Color and Grading P3 Footage

[fhagan02]

Great tutorial, after watching it a few times I have a question, would you recommend the same manual settings for all lighting conditions? Especially bright sunshine, plus I don't have my ND filters yet.

Yes I'd absolutely use manual for every light condition. Optimally you want your shutter speed to be set to double your frame rate. So if you're shooting at 24/25 fps your shutter speed should be around 50. (50 to 100 is fine) I've found that an ND16 or a Graduated ND16-8 is needed for full bright midday sun.

http://www.snakeriverprototyping.com/p3-series-filters

 

[AsiaFlyer]

Yes I'd absolutely use manual for every light condition. Optimally you want your shutter speed to be set to double your frame rate. So if you're shooting at 24/25 fps your shutter speed should be around 50. (50 to 100 is fine) I've found that an ND16 or a Graduated ND16-8 is needed for full bright midday sun.

http://www.snakeriverprototyping.com/p3-series-filters

Thank's but I meant the Sharpness -2, Contrast -3, Saturation -2 settings, do you always use these no mater what the lighting conditions are?

I have ND filters on order but they take a while to get to Thailand

 

[fhagan02]

Thank's but I meant the Sharpness -2, Contrast -3, Saturation -2 settings, do you always use these no mater what the lighting conditions are?

I have ND filters on order but they take a while to get to Thailand

Oh, I see. Yes absolutely I keep these custom camera settings and never change them no matter what time of day or the conditions. Bright light is even more reason to use -3 on contrast as you're more likely to get hard shadows where blacks would be crushed.

 

[Dapering]

Oh, I see. Yes absolutely I keep these custom camera settings and never change them no matter what time of day or the conditions. Bright light is even more reason to use -3 on contrast as you're more likely to get hard shadows where blacks would be crushed.

hello and thank you for your video.
I use Lumetri to correct the footage. Could you make a video of your tips on using that tool.
Also, what values you use in Manual WB
Thanks again

 

[Dapering]

Oh, I see. Yes absolutely I keep these custom camera settings and never change them no matter what time of day or the conditions. Bright light is even more reason to use -3 on contrast as you're more likely to get hard shadows where blacks would be crushed.

One more question
Why choose 4k 24fps over 4k 30fps

 

[fhagan02]

One more question
Why choose 4k 24fps over 4k 30fps

My white balance is usually set somewhere around 5000 to 5800K.

I like the organic look of 24 frames per second. It's the standard for 95% of everything that shot for cinema. 30 frames per second is more an NTSC standard for television broadcast.

 

[Dapering]

My white balance is usually set somewhere around 5000 to 5800K.

I like the organic look of 24 frames per second. It's the standard for 95% of everything that shot for cinema. 30 frames per second is more an NTSC standard for television broadcast.

How about filming in 30fps and having the possibility to slow down a bit when exporting in 24 fps.

 

[fhagan02]

How about filming in 30fps and having the possibility to slow down a bit when exporting in 24 fps.

That is an excellent idea. I do this often in Premiere Pro When Shooting 1080 60fps. Reinterpret the footage to 23.97 and you'll get beautiful slow motion. Shooting at 30 and reinterpreting to 23.97 slows things just a little creating a slower mood to the shot that's very appealing.

 

[AsiaFlyer]

Oh, I see. Yes absolutely I keep these custom camera settings and never change them no matter what time of day or the conditions. Bright light is even more reason to use -3 on contrast as you're more likely to get hard shadows where blacks would be crushed.

Thank's. I am more of a photographer than videographer but starting to do more videos these days and have moved from using Photoshop CS6 to edit my videos to Premiere Pro, one thing that I still haven't figured out is how to color correct a specific color in the way you can with PS and Lightroom.

I have a job book this week filming a sailing ship with red sails that I need to brighten up as they are looking a bit dull, in LR or PS it's easy with the 8 color HSL sliders but I haven't found a similar tool yet in PP, been watching tons of youtube videos, any advice? (Also need this tool for bringing out the blues in the sky etc)

 

[fhagan02]

Thank's. I am more of a photographer than videographer but starting to do more videos these days and have moved from using Photoshop CS6 to edit my videos to Premiere Pro, one thing that I still haven't figured out is how to color correct a specific color in the way you can with PS and Lightroom.

I have a job book this week filming a sailing ship with red sails that I need to brighten up as they are looking a bit dull, in LR or PS it's easy with the 8 color HSL sliders but I haven't found a similar tool yet in PP, been watching tons of youtube videos, any advice? (Also need this tool for bringing out the blues in the sky etc)

For the sky try using a gradient color matte. Like the one I created in Photoshop and used in the Tutorial. For punching a specific color use the secondary color correction tool within the Three Way Color Corrector. Scroll to the bottom of that effect interface and open the Secondary color correction. Use the eye dropper tool to select the red in the sails. You can add to, or subtract from the mask you're creating. Turn the mask off and on to "see" the area that the eyedropper is selecting. Then the mask you create is the only thing the Three Way will affect.

That's a lot to digest... hope it makes sense. Good luck!

 

[AsiaFlyer]

For the sky try using a gradient color matte. Like the one I created in Photoshop and used in the Tutorial. For punching a specific color use the secondary color correction tool within the Three Way Color Corrector. Scroll to the bottom of that effect interface and open the Secondary color correction. Use the eye dropper tool to select the red in the sails. You can add to, or subtract from the mask you're creating. Turn the mask off and on to "see" the area that the eyedropper is selecting. Then the mask you create is the only thing the Three Way will affect.

That's a lot to digest... hope it makes sense. Good luck!

Thank's for the quick reply, yes it makes sense, you explain things very well, I tried the gradient tool on the sky successfully yesterday thank's to you. I will have a go using the eye dropper tool on the sails, thank's so much for your help. Wonder why Adobe don't have the 8 color HSL sliders in PP? It's one of my most used tools in LR.

 

[dinsdale16]

Thank You, great stuff ! Will be trying some of your techniques.

 

[Dapering]

That is an excellent idea. I do this often in Premiere Pro When Shooting 1080 60fps. Reinterpret the footage to 23.97 and you'll get beautiful slow motion. Shooting at 30 and reinterpreting to 23.97 slows things just a little creating a slower mood to the shot that's very appealing.

Thanks Frederik.
How do you implement the 30 to 24 fps change?
I know I can slow down footage in the timeline and also change the fps at export, but I think I am missing something to achieve what you refer to as "Shooting at 30 and reinterpreting to 23.97 slows things just a little creating a slower mood to the shot"

Thanks again

 

[fhagan02]

Thanks Frederik.
How do you implement the 30 to 24 fps change?
I know I can slow down footage in the timeline and also change the fps at export, but I think I am missing something to achieve what you refer to as "Shooting at 30 and reinterpreting to 23.97 slows things just a little creating a slower mood to the shot"

Thanks again

Right click on the clip in the project bin BEFORE you place it on the timeline.
Modify > Interpret Footage > Assume this frame rate > Then type in 23.976

 

[PhantomFilters]

Yes I'd absolutely use manual for every light condition. Optimally you want your shutter speed to be set to double your frame rate. So if you're shooting at 24/25 fps your shutter speed should be around 50. (50 to 100 is fine) I've found that an ND16 or a Graduated ND16-8 is needed for full bright midday sun.

Personally I find that an ND8 + POL filter works great in bright sunlight.