How To Shoot Professional Real Estate Videos | Volume 2

1. 2.1.0 - Preface: Hi, everybody. I'm really glad you're here. My name is Ron, and I'm a professional videographer, specializing in luxury properties and real estate. I shoot hundreds of properties every year, and I've really refined my shoot process. In this course, I'm going to show you how to shoot this home from start to finish. We'll go over what gear you need, what your camera setting should be, and the techniques I use to get the shot. And although I've tailored this workshop around the Sony camera, specifically the Sony A seven S three or the Sony FX three, the principles I teach are universal and are camera agnostic. You'll accompany me to these homes, and I'll show you everything that I see during my shoot. No gatekeeping. I'll also show you my post production process. I'll show you how I edit inside DaVinci Resolve, revealing all my project settings. And then we'll switch over to the color grading process, and we'll color correct the entire project together. My real estate and luxury property videos have really turned heads, and I have elevated my business to a whole new level. I'm excited to share with you everything I've learned on my journey. 2. 2.1.1 - Our Project: After taking this course, you'll have the tools necessary to confidently video shoot real estate properties. The assignment for this course is to shoot your own home. Your home may be a single family dwelling, an apartment, or even a mansion. It doesn't really matter because the principles I teach are universal to any property, no matter the square footage. So here's what I want you to do first. First, watch my course. For me, I really love to see the entire process and see how it all fits together from start to finish. Others of you, you may want to pick and choose which chapters suit you the best. Either way is fine with me. Then I want you to pull out your own camera and shoot your home with my techniques. Set your camera settings just like mine and shoot like how I will teach you to shoot in my course. And finally, I want you to put it all together into a final edit and export that movie for all of us to see. Don't worry if your house is a mess or isn't stage ready or anything like that. Remember, this is just so you can get familiar with how to properly shoot homes. So sit back, get ready to take a few notes and join me now as I show you my method on how to shoot professional real estate videos. 3. 2.1.2 - Introduction: Hi, everybody. I am Ron and I love shooting real estate videos. We want to thank our friends at Toll Brothers for allowing us to shoot this home for this Satorial. I'm going to take you from start to finish shooting this entire home and then finishing it off in post production. I'm going to show you all my secrets and all of my shortcuts and tips and tricks on how I shoot real estate properties just like this one. So let's go ahead and go inside and check it out. The first thing that I'm going to do before I do anything else, I'm going to go ahead and get all the lights turned on in the house, and after I get all the lights turned on, I'm going to go ahead and do a quick cell phone tour just so that way I kind of have a quick layout of the house. And because I shoot so many houses in a day, it's a really great reference file for me to basically re walk the house in my mind and refresh my memory as to where everything's laid out. So let's go ahead and get the lights on and take our cell phone tour. But before you get in the house, make sure you take off those shoes. Respect to home. As I'm going around getting the lights on, I'm looking around just to make sure that everything looks really nice. So some of these pillows, I can tell have been sat on from past visitors. So I'm just gonna make sure everything is looking really good. We want this home to look it's absolute best. A lot of times, these side table lamps will get forgotten. We're just about there. It's like the wind. Got some of this stuff. So that takes care of our initial walk through. Let's go and go through the house again and do a quick cell phone tour just so we have a reference layout of the home. 4. 2.1.3 - Gear Overview: So, for those of you who have watched my previous courses, you may have noticed that I shoot primarily on Black magic cameras. Well, I'm happy to say that I have moved over into the Sony line, not to say that Black magic isn't great. I just find that, as I have grown in my journey in videography for homes, I have found that the Sony line has suited my needs very, very well. The main reason is I only need to use one lens. For some of you, switching lenses may not be a big deal, but when I'm shooting five to six houses a day, not having to switch a lens and rebalance my gimble every single time is a game changer for me. Another reason that I've switched to the Sony line is for clear image Zoom. It has the ability to basically tick my 16-35. And using clearimage Zoom, it basically changes a 16 to 35 into a 16 to 50. So 16 to 50 all on one lens. It also has an amazing dynamic range, and added to that capability, it has two native ISOs. If you're shooting on the A seven S three, the first native ISO is 640. The second is at 12,800. On the FX three, it is base ISO at 800 and at 12,800. Really, really handy when it comes to real low light situations or where light is just not on your side. These cameras have proven time and time again that not only is their color science great, but the capability to be able to shoot in less than ideal lighting situations. And so for me, that is why I have moved on from the Black Magic line to the Sony line of cameras. So that being said, let's go and talk about the gear in a little bit more detail. I'm specifically shooting on the Sony FX