Gadgetory

what is going on everyone Jase two cents here and I haven't done this series in a while but I've always liked helping newcomers when it comes to the scene on giving people some ideas and some tips and tricks on being more efficient with their workflows and just feel a bit more excited about making videos and it's sort of my creators corner type of series it's been a while since I did one we're gonna go ahead and do that today there's a ton of different ways that you can do things you're gonna find content creators have different methods of kind of approach approaching and achieving the same end result so your results may vary and you might see people saying to do things a different way find what works best for you and then just kind of ignore the rest that people are saying no you're doing it wrong that's just the way I kind of that's the way I kind of do it but we're gonna kind of talk about just two things today because obviously a lot that you can talk about I'm gonna talk about how I do my color correction because I shoot in Sony s log which is a professional format in my sony fs7 and fs5 with a demo Shogun inferno recorder and as you'll see when i pull in the footage it's very very flat so I'm gonna show you how I do my color correction in that and then I'm also going to show you how I do my dual camera setup or even two three or four camera setups because what you're gonna see works up to four cameras we have to import our footage of course so we are gonna bring in this MXF file this is from my ff7 right here and we're gonna bring in this file this is from the Shogun as you can see a Shogun and so gun infernal this is our inferno this is from the FS 5 and we're gonna bring both of those in so as you can see it's importing the files this could take a little bit time or a lot of time depending on your system and then we've got both four files right here now if I drag this into the timeline just like that you can see just how flat this is right here this color does not look very good because that's how s log is it's basically sort of an HDR type of effect so it's got more dynamic range which allows us to actually capture more data in both highlights and shadows but as you can see until you process it it's a very flat and boring image but we're not gonna be working in the time like like that no no no that's not the way we're gonna do this we are going to go ahead and create a dual camera or multicam sequence we're gonna highlight the videos we want to make a multicam sequence with and we're gonna right-click and do create multi cameras or source sequence now normally I would use audio in fact I do even have a slate which is what you can use to sync audio you can see it right there on the table and I do in fact clap it the problem is I didn't actually have a mic setup on the FS 5 because I'm a dork and so there was nothing for it to sync with something's we want to do it via video otherwise we could normally just say do it via audio and make it go so we're just gonna use the endpoints which means just start the multicam sequence where both of those clips start because I don't have time codes synched on these sorry Graham I know you're gonna show you how to do timecode we'll do that later but we're just gonna use the endpoints for now it took both of those files set them in a different bin as you can see right there they're in here and now here is our one camera our one piece of file footage that has the camera data now you might be looking at this going well what the heck there's only one camera showing up right there well if you hit ctrl or hold ctrl and double click you can see now we've got two different timelines here so this is our footage as you can see if I mute up the top layer you can actually see the second camera and what we're gonna do right now is we are going to sync these up now again this would be a whole lot easier if the other file or the other audio tracks here actually had something on them if I had the FS fly it actually had a mic hooked up which I didn't unfortunately this would have been a whole lot easier both of the audio tracks you see right here going into the FS seven one mic was on Austin the other mic was on me and so that's why they are synched up but if as you can see they are both on this video track right here the problem is we can't see the underlying track because we got this track on top of it so I'm just gonna go in and temporarily bring down the opacity but you can see right here they are not in sync right do you see he's rubbing his eye right there so we are clearly not in sync and again this is a lot more work than I should have to do but this is because I did it poorly so what I'm gonna do right here is I'm going to see if I can find a spot okay so I'm gonna look I'm gonna look for right here like right where he touches his eye that's the top track and now I'm gonna look for that on the bottom track here again way more work than I should have to do simply because I forgot to hook up a mic otherwise we could just sink on the clap so do it the right way so you can see we're pretty much synced up right there now bring the opacity this one back one hundred and now they are in sync not to be confused with the boyband and the reason why we want to make changes over here separately is because we don't have to then trim all this up we can just edit the main timeline here unclipped all of the outtakes and there and stuff our color correction our audio changes everything that we do here takes place over here now one thing we're going to want to do here while we're in this timeline is we want to switch our views so we go up to our our playback here we right-click we display mode go to multi camera and now you can see both cameras now you can click back and forth on which camera you want to be active or while it's playing you can actually just use the number one and number two on your keyboard if they hit one that's the first camera - that's the second camera and while it's playing I can actually switch between them so anyway as you can see once I'm done playing you can see the different cameras took effect right here so that's the way that you will easily go back and forth between cameras in that timeline but as you can see the color on this it's still pretty poor so now we have to go into our color correction to this and normally I would do this on an adjustment layer but both these cameras are going to be slightly different in terms of color tone and brightness and such so I don't want to apply them an adjustment layer on top of both I want them to kind of have their own I need to match the