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DSLR Video Tips
Illustration by John Hersey

Using a LUT with Dynamic Link


From:

DSLR Video Tips

with Richard Harrington and Robbie Carman

Video: Using a LUT with Dynamic Link

>> Okay, we've headed down into the studio to take a look at
Expand all | Collapse all
  1. 1m 23s
    1. DSLR Video Tips Trailer
      1m 23s
  2. 2m 30s
    1. Goodbye
      2m 30s
  3. 2m 23s
    1. Welcome
      2m 23s
  4. 3m 36s
    1. Frame size recommendations
      3m 36s
  5. 15m 6s
    1. Exploring frame rate choices
      6m 16s
    2. Frame rate recommendations
      4m 42s
    3. Mixing frame rates
      4m 8s
  6. 9m 19s
    1. Understanding color loss
      5m 6s
    2. Understanding detail loss
      4m 13s
  7. 12m 8s
    1. Comparing sensor sizes
      3m 43s
    2. Why choose a cropped sensor
      4m 40s
    3. Why choose a full sensor
      3m 45s
  8. 9m 9s
    1. Understanding how DSLR viewfinders react when recording video
      2m 11s
    2. Understanding live view
      6m 58s
  9. 8m 39s
    1. Understanding aspect ratio
      4m 14s
    2. Why shoot 16:9
      4m 25s
  10. 8m 6s
    1. Composition matters
      3m 24s
    2. Exploring the action-safe area
      4m 42s
  11. 23m 7s
    1. Understanding card speeds
      8m 59s
    2. Shooting video
      6m 42s
    3. Shooting time lapse
      7m 26s
  12. 11m 27s
    1. What is rolling shutter?
      5m 50s
    2. Avoiding rolling shutter
      5m 37s
  13. 8m 11s
    1. Moiré explained
      3m 10s
    2. Avoiding Moiré
      5m 1s
  14. 7m 36s
    1. The dangers of tiny screens
      1m 22s
    2. How to set focus before recording
      6m 14s
  15. 9m 32s
    1. Using your HDMI port
      5m 17s
    2. Adapting HDMI to SDI
      4m 15s
  16. 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
  17. 4m 44s
    1. Shutter speed explained
      4m 44s
  18. 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
  19. 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
  20. 17m 20s
    1. What causes shake?
      3m 23s
    2. Using a stable platform
      9m 27s
    3. Fixing shake in post
      4m 30s
  21. 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
  22. 11m 39s
    1. What is a matte box?
      4m 2s
    2. Discussing the benefit of filters
      4m 19s
    3. Reducing lense flare
      3m 18s
  23. 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
  24. 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
  25. 10m 33s
    1. What is a monopod?
      2m 39s
    2. Exploring stabilized shooting
      4m 28s
    3. Exploring overhead shooting
      3m 26s
  26. 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
  27. 17m 6s
    1. Setting levels
      6m 10s
    2. Monitoring sound
      6m 51s
    3. Slating takes
      4m 5s
  28. 6m 22s
    1. Apps you can use to record sync sound
      2m 55s
    2. Adapter cables
      3m 27s
  29. 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
  30. 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
  31. 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
  32. 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
  33. 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
  34. 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
  35. 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
  36. 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
  37. 10m 42s
    1. DSLR recording time limits
      4m 14s
    2. Legal limits
      6m 28s
  38. 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
  39. 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
  40. 8m 39s
    1. Can I attach lights to the camera?
      4m 57s
    2. Moving lights off-center
      3m 42s
  41. 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
  42. 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
  43. 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
  44. 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
  45. 23m 56s
    1. How do I transfer my footage?
      12m 15s
    2. Monitoring your footage
      11m 41s
  46. 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
  47. 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
  48. 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
  49. 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
  50. 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
  51. 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
  52. 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
  53. 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
  54. 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
  55. 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
  56. 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
  57. 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
  58. 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
  59. 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
  60. 7m 3s
    1. Audio for interviews
      2m 1s
    2. Placing the mic
      1m 29s
    3. Interview techniques
      1m 36s
    4. Interviewee placement
      1m 57s
  61. 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
  62. 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
  63. 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
  64. 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
  65. 9m 2s
    1. Exposure
      1m 1s
    2. The exposure triangle
      2m 40s
    3. Evaluating the settings
      5m 21s
  66. 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
  67. 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
  68. 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
  69. 7m 41s
    1. Controlling exposure beyond camera settings
      2m 44s
    2. Adding light
      2m 54s
    3. Adding filtration
      2m 3s
  70. 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
  71. 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
  72. 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
  73. 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
  74. 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
  75. 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
  76. 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
  77. 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
  78. 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
  79. 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
  80. 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
  81. 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
  82. 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
  83. 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
  84. 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
  85. 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
  86. 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
  87. 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
  88. 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
  89. 11m 39s
    1. Achieving a film look
      3m 7s
    2. Using Resolve presets
      4m 29s
    3. Color grading from scratch
      4m 3s
  90. 19m 1s
    1. Achieving a filmic look
      3m 58s
    2. Using Speedgrade presets
      7m 34s
    3. Color grading from scratch
      7m 29s
  91. 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
  92. 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
  93. 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
  94. 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
  95. 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

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DSLR Video Tips
24h 8m Appropriate for all Jul 06, 2012 Updated May 16, 2014

Viewers: in countries Watching now:

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.

Topics include:
  • Mixing frame rates
  • Dealing with color and detail loss from compression
  • Comparing sensor sizes
  • Understanding how DSLR viewfinders react when recording video
  • What is aspect ratio?
  • Getting the right speed of memory card
  • Avoiding rolling shutter
Subjects:
Video DSLR Video
Software:
Final Cut Pro Premiere Pro
Authors:
Richard Harrington Robbie Carman

Using a LUT with Dynamic Link

>> 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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