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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.
Rich: All right. That last look we worked on was a great one for sort of an outdoor, bleach bypass look. Robbie: Yeah. Rich: Here, we're in a completely different sort of feeling. It's this great outdoor shot. Lush green. We've got our center focus, although I'm a bit distracted by all the things at the edges. So can we come up with a look that sort of helps focus the viewer? Robbie: Yeah, definitely. And the other thing I think about this is that it's too like real for me. I want to make it more of like a print, right? I'm thinking like, kind of 70s, Instagram-ish, kind of like, you know, Polaroid.
That kind of thing. Now, there's two other things I want to mention before we actually develop the shot. And that's, you actually don't have to do anything with color correction in Final Cut Pro X if you don't want to. And what I mean by that is, that if you come down to the effects browser here, in the effects area, you'll notice that we have a lot of different effects for different things. One of them being looks. Rich: Right. Robbie: Right? So things like, hey there's a bleach bypass. And actually you'll notice that if you just hover your cursor over these different looks. Rich: Yup. Robbie: You can actually get a feel for what that look is, actually prior to applying it. So, you can use. Rich: That's the Andy Griffith show. Robbie: Right, exactly.
Rich: Robbie: So you can get a lot of sort of look or film development done, we'll actually use one of these in just a second just with that, without having ever used the color board or actually developing a shot. Rich: You just double-click to apply it, or drag it on? Robbie: Either way, you can just double-click it or drag it on. So here's what I'm going to do. On this shot, as we discussed before, every shot has a correction on it. Rich: Yup. Robbie: I'm going to come over to the color board for this shot. And I'm going to start out in sort of the exposure, and one of the things that defines sort of an Instantgrammy kind of, like, Polaroid type kind of shot to me, is that black's not really black, white's usually white, but we kind of have sort of a flatter, type look on our shots, right? Rich: Yeah.
Robbie: Where this shot coming out of a camera, like all DSLRs, is going to give us kind of a crisp, nice black. Rich: Crisp black. Robbie: Lot of contrast. So I'm going to kind of buck the system here a little bit. Because usually when we're developing a shot, you're like I want to make black black, white white. I'm going to come into my blacks and actually lift that out. Rich: Halfway up? Robbie: Yeah, now maybe not halfway but maybe somewhere right around there, okay. Rich: It looks like it's sort of going to the 70s look now. Robbie: Yeah. I'm getting a little flatter. Maybe I'll add a little flatness in with my mid tones just a touch. That'll bring my highlights down ever so slightly.
You gotta be careful in this look with the highlights because if you bring them too down, it just starts looking like it's truly log, yeah. That's not what we want. We want to just kind of get a flatter bottom in, on things. Alright, so that's working for me pretty well, and then I'm going to come into my saturation controls. And we're going to do the same thing, we're going to the kind of desaturate my shadows a little bit. Rich: Right so they're just not as, they don't don't have as much intensity now. Robbie: Right and you'll notice that that green kind of over here, where, you know, the shadow literally is, is getting a little less, right? And maybe we'll take my mid-tones and pop those just a little bit so his shirt.
Rich: And skin tone, yeah. Robbie: His shirt, his skin tone, the guitar, that's all popping a little bit. Maybe come back over my exposure and actually up the black just even more. Okay, and then we'll come over to my colors. And one of the things that you find in sort of that Instagrammy/Polaroid kind of feel is that colors are just crazy. Rich: Yeah. Robbie: Sometimes. Rich: Lots of yellows, greens. Robbie: Yeah, sometimes they're really crazy. We don't want to go too far with this. But what I want to do is go ahead and take my, my shadows, which is this guy. Remember this is overall control, which would kind of tint the image overall. Which is not what I want to do. Rich: Although that's not too far there. Robbie: That's not too bad, right? Or I could take my individual tonal range controls.
