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Post-processing to achieve a film look: Part one

From: DSLR Video Tips

Video: Post-processing to achieve a film look: Part one

Rob: So Rich, here we are in good old Final

Post-processing to achieve a film look: Part one

Rob: So Rich, here we are in good old Final Cut Pro 10, and I gotta tell you, Final Cut Pro 10, you know, it's got a lot of knocks, but I actually love it for a lot of its effect workflow. Rich: Oh, yeah. Rob: A lot of its color correction workflow. Rich: I, I would say that they made the ability to browse effects and preview effects incredibly easy. Rob: Yeah, I mean, it's, it's, you know, I think it's one of those tools that once you get to know, it does amazingly powerful things, and in this week, we're in Final Cut Pro 10, and I want to show you a couple of different looks on a couple of different shots. Rich: Yeah. Rob: And as we talked about in our intro for this week, there's no right or wrong.

Rich: Nope. Rob: And by no means is this the end all, be all of the look. One thing I just want to say that I, I didn't mention earlier Rich, what that the film-type look, largely that's not actually anything to do with actually how the picture looks. Sure, you can consider lighting and vignetting and whatever grain, all kinds of stuff. Rich: Yeah. Rob: Motion is a big thing, right? So I think if you're going to try to go after that filmish-type look. Shooting at a frame rate like 23.98, or 224 frames per second, is going to give you a better feel of that film look than say, shooting at 30 or 60 or whatever.

Rich: And hopefully it goes without saying, shoot progressive is also going to be critical. Now, if you haven't, there are plugins to sort of deinterlace Rob: Right. Rich: the footage, but we're going to assume you shot it right. So let's get right into the look and the grading. Rob: Yeah. So here, I have a shot of Jason sitting out on a dock. It's kind of cool, nice little push in on a, on a dolly on this dock. And it working for me, but the thing that's kind of just informing me about the shot, the kind of the direction, I want to experiment with is that it's kind of already blown out a little bit, right? There's not a lot going on in the sky. I kind of had these muted tones here in the, the wood.

I do like the yellow that's popping out but one of the things that I want to kind of do on this section of the music video is make it a little gritty, right? I want to be like hey, you know, maybe he is mad or pensive about something. Rich: Yeah. Rob: He is thinking about something. Rich: This is the start of our song when he is just sort of finding his emotion and finding the song. Rob: Right. So maybe one of the things that we experiment with is what everybody always ask for is that bleached look, right? Rich: Sure. Rob: And the things that define a bleached look for me are highlights that are pretty hot, blacks that are kind of crushed, a lack of saturation. And then, we can grit it up a little bit with things like grain, or vignette and that kind of stuff. So here's what we're going to do.

I'm going to simply select a clip. I'm going to use Cmd+4 here to open up my inspector. And by default, every clip has a correction applied to it which is fine. So what I'm going to do is click on this little button to go over to the color board, here we are on the color board, again if you have not used Final Cut Pro 10 before this might look a little different, but the way they're the same, you know, basic ideas in other apps. We have color controls, we have saturation controls, and we have exposure controls. So I'm going to start in the exposure control. And the first thing I'm going to do is take my highlights and blow those out even more and you'll notice that I start losing some of that sky.

Now I don't want to go here, where it's all just kind of white. Cause then it'll look like you shot against a green screen or something like that. Rich: Yeah. Rob: But I kind of want to go here, right? Where I have a, still a little detail left over here, but the bulk of this has gone white. That's fine with me. Now I'm going to come into my, my shadows, or my blacks, with this little controller puck. And drag down, and let's kind of crush that out a little bit. Yeah, so we're losing detail in the case. kind of just looks like it all kind of blends in, and, and it's black there. Bring back some of that with my midtones, just a little bit like that.

Rich: Yup. And that's done a good job of putting a little bit back into the sky. Rob: Yeah, that's working a little bit better. Okay. So we kind of got the exposure maybe where we want we can play with it a little bit more, but I like that we're going to come over to my saturation controls and instead of bringing the overall saturation down with this control right here I'm going to have the ability to affect saturation and shadows, the mid tones, or the highlights. Right Tim. Rich: And that's kind of key becaues this is really more natural as to how it would have happened in camera. Rob: Correct so I'm going to take my shadow highlights I want that black to be really black.

