It's a very basic tool but it's really really really important powerful okay um all right so let's go to some images actually a lot of this footage I showed you I didn't do anything with it actually just the way I shot it so you can actually um make your your footage pop a little bit more and it's important with editing that in your shooting arm I mentioned about picture profile sittings um your picture profile sittings need to be adjusted so your saturation levels are a little bit lower maybe to notch down contrast to to touch down I want to go completely flat I go completely flat like sunny flat like there's a scene he stall that you can download you can look that up si install you khun implement than your camera allows you to shoot footage completely flat right but if you do that with a wedding men you're going to spend so much time going through the footage and see youse need to wake up so you two go to notch down for saturation too much down for contrast I think it's one or two fo...
r sharpness and that works great for may I think color times should be around the middle alright so uh let's go to you all right now the question remains safe from brian fisher saying hey there's a moment happening or there's something going on would you take the shot or spend time and you know change the setting you know and you know I would obviously just get the shot and when you when that happens sometimes you need to do some color correction right so let's look at think this one he had into they wanted a few of them I got excited I want to correct it okay so this footage is a bit yellow exposure wise it's it's fine so what I usually do is the first thing you do is you go to show via scopes and lou emma is for when you're doing your exposure right it's looking your brightness you come down here you go teo you rgb parade what this does this give you a representation off the color in terms of you know how much color or lack of color there is if there's more yellow abysmal blue and see how there's a gap here because there's a lack of blue and that's that's why? Because the opposite the blue is yellow right so what I need to do is I need to cool this image a little bit because you know I want to keep the dress failure I don't want to be yellow it wasn't yellow it was a white dress but if you're looking for obviously a look then that's different but in this case I'm not now you've got time yu want t meet turns and your dark city shadows now I'm adjusting here the whites right I want to just the white now if I go up so if I go down I make it more more yellow and see how being shift c the more yellow you get the blue goes down you see that you need this right? You need to have this open otherwise you're guessing and it's not going to be ideal for you if I go up it's looking a little bit better that's how it wass see the graph but then what happens now is the red going down is well that's okay it's a bit of a dance a bit of a dance thing you know you're dancing around just kind of in the balance now I recommend that you you get some sort of monitor that scallop calibrated because otherwise when your export and you deliver it it's something be correct and yet have to spend that money on it but just very mind if you just color correcting on this for example I think it has some sort of magenta three yeah it's not totally correct. I'm pretty sure this is pretty good. This is calibrated he's giving me like okay, maybe not that's ok that's there wasn't designed for that just so you know I feel the screen is morn it's calibrated for camera camera yeah that's that's a good point eso at home when you were in the studio you need teo it's important I mean look it's not the end of the world if you don't have the best calibrated screen but there's something you need to invest in some what because if you always rely on your laptop on your medical pro you're not going to get the most accurate color correction okay so I've I've made some adjustments there with the color and your mid tones are usually like your skin like a skin so do that as well not too much it's pretty straightforward you know generally like with the footage because you know you spent the time and you're making sure that you're very close you don't have teo get spend a little time you know overly correcting it unless something as we've got that question yesterday if the moments happening you know do you prefer to just you know spend the time and fix what you need to fix now I would prefer to obviously you know you have your picture profile sittings set so then you have that slight leverage show your shooting h two six four which is heavily compressed but with that limitation you can have a way to deal with it and that's what the picture perfect sitting so then you have a little bit extra leeway and then because you cook with exposure um so with the contract because I put the contrast down if you want to maybe just a little bit of punch into the into the image you go to your blue mma and basically with the loom on your you don't want to be over one hundred and you don't want to be below zero because zero basically represents zero black and then one hundred represents like, like it's white so if if it's too high and then it's to have exposed the expression he's pretty good if you just want to tweak a few things that you made turns whites may begin just that so essentially what you're doing, you just a little bit of punch a little bit of contrast there, not too much otherwise you kind of doing like the whole ninety starlets like, you know, pay and I like this like, full nineties it's like, you know, super contrast, man, so punchy looks good. No, it doesn't. It looks disgusting, don't you? That, um so yeah, so just give me a bit of a run down, you know there's a there's a process when when it comes to editing, making sure that you label your folded correctly and in a way that it's, it's, it's all um it'll it's, it's, super organized and then when you go through the plural eyes or the sinking process, then that is very straightforward, you know where we folders are, and then down to the cutting of the multi can you know you have everything ready to go and you can cut accordingly and have that and then start your rough cut when you start your rough car, you're looking for sound bites, your looking for things that and what I do is like, when I when I cut, I have one of these and as I'm listening to my she riding on that, she like doing some sort of plan, okay? That's kind of cool. Okay, yeah, he's talking about thiss this is how I work, he's talking about how they harry went overseas and then he worked in that city for a while and that's kind of important for the story, and I'll make a note of it. And then when I go back and go want to go through the footage and the sound bites, then I know that I got a cheque here off, right that that that connects with that, all right, I'm gonna grab that, and then you start building it. And then after that, when you look at your music, you find music that will drive that narrative. Yeah, you can hit the crescendo if you need to on, then have music that reflects that feel, the energy very much like center and firearms, we didn't use any, you know, obviously, music that was two energized.