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>> Rob, let's make some room here for those looks. I'm going to actually bump those up two levels. >> Okay. >> And I'll just drag that up and for now, we'll turn those off, we'll come back to those. >> Okay. >> And, let's. I, I know you don't always like putting adjustment layers for looks, but I want to show you two things. We're going to try out two looks really quick. >> Okay. >> And by putting them on adjustment layers, we can refine them. >> Well, it's not that I don't like adjustment layers. I just, one of the things I tend to like to do is work on both levels. I like to work on, sort of, the macro level.
Which is the adjustment layer level. And then I also like to work on the clip level for fine-tuning, you know, fine, finer detail and more control over the shot. >> Alright. Well, how about we start with something really simple, like one of the basic cinematic looks. >> Yeah. >> Is there one here you like? >> they, they, they all work well. And to be clear, what these are is that, since you know, Premiere and SpeedGrade, you know, are both Adobe products, and they integrate it pretty well. These works were developed by the SpeedGrade team, and they're .Look files. So a .Look file is sort of a complete look, whether it contain color, temperature, contrast, you know.
When doing their vignetting and that kind of stuff. And they're a good place to get started. Here's the thing I just want to be clear about them, is that, you can apply them, but that's about all you can do with them right. >> Right. But on an adjustment layer, you can fade them. >> Right. >> Or change their blending mode. >> Correct, and if you really wanted to tweak one of these, what you could do is go over the SpeedGrade, apply it, tweak it however you wanted and then re-save it as an updated or a new version of this effect. But that's one thing just to be aware of, that when you apply this, people are like, where are the controls? >> Well, how about, let's, we'll apply the cinematic.
>> Yep And >> Does a pretty good job, yeah. >> Did a nice job, I like how the highlights popped. >> Yep. >> Now, if we decided that that was too strong, we could fade it a little bit. >> Correct. >> Yes it does have an opacity slider if it's on an adjustment layer. Or. You could change it's blending mode, which could dramatically alter it. >> Mm-hm. >> But, you know, so that's kind of not the intention of but those are your two controls. >> Yeah, but I mean, I think for a lot of times when you're trying to just get a quick overarching kind of thing, this would work. And to be clear. Again, I, I keep going back to it but, you can apply an individual correction on a shot on the clip level. >> Yep.
>> Go to that adjustment layer, so you've, you've fixed color balance, you've fixed contrast through all the shots, and that kind of stuff. >> Yes. >> So, maybe using the three way color corrector, and then apply the adjustment layer, apply one of these effects. And then that way, you have sort of an overarching look on the shot. >> Well, and let me show you something brand new in, in 7.1. Which is the ability to toggle layers off and on. So let's say, you know, we had this one look that we applied. I'm going to disable that temporarily. >> 'Kay. >> I just unchecked Enable, which is the same as disabling. >> Right. >> And on this other adjustment layer, tell me one of these other presets you like.
>> Well, let's say, let's try something that's, you know if you to go in to the style section, there. there. I want to maybe a more of a dreamy feel. Let's try one of these Dreamworks. >> Okay. So, we'll apply that. And that's blooming quite a bit, right? >> Yeah it's blowing up those highlights a little bit, sure. >> Alright. And, and you can actually stack more than one, right? If you wanted to sort of combine those two. That's a little heavy. >> Yep. >> Dreams Two got a little color shift. And just keep in mind, too, with a lot of these effects you might need to play with sort of, and I say this loosely, preparing your image for the effect.
>> RIght. >> Simply just applying the, the effect on the adjustment layer, you might need to go back to clip level, push and pull on the contrast or saturation a little bit to really make the look shine its best. >Well's, here's what's cool, right. We have these two different options, and, you know, there is, I don't think I need that blooming anymore, although that's actually not bad. That's that blur layer, there's my manual vignette that I added. But here's what I like to show you. They've now added this ability, so if you've one enabled and one disabled, you could just go ahead and swap em, and look, it switches which one's on and off.
So you can have two different looks stacked up. So you can have those all ready when the client's like, I don't know which I want, you just flip between them. >> Yeah, no that's a, that's a brilliant piece of a, brilliant addition I guess if you will, to 7.1. I think that's one of the new things about Looks you have to be prepared for. As I mentioned earlier, like it's trying new things, it's experimenting and when it comes to this idea of film look, you know, again, it's just my attitude about it is, don't be caught in the box. If you want to take your shadows and make them orange and take your highlights and make them neon green. >> Yeah. >> Try it out, it might be a cool look, you know.
>> Some of the most edgy music videos out there, commercials out there. Push the envelope, and that's totally fine. >> Absolutely. >> Alright, well we have explored both Final Cut 10 and we've taken a look this week at Premiere Pro. On an upcoming episode we will dig into some third party plug-ins and we'll even take a turn at looking at some dedicated color grading utilities.
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