How Do You Camera? Video Camera Basics | Marshall Rimmer | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

How Do You Camera? Video Camera Basics

teacher avatar Marshall Rimmer, Filmmaker

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

22 Lessons (1h 17m)
    • 1. Hello!

    • 2. Camera Options

    • 3. Resolution & Frame Rate

    • 4. Resolution History (advanced)

    • 5. White Balance

    • 6. Shutter Speed

    • 7. Aperture

    • 8. ISO / Gain

    • 9. Optimal ISO (advanced)

    • 10. Exposure Practice

    • 11. Picture Style

    • 12. Lenses & Filters

    • 13. Maximum Aperture (advanced)

    • 14. Framing

    • 15. Design

    • 16. Movement & Ancillary Equipment

    • 17. Thank You!

    • 18. Use Basic Photo/Video Skills to Make Money

    • 19. BONUS LESSONS: Color Grading Preview

    • 20. BONUS LESSONS: Color Correction Prep

    • 21. BONUS LESSONS: Color Correction Workshop

    • 22. BONUS LESSONS: Color Grading LUT Workflow

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Video is now the world's number one method of communication.  It is estimated that the number of video cameras now surpass the number of people in the world.  Without a basic understanding of video cameras, you'll quickly be left in the dust.

Hi, my name is Marshall Rimmer and I'm a cinematographer who has been filming in high definition before the days of YouTube.  I know the ins and outs of Canon, Sony, Panasonic, Nikon, and RED.

Watch a sample of my cinematography here.

This class is designed for someone who hasn't used a camera with manual settings and is looking to shoot beautiful video without spending thousands of dollars on fancy equipment.

This class will teach you how to:

  • Use your camera in any situation
  • Properly expose a subjet
  • Put your subject in focus while making the background out of focus
  • Properly frame of a subject
  • Shoot indoors, outdoors, day, and night
  • Use existing location features to your advantage
  • Move the camera to reinforce emotion

If you're interested in my color grading LUT pack, use the code "ClassDiscount" to receive 60% off all downloads.

Meet Your Teacher

Teacher Profile Image

Marshall Rimmer



Marshall Rimmer is a video production professional who has had his work featured on CNN, WIRED, G4TV, and IGN. Additionally, his short films have played at  Academy Award qualifying festivals including South by Southwest, Palm Springs, Austin Film Festival, Los Angeles Film Festival, and Chicago International Children's.

Sample Projects:

Cinematography Sample

Angry Birds Movie Trailer

Facebook vs. Google+ Sketch

See full profile

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Hello!: - Hey, - what's up, - guys? - This is Marshall. - Just wanted to say a few things before we start the class The way that the class is - structured Is that the end? - We're gonna put together a musical montage or even kind of a camera real. - Of all the footage that we've done, - all the lessons that we've learned and at the end of each chapter there test footage that - you should go out and shoot, - showing that you've learned the lesson that I've taught. - Now this footage is somewhat optional. - If you already know the lesson and don't feel the need to go out and shoot it, - that's totally fine. - But the way that the class is set up is that if you do the test footage for all the lessons - , - by the end of it, - there won't be too much more additional footage to go out and shoot. - However, - if you don't do all the test footage, - it will take a little bit more time to compile that montage that we've talked about. - So go ahead and get started. - I'm really eager to teach you guys, - and I'm looking forward to seeing what you come up with 2. Camera Options: - So in this first class, - we're gonna cover camera options. - If you already have your own camera, - feel free to skip to the next video. - I'm sure you'll be able to learn something from this video. - It's just that this is more designed to pick out a camp. - So in the additional resource is to have this class. - I've included a PdF of cameras listed by price cameras that are current on the market as of - July 2013. - Within this document, - you'll see that some of the cameras were listed in black tax and summer listening blue. - The blue text ones are DSL, - ours DSLR, - zehr, - relatively new cameras that come out just within the past few years. - They look like still cameras, - except you can shoot beautiful video on. - I'm actually shooting this video right now on a DSLR DSLR zehr nice, - and that they make beautiful video and the relatively cost effective. - The downside is that you typically have to buy another apparatus to shoot audio eso. - Then you have to sink the audio in the video when you're doing editing and it's a little - bit more complicated, - but they are great cameras. - They shoot beautiful images, - and I definitely recommend. - Another plus about DSLR is that you can actually take still photos as well as the video. - So that kind of multi purpose and then you'll see that some of the cameras or kind of boxed - in in a red outline those air the cameras that I recommend for each price range. - As you can see, - this list goes from $200 to $20,000 a bit pricey. - But depending on your budget, - go ahead and Google. - These cameras kind of see what their user reviews on them are and kind of get a feel for - which one you want. - And on this, - pdf don't worry too much about the two columns on the right hand side. - We'll get to that in a later video. - So before going to the next class, - I recommend that you get a camera. - Either you buy one, - or you talk to a friend who asked one that will let you borrow it. - Go ahead and get the camera so we can actually jump into what there is to know about a - camera 3. Resolution & Frame Rate: all right, So you have a camera and we're gonna jump into some of the settings. This first video is going to be pretty short, cause just a quick little tidbit. We're covering resolution and frame rate. So just a few things on resolution when someone says the resolution there typically talking about the amount of vertical pixels. So here, 10 80 for instance, that's 10 80 vertical pixels. If someone says 7 20 same things 7 20 vertical pixels. But the lesson here is really Look at your camera and see what the resolution options are. If it does shoot 10 80 I would recommend Always shoot 10 80. If it recommends higher, you might want to shoot 10 80 or higher, depending on how much member you have on a hard drive. How much space you wanted to take up. But as of now, I would say shoot 10 80. Also, look at the frame rate. The important thing about frame rate is just keep it consistent. Some cameras shoot 24 frames, a second European camera shoot 25 frames a second and some shoot 30 frames a second usually have an option to switch between the 24. The 30 and the traditional thought is 24 is closer to film. 30 ist closer to television. I usually shoot 24. It doesn't really matter. I think 24 possibly looks a little nicer. But the main thing is to keep a consistent. Since the final project of this class is gonna be a video montage with a bunch of different clips that you'll shoot a different times, make sure that the resolution and frame rate is consistent. I recommend shooting at 10 80 24 or resolution of 10 80 at 24 frames a second. I think this will be the kind of the cleanest, most cinematic look possible. So all cameras or different, you're gonna have to kind of play around with it. Look online, find you know where the menu is that adjust the frame rate in the resolution and make sure to keep it consistent in all your videos and go ahead and jump to the next plus 4. Resolution History (advanced): - just a little history about resolution. - Back in the day, - TV was shot at 4 80 Your DVDs are still at 4 80 This is a very bad quality. - When YouTube first came out, - it was at 2 40 then grew to 3 60 YouTube now handles very large format stuff. - Time has gone on, - and we went from 7 20 now at 10 80 and we're kind of on the brink of four. - K four K is a lot of pixels. - I think it's 4096 I think that actually refers to the horizontal resolution. - It's a little tricky with that, - but four K is kind of gonna become the next new standard in a few years. 5. White Balance: - so one of the most important things to do. - Once you begin shooting with your camera before you actually shoot anything, - you want to look at the white balance. - White balance is a term that, - basically, - first to the fact that all whites produce different colors inside lights are actually a - little bit more yellow than daylight. - Fluorescent lights or somewhere in between. - You know, - light it sunsets gonna be different as well. - So basically, - our human, - I just colors for us and we don't really think about it. - But we have to go inside the Cameron, - actually, - just how it reads the color of the light so it can properly read an image. - So right now you're seeing something at proper white balance, - and this is at an improper white balance. - Sometimes you grab the camera, - you're ready to shoot everything's kind of blue or yellow, - and you're not sure why. - That's because you haven't adjusted to a proper white balance. - So the traditional way of why balancing is toe hold up something white, - zoom in on it so it takes up the whole frame of your camera and then press the white - balance button. - This will adjust within your camera, - and it will do it automatically. - Cameras are always different, - so the white balance, - but it is not always in the same place, - so that's the automatic way of doing it. - I've shared a pdf with you guys, - and the additional resource is that kind has a list of all the important numbers. - White balance is on a Kelvin scale and the important numbers to remember our thirty two - hundred four in sidelights, - incandescent tungsten and 5600 for outdoors during the middle of the day. - Basically, - the way that I think about it is the higher the Kelvin number, - the mawr yellow that your infusing in your image. - So if you think about inside lights or yellow outside, - the sunlight is actually bluer when it comes in. - These are things that if you haven't thought about this before, - it will sound strange. - But if you start kind of going throughout your day and looking at the difference between - inside and outside, - you'll understand. - So because the light outside is a little bluer, - we wanna up our Calvin to infuse more yellow in the image. - If it's an overcast day, - it's gonna feel a little bit more blue outside, - so we need to adjust the white balance, - even Mawr, - to put in more of that yellow in the image. - It's a little bit complicated when you first start out, - but once you do it a few times, - you'll kind of get a feel for it. - Another thing to note is that fluorescents are kind of halfway between indoor lights and - outdoor lights, - and there's no uniform fluorescent, - which is really frustrating. - There's somewhere between 8000 so you always kind of have to adjust. - Some of the DSLR is a really nice where they come with preset white bounce for sun indoors - , - shade overcast. - I know the cannons come without. - I believe that Nikon has something similar as well. - But basically, - if you remember those two numbers 3200 and 5600 those were the key numbers for white - balance. - Some cameras allow you set that manually. - Others will force you to do the zoom in on a white piece of paper. - Either way is fine. - In the big picture is a little better to know those numbers, - but starting out it's totally fine to do the white paper and balancing to that So for each - of these classes, - I want you to go out and shoot some test footage using what we just learned. - And hopefully we'll take that test footage and later on, - we'll put it in the final project montage. - So by the time you've done the whole class, - there won't be too much work left. - So for the white balance test footage, - I basically want you to shoot something indoors and shoot something outdoors properly. - White balance Both should be fairly easy. 6. Shutter Speed: - So these next three classes shutter speed aperture and I S O. - R about letting in light to the camera. - That's how camera reads the image. - It allows the light and to hit the sensor. - And that's what becomes the image. - So with each of these shutter speed, - aperture and I s so we're gonna be talking about how to let more light into your camera or - less light into your camera and also what each of those things does to your image. - In addition to just letting in light, - your next concept is shutter speed. - When you think of a camera and you think of like a still camera when you take the picture, - you hear that and what that is is It's a shutter, - allowing light in and stopping it really quickly. - And within cameras, - you can actually just how fast the shutter moves and go really fast, - just letting in a little bit of light or very slowly, - letting in a lot of light. - One thing to note about shutter speed is that standard shutter speed is between 48 60. - Again, - this is a technical lesson. - These numbers represent the denominator number of the speed of the shutter speed. - So 48 is 1 48th of a second. - So if I was shooting with the shutter of 200 I'm actually shooting at a shutter of 1 2/100 - of a second. - So when use a very quick shutter, - it