So let's take my black control and let's bring out to something that's a little bit more kind of warmy, kind of over in this area. Rich: Yup. Robbie: Kind of like in that. Maybe, we'll take our highlights, push those into a little bit of kind of a greeny yellow thing. And again this takes some experimentation. Kind of just where you kind of like. That might be a little too pink. But that's. Rich: That's pretty good. Robbie: That's working better for me. And, let's just add some, again, some warmth into my mid tones. Okay, so, let me just go ahead and toggle that off, and I think, you know, again, we can play around with this more. And actually, you know what, I'm going to take a little of that pink out here.
Here we go. Take that back there, a little bit. Okay, that's working. Just a touch better for me. Okay, so if we toggle that off and on, Rich, you can see, here's where we started, nice and crisp. Very defined colors, that kind of thing. Rich: Right. Robbie: And here's kind of a, kind of a 70s Instagramish type wash. Now, to be clear, I haven't gone crazy with this, right? This is very subdued. I want to go a little more crazy with it. As you said. Rich: So we have some grunge? Robbie: Yeah, I want some grunge. And you want to focus the viewer's eye a little bit more. Rich: Right. Robbie: So I'm going to add a new correction. And over here I'm going to click on this button to add a new shape mask.
And by default, it's a circle, which is fine, exactly what we want. Rich: Right. Robbie: And I'm actually going to kind of just shape this around him, something like that, and maybe soften up my edges just a touch. Now, by default, if I go over to the color board for this shape mask, you'll notice down here at the bottom it's defaulting to affecting the inside of the shape. Rich: But we can reverse that. Robbie: I can reverse that, so if I go to the outside of the shape. Now what I'm going to do is going to be effecting this area over here outside. So go to exposure, and take my highlights, just bring those down just a little bit, maybe we'll soften that out just a touch more. Okay, that's working better, maybe bring my highlights out a little bit more. Rich: Okay, now that's, that's desaturating and darkening those areas a little bit, that's looking good. Robbie: Yup, just start darkening up, yup. Rich: Is there a way to blur that a little bit? Robbie: Yeah, we could add a blur. Actually, what I think I want to do instead of a blur, Rich, is I actually want to come down here to my effects browser and I actually want to go ahead and search for film. We gotta go back up to all over effects, there we go. Go aged film, that all definitely not the look I want but film Grain now Just keep, bear with me for a sec, by default that's looking very sepia. I don't want, I don't want that look. I'm just going to apply that to the shot. Rich: Right. Robbie: It gets added as an effect, you'll notice that there's a style. iMovie Grain. Rich: I never wanted to see the words iMovie in Final Cut Pro. Robbie: Right. I switched that, hey, realistic grain. That's, that's. Rich: Of course that shouldn't be the default preset. Robbie: Right. So there we go. And now notice the colors are back to that kind of wash that we did. Rich: Okay. Robbie: And I have a grain control. And if I actually just go ahead and play this back for a second. You can see that I'm getting a little grain. Actually, it's a little too much for my taste. Rich: Yeah. Robbie: So I'm just going to bring that back just a little bit. Rich: Okay. Robbie: Let's play that again. Rich: Looks good. Robbie: Yeah, and now I have much more of a print look, right? I have sort of that nice, kind of flat bottom end. I focus my viewer's attention a little bit with the shadows. And we've grunged it up a little bit with some of that grain. Rich: Alright, Rob. I really like how these looks are coming together. And we can actually go in and save individual presets for some of these effects, right? Robbie: Right, so if like, for example my color, my correction there when I do the kind of a flat wash, I can come in here to the presets. I could save that out as a preset so every time I kind of wanted that flat washed look I could apply it to a clip You could also just sort of copy this paste and strip attributes to other clips copy and paste if you have a whole you know clips in the same scene that will work as well. Rich: Well Rob this is awesome and it's clear that you've got some great ideas on how to get more things done with Final Cut 10. In fact Rob actually has a detailed Final Cut pro 10 color correction title here on lynda.com that covers correction and grading. I encourage you to check that out, and there are some other great classes as well, like some of our friends Al Shapiro and others, that you can also dig in deeper. Now, when we come back next week, we're going to take a look at a completely different application, Premiere Pro, right? Robbie: That's right, and we'll develop some works there. Robbie: Alright, see you next week.
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