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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.
Alright, Rob. We've got a couple of shots open, I think a nice place to start. You know, out of the camera, the way we lit this, the color, it is already going that direction of what people would call a film look. >> Yeah, I don't mean, I mean, there's again, a film look is a little more subjective, but I think that we're Good place for the shot we're looking right here on the right of Jason. You know, we got highlights that aren't too blown out. We've got some nice deep shadows. We can play with this a little bit. So I know you have a couple things up sleeve. So what do you think? >> Yeah, I think I'm going to start by effecting the individual shots. Then I'll do a couple things that I will apply to multiple shots to sort of do finishing polish.
>> Okay, sounds good. >> Alright, let's start here and you often go in and begin with sort of with a three-way color corrector just to go after some of the individual areas a little bit more isolated. So let's drag that on, bring up the effect controls. >> Mm-hm. >> And, I would say a hallmark is to play a little bit with the input and the output levels. So let's lift those blacks a little bit so they're not so crisp. >> Yeah. I mean, one of the things that happens with DSLR cameras and video cameras in general these days, especially when you're shooting say rack seven or nine on those cameras, is that a lot of times you're going to get kind of crunchy deep blacks.
And while that high contrast look is something that definitely happens out there. >> Yeah. Without further refinement, a lot of times when you look at just film, you know, natively exposed film, they're not going to have that really super deep contrast, you know? So lessening up those blacks a little bit goes a long way. >> And I also like here being able to play with my tonal range definitions. >> Or at least softening it out, yeah. >> Yes. It's a little bit softer so that it has gentler transitions. So now as we start to work, we can put a little bit of color into just the shadows. How do you feel? >> Yeah, yeah, I like it. I like it.
>> Alright and as we're working with the midtones here I'm going to brighten this up just a little bit and just lift it. And I would say overall a little more saturation. >> Okay. >> Now we can go in here and we can bring that up totally or I could take the saturation down in the shadows just so they don't have too much color spill. >> Mm-hm. >> But bring the overall level up a bit. And. >> Yep. >> I think that's working for me. >> Yeah. It's working a little better, yeah. For sure. >> Now one of the things we can always do is we have the ability to see a split view, if you sort of want to see the before and after.
>> Mm-hm. >> And you can tell what's happening that way. >> Well it's funny, because at first glance, you might say, Well that seems silly. Why did you just wash out the image? >> Right. >> You know? But I think that It plays pretty well. The other thing you have to consider when you're developing a look is, you have to consider what else is going on in your project. You know, in this, in this sequence, we have two shots coming from sort of the same area. But it's all about how you're developing that look. Are you developing that look for a single shot? Are you developing that look for an entire scene? You know, so this might work well in a nice indoor. What if we did that same sort of black raising maybe outside, it might not work as well, so it's always be aware of those things as well.
>> Yeah I think that that's getting there and then another hallmark tends to be a little bit of green, and so we're going to do adding a little bit of noise here actually. And it's under noise in green and if we look at that, you know I'll just expand that category under video effects we'll see where our choices are. And we got a couple of different options, and so, we can, we don't actually have a grain, but noise will behave like grain, >> U-huh. >> Or there is also a dust and scratches effect, just to sort of dunk the, the shot up a little bit.
>> Yeah, I would just be careful with dust and scratches, cause one of the things, if you do it too much, like you've done up there, obviously. >> Yep. >> It looks it looks. >> It's going to, it's going to soften out really bad. >> It looks a little, little funky. The one of things with, you know, kind of dust and scratches and stuff is that it kind of your hand a little bit that you've developed through a look, you know what I'm saying? >> Yeah. >> I'm a bigger fan. I'm trying to add some, trying some noise on it. And. >> You know, monochromatic or with color? >> It just, it depends. I mean, I, and I al, also tend to be a little lighter handed on noise because, again, it's one of those things that, again, it sells your, it tips your hand a little bit, right, you know? >> Yeah.
Well, there it is. I think that's about the right level of subtlety. >> Yeah. >> Just it in to make sure. Alright. Now that's feeling pretty good. And what I want to do now is I'm going to apply something over the top here, that I often like to do which is an adjustment layer. >> Okay. >> And I'll often apply that across multiple shots. Let's go ahead and add that adjustment layer in there. >> Mm-hm. >> And it's going to automatically take on the dimensions of the sequence. >> Mm-hm. And on that adjustment layer, I'm a big fan of using, now that we're passing behind a pillar, that's what that was. >> Yep.