doesn't let in a lot of light. - And your image is gonna be a little darker. - You're going to have to just with the aperture of the I S O too. - Make it brighter and we'll get to that in the next lessons. - Back in the day with film cameras, - they would use a rotating shutter, - and the rotating shutter would be 100 80 degrees closed and 180 degrees open. - So when it spins around the number, - actually just to twice the frame rate again, - a technical lesson. - I'm sorry, - but if we're using a frame rate of 24 that means our shutter speed should be 48. - If we're using a frame rate of 30 are shutter speed should be 60. - So shutter speed in theory, - is twice your frame rate. - That being said, - 48 50 and 60 are all acceptable shutter speeds. - Your shutter speed when shooting video should always be one of those three, - unless you're going for a stylistic look. - But the interesting thing with shutter speed is that it has this side effect, - whether you use a quick shutter or slow shepherd. - So here's one thing to note. - So this is action moving, - and this is how it's registered on a shutter speed of 60. - And this is what the same action looks like at a shutter speed of 1000. - Notice how it's very kind of crisp, - and it's there's no kind of smearing. - There's no movements with it. - This kind of shutter speed is used for, - like action movies when people are punching or shooting, - and it's kind of a high intensity, - kind of gritty sort of feel is what high shutter speed is used for. - It's also important to note that by using this high shutter speed, - I'm having to adjust my aperture. - My I have so just to get proper exposure. - If I left those other two things the same, - inject my shutter speed up to 1000. - I got a much darker image because I was letting less light in because the shutter speed was - a lot faster some cameras have slow shutter options. - If I was to do the same motion with a very slow shutter, - it would look like my hand was kind of smearing and kind of ghosting all along the action. - This is kind of actually really cool. - If you do like sparklers on the Fourth of July with slow shutter, - it looks like the light is actually kind of drawing in the sky. - So knowing the shutter speed and knowing what it does to your image in addition of just - letting light in and out but the kind of punchy, - gritty stuff versus kind of the smearing, - you know, - knowing that you could definitely use that to your advantage. - So for the test footage for this lesson, - I want you to go out and shoot an action. - I want you to shoot it out of shutter of 50 6200 and 2000. - I recommend going outside because there's gonna be a lot more light. - It will allow you to do that 2000 shudder a lot easier, - but do the same action for all four of those shutters. - And by doing this exercise, - you kind of see firsthand the real difference of the different shutter speeds 7. Aperture: - in addition to shutter speed. - Another aspect of our camera, - which allows light in and out, - is the aperture. - The aperture is a hole that the light goes through before hitting the sensor of the camera - . - The wider the aperture, - the more light can go through. - The smaller. - The aperture with less light can go through. - Now. - This is kind of a complicated concept, - because the number that corresponds to the aperture is again a denominator number. - More technical information. - I'm sorry we got to get through it. - So the number that corresponds to the apertures called an F stop and the F stop is a - denominator number. - So when you hear something like an aperture of four, - that's actually 1/4. - When you hear something like an aperture of 22 that's 1 22nd So 22 is actually a smaller - aperture than four. - So think that the numbers are backwards, - the higher the number is smaller, - the whole lower the number, - the larger the whole. - I don't know who invented the camera and decided to come up with it that way. - It doesn't make a lot of sense, - but just know that the number and the size of the hole that lets light in our opposite. - So if someone says they want a larger aperture, - the whole gets bigger. - But the number that corresponds that actually it's smaller. - If someone says they want a larger F stop, - that's the number that corresponds to the see. - If the Complicate is a complicated thing, - just know that F stop is the number that corresponds to the denominator, - and that aperture the term aperture itself, - is refers to the whole. - So as my aperture changes, - it has kind of another side effect, - like shutter speed did with motion. - When the aperture gets larger, - the F number gets smaller. - When the aperture gets larger, - my range of focus gets smaller. - People always like the images, - with the really soft background in the foreground and focus that's done with aperture, - the larger the aperture with less that's in focus. - If I close down and get a really small aperture than I get a lot more and focus. - So right now this video is being shot at a five. - This gives me kind of a nice range of focus that gets most of my face and focus but keeps - the bookcase soft. - Now I just opened up to a 18 which is a very large aperture, - meaning my depth of field or amount that's in focus is really shallow. - So as you can see here, - I'm probably in focus, - kind of. - But if I were to lean up, - I'm very soft. - Now. - If I were to lean back, - I'm very soft as well. - So the tricky thing with these DSLR is that you can open up your aperture really, - really large, - and you have to be very careful with your focus. - If you do this and my contrast, - I just closed down a lot or got a smaller aperture now in Anapa Tripping 11 and you can see - that I'm definitely in focus. - And now the bookcases in focus to and thing is when you make a small aperture, - a lot more gets in focus. - The image suddenly looks a little bit more digital. - This kind of looks like something that I would shoot on a camera maybe 5 to 10 years ago. - Everything's in focus to get that film. - Look, - we really want kind of a nice soft background, - so we want a small depth of field with only a little bit in focus. - That way the bookshelf gets soft, - and it kind of looks like a nicer, - more cinematic image. - So one thing that's important to know is that as I'm adjusting my aperture, - I'm adjusting my eso as well just to get a properly exposed image. - I'm keeping my shudder at about a 50 or 60 because that's what I want for the image to look - natural. - So as I'm opening up my aperture, - I'm changing my eyes so kind of, - depending on what's properly exposed and what's not, - we'll get to I s so in the very next video, - so you'll kind of get a better understanding of that. - I would open up my aperture, - I'd let in a lot more light, - and I'd be very over exposed. - Everything would be too bright. - And if I closed it down a lot, - if I didn't adjust the shutter in the eye, - so like I did, - everything would be in focus but also be very dark. - The whole would be small, - and I wouldn't be letting in a lot of light. - Now this is kind of a properly exposed, - proper depth of field type of picture. - So for the test footage for this unit. - I want you to go out and film a person or an object at various apertures. - Want you to do one at the maximum aperture that your camera has. - Ah, - 56 and eight and 20 to make sure you get proper exposure. - You want that shudder at about a 50 or 60. - So you're gonna have to adjust the I s o depending on how wide or how small your aperture - is. - And that's the test footage for this week. 8. ISO / Gain: - So if you have a DSLR the sensitivity of your cameras called the I S O. - So back in the day when cameras use riel film film would have a sensitivity number attached - to it and s a would be a 204 108 116 100 a number that corresponded to how sensitive the - film itself was. - Toe light. - If you're not using a DSLR, - you have something called gain. - So there's gain and I s so we'll talk about I s O first I s O was a number that as you - increase if the camera is more sensitive, - the light as you decrease it, - the cameras less sensitive to light The way that I think about it is if I'm outside, - I'm shooting at an Esso of something from 100 to 200. - If I'm inside, - I'm shooting at something around 800. - So the number changes depending on how much light you actually have around you. - But just like shutter and aperture, - I eso has a side effect as well and I eso side effect is not a good one. - So right now I'm shooting at a nice so of 12 50 12 50 is about the largest number of I s O - that I feel comfortable shooting with. - If I shoot it something larger than 12 50 suddenly the images kind of nasty and grainy and - kind of just not a clean image. - I want something that's kind of very pure and clean and doesn't have any kind of digital - noise floating around. - You can kind of see the noise better. - A kind of dark areas. - Maybe so I eso is something that you need to be careful with. - You don't want to raise it to an uncomfortable level because we always want clean, - pure images. - So the general rule of thumb is that the higher the I s so the brighter image and the more - noise that you get noise is bad So you want a lower I S O And in the second half is gain - gain is pretty simple. - Gain is always bad. - The morgaine, - the more noise, - it's just bad. - So if you have a camera that has gained and not I s O, - you always want to try to keep the gain of zero, - maybe three, - maybe six, - But depending on the camera, - there's a different level of noise. - Always try to have the gain of zero. - Always try to have the shutter of 50 or 60. - Those air kind of my two rules. - So for the test footage this week, - I want you guys to shoot something at 100 at 1 60 if possible 400. - And then whatever maximum I s o your camera can handle just so you can get a feel first - hand for how much grain gets infused within the image based on your I S O. 9. Optimal ISO (advanced): - So the general rule of thumb is that the higher the I s. - So the brighter image and the more noise that you get noise is bad. - So you want a lower I s So there is a tricky thing with I s O. - And that it doesn't exactly follow the rule of the more I A. - So the more noise Some cameras have a native i eso of something different than 100. - For instance, - can India solares like multiples of 160 For whatever reason, - that's the best number of I s 01 63 26 40 12 50. - Those were all good numbers with I S O in that pdf that I share with you guys and the - additional resource is of the camera lecture. - I listed the native i eso of the different cameras. - So revisit that. - And if you have a camera that has a native I s O of 1 60 you might want to do some research - online and kind of see what those good I S O numbers are also shared a link with you guys - to kind of address the different noises of the different ISOS. - That's a very complicated, - convoluted conversation. - So you really don't need to jump in and do all that research. - But I'm just letting you guys know that it's not exactly. - It's black and white as Maura. - I s o more grain. - Just something to think about. 