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Processing the footage

From: DSLR Video Tips

Video: Processing the footage

So, Rich we've gone ahead. well, that's pretty easy.

Processing the footage

So, Rich we've gone ahead. We've used Bridge, to sort of batch process those. >> Yeah. >> And rename our files. Which, again is an important thing, just so you don't have all these weird file names. >> Yeah. >> And no gaps and numbering. >> Right you know, where you were, what you were shooting. That kind of stuff. What's the next step? >> Well, I like the fact that the GoPro has a wide angle field of view. But ,that horizon kind of looks like the earth is ending. >> Yeah. You know but the cool thing about, you know the GoPro as you said is that really nice wide angle view, but it does borderline. Sometimes, I'm being kind of Fish eye-ish. >> Yeah. >> And you know, the fish eye look is something that people sometimes like.

It has it's place, but you know, when you're trying to get a normal looking shot sometimes, clients, just go what is going on don't you know how to shoot. >> Yeah. >> But fortunately we have some tools I can sort of. Fix that, sort of distortion, in the lens and get back to sort of a more normal shot. >> And, and if you're using Adobe Photoshop, this is really easy, in fact, there's even a profile, for it, but the good news, is, is in the near, future, I've gotten confirmation from Adobe >> Yeah. >> that they're putting camera RAW, in both Premiere and After Effects. >> That's pretty cool. >> Yeah. You've already got camera RAW, kind of, in After Effects, to do some of this, but Your going to have much more flexibility.

Lets do this in Photoshop ,because it is a bunch of stills. >> Cool. >> So, what were going to do is were going to basically, take this and were going to batch process, so if I just select everything, I can say right click and I basically ,want to open this into camera raw. >> Sure. >> And in doing that. It opens up, and you know we can do any adjustments we want here. Like, you know we mine as well color correct a little bit. You know, everybody loves some of their clarity and let's boost the sky with some vibrance.

>> Nice rich sky. >> Now, now just to be clear this is camera raw/ that you've seen in Photoshop, but this is still in running inside of, Adobe Bridge. >> Well,Camera Raw is almost a mini-app >> Right. >> And you can access it from Bridge, Photoshop >> Or from Photoshop, right. >> Or After Effects >> Exactly >> And eventually ,you'll be able to run it as a filter, in Premiere >> Really cool. >> You can run as a filter in Photoshop today, so it's kind of like an app or a filter. >> Yep. >> So, we color correct >> And you got a little, a little vibrance there, a little saturation, looking pretty good. >> Yeah and we can go ahead and turn on our clipping warnings, here and we see some of the whites are clipping.

>> Yep. >> And that, to be expected in the clouds. >> Bring your highlights ,down a little bit, there you go, save those great. >> Yeah ,so it's looking pretty good right? And let's lift the shadows up ,on those trees just a little. >> Crushed and script. >> Looking pretty good, right? >> Yeah. I thinks ,it a >> Alright. We go over to this tab, called lens correction. >> Yep. >> And, you got profiles. >> Yep. >> You turn, this on. >> Yep. well, that's pretty easy. >> And you see that it actually, recognized the go pro profile built into the shot. >> Absolutely. That's what Adobe's done a lot work with common cameras, common lenses ,to sort of figure out ,all the numbers and all the map about how to correct these.

The cool thing, is if you do have a lens that doesn't have a profile for a camera that's not recognized, you can build and save your own profiles. >> Yeah, there's a free lens profile creator, you can even use this on video cameras. It's basically, a chip chart, you point the camera at it with your lens and camera, it makes a profile, to remove things, like chromatic aberration wide angle distortion. >> Yeah. >> Now ,that was the auto amount and depending on, you know its not perfect here. I could just adjust this distortion slider. >> Mm hm. >> And sort of refined that a bit. And that's pretty cool and then you even have another tap here where you can say things like...