footage so I'm not going to be applying it to both so I'm going to right now is I'm gonna go ahead to my effects tab go to my custom bin and I'm gonna pull to strip over here and just apply that to the very top layer right here now that means we're gonna be editing this top video first so it's going to go back to our display mode of composite video so we can see just the one that we have you know on top right here and it opens up all these options over here under the effects controls so once we drop to strip in here we get this lue metric color and then we've got input LUT right here and this is where you can browse to your Luntz now there's some pre-installed let's here with premiere but I use ones that are specific to my camera into the exact recording format that I'm you so that's what I'm gonna be using today so this is the let I'll be using right here it's a sin es log three to a rec 709 and that's the way it looks when it applies the lip as you can see it's a bit dark it's a bit contrast II now is where we can start making our changes but more importantly you'll notice it looks like that over here now we can see the other camera did not take effect yet because we haven't applied anything over here in this workflow now normally I'll use a gray card like you see right here to get my color balance but we're pretty much in a studio environment now where the color is controlled which is why we want to block out those skylights when I'll have color shift throughout the day and our lighting is pretty consistent so I don't actually need to use the gray card but I always start a clip with it that way we can adjust it if we need to so I'm gonna do is I'm gonna come over here I'm gonna find a shot we're just kind of sitting here talking I'm gonna start playing around the color to make it look you know presentable I mean that's the thing about color is it's subjective right you can go for a certain look and feel so I'm gonna go ahead and warm this up just the tone make it a little bit more comfortable I'm gonna bring the exposure up slightly which is kind of a bad move we were slightly underexposed for this but fortunately because we're shooting with pretty good cameras were able to bring this up quite a bit before we get a lot of noise so you can see there's no ways and stuff in his shirt right there but yeah we normally don't want to go up and exposure down is where we want to go but I'm going to pull this up a little bit and then I'm gonna bring the blacks down just slightly that way our exposure doesn't affect any of that so this way we can actually bring up exposure and skin tones without affecting the dark colored shirts that we have on but the other thing here is we actually need to add a little bit more saturation because although we're using the LUT it's still a bit under saturated and we can play with this quite a bit as you can see that looks like we got sunburns or like were cartoons or whatever I like to bring my saturation up to about 1:45 you can even type this in right here if you want and then we get a look like this then I like to go into creative I like to bring up the sharpness just a little bit because we had no sharpening whatsoever in camera we do all this in post and then I actually bring saturation up a little bit more even right here just a couple of points but then I bring the vibrance down and that's how we get this sort of a look right so let's get a we're kind of looking towards the camera so we can get a feel for it and that might be a little bit on the warmer side of things so now I can go up here and play with the temperature just a little bit you bring it back a tad so you don't want it to cool I kind of like it right around there and there that's not too bad so I'm gonna do now is I'm going to turn off the visibility on the top layer and I'm going to start by copying this so if you just right-click and copy you can bring the attributes I'm gonna turn off this layer bring up this one and I'm gonna now paste the attributes so at least we have a starting point that sort so you can see just by copying the attributes of the other camera that's what we get you can see the color tone is a little bit different there's a little bit more green in this footage this is the fs7 right here which is a superior camera to the fs5 even with a Shogun inferno attached to it so I want to bring just a little bit of contrast to this one there we go I'd say I think that's starting to match pretty nicely there's still a green hue in here though and this is why using IPS panels is also really important but I'm gonna go ahead and turn the top layer back on I'm gonna go over here to exposure and bring that up just a little bit more so I'm gonna go full resolution editing right here but you can see now we still have a little bit green tone so that's where we come down here to our color wheels which are pretty important so ryuko wheels up and this is gonna be more in the mid tone to highlights so I'm gonna go ahead and just go opposite of green which is magenta I'm gonna add just a tiny bit because member we're trying to match the footage underneath and I think we're getting pretty close right here this does a bit of a magenta in it so I'm gonna go ahead and pull some magenta out of that one and I think there's gonna be a lot of there's gonna be a lot of tastes and personal preference in this but see if we can do here in the highlights maybe do a little bit in the mid-tones I think we've got a fairly decent match now if we come over here back to our main timeline as you can see both have taken effect so with that basic workflows you just saw this is what the timeline looks like post Malone was awesome enough to supply me with the non-vocal version track of Rockstar so there's no vocals right here this was kind of playing throughout the video and the nice thing was when I wanted to kind of have it fade into like the the video for rock star then we just lined up the peaks and valleys and we switched from the normal just regular track to the vocals and that's how you got this and at the end of the day this is what we had so anyway that was my workflow here for the dual camera interview here with post Malone I hope you guys have enjoyed that video if you didn't check it out go ahead and do so the guy is super chill he was really fun to hang out with and I will be doing some stuff like that in the future but if you guys want to see more creators corner type a video like this let me know what sort of subjects you want me to cover and I'll do the best I can to do it anyway guys time to go thanks for watching and I'll see you in the next one