>> Of using a blur. >> 'Kay. >> And so I'll put a blur and then I'll blend it. And there's a couple different type of blurs you could choose from. Typically I'll go with a fast blur. >> Mm-hm. >> because it renders a bit quicker. Although, the gaussian blur is now accelerated inside of the newer editions of Premier. And so if you crank that up, tell to repeat the edge pixel. >> Yeah, so you're going to get those black lines on the edges, yep. >> And then under opacity, you can blend it. And I tend to use soft light or overlay, and I just like how it sort of blooms the highlights a bit.
>> Yeah, I do. And it gives you an, in an extreme example of this, this would be a great way to kind of get that Barbara Walters effect right? >> Yeah. >> Where, you know, it's like a pro mist filter on the camera and she's nice and soft. But this is cool, like, I, you know, you've seen this kind of effect used in a lot of action films especially. I'm thinking things like Minority Report, like, 300, does that nice sort of diffused highlights thing. Also works very well for segments where you might want to have a little bit of a more ethereal feel, like, a dream feel or something like that. >> And what we did here was, I just backed it off to 50% opacity, so that it wasn't so over the top.
So it actually put a little bit of that saturation back in, but I can always come back in here and pull that down a bit to sort of balance it off. Because blending modes tend to do that, so we'll just back the overall saturation back down. >> Yep. And just keep in mind, with an adjustment layer you have two levels of control, right. >> Mm-hm. >> So you still have the control on the adjustment layer that's, you know, the overarching kind of effect. But then you can go, as you're doing now, back into the individual clip and work that way. And it's often, I just, I find when I'm working with adjustment layers. That it's kind of a back and forth.
What am I trying to accomplish on the adjustment layer? What am I trying to accomplish on the clip? And you kind of trying to play with both ends of both ends of it at the same time. >> Now, the other thing I tend to do is I want a vignette. There's lots of ways of doing this. >> Yeah, yeah. >> But I like to actually do it with the Title tool. >> Yeah. >> Which is kind of unusual but you just make a still. >> Yep. >> And, you know, you could actually see over your shots. So if he didn't want it to be totally regular, nothing says it had to be. But you could, you know, if let's just make a nice, simple one here. >> Yep. >> And we can draw that in. It's a square.
And I'll fill that with a radial gradient, and we'll just go from white to black. And we don't need to go to pure black but something a little bit richer. And as you spread those apart you get that nice transition between them. >> Mm-hm. Gotcha. >> And you can go ahead and play overall with the opacity if you want, but that's pretty close. And if we just layer on top there it's going to be over here in our Project panel. We can set that above. And again, blending modes are a real time thing.
So it's very easy to come over to the Opacity. Drop that into Multiply mode to knock out the whites. >> There you go. >> And dial in the opacity for the window. And what's nice here is that here's that next shot. You see that we're already sort of halfway there between the bloom and the vignette. Alright, Rob. So I've finished this first shot. We've got a second shot that we could tweak. >> Right. >> But, you know, one of the things that's really easy to do is to be too heavy handed. Did I go too far? Should we back it off a little bit? >> No. I like, I like it. And the thing about developing looks too rich is that you always have it's not just what you think, or, you know, I think, It's about what your client thinks, and where it fits into the project.
I've had a lot of situations where I'm developing looks that I'll be like, Oh man this is the greatest thing since sliced bread. And then the client walks in and goes, eh. What are you doing? >> Right. >> So, a lot of times with looks, what I tend to do is try to, you know, sort of take snapshots or save the settings or that kind of stuff, so I can always quickly recall different looks that I'm doing. >> What's kind of cool about that, right, is like, you know, we can toggle this off and on very quickly to see, you know, what that's going to look like. So if they say, oh, I don't want the vignette, just turn it off. >> Right, exactly.
That's a good point. Now, the other thing I would tell you that's a lifesaver inside of Premier Pro is its integration with Adobe SpeedGrade. And of course, Adobe SpeedGrade is a dedicated, you know, tool. But this isn't, this is cheating a little bit, Rich, because it's not actually a third-party filter >> Sure. >> Because it's kind of the built-in functionality, to the app. >> Well, that comes in the box, so you're not cheating. >> Okay good. >> So when we come back, we'll take a look at Lumetri Looks.
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