Reviewing and Selecting Motion Footage
one thing I want to show you is how in motion it's essentially the exact same process. Eso This is not We didn't shoot. I didn't shoot on the red up there. But I want to show you this because this is the other end of the spectrum. And this is the shoot that I show in the capturing stock boot boot camp class. And these are the clips that we got out there on location. The process that I went through is almost exactly same. Now this is Red Cindy Axe. This is the software that comes with the red, and you'll notice that all these tools, more or less look the same. The difference is with footage. I use the curves a lot more than I would like exposure, sliders and things like that. And I do use curves and levels and things like that. Quite a bit instills, but I use them exclusively in motion. And so I walk you through real real quick on that. But this is what the with the motion clip shoot looked like. Essentially, it works the same. It's their own software, but it looks very similar to the p...
rocess that we just went through Enbridge Fight room again. All kind of look and work more or less the same. The differences. We've got timelines, and we have a variety of other options here. So this is what the clip looks like, you know, surprising. I'm able to play it back. The only reason we play it back because I'm playing it at 1/16 of the actual quality. This laptop cannot play it back beyond 1/8. Otherwise, at 1/4 will be here for the rest of the class. And it still won't be 1/4 of the way through. Ah, at full frame. At full quality, I'll be able to only see one frame, so I only look at that for sharpness. That's why I have a laptop dedicated to motion that can handle the processing. But honestly, you don't need it. This is a great enough reference. 1/16 I can get a sense of sharpness. I can look at a frame if there's a question, um, I'm able to play it back. I get a sense of what it is, and then I can take a look at my settings that were in camera, and I can go and do the exact same stuff is a too warm. So I want the shot to be cooler. The difference is you also have a lot less threshold to get it right before noise and grain and a lot of other things start to creep up. So I'm not gonna be here and suddenly say, I'm gonna I'm gonna move my eyes Soda 400 probable. Very, very little Will I touch the exposure. That's why I use curves to control the shot. So this is the shot at a camera. Show you this. This is exactly how it was shot out of cameras. So I had I almost always use, um I don't use an auto white balance. I preset my my white balance to Kelvin. I usually shoot outdoors about 6700 Kelvin air on the side of warmth. The losses process, just like it isn't stills. So there are 6400 Actually. Think for the shoot, It looks like, um, a little touch cooler. Negligible amount. 6400. Calvin was the native. I shot a low I s So it's because it was so bright. So shooting at 250. I s O. And that's a big distinction to make. Um, I'm saying a low. I eso is 2 50 Probably normally shoot on camera like that. At 400 the Reds native is like 403 100 eyes, so it's a lot higher than a still camera, so they work a little differently. Um, but essentially, it's the same set of rules, right? I might take a look at the saturation. I might put a little more saturation in there. I might warm it up a little bit more and then I'll take a look at my levels and they work very much the same you can control. Your blacks are down in here won't really touch those. Typically, what I'll do is I'll just add a little bit of contrast in the darker areas right here again, I go all the way to see where I want to be. Back it off a little bit. Try and find that sweet spot again. It's a stylistic is your mid tones, So typically I'll get a nice curve going like this, and then we'll take a look at our highlights and try make sure they were not losing too much detail and very rarely will ever touch this because this is the extreme end, right? These your whites and I won't really touch that. Something's really blown out. So I mean, that's pretty much all ever really do. I won't spend a whole lot of time on that. Occasionally, clips really take a ton of work to throw together to try to throw together. Um, you can do presets and cut and paste, but essentially this works almost exactly the same. It is harder to get a good balance and color correction on this. This is me getting a reference. I want to know what am I getting in the field? These will create sidecar files because these air raw files same thing. I'm not baking in these changes. His changes could be tossed out by getting rid of the what's called the the R. Three D file. It's a sidecar file, so it's not going and impacting the direct clip. It's great. I'm getting a sense of What am I getting? How does it look? What is the contrast? My highlights good. Is my color good? I like how warm it is. You know my shot here. My only shots were a little green. They were really hard to clean up. And because this was a stock shoot, you know, I don't want a green dog. I want to try and keep things warm. In this case, he looks little to Magenta for May. So, like I'm able to take a look at my range. My settings. You don't really need to relearn all this stuff just to get an understanding. But I can tell you, like on the high end, I'm not gonna color correct. We'll send that out. We have somebody who does it, who goes in and creates nodes and layers and can actually track the eyes. Because now you're not just color correcting a still frame and pulling a neutral density filters. You might be panning up to a sky that needs a neutral density, which means all those things need