10. Exposure Practice: so this video isn't really a lecture. I just want to make sure we're all up to speed on what we've learned over the past four lectures. So once more test footage, we've just learned shutter speed aperture and I s O. And we're always kind of doing this dance to make sure the exposures proper based on what kind of image we want to get. So I want four different scenarios. I want you to choose something outside during the day, shoot something outside at night, shoot something inside a day and inside at night. Doing these four exercises. You kind of realize that that dance of I S O aperture and shutter is always kind of difficult. And you're always having to be thinking about how to properly adjust those three so you get the best image possible. Also, it's important to note that I don't expect the outside night footage to turn out Well, this is just an exercise. So if it's black and dirty and dark and gross, don't worry about it. Just exercise 11. Picture Style: - So one thing that's cool about these digital cameras is they're really kind of treated like - a computer, - where you can kind of download and install different picture profiles and firmware to - adjust the image itself. - That makes it more cinematic, - and not just kind of a standard digital image. - Picture profiles a term that discusses kind of the image itself of the camera, - not the light coming in so you could go into the camera itself and just different things. - You can adjust the sharpness of the camera. - You can adjust the saturation, - the contrast and then also a color balance. - I think it's what the term is. - It is you like a green to magenta scale. - So if you're under a fluorescent light that's a little green in Hue, - you can add magenta to the color itself. - But playing around with these picture profiles, - you can kind of get cool. - Interesting images. - One thing that I've noticed is a lot of the DSLR is 10 to saturate their image a little bit - , - so I like to dumb down the saturation a little bit, - so it's not as intense. - Another trick I like to do is if I'm shooting outdoors. - I want to kill all the contrast, - so I want the shadows to not be as white and black. - I want them to be kind of more shades of gray, - And what this allows me to do is, - if I decide to color, - correct my image later, - I have more to work with, - meaning if if an image overexpose is completely and under exposes completely, - there's not as much information there, - whereas if I kill the contrast, - so the whites are a little darker and the blacks are a little lighter, - then there's more information there for me to adjust. - It's a little complicated of a conversation, - but it's just important. - Notice that if you overexpose something, - you could never take the over exposed image and turn it back into something you want. - So making that contract a lot less is something that I really enjoy doing especially - outdoors during the day, - just because of all the shadows. - So check the additional resource is for this unit. - I've supplied some Canada ones, - a Sony one, - and if your specific camera isn't on that list, - feel free to Google your camera picture profile and see if there's anything that you can - download from the Web that improves the quality of your image. - No test footage for this unit move on in the next. 12. Lenses & Filters: - All right, - so we're gonna talk about lenses and filters with lens. - You could buy either a zoom lens or a prime lens. - Prime lands is basically a lens that doesn't zoom, - so you're stuck with that focal length. - Now, - what are the pros and cons of each? - With zoom Lins, - you can zoom in and out. - You don't have to actually physically adjust your body. - If you want to get a close up, - you can just zoom in. - You don't have to run for 10 feet. - It's really nice for kind of run and gun documentary stuff for taking pictures and that - kind of stuff. - And then there's primes. - Prime lenses actually typically capture a nicer image. - That's because there's no moving parts in the lens. - There's no glass that needs to be adjusted and shaped to try to get the image. - The lends itself is not moving, - and it's a lot easier for a manufacturer to make a prime lens that's just beautiful on its - own. - Prime lenses air cheaper. - Also, - they're cheaper, - and they look nicer. - But a lot of times they're just not as practical. - If you're shooting something that's very loose, - like a documentary or something that's unscripted, - and you need to zoom in and zoom out and kind of reframe with the prime lens. - It's just not that practical. - So those prime lenses in their zoom lenses there are fast lenses and slow lenses. - The speed of a lens refers to the aperture. - If a lens is known as a fast lens, - it's a lens that can open wide toe, - a large aperture or a small F stop. - If the lenses a slow lens, - it's a lens that can't open that wide and has a larger F stop slower lenses or cheaper, - faster lenses or more expensive. - So there zoom winds and prime ones. - There's fast lanes and slow lens, - and there's wide lens and long lens. - Now, - all these air just dimensions that describe different lenses now wide lenses or things that - shoot very wide, - like the name suggests there's a fish eye, - which is 180 degrees, - which is crazy on, - then a long lens, - which, - which kind of targets in and it's like basically thank you, - zoomed all the way in. - Now the cool thing about these different types of lenses that they just have, - they have different perspectives white lenses make people look a little more unattractive. - They kind of distort things a little bit. - But if you were to shoot some kind of apartment kind of real estate video, - you would use a very wide lens to show how big the room is. - And long lenses air different where they make people look a little bit more attractive. - But they also kind of detached you emotionally from what's happening, - as if you were on top of a building, - spying at someone down below. - It's important to note that a 50 millimeter lens on a full frame camera is basically the - perspective of human eye. - And then there's filters, - filters, - air really important, - and they're often overlooked. - A lot of traditional camcorders have built in Indy filters nd stands for neutral density. - I'm not sure what that means, - but it basically darkens your image a little bit now. - Why would you want your image darkened? - Well, - when you shoot outside during the day, - if you're shudder is set at 50 or 60 your eye eso isas, - Lois. - It can go or the gains of zero. - You take your aperture and you're gonna have to close it way down because it's really, - really bright. - Well, - when you step back, - you see that you've closed down your aperture so much that everything's and focus, - and it looks very digital. - So it's really nice to have an indie filter so you can dark in your image and then open up - the Apertura little bit. - So when I shoot outdoors instead of shooting something at an aperture of 22 I can shoot - something at a very large aperture that keeps the depth of field really nice. - Keeps the background out of focus, - and it looks more cinematic, - so filters or something you should really look into. - There's also a polarizing filter, - which cuts reflection off of water or a windshield that's really important. - And then there's a UV filter. - UV filter is supposed to be good for your camera sensor, - so the sun's light doesn't damage it. - But it's also just kind of an additional protection for your lens. - If something flies your camera and hits the lens, - you've damaged a $10 UV filter versus a $500 lens. - So for the test footage this week, - I want you guys to play around with the difference between a long lens in a wide lens. - If you have a zoom lens, - you know, - take some footage with it, - zoomed all the way in and takes the footage with it zoomed all the way out. - I'm going to take a person, - go outside and get kind of a close up. - Just a nice close up image, - one with a wide lens. - You're probably gonna have to walk really close and one with a long lens. - We're gonna have to walk far away and just kind of takes the footage and kind of get a feel - for the difference of perspective that a wide lens of us is a long lens gives. - Both of them have different, - unique feels and are used for different things. 13. Maximum Aperture (advanced): - One thing that's important to note is that just because the lens can open up really wide - doesn't mean that you necessarily need to use a lens that's that wide. - It's important to know the sensor size of your camera. - I shoot on a Canon five D. - It's a full frame sensor. - Now. - When we had our aperture lesson, - we were talking about depth of field. - One thing that's important to note is that the larger the sensor size, - the smaller that depth of field. - So because I'm shooting on a full frame camera, - I don't I don't want to shoot at a very large aperture because my depth of field, - I mean, - is literally You can get, - you know, - a centimeter, - a depth of field, - which is just no good in 95% of situations. - If I have a large sensor, - I actually won an aperture that's a little smaller. - I use an aperture of a five or a 56 on this camera because anything larger than that, - it's just gonna be out of focus. - So one that pdf that I provided you guys on the second lesson with all the camera options. - There's a column for optimum aperture. - So take a look at that, - and depending on your sensor size, - you don't really need to open up its white as you think you dio. - When I first brought my camera, - I wanted to lend. - That was really fast, - and I bought a 50 that could open up to a 14 And that's just it's a huge aperture and just - everything's out of focus. - It is designed for very specific instances, - which I had no need for, - so I've always used lenses that are just a little bit slower. 