Grain, shadows, highlights—getting the right film look hinges on how these three elements are handled. Last week we explored how to build film looks in DaVinci Resolve; this week we’ll look at the same process in Adobe SpeedGrade—an excellent color grading tool that’s particularly user–friendly and intuitive. Joining Rich and me again this week is colorist Patrick Inhofer, who’ll walk us through his personal techniques for achieving a film look in SpeedGrade using footage from a recent music video shoot.
In a multi-camera shooting workflow, matching your cameras is a must. Sure, you can take your footage to a colorist and have it matched in post–production, but it’s better to prepare well so you get consistent footage during production. Join Rich and me this week as we use the Blackmagic Cinema Camera and the Blackmagic Pocket Cinema Camera to demonstrate how we match up multiple cameras. We’ll then process our footage in DaVinci Resolve with expert colorist Patrick Inhofer.
Have you ever worked with a mirrorless camera? In mirrorless cameras, light doesn’t hit a mirror and bounce off of it like in DSLRs; it comes straight through the lens to the image sensor. And there are pros and cons to the mirrorless process.
Join Rich and I this week as we jump into the studio to demo three different mirrorless cameras while we capture a live recording, then compare and contrast the cameras’ picture quality and perspective in the final footage. We’ll also show you how flexible a mirrorless camera can be for your productions, supporting all sorts of lenses from Nikon, to PL, to FD mounts.
You can add an extra element of professionalism and dynamism to your shots by using and investing in sliders. Join Rich and I this week as we explore the various methods, techniques, and types of sliders out there. Joining us is director of photography Kevin Bradley, sharing his expertise and personal tips for creating smooth tracking camera shots. Paying attention to what’s motivating your shot will help you decide which type of slider and camera speed to use; Kevin and I will take you onto the set of a music video to demonstrate various techniques of tracking and camera speed that will help you slide the camera to achieve the mood you’re after.
Last week Rich and I explored a multi-camera workflow process in Adobe Premiere Pro CC. This week, we’ll take a look at the same workflow using Apple’s nonlinear editing software Final Cut Pro X. We’ll dive into the Final Cut Pro X workspace and show you various processing methods for multi-camera footage and the basics of multi-camera editing.
This week you’ll learn how to
• Post-process multi-camera footage in Final Cut Pro X
• Organize multi-camera shots in Final Cut Pro X
• Synchronize audio from multi-camera shots using click tracks
• Edit multi-camera footage in Final Cut Pro X
Have you ever worked on a multiple-camera shoot and been left wondering how to bring all the footage together? This week, join Rich and me as we explore how to process multi-camera footage from a music video shoot using Premiere Pro. We’ll step you through the post-production workflow required to create a multi-cam video that you can be really proud of.
Feeling left out with our recent episode on creating film looks with Apple’s Final Cut Pro X? This week Rich and I will switch apps and show you how to use Adobe Premiere Pro’s color correction and effect features to give your video footage that dramatic “film” look. And just like before—it all starts in post-processing.
Give your video footage that dramatic “film” look by diving into some color-correction and effect features of Final Cut Pro X in this week’s DSLR Video Tips with Rich and Robbie.
You’ll learn about
• The tools: Get to know the tools in Final Cut Pro X that can help you achieve a film look with your video footage.
• The post-processing: Learn how to use those tools to create a stylized film look with Final Cut Pro X.