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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.
Welcome back and on our continuing quest to sort of find out what the film look is, we're lucky enough today to have rock star colorist Patrick Inhofer here on set with us. And, you know, Pat I know that you do a lot of color grading, you have a lot of diverse clients. The thing that I've always found is that clients always want the film look but they don't quite know what it is. >> No, and also times they don't put the work into the film work. >> Yeah. >> You know, what makes a feature film look like a feature film. A big black bug >> Well, you know what it is, it's preparation.
>> Sure. >> Money for preparation, right, it's going out and doing the camera test. It's knowing the sweet spot with your lens, with the camera you're shooting with. >> That right. >> With how you plan on lighting. It's talking to the art director and making sure the colors are there and the color palettes, right? >> Yeah. Yeah. So, but like in post though, what do you think, like, because in, inevitably were going to have clients that are not going to spend millions of dollars. >> No. >> doing all that, right? But they still want a more filmic look. So in your mind is it contrast, is it color, is it grain, is it vignettes? What, what sort of gets you most of the way there to creating that look? >> It's a little bit of all of that right? I mean, I think grain can play a little bit of that role in that, I think that's a little overhyped.
>> Yeah. >> grain doesn't make for a film look. >> Mm-hm. >> It can sometimes look ugly, right? >> Noise. >> Yeah, like noise. But it's one piece of it thought. >> Right. >> I think a lot of it too is how the shadows are handled and how the highlights are handles. >> Okay. But again, you know, different types of film looks. I mean you know, what's the better film look. The Matrix or, you know, some Clint Eastwood spaghetti western. >> Sure >> I mean, they're both film looks, right? >> That right. >> And they look completely different. >> Well, cool. So, today you have Adobe SpeedGrade CC up. >> Yep. And, you know, like anything else There's a couple different ways to kind of create a look, right? >> Yes.
>> And I know that I personally like to work quickly and fast. >> Yeah. >> And don't want a lot of hassle. So SpeakWrite actually has a couple tools that can sort of automate this process of getting us started with a film look, right. >> Yeah, you, you do. I mean and essentially what they want to do is add a contrast curve, right? >> Okay. >> So you stretch the detail in the middle and you roll off the detail on the high and the low and in here, on this particular shot, we've got a lot of detail in the shadows, we've got a lot of detail in the highlights. >> Okay. >> Some in the middle. And what we're going to end up seeing is a bit of a blowout on the highlights, probably, if I think about what some of these curves are going to do, that's what they're going to do.
>> Okay. >> Because detail tends to live in the middle part of the range, and detail tends to be the human face. >> Now when you say curves, I just want to be clear because I'm pretty sure SpeedGrade doesn't have Curves, right? >> Well, they don't have power curves, like you would find in Avid Symphony, or like you would find in Davinci Resolve, right? >> Okay. >> Where you have like a little curves interface, and you move them. But when you apply things like a lookup table a lot. >> Okay, yep. >> Right? That's a curve. It's just, it's happening, but it's in the background. >> Okay. >> You can't really control it. >> So I'm guessing then we wave what's inside of speaker. >> Absolutely. We have what's called a layer, right? Or, that we can put >> Custom look layer.
>> A custom, a custom look layer that has a lot as an option. Mm-hm, okay. >> I like to do a little preparations work before I actually apply the luck first. >> Oh well show us how it's done. >> Well the first thing I'm going to do is I'm going to come into overall, because we've got overall, and then we got the three halla ranges ranges, the shadows, midtones and highlights. >> Mm-hm. >> So overall, what I like to do is I'm going to come up on this shadow overall, or this offset, it's really an offset because it's lifting the entire image. >> Yep, yep. And I'm going to lift up my shadows a little bit and I'm going to drop down my highlights just a touch because I'm not quite sure what a given lot is going to do when I apply it, what a given look is going to do.
>> So you're sort of narrowing The sort of contrast range. So if you apply sort of a film-ish type look with some sort of curve or light. >> Yeah. >> Then you're not going to clip too hard. >> Yeah, I'm not going to instantly blow out my highlights, and instantly crush my shadows. >> Okay. >> The other thing I'm going to do is probably kick up a little saturation. >> Okay. >> Because the shadows I see right now are a little flat looking. >> Okay. >> I'm not really sure what colors are actually in there. So to see what's in there I'm going to kick them up now. Some LUTs will end up blowing out like the shadow saturation. >> Mm-hm. Mm-hm. >> I'll have to come back and put, maybe do a little tweaking. >> okay. Maybe you give me a good sort of starting point with running this up.
