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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.
>> Okay, we've headed down into the studio to take a look at some of the shots and I can see the benefits of the shot. I understand log, but lots of clients don't. Just recap what we're seeing here. Why's it so washed out? Why's it so underexposed? >> We haven't done anything wrong. Right? This is the way that then the Blackmagic world they call it film mode on the cinema camera, the pocket camera. Everywhere else we're going to call this the log mode. The Arri Alexa has it, some of the Canon cinema cameras have it. This is basically just a way of recording. You're recording, you're encoding the video signal in a logarithmic way so that you're preserving shadow and you're preserving highlight detail.
And the net result is that you're going to get this very flat image, where black's not really black, white's not really white. Saturation's a little off. This is normal. And what we need to do is either color correct it from scratch. That is, if you know what you're doing, push the blacks down, push the white up, add some saturation. Or we can also do what's call a LUT operation or a look up table. We can apply a look up table to this shot to sort of normalize or, or sort of stretch that back out automatically. And Rich, all a look up table is, is a way of translating one set of data values to another set of data values.
>> Now, I think people would say, well, why go through all that extra work? But really, the benefit here, during the acquisition stage, is that you don't have to worry about your shadows getting muddy or your whites getting clipped. Because you concentrated all of the camera's information towards the middle. >> Right. >> And then we basically, I don't want to say re-interpret, but re-map it to the full gamut. >> Right. And the LUT, in my opinion, is kind of not the easy way out, but it's a simple way out. Right? Is that you have, you shoot this, you want to preserve that data values, and then, you know, manufacturers like Blackmagic or Cannon or Adobe or whoever has gone through and said hey look, this is our LUT.
This is the way we think we should process this footage to stretch it back out and to make it look normal. And it works great most of the time. It just, just keep in mind it doesn't give you a ton of flexibility. You know, I'll show you in a moment, Rich. When we do a LUT, sometimes we are want to process things before the look up table. >> Sure. >> Sometimes after the look up table. >> And can you use two look up tables? One to do the conversion and one to do a look? >> Eh, sure. You could. You know, but like I. >> It sounds like I should. LAUGH He's saying you could. >> In my, my personal opinion about look up tables and LUTs is, especially with log footage, is that I used to use them very heavily.
Right, I used to be like very simple, buy a LUT, done with it, move on, a little back color balance, you know, master shot and be done with it. My attitude now is I like to do it from scratch, but I'm also aware that that's because that's what I do all day. Now I'm, I'm sitting and playing with images. I think for a quick, fast workflow, doing what I'm about to show you is pretty simple. So. Here we are inside of Adobe Premiere Pro and. >> Yeah. >> I'm going to show you this workflow in Premiere because it's actually a pretty new, exciting workflow with Premiere as well as Adobe SpeedGrade. Now just to be clear. >> And those two apps are included in the.
>> Right. >> Creative Cloud, so if you've got Adobe Premiere Pro, you're going to have SpeedGrade. You're going to have After Effects. And, and this is a, a new linking between the two. Right? >> That's right. But just to be clear, Rich, that the idea and the concepts of what we're going to show applying the LUT would be the same if you're using DaVinci Resolve, either the free version or the paid version. Whether you're using, other applications that support Luts. Same basic idea. But you're right. I'm going to show this with this direct link work first. So here we have our friend, Patrick Hanhofer. Who's a colorist friend of mine, and Pat looks flat right? >> Yeah. >> He doesn't look very good. And what I'm going to do is simply come up to the File menu here in Premiere and go, Direct Link to Adobe SpeedGrade.
And this functionality is different than it used to be. It used to say, send to Adobe SpeedGrade, and it made a whole bunch of intermediate files and all kind of stuff, don't have to worry about that any more. It literally just passes off the shot to SpeedGrade. >> Do I have to select the shot first or does it take the whole sequence? >> Well, we can do that either way. It's going to take the whole sequence by default. So I'm going to just. >> Okay. >> You know, I only have one clip on this sequence. So I'm just simply going to go to File>Direct Link to Adobe SpeedGrade. It's going to say, hey, you want should save your project first. I'll say OK. And in just a second, SpeedGrade's going to open up. It takes just a moment. >> And does the, the Premier project basically closes.
>> Correct. >> because it's opening the project over here. >> Essentially that's what you're doing. Essentially you're running Adobe Premiere Pro inside of Adobe SpeedGrade. >> Well, it's a good thing you don't have to pay extra for it. >> Right. It's, it's, it's actually pretty amazing. And in my, I hate to use this term, I'm not a big fan of it, but it is kind of a game changer in terms of workflow. In other color correction workflows, we're dealing with intermediate files, XMLs, EDLs, conforming shows. Pretty much, if it works in Premiere, it's going to work over in Adobe SpeedGrade. >> Alright, so let's adjust the color. >> Right. So, here, I have the same shot of Pat.