So I'm going to kind of take that down. Rich: Yeah. Rob: You'll notice what that's doing on his jeans, on his arm, the darker portions of the image, it's kind of crushing that out, making it truly black, getting a little bit grittier. Rich: Yeah. Rob: And, just add a little touch of blue there in that sky, we'll take my highlight saturation. And kind of bump that up just a little bit more. Rich: It's looking good. Rob: OK. And maybe we'll take the overall saturation down just a touch. OK that's looking Rich: And so the results here end up sort of mixing together, like if you boost this all the way up but pull the master saturation down, this sort of overrides what's happening Rob: Correct, it's, think about it like a micro versus This is a macro kind of control, right? So I'm affecting the different parts of the tonal range and then I can treat all of those parts of the tonal range simultaneously with the master control.

Rich: Okay. Rob: Okay. So then finally I'm going to come over here to color and I'm kind of liking this kind of flat color, but I want to be just experiment with just a couple things here. And I think 1 of the things that I want to do is I want to take a little bit of my midtones puck, which is here. And this is one of the things that's confusing to people, positive color versus negative color. Here's a good way of thinking it, about it: positive color, actually you're adding color in at that part of the tonal range, so if I go blue, I'm adding blue. Rich: It's going to put more blue into the shot. Rob: Right. But if I go negative blue. Huh? What is negative blue? Rich: On a color wheel that would be a yellow. Rob: Right, and actually Apple gives you a little Little trick here.

If you look at this color wheel. I am going to the opposite side of the color wheel when I go into the negative kind of space. So maybe I try one version when I am giving this more of an antique warmer bleach bypass field. Rich: Yeah. Rob: Or maybe I am doing something that's real cooler. Rich: A little cooler. Rob: Real cool kind of more serious, something like that. Rich: And by cooler, we don't mean it looks awesome. We mean Rob: Color temperature. Rich: Color temperature. Rob: Right, color temperature. So I'm liking this. You know, one of the things that is, is, is not working for me is maybe his face, but we can play with that later on in secondary color correction. Rich: Right. Rob: What we're getting at right now, I'm literally just trying to set up the overall feel, so what I'm going to do is come back to the main level of my color board, and one of the things that I do definitely want to do is I kind of want to bring down this side of the frame here, this right side of the frame, so we're focused a little bit more on him.

Rich: Okay. Rob: And the way I am going to do that is by adding the new correction. So here is correction number two. Rich: Yup. Rob: I am going to select correction two and then over here I have two controls. One is to add a key which is I don't want to key anything. Rich: Right. Rob: But I wanted to add this one which is a shape mask, which is a window or a vignette or however you want to refer to it. But I am going to add that and by default, it's a circle. I'm actually going to make this into more of a square. Rich: Yep, and put it over your subject. Rob: Well, actually, I'm going to position it over here on the opp, opposite side of the the frame, we'll make that a little bigger, and maybe back that down just a touch, there we go, make it a little bit bigger still.

Something like that, and then what, it's always important when you're adding windows to do, is to make sure to soften out the window. Rich: Right. Rob: Because you don't want any hard edges. Rich: Nice, gentle transition. Rob: Right. So in Correction number two here, I'll come over to its color board by clicking this button, come over to my exposure, I'm just going to take those highlights. And just bring them down just a touch, maybe that's a little too much, but something like there. Rich: That's looking pretty good. Rob: Right? Rich: Yea. Rob: And what this is doing for me, is it's just allowing me, if I toggle it on and off. Rich: Yea. Rob: It's allowing me to focus in on him a little bit more, in a more subtle way.

So if I turn both of these off, this is kind of where we began out of camera, neutral, kind of, you know, working for it. And then our bleach bypass look by adding that in. And then just using a little bit of window to sort of focus our viewer's attention. And this is, this is working for me. it's working pretty well. Rich: Rob, that's looking really good. I like this overall. Obviously this is a starting point, we can manipulate the individual shots. lets go ahead and switch to completely different shot in our next movie and we look at the other techniques that are very popular with clients.