three, and it is just like the Sony A sevens three in terms of sensor size. The big difference is this guy has a fan because I will hit up to five to six houses a day for videos. And the one drawback of the A sevens three is that it can't have a tendency to overheat, at least that's what it says online. It's actually never happened to me personally. In order to mitigate that issue or that potential issue, I went ahead and went with the Sony FX three line just so that way I can have a cooling system for my camera. In terms of the lens, I am using the 16 to 35 lens. And in terms of the Gimble, I am using the DJI RS three P. One thing that I like to really pair with my gimble is this handle. It's just a $20 or $30 handle that I got off on Amazon. I really like it. It's really sturdy and it acts as a kind of like a steering wheel for my gimble. Another piece of gear that I highly recommend is having a monitor. Normally, I have a Adams Ninja five on here. You can use any monitor, really, as long as you can output what you can see here into a bigger format here because these screens are pretty small, and it's hard to gauge what you're truly focused on on that. Currently, I'm using my phone as my monitor because I want to be able to record what is happening in my camera. And one last piece of gear that is a must is an ND filter. You got to have an ND filter paired with your 16 to 35. Because I'm taking it on and off a lot, I am using this magnetic filter that I can quickly slip on, adjust my ND, and then I can also quickly slip off. I literally just keep it in my back pocket and it's nice and safe right there. That's the gear that I use. So an overview. The gear that I use is a Sony FX three or a seven S three, 16 to 35 RS three handle, and then a monitor for nailing focus and an ND filter to help with exposure. 5. 2.1.4 - Camera Settings: Real quick, let's talk about what your camera settings need to be. First off, we are shooting in four K 60 frames per second. You don't need to be shooting in four K. You can shoot in ten ADP at 60 frames per second, but I prefer four K because I feel that it's a little bit sharper. But I used to shoot in ten ADP, and that is just fine. For ISO, since this is specific to the Sony line, you have two native IOs where it is basically noise free. For the FX three, that is ISO 800 and ISO 12,800. And if you're shooting on the Sony A seven S three, that is IO 640 and IO 12,800. Those are your clean IOs. So if you ever see me at an ISO value, it's going to be either 800 or 12,800. Those are going to be my IOs for everything. My aperture, I usually like to keep my aperture between 5.6 to 11 point. Somewhere in between there, the lowest aperture I would go safely is maybe 4.0 if I absolutely had to, but 5.6 to 11.0, that is I'm really happy in that range and Fate being my sweet spot. If you can always get Fate as your aperture, then that'd be awesome. Four K 60 F eight for your aperture, and your ISO will either be either 640 if you're in a seven S three or 800 if you're on the FX three, and then the high base is 12,800 for both cameras. Those are your camera settings. 6. 2.1.5 - Camera Settings Cont: Alright. In this video, we're going to talk a little bit more in depth about my camera settings. So let's go through the menu and go through all the settings real fast. I'm going to show my menu through my phone. I made a little rig so you can see it. So I'm just going to show you exactly what I see. Okay, so let's just go through the menu settings. Alright. Image quality obviously is going to be four K, and that's the setting that I like it on and the movie settings at 60 P with a record setting of 42210 Bit. That's really important. I don't do anything with SNQ. Proxy, that's a discussion for another time. But these cameras can shoot proxy footage simultaneously as you're shooting. Let's see. Di Media. No. File settings. I do like to put a title name settings. I like to call my cameras what they are. So on the title name settings, I put a seven S three. It's just kind of handy when I'm looking through my footage. Shooting mode, make sure that you're on manual exposure. Okay. Shutter silence, audio recording. I usually record audio. Okay, image stabilization. Make sure that your image stabilization is set to steady shot standard, okay? So, right now, it's set on steady shot standard. When you set it to active, you actually lose a lot more. Let me show you understand. Standard, active, standard, active. So you lose a lot more of your frame so keep it on standard, and that'll that'll do what you need. Zoom. Okay. Um, Oops. So, Zoom, I have Not that one. You want the second one. You want to make sure that it's set for clearimage Zoom. Again, I'm using the 16 to 35. Now this is an older 16 to 35. On my FX three, I have my 16 to 35 GMster two. This is a ZsFour 16 to 35. Works great, and still looks really beautiful. Just make sure that your Zoom range is set to Clearimage Zoom and we'll talk about, like what buttons I mapped that to. Oh, Zoom speed. Yeah, variable. Fixed speed at three, fixed speed at three. Zoom speed, I like it on fast. So zoom in, Zoom out. So I usually will punch in to 35 and then zoom in, and now it's like 50. So in my videos, you'll always see me like, Alright, I'm at 16. I'm super wide. Now I want to punch in to 35, and then I want even more. And now I'm at 50 with that clearimage zoom. So pretty nice to have that range that focal range. And I like it to be fast. So that's why I have it set to eight. Okay. Shooting display. I like to have it on and I have my diagonals and square grid on. It's just nice to be able to compose the shot and you can see really quickly if things are either askew or not horizontal or if your verticals aren't vertical. So keep those grid lines