the shadows there and I could pull down the contrast a little bit, so it's a little bit less and, tone the brightness down. >> Right. >> And, you know, if I said, oh, that's great but a little more saturated, a little more less saturated.
>> Yeah. I mean, quickly, you can get very very stylist. >> Yeah. And so there's lots of options here. And you'll also notice the ability to sort this based on styles. So, some of the low fine. Are going to be some of those looks that tend to be a little bit more warm and sort of older style versus going for more punchier ones here. And you see that you just gotta whole wide range. And, of course, you can make your own presets very quickly and store them. >> Yep. >> When you're done, you just go ahead and click the Gear button it applies that as a look.
Now, this is one of those effects they're in the process of optimizing this more and more for GPU. These fall into the category of pretty render-intensive, but I like them during the finishing stage. >> Yeah. And keep in mind also that this is, you know, this is interacting with the other effects that we already had on the shot as well.
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