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This video is part of

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DSLR Video Tips

350 video lessons · 99653 viewers

Richard Harrington and Robbie Carman
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  1. 1m 23s
    1. DSLR Video Tips Trailer
      1m 23s
  2. 2m 23s
    1. Welcome
      2m 23s
  3. 3m 36s
    1. Frame size recommendations
      3m 36s
  4. 15m 6s
    1. Exploring frame rate choices
      6m 16s
    2. Frame rate recommendations
      4m 42s
    3. Mixing frame rates
      4m 8s
  5. 9m 19s
    1. Understanding color loss
      5m 6s
    2. Understanding detail loss
      4m 13s
  6. 12m 8s
    1. Comparing sensor sizes
      3m 43s
    2. Why choose a cropped sensor
      4m 40s
    3. Why choose a full sensor
      3m 45s
  7. 9m 9s
    1. Understanding how DSLR viewfinders react when recording video
      2m 11s
    2. Understanding live view
      6m 58s
  8. 8m 39s
    1. Understanding aspect ratio
      4m 14s
    2. Why shoot 16:9
      4m 25s
  9. 8m 6s
    1. Composition matters
      3m 24s
    2. Exploring the action-safe area
      4m 42s
  10. 23m 7s
    1. Understanding card speeds
      8m 59s
    2. Shooting video
      6m 42s
    3. Shooting time lapse
      7m 26s
  11. 11m 27s
    1. What is rolling shutter?
      5m 50s
    2. Avoiding rolling shutter
      5m 37s
  12. 8m 11s
    1. Moiré explained
      3m 10s
    2. Avoiding Moiré
      5m 1s
  13. 7m 36s
    1. The dangers of tiny screens
      1m 22s
    2. How to set focus before recording
      6m 14s
  14. 9m 32s
    1. Using your HDMI port
      5m 17s
    2. Adapting HDMI to SDI
      4m 15s
  15. 20m 6s
    1. You call this a mic?
      4m 7s
    2. The impact of Auto Gain Control
      4m 34s
    3. The dangers of not monitoring audio
      7m 27s
    4. Using an attached mic
      3m 58s
  16. 4m 44s
    1. Shutter speed explained
      4m 44s
  17. 19m 49s
    1. The Exposure Triangle for low light
      3m 40s
    2. Adjusting aperture
      5m 46s
    3. Adjusting ISO
      5m 24s
    4. Adjusting shutter speed
      4m 59s
  18. 12m 26s
    1. Avoiding lens flare
      2m 8s
    2. Using a lens hood
      2m 46s
    3. Using a matte box
      4m 15s
    4. Exploring other strategies for avoiding lens flares
      3m 17s
  19. 17m 20s
    1. What causes shake?
      3m 23s
    2. Using a stable platform
      9m 27s
    3. Fixing shake in post
      4m 30s
  20. 16m 24s
    1. What are prime lenses?
      3m 21s
    2. Exploring low-light performance
      3m 2s
    3. Working with shallow depth of field
      4m 31s
    4. Examining cost issues
      5m 30s
  21. 11m 39s
    1. What is a matte box?
      4m 2s
    2. Discussing the benefit of filters
      4m 19s
    3. Reducing lense flare
      3m 18s
  22. 14m 19s
    1. What is an EVF?
      2m 51s
    2. Checking focus
      3m 56s
    3. Checking exposure
      3m 28s
    4. Viewing camera settings
      4m 4s
  23. 12m 5s
    1. What is a loupe?
      2m 38s
    2. Proper focus with a loupe
      4m 18s
    3. Proper exposure with a loupe
      5m 9s
  24. 10m 33s
    1. What is a monopod?
      2m 39s
    2. Exploring stabilized shooting
      4m 28s
    3. Exploring overhead shooting
      3m 26s
  25. 13m 48s
    1. Why use a dedicated audio recorder?
      2m 42s
    2. What inputs do I need?
      5m 7s
    3. File formats to choose from
      5m 59s
  26. 17m 6s
    1. Setting levels
      6m 10s
    2. Monitoring sound
