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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.
Hi, my name's Rich Harrington. >> And I'm Robbie Carman. >> And welcome to this week's edition of DSLR video tips. We're going to continue our look at some post-production. In this case we're doing some color grading. We're staying in the NLE, but we're moving beyond the built-in tools. >> Yeah, and what we mean by built-in tools are things that are native to the application. Any, for example, here in Premier it would be the three-way or fast color corrector, or any other effect. >> Yeah. >> Over in ten, it would be the color board, things of that nature, but sometimes you want a little more. Sometimes you want to go a little deeper. And a lot of third party companies have developed tools for color or for other effects that are going to be very specific and very targeted in the task they attempt to accomplish.
And a lot of times you can get a little more out of those, don't you think? >> Oh yeah, and there are lots of tools out there. This week we're going to look at two specific ones. One from Tiffen, and one from Red Giant. But, by no means is this all of them. I mean, I would say the richness of these tools, they really have sort of two driving factors. One is the overall quantity or variation in their looks. >> Mm-hm >> Followed by their speed. Like there are some that just do incredible things to the images but their so intense, they take a while for rendering.
I still like 'em. I still use 'em. But then there's others that are super fast but maybe a little bit more limited, because they're trying to do everything with the graphics card. >> Yeah, that's true. And the other thing to keep in mind is that, based on the architecture of the application you know, what, which NLE you're working with, some manufactures will have tools that are available for one NLE and not for another. A lot of 'em, these days, I would say are try-, try to cover all their bases. They have versions of their software that will work in all the popular NLE tools, but you might have a situation where there's a tool that you like, and it's only available for an edit application you don't use.
You have to keep that in mind. >> Yeah, yeah. And so this is going to open things up. So, I would just say, a little bit of buying advise. >> Hmm. >> Always download a trial. Most of these will have trials that work for a couple of weeks. Usually, un-watermarked, so you can actually pull it down, use that on a real drop, impress the client, and then buy it, so >> Yeah, I mean, you don't want to spend a hundred of dollars without knowing kind of what's going on with it. >> Yeah, so, with that in mind, we're going to jump in. I would say that there's some practical advice before you apply a third party effect. Rob, personally I like to get the shot color-corrected first if there's any major issues.
>> Well, that kind of depends on what you're doing. Some of the, a lot of the tools we'll talk about today are going to be kind of look generation tools, adding those finishing touches, or an overarching look. Some tools though, kind of integrate both. They'll be look creation, but also allow you to do things like color-correct your shot, Magic Bullet being one of those, right? >> Yeah, >> So it really depends. I tend to do kind of what you say as well. Before I do any look correct generation, I'm correcting the shot, right? Fixing problems with contrast, color balance and that nature. And whether I'm doing that built in or third party doesn't really matter. The point is I'm correcting the shot first, and them I'm going to that look creation process.
>> And the rationale for me, at least, in doing that is it speeds up the look process. It's so much easier when you have all the shots sort of fixed to a base level. >> Yep. >> To apply a look. And then often times, you can stamp and repeat that look across multiple shots or only have to make small tweaks, as opposed trying to combine everything into one operation. >> That's right. >> Alright well with that in mind, when we come back, we'll jump first into a package of plug-ins from Tiffen, who are well known for their glass filters. And they've gone ahead and created some digital versions of those.
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