14. Framing: - all right, - so this unit is about framing and screen direction right off the bat. - There's something called a rule of thirds. - Note that with any kind of creative rule, - it's just a suggestion. - It's just a rule of thumb. - It's not anything set in stone. - The rule of thirds basically says that your subject should be on 1/3 of the frame. - I've always framed these to the side so I can put up graphics, - not necessarily because I'm on the right third of it. - But if I'm having a conversation, - if this is a scene where I'm having a conversation with someone here, - I want to be maybe my outside. - I should be on the right third there, - and when you cut to them there outside, - I will be on the left, - third of it vertically. - Three. - I should be at about the 1/3 to third mark. - There's something called a 180 degree rule. - What that basically says, - is when people have conversation on camera. - If I'm having a conversation, - I should be on screen right when you cut to the next person. - They should be on screen left talking to me. - What this 180 degree refers to is that in actuality, - when the two actors air talking the camera should always be on one side of the action. - It should never jumped the line, - which is the phrase meaning You put the camera on the other side of the action. - What that's basically gonna do is if I'm having a conversation with someone I'm gonna be - frame right, - you're gonna cut to them. - They're gonna be on frame right as well, - and it's gonna be just kind of jarring to the audience that it's not. - It's not what we're used to seeing of someone frame right talking to someone, - frame left talking to someone, - frame right. - It is just kind of disconcerting a little bit. - And again, - with these rules, - you can take that and use it to your advantage. - Somehow, - if you're doing some kind of more artistic interpretation of something, - there's something called lead Room. - If I'm filming something that's in action, - a person running or a car driving, - what I want to do is I want to frame them in a way where there on the right part of the - screen there, - running left and there's a lot more space that they're running two vs space that they're - running from. - It feels really weird when someone is running and the camera is only catching what's behind - them. - What we're used to seeing is someone running, - and we're seeing a little bit more space in front of them where they're running to, - and that's called lead room. - Think of where someone's eyes are in the frame. - If someone's sitting in someone's standing, - it might work well for them to be low and frame, - kind of looking up. - And then when you cut to the other person, - for them to be high and frame looking down. - So take into consideration. - Where in the frame are the actual eyeballs or the object that those eyeballs were looking? - Teoh. - So the test furniture this week is shoot just a basic conversation. - Seen. - It doesn't have to even make sense. - They don't have to be talking about actual things. - The word doesn't have to match up. - What I just want to see is, - can you frame something correctly? - So conversation seemed to close ups. - One person talking on frame, - right looking frame left and one person on frame, - left looking frame right 15. Design: - so this lesson kind of covers into production design territory. - But it is something to note when you're taking video footage, - especially if you're doing a documentary and you have no say over how things look. - It's just a important thing to keep in mind. - Think about shapes and colors. - If I know that my main character is wondering into the woods. - The woods are full of greens, - right? - So he would stand out a lot more if I gave him a red shirt. - But if I wanted him to blend in a little bit, - I could give him a brown or green or something. - So it kind of blended into the background. - So really kind of. - Think about colors in your image, - what is in your location, - and adding colors that are either very similar or opposite to make them stand out. - Then also think of shapes. - Think of lines. - Think of circles. - When you shoot, - you want to see a lot of depth. - You know, - you see those lions converging in the background. - So think of think of lines. - Think of shapes, - think of colors, - think of things that are visual there that can kind of help you compose an interesting - image. - You know, - I've been to places before where a lot of things in a frame are all kind of colored - Similarly, - and then there's something that kind of stands out that's not important to the seen it all - , - you know, - think of when you're framing, - you're seeing What things can you put in there? - What things can you take out for the scene to feel like you spend a lot more money on - production design instead of just showing up, - you know, - to a friend's apartment or to a park or something like that? - So no test footage for this week. - This was just kind of a quick lesson for you to just think a little bit about production - design and how that goes into composing your frame and go ahead and head to the next lesson - . 16. Movement & Ancillary Equipment: - movement and ancillary equipment. - So first off for movement of conversation I often have is Handheld versus Tripod. - Back in the day, - everything should be on tripod. - Handheld looks unprofessional. - And now, - in the past 5 10 years, - we've kind of accepted hand Hellas a certain feel when I'm shooting like a comedy sketch or - something with kind of a fun the motion to it. - I typically do those hand held just because comedy sketches on tripods tend to feel a - little bit more boring and stagnant. - There's just not as much going on, - you know. - Same with documentary. - Documentary is totally fine to be Hand Hill, - but if I had access to something like a jib or a dollar or some kind of nice swooping crane - , - you know, - maybe I want to go tripod because it would feel weird to cut from like a nice cinematic jib - to suddenly were on hand held. - So think about what you're cutting to. - It's rarely a good idea to go from tripod slash jib slash dolly to handheld. - You typically have to pick one unless it's a handheld dolly or something like that. - But I would say keep it either kind of stagnant slash cinematic. - If you have more equipment versus the handheld so ancillary equipment, - you have a gym, - which is basically a pivoted arm, - which in kind of swing around gives you nice kind of swooping shots. - You have a dolly just move side to side, - back and forth on you have a slider, - which is kind of, - you know, - kind of low budget Dolly. - All these are important, - and you need to know how to use each one. - Well, - um, - when you think of Dolly, - dollies are always nice to kind of come into something. - You know, - if there's like a like Stevensville or uses dollars incredibly where you know the main - character sees something. - We cut to that and we come back to his reaction and we see the camera come in really close - to a close up. - You know, - it's a nice moment of realization, - you know, - there's also something where maybe maybe someone small in the frame and they're walking - away. - It's nice to kind of Dolly out a little bit, - just to kind of, - you know, - you know, - relate to their isolation or loneliness or whatever. - One thing that's important about camera movement is that you need to put things that are in - the foreground. - So you feel more of that movement. - Ah, - slider is a really nice piece of equipment, - is just basically you can slide your camera side to side. - And if you don't have anything at four round, - you don't really get to see a lot of the camera movement. - If you're down really low and you see blades of grass in the foreground and you get a nice - shot of the house, - you know, - that's really cool because you see all the blades going past. - You see all that movement, - whereas if you're up to feet and you're just going and you just, - you know are moving to feet to see a house, - you know it's not as significant. - You know, - when gypsy cool to gyms, - you can get kind of high shots. - You kind of low shots. - You could do a lot kind of mawr kind of cinematic, - sweeping stuff with the jib. - So this class is not necessarily about these. - I just want to make you guys aware of equipment that was out there that would really kind - of step up the game of your filming. - And there's ways to cheat this equipment. - Sometimes I like I like to put my tripod upon two legs and kind of tilt it forward as I - move my camera and I can kind of get a makeshift gyp feel out of that. - So you can kind of, - you know, - even with a slider, - you can even kind of slide the camera on a piece of cardboard along a countertop or - something like that. - So you can kind of find ways to kind of add some movement to your scene to make it kind of - nice and pretty in cinematic. 17. Thank You!: - so is pretty much it. - I hope you guys have enjoyed the class and have done the test footage along the way. - I'm going to include a couple links to some free and cheap editing Softwares for you guys - to really easily put together this camera. - So thanks again for taking the class. - If you liked it, - please review it and pass it along to your friends. - But I'm really excited to see how the footage that you've taken and the beautiful image - that you captured. - I really hope you guys have learned something and I do teach a couple of the classes would - be on the lookout for those. 18. Use Basic Photo/Video Skills to Make Money: So a while back, I was out hiking and I came across a sign for rattlesnakes and if that was kind of interesting, so I took a picture of it with my thumb, that picture turned out terrible. Sign was a bit high up, so it's poorly framed. It doesn't tell a story and it's just objectively a bad picture. But I was like, what the heck. So I uploaded you have stock photography site and within a couple of months I made $4 off this picture and look for dollars is not a ton of money. But it got me thinking if a picture this bad can make real money on stock photography, there's gotta be an economical supply and demand type of approach to making passive income off stock photography with little or no photography skills. So over the past year to I've created a very pragmatic approaches, stock photography that at this point makes me about $500 a month. And look, I'm not making fine art here. Okay? I'm taking very basic pictures of things that are in demand that people pay real money for. So if you're looking for a source of passive income that doesn't require a lot of time learning a new skill set. It doesn't require a lot of money and startup capital. Stock photography is the way to go. And in this course, I will show you my very straightforward approach to making real money off stock photography that you can use with your iPhone or any camera in full auto settings. So if you're ready for some easy passive income, let's get started. 