      6m 51s
    3. Slating takes
      4m 5s
  27. 6m 22s
    1. Apps you can use to record sync sound
      2m 55s
    2. Adapter cables
      3m 27s
  28. 10m 1s
    1. Why does my exposure change with a zoom lens?
      1m 21s
    2. F-Stop reviewed
      2m 58s
    3. Strategies for dealing with the problem
      5m 42s
  29. 13m 37s
    1. How can I check my focus?
      1m 27s
    2. Zooming in
      3m 14s
    3. Using a target
      3m 44s
    4. Using AutoFocus at the start
      5m 12s
  30. 17m 19s
    1. How many batteries do I need?
      1m 27s
    2. Power or no power
      4m 6s
    3. Other batteries to consider
      6m 35s
    4. Strategies for lengthening battery life
      5m 11s
  31. 27m 29s
    1. What adapters should I carry?
      1m 21s
    2. Adapting audio
      7m 13s
    3. Adapting video
      8m 54s
    4. Power options
      4m 9s
    5. Connecting gear
      5m 52s
  32. 16m 4s
    1. What type of microphone should I use for run-and-gun shooting?
      2m 16s
    2. Built-in microphones
      3m 36s
    3. Shotgun microphones
      4m 27s
    4. Microphone preamps
      5m 45s
  33. 13m 38s
    1. What type of microphone should I use for an interview?
      2m 2s
    2. Lavaliere mic
      6m 35s
    3. Boom mic
      5m 1s
  34. 16m 45s
    1. Why do I need a fluid head?
      3m 6s
    2. Standard photo head drawbacks
      4m 1s
    3. Why use a fluid head?
      6m 9s
    4. Converting a photo tripod
      3m 29s
  35. 13m 34s
    1. Why should I use a slate?
      2m 0s
    2. Using a digital slate
      5m 13s
    3. Using a physical slate
      3m 32s
    4. Alternate metadata
      2m 49s
  36. 10m 42s
    1. DSLR recording time limits
      4m 14s
    2. Legal limits
      6m 28s
  37. 22m 37s
    1. Is the Canon 6D right for me?
      2m 36s
    2. Beneficial features of the Canon 6D
      3m 41s
    3. Drawbacks of the Canon 6D
      4m 21s
    4. Menu options of the Canon 6D
      11m 59s
  38. 21m 17s
    1. The Nikon D600
      2m 38s
    2. Beneficial features of the Nikon D600
      6m 4s
    3. Drawbacks of the Nikon D600
      3m 45s
    4. Menu options of the Nikon D600
      8m 50s
  39. 8m 39s
    1. Can I attach lights to the camera?
      4m 57s
    2. Moving lights off-center
      3m 42s
  40. 18m 4s
    1. How do I get my camera into tight spaces?
      1m 58s
    2. Using GorillaPods
      3m 52s
    3. Using additional Grip Items
      4m 30s
    4. Using a DINO
      3m 50s
    5. Using a Lens Skirt
      3m 54s
  41. 17m 42s
    1. How can I get smooth tracking shots?
      1m 42s
    2. Walking the camera
      7m 55s
    3. Using sliders and dollies
      8m 5s
  42. 23m 1s
    1. How can I fix shaky shooting?
      4m 37s
    2. Fixing shaky shooting in Final Cut Pro X
      8m 54s
    3. Fixing shaky shooting in Premiere Pro
      9m 30s
  43. 15m 18s
    1. How should I manage my cards in the field?
      2m 16s
    2. Using card wallets
      5m 33s
    3. Mirroring your data
      7m 29s
  44. 23m 56s
    1. How do I transfer my footage?
      12m 15s
    2. Monitoring your footage
      11m 41s
  45. 26m 28s
    1. How do I rack focus?
      1m 47s
    2. Using a Prime Lens
      8m 22s
    3. Using a Zoom Lens
      9m 13s
    4. Using a follow focus
      7m 6s
  46. 23m 8s
    1. How do I clean my camera?
      2m 55s
    2. Keeping the lens clean
      7m 48s
    3. Cleaning the sensor
      8m 14s
    4. Performing a wet sensor cleaning
      4m 11s
  47. 23m 58s