>> Exactly. >> Now, again, I just want to clarify one thing. >> Yep. >> It's not like you can't go back, right? After. >> And the whole point is to go back. >> Well, okay, got you. >> Right? >> Okay. >> So the whole point is to give me room so that once I apply the LUT, I can start playing with it. To get to an interesting look. >> Alright. So we've gotten to sort of a setup point, where we're ready to apply the look up table or the LUT. >> Yep. >> And again, just to be clear, a look up table, or a LUT, is just a way of translating one set of values to another set of values. And as Pat said, it's kind of good to think about it in your head as sort of a curve. But it's really a translation from when set of values to another set of values. And how that done, how that's done is sort of the secret sauce.
That why, you know, people spend a lot of money developing custom curves, or creating their own. But here inside of SpeedGrade CC, as you've said earlier, there's a layer type called a custom look layer. >> Custom look layer, exactly. >> INAUDIBLE >> So we, we've got a primary here. I'm going to come and hit the plus, which is custom look layer. >> Yep. >> We've got a whole bunch of things we can work with in here. >> Yeah, different types of effects. >> We're just going to, different types of effects and looks. And there's some technical stuff. We're just going to come down here to LUT. >> Okay. >> Click on that. Now this LUT layer has one control. And what's a pull-down menu. >> Which look-up table are you going to use? >> Which look-up table are you going to use.
>> Now obviously this looks kind of funky right now, because >> Yeah, let's take a look at that. >> It's something sort of, it's in his space, a lot. Who knows what's that's actually doing to the image. >> Yeah, I mean you can see how, what it's doing the effect, completely crushing up. You look at that and go oh my God what am I going to do with that? I'm going to >> That might be good for like a really stylized music video or something. >> It's a perfectly valid look. >> But there's something I noticed when you had the window open before if you scroll down just a little bit, I thought I noticed some of these ones that like Fuji. There you go. >> Yeah. >> Fuji and Kodak and that kind of stuff. And this is really exciting to me.
This is film watts. These are sort of different profiles of different film stocks to kind of get that look. I mean, for years directors and DPs have said, okay, I'm going to shoot this film on this stock. Because they like the look of it. Right? >> Exactly. >> So of course it's not the same thing as shooting on film >> No. >> but it kind of really quickly, I noticed what happened here. >> What the point of this is they take a, they shoot a chart and then they say okay this is how this chart reacts when record on like Fujifilm and so they can develop kind of that curve. >> Yeah. >> They develop the Fujifilm curve.
>> Okay. >> To kind of emulate what it does to the image. >> Okay. So, looking at this, let's go full screen again I like, I like it. Let's play it back. Yeah, it kind of gave us a flatter kind of feel to it. It kind of made those blues less like deep blue, more baby blue. >> Yap. Yap. >> That took a little saturation out of that guitar, which is kind of nice. Now, as we've said earlier, would you go back and tweak this? >> I would. I mean, I might look at it. Like this could be a good, good finish point, but I probably come back into my primary, and I might take a look at maybe coming into my shadow tone a little bit. >> Okay.
>> And maybe taking, and dropping down a little bit, just to give me a little bit more contrast. because you can see how heightened my shadows are right now. >> Gotcha. >> So I might drop this down a little bit and I might find the way the LUT is reacting, I might actually get more control in the overall control here. >> Cool >> And drop down the overall. So the LUT is having a huge effect here. The other thing I do is put these in grade post LUT, right. So I can come up to the lut hit plus P. >> Oh, so just like you would in Photoshop or something like that you are kind of sandwiching different layers and it's how they kind of work in serial fashion.
>> Exactly. And then I can come in here and say, well I've crushed those blacks too high. Maybe I bring up my midtones, and now we can get a kind of good before and after look of where we were, where we are. >> Yeah, it's a subtle one, but actually I like it a lot in this particular shot. Now, of course,, that's just sort of doing it in a very quick, very automated way, using a lot, I love the look of the table from the side, especially with the new film stocks, but when we come back, we are going to be doing the manual way, start over from scratch. >> Yeah. >> And see how some of the >> Seeing what we can do with this shot.
>> Yeah. And see how some of the tools inside of SpeedGrade, can help us develop, more of a film type luck, look, doing it on our own.
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