19. BONUS LESSONS: Color Grading Preview: 20. BONUS LESSONS: Color Correction Prep: okay, today we're learning about color correction and it's important to note that color correction happens at the end of your process. So you've gone out. You film your footage, you've edited everything. And now at the end, you're doing color correction. We do this at the end because if you were to do color correction before you start editing, you would have to color correct every clip that you bring in every part of every clip. And when it comes editing, you really only using 10 to 15% of your footage, right? So because of that, you only do it at the end. So you're Onley color, correcting the part that you need to. So you're saving yourself a lot of time and possibly a lot of money. So today we're gonna be using a adobe premiere and the concept that we're learning today our basic universal concepts. So even if you're on final cut pro or DaVinci resolve or anything like that, we're only learning about color correction theory today. So the tools that we're using are very basic and universal, and you should be able to use any software while you're doing this eso today we're going to take footage that looks like this, and we're going to turn it into something that looks a little bit more like this. So again, we're just doing color correction. We're not doing any fancy color grades or styles or filters or anything like that. That's for a later lesson. But today we're just going from kind of a bland, boring, de saturated image to something that looks nice here. So one thing that I like to do before I start also is I like to set my background of my desktop to this neutral gray. You can just search on Google neutral gray color correction card or something like that, and you'll be able to find something like this comes up now. What I like about this is you actually see what's true white. What's true black so you can get your colors adjusted accordingly. And you know professional colors actually have their entire color. Corrections studios painted this neutral gray so that they can see if if if colors have deviated from where they're supposed to be, So with color correction, you do use some some scopes and charts and things like that, but you're also using your eye. It's kind of a balance between the two. So I have my footage. I've set this as my background on and I'm about ready to get started. So what? Adobe premiere. Quick Little thing about the software. And then we're gonna dump, jump into concepts. Um, if you click on this color tab up top, Ah, you are able to easily have everything right in front of you and also on the left. I like to look at the scopes as well as my image, so I can kind of come at it from from all sides there. So I'm going to erase what I have done already, and we will get started with something new. So, uh, before I start color correcting, I like to think of factors that may have, um ah, adjusted things in my image. So when I went out and film this, it was overcast. And so that means with overcast days, your image is gonna be a little less saturated, and it's gonna have a little less contrast. So I know that those things might have been adjusted. And I also know that I filmed this using an indie filter. An indie filter allows you to set your camera to settings that you get this really nice, blurred background. However, sometimes it adds a little bit of green tent to the image. So I'm going to assume that we're gonna have toe at a little bit magenta to compensate for that on then. Finally, the lens that I used sometimes films a little cooler than other lenses. So we might have to warm it up a little bit. Um, and then another thing. With overcast days, it is typically difficult to get the color correction correct on overcast days so I could see my, um, color correction here between daylight are blue and orange. Basically, I could see that having to be adjusted. But when I look at the image, it doesn't look terribly off. One thing that was nice. I own one of these cards here that about on Amazon for maybe 10 bucks. Don't feel the need to splurge on the $100.150 dollar versions of these. This card is is really just a good It's just printed on cheap card stock, but has all the proper colors. So, like using that a lot. Ah, and so I Typically, when I get to set, I will do something like this. I'll take a quick video of this so I'm able to get proper colors. And because of that, Adobe has this nice little eyedropper. So you can actually click on the proper white, and it will adjust accordingly. Ah, but before we jump right into that, I want to talk about thes the vector scope here in the history ram here, Um, just let you know what both of these charts me because they're both really important. So this one here is about the chroma and the saturation. And so you see red, magenta blue, so angry and yellow. So it's it's kind of a wheel here of the color and then the further out the the white pieces go, the higher the saturation ad saturation spreads out. When I decrease saturation to black and white, there's nothing there. So, um, one thing to know also, this little circle in the middle is typically seen as like maximum saturation. You don't want anything to get outside of this circle. That's not to say that the pieces need to touch the circle. They just shouldn't go above the circle there Also, one thing that's very important is this line right here. This is this skin tone line, So typically you want your skin tone tow line up against here. And the really interesting thing is, is no matter the ethnicity of the subject. Caucasian, African American, Latino agent, anything like that. It's really supposed to be mostly on the same skin tone line. The saturation and brightness are different, but the actual Hugh itself is very a similar, regardless of the ethnicity of the person, which is really interesting. Now this line here is opposite skin tone, and so what? That's just basically helping you to do. You know, when you think of Hollywood movies, a lot of the the the color palettes air like this orange and teal right And and that's because these are, um, these colors are opposite on the color wheel, their complementary. And so because of that, it's It's really easy to grade an image that has a lot of cool colors as clothes and furniture pieces and things like that. So if you can't help but it's actually really nice to have cool parts of your image leaves , you know, whatever cool partner image Reverse from the skin tone. Even if it's you know, a green or a blue doesn't have to be directly along this line. It's still gonna be a lot easier to color, great and make interesting later on. Once you start adding or in warm colors such as yellow, red or magenta, it's actually pretty difficult to make an image look really interesting. And this actually takes kind of amore expert, uh, color grader to make something interesting there. So a quick and easy cheap fixes at a lot of cool things to your image opposite the skin tone. It's always gonna look pretty nice. And this history and right here is basically a chart of the brightness of the image. So and it's from left to right. So left to right is the same as left of my image to right of my image here, Um, so you can see this right here. Is this wall right here kind of medium exposed? So what this does is you want your brightest parts, your image to be up here if you're seeing sky especially, and you what? Your darkest parts, your image to be down here. So you're saying this only goes up to about 95. This only goes about 2 10 So that is in step with with with with what I was saying about the contrast of the image, Um, not being super high because of the overcast day here. So that's brief overview of these scopes. Now we will be using our eye and looking at the's just depending on what we're adjusting. So with all that being said, we're now ready to jump into color correction, so 21. BONUS LESSONS: Color Correction Workshop: we're gonna start off by the eyedropper for the white balance. And what we will do here is we will click on the white on this card right here. And actually, I'm gonna reset to make sure everything is good. And we're going to do the eyedropper. We're going to do the eyedropper here, and you see it is 0.8 and 3.6. Now, this looks very good. Any time these numbers are less than five or less than the absolute value. Five, they could be negative as well, but less than five. Um, that means you are very close. And that's typically what you want to see. Sometimes they'll be less than 10 and that's okay. But typically these air large numbers. You've either messed something up or it was shot under strange conditions. Like if you'll see if I use the white balance. If I try to tell Adobe that that this this is white, I click on it and now suddenly have added 112 and 30. And so it's all over the place. Right? Um so I just want use eyedropper on the white part right here. Now, like I said, this this sometimes does get it wrong, so you might have to adjust things after use the eyedropper. Um, but worked for me on this one s. Oh, that's great. So now I know it's 00.8 towards orange and 3.6 towards Magenta. And this lines up with what I was saying about the indie filter and the lens sometimes being cool. So now I'm going to go to my actual clip and just real quick start off. This was 0.8, and this was 3.6. So now, in theory, this color is looking really good. And so I like to go just kind of down the line and see what I can do. The exposure right now, Um, there's not anything grossly overexposed or under exposed in the skin tones. I'm gonna leave that be, um, one thing that is important note is I put so much focus on the skin tone. That's really where people should be looking on. 95% of any kind of footage that you take that does have does have people in it. So that being said, if certain things were overexposed or technically improper, as long as these skin tone looks good. That's really what you want to be doing. So not gonna just the exposure. For now, I'm gonna add the contrast and you'll see that thes lines will go up. These lines will go down. And when you add contrast actually ad saturation. So this will spread out a little bit. Um, one thing to know that the conditions that this was shot and because it was overcast, um, I can probably at a lot of contrast without having to add saturation. So that's maximum right there. This is minimum. You don't want that. You typically want to be adding contrast. What I'm looking for right now is I'm looking to make sure that I still have detail in the skin tone because sometimes in the bright areas of the skin, you will lose detail special on sunny days, and I'm making sure that the dark parts of the hair still have some texture in there as well. So it looks like on this image, I'm up to about 50 something. So this looks this looks good. For now, color correction is a little bit of a dance. Sometimes I will have to affect one thing, and then go back or or affect something else. So but for now, this contrast looks good. This went up a little bit. This went down just a little bit. So highlights you typically bring down on an image. And what you're really looking for in highlights most of the time is the brightest part of the face is sometimes over exposed. Now, this was nice and overcast, so I'm still getting a lot of detail here, which is great, but I'm going to drop down the highlights just to about there. So this is