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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.
Well, I was finally able to get Rich off the set. And in Rich's place we have the wonderful Patrick Inhofer, colors extraordinaire. And you might actually know Pat from his lynda.com online training title Up and Running with Adobe Speed Grade CC. Now Pat, today we're not actually going to grade some shots inside of Speed Grade but we're going to use >> We are. >> Now, the thing I, I'm trying to kind of throw you for a spin here, right, because I know you're a Speed Grade guy, you know it really well The point is as when it comes to shot matching and analyzing shots, doesn't really matter where you are right? Doesn't matter if you're on your favorite app that you're most comfortable with, or your least favorite app; the process of matching shots and evaluating them is kind of the same.
>> Yeah exactly. I mean even inside an NLE right? If you're just using plugins in an NLE, the process is precisely the same. >> Okay, so we're here inside of resolve and I'm taking a look at two shots that we shot one on the Blackmagic Cinema Camera, and then one on the Blackmagic Pocket Cinema Camera. And now, on these two shots we kind of did our best to set them up in studio but they weren;t perfect. You were so kind to be our stand-in model here. And, I apologize in advance. I know that it's difficult, not only to match shots, but I know, it's exceptionally difficult when you're looking at yourself the entire time. >> Yeah. Look in the mirror. Match and colorize yourself in the mirror.
>> I wanted to make it nice and fun for you. >> Yeah. Thank you. >> So, look in here. Here's the first shot of you shot in the Black Magic Cinema camera. And then, this next shot, on the pocket camera. Now, if I just go back and forth between them. We can tell that they're obviously very flat and that's because we shot pro res in what Black Magic calls the film mode, which is really just what? >> Yeah, the film mode is a flat log profile and it doesn't really matter what Kodak you're shooting in, the film mode will be a, a log, flat profile. >> Correct. >> Lifted black, strutted, dropped highlights. So if we take a look at scopes here.
And we pop them up. And, so we can see as we examine this that it, >> Black's not really black, white's not really white. >> Which means low contrast. >> Right. What, what about the next shot down? Let's take a look at that. >> Oh. >> Very similar I mean we did >> Same thing. >> We did a pretty good job setting them up. I mean they're, they're very similar waveforms. >> Exposure is about the same. I mean, if you look at this top line across here, that's the back sike. >> Yup. >> Just jump between the two shots, the sike is set about the same place. Lacks a set about the same place of the exposures of the same. >> Okay. >> The other interesting thing is as I was sitting back there on the black magic cinema camera you took it out of its native ISO.
>> Right. >> And kicked it up to 800 to match the pocket camera to the big camera and I'm interested to see when we expand this out are we going to get some noise maybe. Some of the highlights by changing that camera setting. >> Okay, so we're in a place where we've sort of evaluated the shots. We know that they're pretty similar to start off. We obviously know that we're going to want to do something to them that sort of gets them out this log, sort of film mode, where everything's very flat, not a lot of saturation. Now when it comes to that, I know that there's kind of two ways of approaching this sort of philosophically, right? >> There are. >> There's sort of the automated way of sort of adding a lookup table to just transform the values from one place to another.
And then there's sort of the more manual way of doing it. Sort of grading it from scratch. Not using the lookup table. Now, I like the manual way but you gotta be honest, it's a little bit more complicated. A few more steps involved in getting these things. And I just want to be able to quickly match these shots. And I want to do that with a lut here in diventure resolve, and it's actually really easy to do that, isn't it? >> Yeah it is. I mean diventure resolve shifts with a bunch of different lutz. I'm going to move these scopes out of, out of the picture so I can see my node. And I'm going to right click on the node and if I come down to 3d lut, it's shipped with all these different lutz for all these different work lutz.
>> Yep, yep, yep. >> The one I'm going to select is the black magic cinema camera film direct 709. >> Okay let's give that a go. >> Ships with diventure resolve. I'll just click it. >> There we go. We've kind of got an instant picture. >> Like, already, that's looking pretty good. Let's see what it looks like on the, on the Black Magic project camera. >> Sure. So, I'll come into shot number two, here. And, and, new, and diventure resolve ten is the equal key will copy from, the prior node. >> Okay. >> The prior shot. So, I've just copied that grade right across to, to shot number two. >> So, already, that's looking a little better.
Now they look pretty close in terms of overall exposure. The one thing I'm noticing though that on the second shot, we have a little bit more yellow and maybe a little bit more of a red color cast >> Yeah. >> Going on in the highlights. That doesn't mean just because I've applied a lut, that I can't fix it manually after I've applied the lut too, right? >> Now that's correct. And one of the things I like to do when I'm color grading is make the picture larger. Whenever I'm in an app that allows me to take it out of a tiny corner of the, of the software and blow that up. That's what I'm going to do so I optioned f here to get that happening. >> Okay. >> I'm also going to blow up my RGB wave forms because I want to take a look at my parade and see if there's any obvious imbalances between the red, green and blue channels >> Okay.
>> As I think about shot matching, alright? And we're back on shot number one. Let's start there. And, you know, one of the things I'm going to do as I try to match up these shots is, the first thing I'm going to do is I'm going to put this white sike at 100. >> Okay, let's do it. >> Alright? There we go. Pulling that out, clipping that out, on the same node that I'm working In the lot, and let me lift this up a touch so I can see my blacks, there. Drop down my shadows a touch. And I do have a black shirt on, so I'm thinking that that black should be black. >> Yeah. >> You don't always have to put black on black.
>> But that looks, that looks pretty good. >> All right, and now let's go to the next shot.And we're going to do the same thing. Get that white to white. >> Get that white to white. >> Okay. >> And get that black to black. >> Cool. That's already looking much better. >> It is. And I bounce between them and still there's a bit of a yellowish wash on shot number two. >> Right. >> I come back to shot number one, it's probably a little duller. First thing I"m going to do is, I like to work with saturation before I start working with my color channels. >> Alright, let's see it. >> So, woah, way too much. Back it off and that's not a bad thing to do and make really big moves and then find the sweet spot.
>> Okay. >> Come back here and I actually like the skin tones on this one a little bit better. They seem a little bit more natural. >> So, Pat I think these are looking pretty good. Let's just take a look at this last shot. The only thing that I think we should do here to get this matching better is to maybe just come into our three way controls here, I'm going to come into the gain control. And just a little bit of that red highlight in there. Let's go back and forth between those. And maybe I took out much. Let's see that. Yeah, and I think that's not perfect but we're looking a little better. I'm going to come back to the lift control here, take a little bit of that red out. >> It's funny going to lift control because often times when people work in skin tones they often go for the gain or highlight control or the gamma control.
And it's funny because the lift control is often, can have a heavy, heavy effect on skin tone. >> Cool. And I think that's pretty close. I think we could do some more tweaking, but real quick with just a lut applied to the live shots and just doing some minor tweaks after the fact. We got these shots due to Pat's expertise much, much, much closer.
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