Go ahead and fix the vertical or the horizon and it's going to look for lines and try to balance, those out, especially with architecture, this upright is awesome. It's not going to work here, but, if you have like strong vertical or horizontal lines, it totally picks up on them and fixes them. >> Yeah, I mean I've used this before for like shift photography right. >> Yeah >> When you are, you want to just tweak, you went just a little too heavy straighten line out very easily. Yeah, so this looking great and we have total manual control here as well so you can compensate for any sort of perspective issues, for vertical issues, for a little bit of tilt, so we are basically sort of tilting that shot, that's pretty cool right? >> Yeah, know, so I have a question, so I'm obviously ,doing this on one image, what about the other 14, 15 hundred images? >> Select All. >> Yep.

>> Synchronize. >> Bam. >> And you just look, at it and you say what is it you want to synchronize. Well, I didn't use any curves, but ,I do need to come down here and say, oh make sure you use. >> Lens Profile Correction. >> Lens Profile Correction, great. So ,everything is checked that I need, I click ,okay. And it just goes >> So again, it might just take, because this is heavy-duty math, so it might take a second. Especially if you have a very large, time lapse. But, that's amazing, to be honest with you. >> Yeah. >> That you have this shot that you're like oh, I can't do anything in it, with it, it is what it is. Very quickly, we just took all these images, after we batch processed them... >> Yup.

>> Opened up Camera All and just processed them to get rid of that, distortion, and we're pretty good. >> Almost. >> Almost? >> We, we gave it, the instructions to process that. >> Okay. >> But, until we click a button, they're not actually saved. >> I'm guessing, that's the big blue gun button. >> That's half of it. >> Okay. >> Now if you're going into After Effects, clicking done. Right now, this is the existing image with an XMP side car file. >> So it's. >> What's XMP? >> Well it's, XMP is sort of a metadata, set that Adobe, sure aids. And so, essentially what it is, it's sort of the text information about all the corrections you did.

>> Yeah. >> So, it's a sort of what, some people also call a sidecar file. >> Yeah. >> Right. So, it's going to come along with the original file and instruct another application, how to do whatever you did. >> So, if your using an application like after effects, you're right and you click done, and after effects goes oh interpret the files this way and you are good. If you are using photo shop, final cut pro ten, premier which doesn't have camera on it yet, you are going to want to click save images button. And then say ,oh ,go ahead and put those, into the new location.

>> I think, that's a good choice, keeping your process images separate, from your ,um, your original images apply better. >> Yeah. In case, we overdid it. >> Right. >> And, I'll choose that, and say, oh, take the current name. Save as a tiff. That's a nice good >> Yeah. >> Uncompressed file format. >> Works for me. >> I could assign color profile. We are gonan keep that 16 bits. >> Yeah. >> So, that's good color. >> Yeah. >> I'll just hit Save and it goes through and you could see here the progress. It just counts it down. >> Now, I gotta tell you the reason, I brought this up was to see, if I could trick you, which, of course, I couldn't, but I've actually had this happened to me before.

I've gone in, I've corrected all the images and going to, all you gotta do is hit Done of OK. >> Yeah. >> And then I'm going, why do those make you still look like, they're messed up? >> Yeah. >> So, this is two different side of workflows, right? If you're working within, some of the apps in the Adobe Suite, like AfterEffects, like you mentioned, that accent metadata, kind of can be handed off very easily. >> Yeah. >> But other applications ,like or other video tools, you need to do this actual processing of the images. >> And I find it easier, that actually baking the files now, like I would call this the render tax. >> It's one less thing to deal with later on. You don't have to keep track of files.

You can move it around to other artists. >> Yeah. >> All that kind of stuff and get it done. >> These aren't big files, so I'll just hit bake, let this get done. That's pretty cool. Now, we have completed, the processing look. When we come back next week, we're going to go into three popular tools, Photoshop, AfterEffects, and Premiere. And the Premiere, workflow's the exact same thing as the Final Cut ten workflow. >> Yeah, yeah. >> We're going to show you how to put these files, together and make a time lapsed movie.

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This video is part of

Image for DSLR Video Tips
DSLR Video Tips

350 video lessons · 100184 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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