to be set on timelines, so advanced color correction and techniques for motion or their own set of skills. But if you're shooting in the field and your this your cinnamon, a lot of still photographers become directors and cinematographers. Doesn't even you meet need to mean that you got to be a good editor. You want to be an audio person, You don't have to be a colorist. Those air, all positions in the motion world. And so But if you're a cinematographer and you're working in the field, you want to know what you're getting and you want to jump into a software just like this, Just like you wouldn't father shop, take a look and make those changes. Um, it's very, very important. So you gonna shoot like this again? I could take a look. Okay. My highlights are great. You know, I'm not losing anything in here. You could see how raw that file is. I come back things off, all right? I'm shooting way too hot tomorrow. I shoot in the same light. I got a double check my history and make sure I'm paying attention in my levels. Um, you know, and you could bring it back. But that's a nice part about shooting wrong. I'm not gonna lose anything there. You have a tremendous amount of control and all that mean, so show you this. This is what I ended up with. This is what it looked like before. So that's the general in show. I don't wanna go too deep into this, I will say one of the thing that which is really important if you are pulling stills from this, this is the step that you I do it from. So there is just simply a quick button they called a snapshot, and I can push this and I'll get a tiff file High rez 6400 pixel tiff file from shooting six K 60 6400 pixel On the long side tiff file. You can also send out our three D snapshot as well, which is the raw file. And from there, I can edit that I have been exceptionally pleased with pulling stills from a six K camera motion camera. It's been great, especially when shooting wildlife or situations that you cannot replicate that are moments that are caught fleeting. You know you have something called motion blur, which is literally the frame rate. People moving has not been prohibitive for May for pulling still, especially in nature. So I've been really pleased with the ability to do that. I wouldn't rely exclusively on that, and there was nothing better than having a shooter with me on this because a professional still shooter is a professional still shooter, and I think there still very vital to having well produced stills, emotion shoots. But generally speaking, this is the process on a basic level. And this is what I would do a semi editing process of my curation process and also here I might make selects for stock. This is also the same place where I can drag things into a bin, and then when I get back, I can export them all with a faster computer so that I have my stock clips as well. So it's exactly the same process, more or less for both stills, emotion, just slightly different software and slightly different limitations. Any questions if you don't have this fancy motion camera and it's fancy, um, attendant software, but somewhere it comes with it. But yes, right? Yeah, you're not shooting on this one. Okay, then what are you editing? And even if even minor entity night, sure, that's a great question. What to do if it's not the fancy stuff? Um, if you're not cheating on one of these camera systems, it's still generally works all the same as faras saturation in the contrast the curves and so on. You're gonna have more limitations, though, because you're not shooting in a raw file format. The reason that I like this and the reason why it costs so much money is because this is the closest thing mimics the closest thing to a still camera, and it's postproduction process to raw files that are essentially the same. One is stills and won his motion If you're shooting motion on your DSLR, which is a great question, UM, there's a lot of different options. There are simple, straight up color correction programs. You can actually color corrector clips in Photoshopped as well, or view them through bridge. That's another way to do it. Um, you don't have as much maneuverability necessarily. But the trick toe having as much maneuverability, meaning it's not a raw file, but you want to be able to manipulate it like, um, a raw file. The key is to shooting in neutral mode or having even there are custom user defined settings and custom, um uh, downloadable plug ins that you can put in. I think Technicolor has one called Telus. Any tell us in, you know, Cinna styles called Sina style. Technicolor is like the long time long standard color company for filmmaking. They actually downloadable. Uh, I am pretty sure they still do. Called Sina style. You could download you loaded in your DSLR like a canon DSLR, and it is very neutral. And it's basically turns that footage into a raw file so that you can do the same corrections in another. Editing software may be used. DaVinci Resolve. Maybe use Photoshopped. Um, as far as trimming clips and so on. This is not an editing software you can trim. You can set in and out points in here. I don't typically do that. I would do that somewhere else so I wouldn't use. This is editing. This is simply just looking at color and quality and a review period, which again can be done in bridge. Um, that said, um, if you do want to do things like trimming your clips and getting them Reddick, you could do it in quick time and simply trim the beginning in the end, or any number of the other many different options for software. There's final cut pro. There's Adobe Premiere, and there's avid. Those are the three standards that most people are using these days,