on. I don't do anything with marker. Alright, next one, exposure. Let's see. Don't do anything with that metering mode. I leave it on spot. White balance. I like it as a temperature Color tone. Okay, so this is important. On your picture profile, you want to make sure that you're on picture profile eight. I mean, make sure you're on picture profile eight. It's an aggressive picture profile and great dynamic range. So make sure you're on PP eight. Zebra display. I have it on currently. I'll show you how I map that. And the zebra levels really important. So this is where we talk about C one and C two. So you want C one to be set at 44 plus or minus three, and C two, 94 plus. Okay? And I talk about that in the course as to why. But that's the levels that they need to be set at. Let's go to AF MF. So make sure that if you have auto focus like switches on your lenses, turn them off. You don't want auto focus triggering on. You want to stay manually focused. Okay? See if my focus mode is manual. Focus area. I mean, I just leave it on spot. You can be whatever. I don't really do much with that. Focus assistant, I do like the focus magnifier on. Let's see. And the initial focus magnification is at one. So that's what I like it as. I believe I have it set to my middle button, so that middle button triggers that focus magnifier, and then I can really punch in if I wanted to. Peking display so this is good to be able to see. Peking display, you have it on. I usually leave it at mid, and then there's a peak in color. Let me show you what it looks like. So right now, let me see. Is it on? Yep, my peaking is on. I'm going to grab this dead cat for my mics. And I'm going to put it here. And there's a bunch of, like, little hairs on it. And so it's like, this is a good thing to be able to see focus peaking. Anyway, I'm going to go ahead and I'm going to manually adjust the focus. Let me turn off the zebra. And there you go. See See that red fringe as I move around it. That's what I have in focused. So here now I'm going to adjust the focus knob on my lens. But, yeah. That's focus peaking, really, really handy. Especially if you don't have a monitor, that's how you can try to really nail your focus. I still recommend a monitor 100%, get a monitor. If not, use your phone and get the Monitor plus app. Works really good. Um, let's see. What else we got? That's for auto focus. Okay, so let's talk about where I am mapping these two. So for my zooming in and out, like I said, I have the C one and the AF on. So zoom in, Zoom out. So normally, I will zoom out all the way to 16, and then I'll zoom in at 35. And if I want a tighter reach, then I'll punch in with clear image Zoom. Now, the mistake I always end up making is I'll be like, Okay, and I'm going to go back to 16. Well, I forgot to zoom out with claimage Zoom. So I'm not really at 16. I'm at 16 times 1.5, whatever that is. And so make sure that when you zoom out, that you also zoom out of cleimage Zoom, okay? You just got to make that a muscle memory. Um let's see. For C one and C two, I actually have my trash can, my trash can button set to that. And so my trash can, I can choose C one or C two. So let's say I'm indoors. I want to choose C one. If I'm outdoors, I'm going to choose C two. Okay. I also have it set here in my FN menu. So my FN menu, I can turn on my Zebra display, and then I can also choose C one or C two. I just have them right beside each other. For peaking, I have it here on my FN display, and I can turn it on or off. I usually leave it on just so you know. ISO. I mean, I just use let's see. Let me make sure you guys can see this. I just use this. I mean, already it's already mapped on here. So whenever I switch ISO, that's how I'm switching ISO is the one that's already on the scroll wheel. Um What else? Let's go here. So this is where you can set up your custom your custom keys. So make sure that you're in the video one. And then here in the rear my white balance temperature is the control wheel. So I like to be able to adjust my temperature quickly just using the wheel, so I can be like, Hey, we're outside, so this needs to be at 5,600. Hey, we're inside, but there's a ton of windows. It's about 5,000, maybe 4,900. Hey, we're in a bathroom. There's no windows, and it's just, you know, this kind of lighting, 3,300, okay? I can quickly change it. It's not I mean, it's accurate enough since we're suiting NSLog three, but I can quickly change it to what I already know it will be close to what it should be, okay? Um Custom key setting. I already talked about my zebra levels. So this is where I can choose C one or C two. Right there. Number six. Um, What is number five? Oh, I think this is, to turn off This is to turn off manual focus. Every now and then, this lens will go back to auto focus. I don't know why. So I set a quick key to just always make sure that it was on manual focus. Like I said, we're always manually focusing, guys. Um, Let's see. Like I said, my focus magnifier is the middle the middle of the wheel. So if I wanted to punch in really quick, I can just hit the middle, hit it again, and then I can really get a fine focus. So that comes in really handy. I can also let's see. Yep. What is this peeking Oh, peeking display on and off. I can turn on my peeking display with my down button. Right there. What else? Oh. So this button up here, the C C two button, this is for my steady shot. So sometimes I will just turn it off. But normally, 99% of the time, I just leave it on standard. Just don't do it on active. You don't need it to be on active. Just stay on standard. And that is here, and it's number two. So that's what I set number two as is my steady shot. Anyway, that's all of my customizable keys that I have on my camera. So feel free to set it up how you like it or copy mine. You are welcome to do it verbatim, how I did it. But hopefully, that helps you out as you are shooting, and I'll talk to you in the next video. 