really settle. Um, but you can see this looks gross. This now it does look like we may want to bring everything up, but for now, we're not quite there yet, so Yeah, something like there for the highlights is good. Now, with shadows with still photos, actually usually add value to the shadows. But with video, it looks a little better to lower now. So there's all the way we lost a lot of detail here is bringing it up. Looks kind of washed out in milky. So what I'm looking for here is the detail in the beard especially, and some of the hair. So somewhere around here, I'm still getting adding to the contrast, but I'm still being able to see all the dark spots. And again, I'm really just focusing on the subject. I need to be aware of other things in the frame that they don't look awful. Um, but I'm really just look at the subject for all this. Now that I brought this shadows down, I think I can actually brighten things up a little bit. So here's all the way. That's two months, years down. Whatever, Um, I think I can, actually, you know, with this overcast day, it's really nice. I can actually add a lot of exposure overall and still have detail in all the skin tone, which is really nice. That's it doesn't typically happen with with everything that you're doing. So that's nice. Just little point for boost because that I was going to raise the whites up a little bit. Um, but because I've done the exposure probably won't go too high. I really want thes these white points just Onley kiss the 100. If if that so this will be very subtle. I mean something just like three or four. And I look at the image. I'm still getting detail. It's fine. So image still looks good, but for the whites and blacks, I look a lot of thes these graphs here. So the blacks I want to go all the way down and just kiss that bottom there. Something like that looks fine. I look at my image. Have I lost anything in the beard? Maybe a little bit. So I'm gonna play with these shadows again. Yeah, I think I'm gonna bring them shows just a little bit. So something like that looks great. So we still have detail in the dark parts we still detail in the bright parts. That's great. Now let's look at the saturation. I'm gonna lower this down so I can kind of see the spread here of of my image. And, um, I go all the way saturated. That looks bad on here's black and white. Um, so when I go till I think it might be in a good place, there's a nice rule of a lot of creative design. Things just called the rule of haves. So when I add something that starts to look okay, I just want to cut it in half, and that's the better, more subtle version. So this was at 100 and I put it 100 40. That that right now, my I thinks maybe it's OK seeing this. This grayscale is really nice, because this this realizes how, you know, maybe overexposed part of this are over saturated part. This is I'm just gonna put it almost in half. Not quite half, but maybe here when 27 or so. That's actually looking pretty nice. Um, we have detail in all parts of the face. This part is a little over exposed. But you know what? It doesn't matter cause it's not the main part of the subjects is not distracting. Um, and so that's looking pretty good. Um, this was just color correction. This wasn't any sort of creative, um, filter, anything like that. But if I want to see what we've actually done, you know, it may not look like we've done a ton because we did it step by step. But if we toggle on the effect, here's the effect on. And this is what we started with. That's a whole lot of difference. Yeah, that's day and night. That's really nice. So we've just kind of corrected the image into something that's that's nice and standard, and we haven't really added any kind of color style or anything like that to our image. So that's for a later, um, later tutorial, but that's that's color correction. In a nutshell. Um, Premier has this this creative tab also where you can add some nice lutz. It has you can add vignette and what's nice about Premier? It actually has a A. When you go up, it brightens Devyn yet, So if you have a lens that has a built in bad vignette, you can you can actually counteracted here, which is really nice. Ah, this secondary. You can isolate certain colors color wheel. You can start playing with color relations and things like that. So there's a whole whole deep world here, man. I love the Cursed have is really nice. You can you can. All this is kind of in in depth stuff, but you can play with specific color saturation. You can change specific colors to look different and brighten him up in dark in, um, so this tab, I like a whole lot, but there's a ton here. It's definitely worth looking into. One thing that's fun about, um any any color correction is you can add Lutz, which are look up tables is the term, But really just think of them as instagram filters and things like that. So you could do some subtle ones. Um, let's see what I have pulled up right here. Uh, vintage urban fashion. So that will give it a nice Okay, Now, suddenly were We've given it a very distinct look, and you can actually add the intensity so I could do something like that. That actually looks pretty nice. That with some of the saturation, maybe. Um, so now I've given it kind of a look and style feels a little bit more vintage e Ah. And so you could do a whole lot with this creative tab and adding those lutz, which is great. Ah, but that is co creation in a nutshell. Hope you guys enjoyed it. Stay tuned for the next lesson and talk to you, then 22. BONUS LESSONS: Color Grading LUT Workflow: - All right, So this is a lesson on let's and how to use lots in Adobe Premiere. Ah, Lut L u t stands for look up table, which doesn't really mean a whole lot this day and age, but basically think of it as, like an instagram filter or a way to achieve a Hollywood movie. Look, eso, um, when we watch movies, it's interesting to see that's even though we think the image looks fairly natural if we are to take a screenshot taken. A few screenshots of this is of skyfall. We look at screen shots and we can actually tell while this image there's a whole lot of blue until it's really cold. Um, and we look at scenes like maybe, ah, see this scene right here. While this is like an intimate dinner scene, uh, clandestine meeting kind of thing because you can see the whole images really orange really yellow, really read really warm, whereas these other scenes seem natural. But ah, as you can see, we're only really seeing, uh, some some tans, some science here. So everything that is done in movies you can see we don't see any red, any purple, anything like that. A lot of it is in production design, Yes, but after the fact, actually go in and change the color as well. So this image, we might think, is natural when we're watching the movie in the theater. But as you can see, we see skin tone and pretty much everything else is green, even when this car's probably black in real life. So as you can see, um, color grading does a whole lot for your story, and different genres will have different types of color that go along with them. This is images from assassination of Jesse James. You can see everything is kind of we're seeing a lot of Tan's. Even this. We're really only seeing a monochromatic image here. So different movies have different looks and styles, and so that being said, I'm going to go over some Let's that I've been working on in the past few weeks that I think turned out pretty well, So I divided them up into basically into different locations indoors and outdoors, city nature, but also different styles as well. So that's kind of how how I did a lot of people approach there. Let's just from a trying to make a cool image. But I wanted to approach it from a very practical standpoint. Basically saying, OK, I know this was shot in the desert. This will look cool. I know this was Shot and snow. I know this was shot in an urban city environment indoors, etcetera. So I approached it from a very practical standpoint, which allows you to get kind of the most out of it. So I divided up here on my premier timeline Hollywood moods, but also outdoors indoors. So just kind of want to go through these and show you guys how to, um, put Lutz on an image. Now, one thing that's important to note is that all of these clips are from stock photos or stock video sites. And so because of that, they've already done the basic correction. And I try to find clips that were basically on. Lee used basic correction and didn't add any additional style or look or anything like this . So most of these air pretty true to the colors that were on set. So that being said, let's jump in. So I selected these. I think these would be good style a Hollywood style. The Hollywood is heavily saturated. You see a lot of skin tones, and then everything else is a very cool color. One thing to note when when you're doing your lutz, any image that has the least amount of colors is going to give you. Ah typically give you the best results for using Lutz. So as you can see in this image, we're seeing blue. We're seeing skin tone. I guess there's a little bit of pink in this shirt, but it's heavily saturated, So really, we're not seeing a ton of colors. Same with this image. We're seeing black and white skin tone. Um, here we're seeing blue and skin tone. That's pretty much it. So anything that has, the less colors, the better. For Lutz, anything that has is vibrant like this. I typically like to dio with some of my fashion Lunts, which looked really good with a lot of different colors going on. But any kind of Hollywood stuff, you want to try to keep it, and this is important for you to note while you're on set, try to keep it the the least amount of colors as you possibly can while filming. All that being said, Let's jump into the lutz. So if this were a clip that we had filmed ourself, we would use the basic correction to make the image correct. And then the creative tab here on Premier is where we style eyes it. So I go to look, um, have a bunch of let's preloaded, but the ones that I created that I really like, I'm going to find here and lots. And so this is a Hollywood style, so we can either go with style were also outdoors. I believe City has some interesting stuff as well, but let's start with, um, this style in the Hollywood orange teal and I like. I used the look that dot look in Premier certain software. She'll use the DOT Cube Premier works best with the dot look. So when I open it up, we see that this is a pretty heavily added image, which again, if we're watching this in a movie theater, we're not thinking twice about how realistic this is. However, if we want, we can adjust the intensity here and with with let's I typically balance the intensity, and the saturation is typically what I'm doing, so maybe you want to go a little less. Let's see. This is nothing. This is twice which is too much. Let's say I want to go a little lasts maybe around 86 or so. And what