    1. How do I get slow motion footage?
      1m 50s
    2. Setting up slow motion in camera settings
      4m 57s
    3. Slow motion in Final Cut Pro X
      6m 17s
    4. Slow motion in Premiere Pro
      3m 57s
    5. Slow motion in After Effects
      6m 57s
  48. 14m 53s
    1. How do I import into Final Cut Pro X?
      59s
    2. Transferring from a card into Final Cut Pro X
      5m 3s
    3. Importing footage into Final Cut Pro X
      8m 51s
  49. 12m 10s
    1. How do I import into Premiere Pro?
      1m 19s
    2. Transferring from a card into Premiere Pro
      3m 55s
    3. Importing footage into Premiere Pro
      6m 56s
  50. 19m 13s
    1. How do I sync sound in post?
      1m 20s
    2. Syncing sound with Final Cut Pro X
      4m 40s
    3. Syncing sound with Premiere Pro
      5m 57s
    4. Syncing sound with Plural Eyes
      7m 16s
  51. 12m 50s
    1. Lighting with available light
      2m 23s
    2. Calculating the sun's position
      2m 7s
    3. Reflectors
      1m 42s
    4. Shiny boards
      1m 31s
    5. Evaluating the results
      5m 7s
  52. 16m 2s
    1. Lighting with alternate sources
      3m 3s
    2. Battery operated LED lights
      2m 15s
    3. Using an inverter
      2m 28s
    4. Using a generator
      1m 19s
    5. Flashlights & GL-1
      1m 28s
    6. Evaluating the results
      5m 29s
  53. 26m 3s
    1. Shooting in small places
      1m 44s
    2. Using portable lights
      8m 0s
    3. Compact lighting
      1m 8s
    4. Lens choices
      1m 31s
    5. Mounting the camera
      2m 11s
    6. Remote operation
      4m 24s
    7. Evaluating the results
      7m 5s
  54. 11m 37s
    1. Follow focus overview
      2m 25s
    2. What is a follow focus?
      2m 38s
    3. Setting the marks
      1m 56s
    4. Operating follow focus
      1m 4s
    5. Evaluating the results
      3m 34s
  55. 13m 57s
    1. Achieving critical focus
      2m 36s
    2. Punching in on LiveView
      2m 5s
    3. Using a loupe
      2m 14s
    4. Using auto focus before the shot
      2m 20s
    5. Using a monitor
      2m 30s
    6. Change the aperture
      2m 12s
  56. 23m 0s
    1. Exposure
      2m 21s
    2. The impact of sensor size
      2m 25s
    3. ND filter
      2m 51s
    4. Variable ND filter
      3m 4s
    5. Matte box
      3m 39s
    6. Evaluating the results
      8m 40s
  57. 10m 29s
    1. Backlit subjects in production
      2m 20s
    2. Shooting "in the middle"
      2m 23s
    3. Overpowering the backlight
      1m 30s
    4. Evaluating the result
      4m 16s
  58. 31m 22s
    1. Backlit subjects in post-production
      1m 54s
    2. Look at scopes
      5m 20s
    3. Enhancing the shots
      4m 51s
    4. Enhancing with Speedgrade
      9m 31s
    5. Enhancing with plugins
      9m 46s
  59. 7m 3s
    1. Audio for interviews
      2m 1s
    2. Placing the mic
      1m 29s
    3. Interview techniques
      1m 36s
    4. Interviewee placement
      1m 57s
  60. 11m 57s
    1. Shooting a product shot
      1m 30s
    2. Building the backdrop
      1m 25s
    3. Compact lighting
      2m 59s
    4. Cleaning the object
      1m 16s
    5. Using a macro lens
      2m 25s
    6. Using a turntable
      2m 22s
  61. 9m 8s
    1. Using a field monitor
      1m 44s
    2. Connecting the monitor
      1m 19s
    3. Using peaking and using focus in red
      1m 36s
    4. Using color assist
      2m 34s
    5. Looping the monitor
      1m 55s
  62. 13m 25s
    1. Scopes
      3m 37s
    2. Reading the histogram
      2m 11s
