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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 previously Pat, we took a look at matching some log clips and we got it pretty good. Of course like anything else. >> Yeah, you know it was great >> We could have spent more time tweaking the various subtle details. The idea was they were pretty off, right? And there was sort of that flat log and we wanted to get it back. In this case, we actually have two shots that were shot on. Again, on the Black Magic Cinema Camera and then on the Black Magic Pocket Cinema Camera. And they were both shot in sort of video mode, right? >> Yes. >> So, and we talked about this up in the studio that when you shoot in Video mode it's kind of normal video, right? Rex-709 kind of video.
And we take a look at these two clips here and DaVinci Resolve. Huh. You'd think that they would look fairly. >> A lot closer. >> A lot closer. >> Yeah. >> I mean, I would argue that the log clips that we looked at in the previous movie looked more close to begin with than these two did. >> Yeah, and even after we played, you know, log is funny, because sometimes it looks similar. Once you expand it out, it looks totally different. >> Totally, totally. Well, when we expanded them out, they looked pretty darn close. >> Right. >> They looked a lot closer than, than just shooting straight video here. >> Right. So what I'm noticing just looking at these, and you're, you know, you have a better eye than I do for some of these things.
Looking at it, it appears that the second shot off the Pocket Cinema Camera, I don't know, it just doesn't have enough saturation to it. >> Yeah, it looks like a saturation problem. >> You know, when I, when I look at it they have a pretty similar kind of exposure. >> Exposure. >> You can maybe argue that this one is a little brighter. >> Yep. >> Than this one. But, you know, overall it's the saturation thing that's bugging me. >> Yeah I think so. And we can prove that because our eyes can trick us. >> Yeah. >> So we want to pull up our scopes. And the first thing we can do is just take a look at our scopes and see if we move between these two shots. And you can see this second shot has some clipped data.
And the question is, is it gone? And what we can do is drop it down and automatically see that there's additional detail there. Now as we bounce between them, the exposures are a lot closer. >> Yeah you can maybe take the first one up just a touch. >> Yeah, I could. >> There you go. >> Yep. And then. >> Exposure wise seem about right. >> About right. And then let's go ahead and kick up that saturation and really go nuts. Kind of like that. And for saturation I'm going to pull up the tulip. >> Mm-hm. >> And I'll change this guy to the vector scope. >> Yep. >> All right, and now as we bounce between them, you can see that on the vector scope it's looking pretty similar as we bounce.
Bounce between terms of, in terms of saturation. >> Yeah, now, now one thing Pat that we haven't talked about in the previous movie when we talked about log recording. Is that most dedicated color correction tools are actually going to have a way to help you match shots. One, maybe a couple different ways. >> Yup. >> One of the things I could do, inside of DaVinci Resolve is I could save a still of this shot. >> Yup. >> And then compare it to the next shot. How does that work? >> Well I could do the still and so what I can do is come up here. And go to the View menu, grab the still. So I'm going to double-click that and I'm now right now pulling this still against the same shot.
So, I go to this shot and now I can do a quick white between these. Yeah, so looking at those in the first shot you appear to be maybe a little bit more sort of yellowy green, maybe a little more pink in the second shot. And also it seems in the second shot on the, on the cinema camera, Pocket Cinema Camera maybe the mid tones were elevated a little bit. >> They are. >> They seem to be a little hotter there. >> Yeah the gammas are a little high. So on the second shot I can come come to the second shot. I'll right-click to turn off my reference point. >> Right. >> And by the way we are doing a classic mistake when color grading. >> What's that? We're grading on the very first frame of the shot.
>> Yeah >> You always kind of want to. >> Totally, Totally. >> But this kind of works' cause I'm just sitting there the whole time. >> Okay. >> And so, I'm going to bring down my gammas a touch. And what, let's pull into a new feature that's here in Resolve which I'm going to come up, View Split Screen. >> Oh yeah, this is an awesome feature. So the split screens allow you to sort of compare visually two frames side by side and sort of, a whole view. And the cool part about it is that when you do this, you can actually view them, actually on your external video monitor as well. >> Exactly. >> So it'll be outputting the SDI. >> Exactly.
So now I've got two live versions of our two shots together. >> And you can even grade it while you right. >> And I can grade it, because of the one that's got the orange outline is the one that's active that I'll be grading. >> Right. And so now looking at this, I can kind of try to go for a visual match. >> Yeah. Maybe add a little more green into that second shot. There you go. And maybe darken up those those mid tones a little bit more even. Maybe there. >> Yeah, I think right about there. Yeah, now again. This is you know one of those cases that you the more that you tweak, the you know, the more you're going to notice.
And the more you're going to want to dial in. >> And keep going back and, and go back and forth. >> Let's, let's dial off the grade on the second shot just so kind of see where we started with on that shot. >> So that's where we started. >> Yeah. >> And that's where we are. >> Right and I think you can argue I mean we can definitely get the white on the first shot being a little brilliant more brilliant white. >> Yeah and in fact I'm going to I mean on a white psych I always strive to go on a white psych for 100% clip out right. >> Right. >> Right because your suppose to be nowhere space. >> Totally. But I think the point is is that these are the sort of the practical niques, techniques to get started with a match, right? Now you want to be able to look at your scopes.
You want to be able to visually compare the shots side by side or save a still or something like that. >> And then in the end, you want to go with the perceptual match. >> Right, right. >> You gotta look at the shots and say, okay, may work on the scopes Does it actually look like it matches? >> And that's a really good point is that often times you can have shots that subtlety differ. Like, for example, you're shooting an interview and, you know what, the lights coming into the window changed a little bit. And it was darker or it was brighter. Now, if those shots aren't right next to each other, and side by side is anybody going to notice if they're 98% matched? >> Yep.
>> Probably not. This is actually a really hard test, because we're doing two different cameras two different sensor sizes. And we're stacking them up right next to each other. But I think you can see the process for both the log footage. As well as sort of the, sort of the normal video off the Cinema Camera and the Pocket Camera. And that process is use the scopes, evaluate it with your eyes, compare. And try to get them to be as close matched as possible. But don't go overboard with it, because a lot of times it doesn't really matter if they're not next to each other.
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