if I boost the saturation just well, that image If I'm watching that, I'm really not thinking that this is a heavily graded style, even though it definitely is. Um, so some of these looks for more subtle than others. This looks really nice to me. We can toggle this. This is on and this is off. This is on. That's really nice. I'll see what else we got. Um, Cinematic subtle won't see if that does anything for us, it's a very different look. I would even say this is a little bit more of a fashion. Look, with this, I think braiding bringing the fated film bottom might be kind of nice. So this is a nice look as well. And as you can see, these luds minutes really just kind of drag and drop. Let's try some of those outdoor urban. Let's see, urban grand. You should. We'll see if that does anything interesting. Okay, so now we're getting into a different style of movie, right? This, um, maybe a little bit. Maybe there's some kind of horror element. Maybe there's some kind of suspense thriller, that kind of thing. Let's see if we add the intensity it's take away. That's faded. Film. Look, get some saturation. Now that's pretty cool. That's definitely a nice, you know, scary movie. Dramatic kind of thing again. All these air Real Dragon dropped really nice. And like I said, the less amount of colors you have in an image, the more versatile that image is probably gonna be. So let's just go to something else again. This has very few colors, so I'm going to assume that let's see, Hollywood action hero. Does that do anything for us? So here his skin tone is not super Ah, saturated. So this doesn't do as much as I would like. It still does. Still does center it, though, but I do think this might might be a little bit better on that, um, Hollywood orange teal cinematic subtle, Probably Also, yes, this that's a little extreme. Let's see if I bring it down, something like that might look nice. So again, this may seem extreme just by itself, because we know what it was. But if we were in a theater watching this, we wouldn't think twice about it. You know, we can look at some comparison. So correo man, he's a really nice images. Um, I'll see if I get one, try to find one that's very saturated. Something like this. Pretty saturated orange. You know, we're seeing a lot of warm towns here. Um, again, this one because there's not as many colors. This is gonna look nice for sure. Hollywood tea oranges might be boom, and that's a right Hollywood epic Transformers. And again, you know, we can obviously play with the intensity. So that's kind of how the Hollywood ones look heavy contrast. Oh, this might actually be nice. A lot of gray green. I think I'm gonna try that grunge on this one. Let's city urban grunge. Yeah, that looks great. That looks great. So So here's one that is in the Hollywood. Um, but ah, when I did this one earlier, I found a really moody, dramatic one. So, uh, let's see what urban crunch does. Yeah, that's that's not gonna work for us, probably because the prevalence of the greens. But if we release the saturation of the greens, the one that I liked here outdoors nature there was a moody forest one, She's in the forest. Let's do dot Look, she's in the forests were doing moody Forest and Boom. There's something pretty scary and off putting about this. We d saturated, darkened all the leaves, and that looks really creepy and nice. So this would be a great Hollywood horror movie now, Like I said, um, with the fashion one's anyone's that have a lot of colors. I typically like to do these fashion filters. Um, so let's throw on one and see what we get, Um, and the fashion one's air. But the style is mostly Hollywood, so the fashion ones are actually gonna be outdoor city Hollywood action hero. Warm fashion memories, Vintage urban, frustrated vintage urban fashion. See, we get as an interesting look. Yeah, that's really nice. So again, lots of colors in the city. Finnish, German. That looks really nice. Let's try with this warm fashion memories, and this is definitely a heavy filter, something, you know, some kind of instagram something. This is definitely stylized, but this looks really nice as well. So again, very colorful lot going on. Let's try one of these. I was trying vintage urban. See how that goes And that is not going to do it for us. Yeah, that blue really does not work for us. And warm fashion memories. Oh, see, now, that's interesting. Nice, warm. And again, this one, you're definitely going for a look. If you want to make it real subtle, you probably could. But I think this one actually benefits from being pretty extreme and leaning into it that way and see warm fashion memories. Yeah, that's nice. So these air really again, These lets air just drag and drop. Really cool. Um, like this one a lot with the warm fashion memories. Yeah, it's really nice. So it brings up the blacks. Let's see, we'll put on the scopes. We're way up here, but it's really nice. Stylized in the urban fashion. Really like that. So that's the fashion ones and this mood intimate. So this is we go back to any kind of cops here. Um, let's see. We have a Blade Runner. Blade Runner is gonna be crazy of it. So this seems pretty normal again. This is green and skin tone. The least amount of colors the better. But look at these. Look, I warm. These colors are I mean, this is a dystopian thing, but if we were to g o back Teoh any kind of intimate dinner scene and pretty much any movie we're getting this right. It's variations of skin tone. We saw that in the sky. Fall is well, I believe Yeah. So this so I mean, this is really heavy. Just one color, right? So if we're trying to imitate anything like that, um, we have a really nice one on indoors. Moody Room is Yeah. So something like that immediately feels a little bit more like that movie. There was another I did a candle lit one at works on some doesn't work on others here, Um, the colors not quite. Or the brightness is not quite right for it. So, um, anything like this intimate. I mean, these air out of the camera. But if we go to that moody room boom, we're looking at just yellow. That's kind of nice. Now, this will be nice, and it'll warm up the street lights here, in which will be really good. Many Ram, though. Yeah, so that again, we think this is totally natural, but it's very yellow. All the moody filters work best when you have a subject in a very dark background. So what I noticed in this clip is the background is not dark enough. If we were to put that moody room or the candle it, Ah, one on it, I believe everything is gonna be yellow in a kind of bizarre way too romantic candle dinner . This actually this is passable. This is not I don't love it because of how bright the background is. Um, there was one that's really good for intimate stuff with a brighter background. And that's just settle skin push. This is again, it's called. It's called subtle, but you are just trying to make the skin tones pop here is with it on. Here's with it off. As you can tell, the use of it definitely makes you focus on the skin a little bit more. That one's very subtle. Um, what? This should go with something big, and so those are the intimate ones. And then with outdoors outdoors, cool. I'm basically talking about anything with blues or greens in the images. And so something like this. Let's say we wanted to make this match that horror movie that we had talked about earlier. So this is the outdoors nature, and we're gonna go the forced the moody Forest. And while look at that, that's cool. So this is definitely a spooky, scary thing. And what's nice about these lessons, just how easily they are to drag and drop? We're really not having to mess of the intensity or saturation of most of them. One thing that's really nice about, uh, these is some of the travel ones are actually really good. Um, so I like this when you see aerial view of the ocean of the beach here and if we go to this is outdoors nature, we're going to go to Ocean Beach travel and suddenly boom, that that ocean pops a lot more, looks a lot better. We can actually even improve. The intensity of it may be of the saturation, and suddenly this water looks so nice. So this is really good for some travel stuff. We could do the same here with this family. Ocean Beach travel boom seems a lot more tropical doesn't, doesn't it? That's great. So 11 of these filters that I really like is this autumn Push some of these green. Some of these leaves are yellow, but a lot is green If we go to this autumn Autumn boost. Sorry. Autumn boost, filter, Boom. Now everything. Now this is the middle of autumn. All these leaves, even though it's snowing, it looks like all these leaves are now or engine yellow, which is really cool. Yeah. So I bet we could do that with this clip. It might be hard, but we'll see what autumn boost does with this one. So this one Interesting. Yeah. It kills the grass, makes all the leaves. Wow, this is really nice. So this puts anything in the season of autumn. Wow, that's incredible. The difference there. So this is I mean, this is night and day that autumn one is really cool. Um, this is another beach. One outdoors. Yellow. Now look at this one right here. There's actually not a ton of Is there some blue? But it's fairly monochromatic. I think this one would actually do well with one of those fashion filters that we saw. Um, so that was outdoor city Vintage urban fashion. Uh, not that one. Let's see her brand warm fashion memories. That's kind of cool. Yeah, that's a heavy color caste, but it looks really nice. Yeah, that's really cool. Um, again, when there's less colors on the frame ah, you can typically get away with with, um, putting basically any kind of filter on it. Let's weaken tried desert Dusty. Does that do anything for us all puts it together into some nice, more kind of khaki feel, so that's really nice and outdoors. Yellow. We could do a lot here. Um, there's some good like desert ones. Outdoor snow. There's a lot of really good snow. One. Um, I did three different snow. I think snow landscape was the best one there, and suddenly it feels a lot colder there, doesn't it? So we preserve the pops of yellow and red, which is nice. Ah, but but it really cools everything off. Makes you really embrace that snow a little bit more, which is really nice. As you can see, there are a ton of different options, a lot of good work ones as well. But there's a ton of good options here. And these lets Air really designed, so you can kind of really drag and drop almost any of them into an image. So that is, is how you do lots. It's really easy. You definitely want to keep it in the creative tab. Ah, it's real Dragon drop and adjust the intensity and saturation, but that's pretty much it. So for you guys, these let's are on sale. So if you wanna give him a download, feel free to do that. Ah, having broken down into different packages or if you want to get a discount, you can get him all at once. Um, so that's lots in a nutshell.