    3. Reading a waveform monitor
      2m 38s
    4. Reading a vectorscope
      4m 59s
  63. 30m 59s
    1. What is a GoPro?
      2m 35s
    2. The GoPro bodies
      3m 53s
    3. Essential GoPro gear
      9m 0s
    4. Powering the GoPro
      6m 13s
    5. Accessing GoPro menus
      3m 34s
    6. Essential menu commands
      5m 44s
  64. 9m 2s
    1. Exposure
      1m 1s
    2. The exposure triangle
      2m 40s
    3. Evaluating the settings
      5m 21s
  65. 15m 48s
    1. What is aperture?
      3m 29s
    2. A DP's perspective on aperture
      45s
    3. Adjusting aperture
      2m 14s
    4. Evaluating the shots
      9m 20s
  66. 14m 4s
    1. What is shutter speed?
      3m 58s
    2. A DP's perspective on shutter speed
      1m 37s
    3. Adjusting shutter speed
      2m 54s
    4. Evaluating the shots
      5m 35s
  67. 18m 12s
    1. What is ISO?
      5m 12s
    2. A DP's perspective on ISO
      1m 52s
    3. Adjusting ISO
      2m 49s
    4. Evaluating the shots
      8m 19s
  68. 7m 41s
    1. Controlling exposure beyond camera settings
      2m 44s
    2. Adding light
      2m 54s
    3. Adding filtration
      2m 3s
  69. 19m 27s
    1. Getting the camera higher
      2m 26s
    2. Using a monopod to extend your reach
      2m 46s
    3. What is a jib?
      3m 33s
    4. Operating a jib
      6m 21s
    5. Evaluating the shots
      4m 21s
  70. 18m 14s
    1. The Blackmagic Pocket Cinema Camera
      4m 38s
    2. What to look out for
      5m 3s
    3. Pocket Cinema Camera workflow
      3m 51s
    4. Evaluating the shots
      4m 42s
  71. 17m 15s
    1. Shooting with a GoPro mount
      5m 14s
    2. Connecting a GoPro remote
      2m 46s
    3. Viewing with a remote app
      3m 48s
    4. Recording with a remote app
      3m 11s
    5. Evaluating the shots
      2m 16s
  72. 14m 15s
    1. Using a click track
      1m 28s
    2. Creating a click track
      5m 10s
    3. Playing a click track in the field
      36s
    4. Recording with a click track
      53s
    5. Syncing in post
      6m 8s
  73. 7m 5s
    1. Preparing for a shoot with multiple DSLR cameras
      2m 10s
    2. Scouting the location
      1m 16s
    3. Lighting for multiple cameras
      48s
    4. A DP's perspective on multicamera lighting
      1m 56s
    5. Matching cameras
      55s
  74. 5m 21s
    1. Doing a shoot with multiple DSLR cameras
      2m 21s
    2. Positioning the cameras
      1m 2s
    3. Syncing the cameras
      1m 2s
    4. Directing the shoot
      56s
  75. 16m 59s
    1. Achieving a film look
      2m 36s
    2. Post-processing to achieve a film look: Part one
      7m 20s
    3. Post-processing to achieve a film look: Part two
      7m 3s
  76. 28m 47s
    1. Black Magic Cinema Camera
      3m 44s
    2. Things to Look Out For
      9m 41s
    3. Recording with the Blackmagic Cinema Camera
      2m 15s
    4. Focusing
      3m 17s
    5. Evaluating the Shots
      5m 12s
    6. RAW Workflow
      4m 38s
  77. 15m 50s
    1. Achieving a film look
      2m 28s
    2. Post-processing to achieve a film look: Part 1
      8m 45s
    3. Post-processing to achieve a film look: Part 2
      4m 37s
  78. 18m 58s
    1. Shooting time lapses with a GoPro
      2m 25s
    2. Setting up the GoPro
      4m 30s
    3. Accessing the footage
      4m 52s
    4. Processing the footage
      7m 11s
  79. 21m 21s
    1. Why assemble a time lapse?
      1m 59s
    2. Assembling a time lapse in Photoshop
      6m 36s
    3. Assembling a time lapse in Premiere Pro
