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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.
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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