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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.
Today, we have a very special guest. This is Dan Moran. Dan, say hi. >> What's up? >> Dan is a commercial and music video colorist based over in London, England, at one of the top post-production shops in all of Europe called Smoke and Mirrors. And Dan, you do, every single day, you're grading music videos, or commercials. >> Oh, yeah. >> And I'm sure you've had people ask, can you create a film look for me? >> Oh, yeah. Totally. That, that is like the best, kind of, starting point for every job I do. We want to make it filmic but edgy. >> And we want to bring a little bit more production value. >> Now, in your opinion, is that, sort of just another way of saying, can you make it look better? >> Exactly.
>> Okay. >> They, they show me like a, you know, Rihanna music video and they say, that's looks good, doesn't it? >> So they shot it on their iPhone >> LAUGH Yeah. >> And they want it to look like a million dollar production, right? Okay. So, in your opinion, what are some of the things that go into creating a film look. >> Yeah, I mean, the traditional film look is actually, you know, it's a, like a combination of things. I always find the shadows are actually a little bit crushed but you don't realize it because they're you know, like it's a super soft roll off. >> Yeah. >> And then you've got things like grain and there's, like, kind of green tints or blue tints in there. >> You might even have some, like, some lens vignetting. >> Yeah, yeah.
Exactly. >> And that kind of thing. Okay, now you're DaVinci Resolve based colors, right, so we're actually here today, we're inside DaVinci Resolve, and we have a cool shot of Jason Massey, this is, we were out in the field shooting him. And if you've seen previous episodes in this series, we were out in the field shooting Jason a lot, and now we're getting to the finishing stage of things. We're color correcting, we're editing the video, and we brought Dan in to help us, make this shot look a little better. Not a bad-looking shot. >> No, not at all. >> But just, it's not all that interesting. >> Yeah, this is a perfect, like, starting point for pretty much all the jobs I do. >> Cool. >> so, if I make it a little bit bigger, and we kind of think about it, I can see that there's not a huge amount of shadow detail.
>> Mm-hm. >> So, like, in his guitar case, so, I wouldn't want to go for a super low-contrast look on this, so if you're not going to go with low contrast why not embrace it? So, there's a couple of different ways of doing it. I'm going to show you the easy way first and then. >> I like, I like easy. >> That's my life. >> So, and, and the reason I go easy first is because if you're grading it, you want, maybe you don't like it. So you want to go and get the same kind of, film emulation as quick as possible. >> Gotcha, gotcha. >> And then we can re kind of redefine it ourselves. >> Okay. >> So, I'm just going to add a node. So, if you know Resolve, adding nodes is where all your layers take place.
>> Right, and a node is another not exactly synonymous but it would be like adding an additional layer or a sort of another container where you can have effects. And node-based, you know, sort of grading is pretty powerful. >> Yeah, yeah, exactly, so you can jump back and forward, and I'm not a very linear kind of guy. I remembered, like, halfway through. >> Oh, right, right, right, right, right. >> Oh, we wanted to give this sky a gradient. So we can just go back. >> Okay, so you got a new node? >> Yeah, so I might've included these in a recent update which is, our film looks. >> So you right clicked on the clip, went to where? 3D look? >> 3D look. >> And then film looks, okay? >> Film looks. Now, this is probably going to spark a debate, but I prefer the codec-style looks since >> Oh, right.
It's like Coke or Pepsi. Which one do you like? >> Yeah, exactly. One thing to note is these are normally made for log source material, but I, I'll show you how to get around this, so. >> And log source material being, like, really, like, flat-footed. >> Super flat, yeah. >> That was shot on, maybe, like, a lexor or something like that. Okay. >> So when I click this button, it's going to look crazy but, you know, just bear with me for a second. >> Okay. So that's the look applied. So now we might as well have a look at it. You can see my shadows have gone insane. >> Yeah, it's a little crunchy. A little, a little hard to make anything out but black. Very high-contrast, I suppose. >> Super high contrast. >> Yeah. >> And straight away, you can look at your client and say, yeah.
>> I think, I think back on looks like this, and I'm thinking of like Guy Richie films. >> Yeah, exactly. >> And like, you know, that very organic 16-millimeter type look. Very high, not quite bleach bypass, but kind of in that same vein. >> Yeah, exactly. >> Let's say you want some of the same characteristics, but you don't want to crush it so heavily. >> Okay. >> We'll just go back to node number one. >> Okay. >> So I've double-clicked on that. And we want to go to our contrasts. And if I just use my highlight mode. >> Mm-hm. >> So this is showing you what I'm going to do to node one. Yep. >> You'll see that I'm just going to bring it back, so, it's super soft. So, there's no, like, negative contrast.
>> So, you're just, basically lifting the blacks on this first note. >> Yeah, yeah. >> Okay. >> So I'm not crushing it up before it gets to the local table. >> Okay. >> So then, I turn off my highlight modes. And, you'll see, that we've got a pretty, pretty pleasing image. The sky's probably a little too blown out, but that's our. >> Okay. >> Film cartridge. because, you've got those nice, kind of, inky blacks. >> Cool. So, you, kind of, and just a recap on this, basically you added a lut on one of these nodes. It was a little too contrast-y. >> Yes, so we just pulled it back a bit. >> So, so you just went back to the node before the lut, before any of that processing happened, and just raised our blacks. >> Yeah, yeah, exactly. Now, that's pretty simple, but, you know, I, I like automatic and I like straightforward, but when we come back in just one moment, Dan's going to actually show us How to do, sort of, the manual approach to creating a film look inside of DaVinci Resolve.
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