      7m 43s
    4. Assembling a time lapse in After Effects
      5m 3s
  80. 22m 40s
    1. Processing multiple-camera footage
      1m 42s
    2. Organizing the media for Adobe Premiere Pro
      5m 36s
    3. Syncing in Adobe Premiere Pro
      6m 20s
    4. Editing in Adobe Premiere Pro
      9m 2s
  81. 15m 1s
    1. Processing multiple-camera footage
      1m 8s
    2. Organizing and syncing media for Final Cut Pro X
      5m 13s
    3. Editing in Final Cut Pro X
      8m 40s
  82. 21m 56s
    1. How do I get a GoPro in the air?
      2m 1s
    2. Attaching a GoPro to a quadcopter
      2m 23s
    3. Calibrating the quadcopter
      2m 13s
    4. Flying with the GoPro on the quadcopter
      3m 48s
    5. Evaluating the quadcopter footage
      5m 49s
    6. Getting more control with the quadcopter
      5m 42s
  83. 15m 58s
    1. Sliding the camera
      3m 1s
    2. Tabletop dolly
      3m 8s
    3. What is a slider?
      3m 55s
    4. Using a slider
      3m 32s
    5. Slider versatility
      2m 22s
  84. 13m 14s
    1. Shooting with an iPhone 5S
      2m 58s
    2. Shooting slow motion
      3m 11s
    3. Accessing footage
      3m 17s
    4. Assembling footage
      3m 48s
  85. 16m 9s
    1. Benefits of mirrorless cameras
      2m 48s
    2. Mirrorless workflow
      2m 41s
    3. Things to look out for
      6m 10s
    4. Evaluating the footage
      4m 30s
  86. 26m 6s
    1. What is Log?
      2m 40s
    2. Why should you shoot Log?
      6m 7s
    3. Using a LUT with Dynamic Link
      8m 11s
    4. Creating a LUT in Adobe Speedgrade
      9m 8s
  87. 30m 34s
    1. Matching cameras
      1m 58s
    2. Variables
      4m 22s
    3. Calibration
      8m 42s
    4. Evaluating the shots
      3m 5s
    5. Matching Log footage
      6m 30s
    6. Matching ProRes
      5m 57s
  88. 11m 39s
    1. Achieving a film look
      3m 7s
    2. Using Resolve presets
      4m 29s
    3. Color grading from scratch
      4m 3s
  89. 19m 1s
    1. Achieving a filmic look
      3m 58s
    2. Using Speedgrade presets
      7m 34s
    3. Color grading from scratch
      7m 29s
  90. 11m 48s
    1. Remotely controlling a camera
      1m 34s
    2. Attaching a CamRanger
      2m 38s
    3. Creating a network
      4m 50s
    4. Controlling with an iPad
      2m 46s
  91. 10m 49s
    1. Taking a look at shaky footage
      1m 45s
    2. Fixing shaky footage in Final Cut Pro X
      3m 18s
    3. Fixing shaky footage in Adobe Premiere Pro
      5m 46s
  92. 14m 46s
    1. A quick overview of site surveys
      1m 25s
    2. Anticipating the weather
      3m 11s
    3. Taking panoramic site photos with Occipital 360
      3m 46s
    4. Collecting location information with PanaScout
      2m 48s
    5. Portable and mobile pro audio to go
      3m 36s
  93. 24m 54s
    1. Taking a look at third-party plugins
      3m 21s
    2. Exploring Tiffen Dfx Filter plugins
      6m 59s
    3. Boosting creativity with Tiffen Dfx Looks
      4m 3s
    4. Exploring the Magic Bullet Suite
      5m 45s
    5. Taking your footage further with Magic Bullet Looks
      4m 46s
  94. 9m 1s
    1. Scouting the lighting situation out on location
      1m 10s
    2. Using Lighttrac to determine sun or moon position
      2m 12s
    3. Using Sun Seeker to track sun or moon position
      3m 2s
    4. Determining the position of the sun or moon with Focalware
      2m 37s
  95. 2m 30s
    1. Goodbye
      2m 30s

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