You know, it looks fine. But it's obviously very flat. What I'm going to do down here in my Look tab. And you'll notice a lot of these other tabs are grayed out. Because they will only work if you're doing, using SpeedGrade as sort of a, a manual, tool, rather than the direct link But that's fine for what we're doing. I'm going to come down here, and click on this little plus button. And this allows me to add a custom look layer. And one of the options I have on a custom look layer is this guy right here called a LUT, or a look up table. >> Okay. >> Now, I just want to be clear. When I do this, the image is going to look really weird for a second. So I'll go LUT and all of a sudden.
>> Oh yeah. >> You know, it's like woah. Pat's all yellow and weird. >> Yeah. >> If, if you notice here. >> Oh, Brother Were Art Thou. >> Right, exactly. A little sepia tone. If you notice right here, there's only one parameter for this LUT layer, and that's this pull down menu. And right now it's set to a LUT that's not doing what I need it to do. But if I click here, you'll notice that I have a huge amount of LUTs. >> Yeah. >> Arri cameras, I have some profiles. >> CROSSTALK >> Did these come with it or did you make these? >> No, these all came with SpeedGrade, which is great, you don't have to think about how to develop it, you don't need to know anything about color science.
These come with it, including things like popular film stocks. >> And if I'm afraid of SpeedGrade, I can get this out and send it back to Premiere. >> Correct, so here's what we're going to do. We're going to do exactly that. You'll notice up here, one of the options I have for a LUT is the BMC, your Blackmagic Cinema Camera basically. Pro Res, and this is optimized for shooting Pro Res, but in film or log mode on the Blackmagic Cinema Camera. I'll choose that option and in just a second, it's going to think about it. Okay, now let me just toggle it off. It still looks pretty flat, right. But that's okay, but let me show you this difference.
>> Color's looking richer. >> Color's getting better. It's getting better. So what I'm going to simply do is, come over here to my Primary layer that every clip has, and I'm simply just going to raise up my whites. Just a little bit, and I can open up my Analysis tools if I wanted to, which is just right here. These are just video scopes, right? >> Yep. >> So I could bring my white up a little bit more, we'll get it up somewhere right around there. >> Yep. >> Maybe I'll bring my blacks down just a touch. This is just again, tweaking the LUT. The LUT did an okay job, but I just kind of wanted to tweak it a little bit. >> And left is darker to the right.
Counter, counterclockwise is darker, clockwise is brighter. >> Correct. And I'm just going to add a little more saturation right here to Pat, so it looks a little healthier. >> It's looking fantastic. >> There we go, and at this point I just have to hit one button, that's it, all I have to do is hit one button. I'm happy with this and I applied the LUT, I did a little tweaking of the, the, sort of the transformed this primary layer. I'm simply going to come up to the upper left hand corner and there's a little icon that actually looks like a Premiere Pro project file or sort of the splash screen. I'll simply click on that. >> because I noticed SpeedGrade doesn't have a lot of menus.
>> Right. Right. Exactly. Says, hey do you want to save your changes? At this point, what it's really doing is, saving your Premiere Pro project file from within SpeedGrade. >> All right. >> So, I'll go ahead and click Yes. And SpeedGrade stops. Hey, it automatically jumps me back over into Premiere. And you'll notice that this clip has been color corrected as we did with the LUT and Lancaster. >> And if we click on that clip, does an effect show up in the effect browser. >> Exactly, so here we go we have the lumetri effect. If I toggle that on and off. >> Oh yeah? >> Here's the original shot that we had, and then, with the work the LUT transform that we did, as well as with that little minor tweaking.
This is huge! Because if you don't know anything about color correction. You can simply just jump over SpeedGrade real quick, apply a LUT, do a quick, you know, quick color correction and. >> And now I can copy and paste attributes to other clips from the same scene without having to jump over? >> That's an important point. Just keep in mind, that if you had the same footage. Yes, this lumetri will work. >> The same scene? >> Correct. Now if hadn't done that tweaking with the primary color correction. I just applied the LUT. Then yeah, you could consider that a, sort of a more universal thing. And in fact, when we come back, Rich, I want to show you another workflow using SpeedGrade.
When we're not going to do this direct link stuff, you might want to develop a LUT or a .look file, as SpeedGrade calls it, and hand it off to others and not use this direct link workflow, and I'll show you that when we come back in just a moment.
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