7. 2.1.6 - Nailing Exposure and Focus: So here we are. We are at 1/1 25th at four K, right? Because because since we're shooting at 60 francs per second, we need to double our shutter, so we are going to be at 1/1 20th or 1/1 25th, in this case. And then the sweet spot in my situation, I want it to be at F eight. ISO 800 isn't doing it for us, so I am going to switch over to ISO 12,800. Anywhere where there are zebras is going to be in proper exposure. Now, how is it registering that? The best way to show you is using false colors, okay? So here in false color, anywhere that is green, green is good. Green is where we are looking good. But right now I'm at my Iris, my F is at 20. So like I said, you want your iris to be between F 5.6 to F 11. So this is where our ND filter comes in. So when we put our ND filter on, see that? See how our colors are changing. You want it to be green, okay? So I'm going to try to get it around F eight, and right now, right now, that's actually pretty good. I'm getting the green there. So wherever there is green, that's actually where my zebra values are. So my zebra values are right there. So exact same place as where it was green. And so that's why setting my zebra values at those levels is exact. So what you're trying to do, if you're doing interior and you're trying to expose for this room, try to get the things that you want to be in proper exposure, try to have the zebras on them. So, see, I have zebras on my walls, I have zebras down here in my carpet. So I know those things are in proper exposure. If I was using false color, that is also saying, Hey, these are the things that are in proper exposure. So that's why we set those zebra values at those levels. Now if I was pointed outside and let's say I wanted to expose for outside, that is what C two is for. So I'm going to switch over from C one to C two. Now, my zebras are out here. So anywhere there are zebras, that means it's clipped. It's overexposed. We're losing information. And so now I'm going to use my ND filter and actually still have some. Why? Because I'm ISO 12,800. So I'm going to go now to 12,000 or to ISO 800 and then open up my ND. And there's a couple breaks in the cloud that are overexposed. I actually don't mind that because the sun literally is right there. But the majority is still there's still detail there. So because I'm exposed for the outside, let's say I'm focused out here and the outside is what I'm looking at. Then that is saying the only places that is clipped information are these tiny white portions in the cloud, which I actually don't mind because that's where the sun is. So I'm not trying to expose for the sun. I'm trying to expose for these things out here. And so that's what that means. So C one is for interior, C two is for exterior, and that is where that is how you properly nail exposure. Now, nailing focus. So let's go ahead and get proper exposure for this interior again. So I 12,800 let me get my zebras where they need to be. I'm not seeing zebras because it's too bright. There, I got my ND filter on, zebras are showing there. So that is properly exposed. Now, for focus, I can either turn on my peaking. Okay? And I can now see where it's red. That means that's where it's in focus. But because this is a nice nice big monitor, I can literally just look at it, and I can tell with my eyes that that is perfectly sharp. And so that's why I say I recommend having a nice big monitor rather than having this small little monitor trying to gauge to see if things are in focus. So that is how you get proper exposure, and that is how you nail focus. Alright? So we're going to be doing that all throughout. So let's go ahead and hit this property using these principles in mind, and I will always try to call out what I'm doing. But if you do have a question, you can always just look at my screen that I'm recording for you and you can see what my exact settings are as well. Alright, let's go ahead and start shooting. 8. 2.1.7 - Kitchen: Alright, it is time to shoot this home. We are going to start with this living room. So here in this living room, anytime I shoot a living room, I usually like to shoot nice and wide right off the bat. So I'm going to go ahead and get my exposure. I'm going to turn on my zebras, and let's see, F Yep. F ten is looking good. I am going to stay at 5,100 K for my white balance. ISO is at 800, and I'm going to make sure my focus is nice and sharp. Very good. So I'm going to go ahead and do my move. Right now, I have my cross hairs over my coffee table, and I'm basically going from corner to corner ish. So I want to go and do my move. One thing to really keep in mind is to keep your horizontals and your verticals nice and straight. So especially your verticals. This is why I shoot with the RS three. I like to make sure that I am on Pan focus, not on FPV or PTF. And then I like to use this trigger on here. So this trigger, I'm going to double click, and I'll make sure that it's nice and straight. I keep my grids on so that way I can see that everything is nice and straight. So I'm going to go and do that. Move one more time, now that I know that everything is nice and straight, everything's in focus, and looks nice and beautiful. I'm going to go ahead and get my detail shot while I'm over here. So I'm going to punch in at 35. And then I'm going to use Clear Image Zoom to basically be at 50. And from there, I'm going to go and do my slide. Beautiful. And I'm holding my trigger down because on the RSC, if you hold that trigger down, it'll make it to where the head won't go up and down at all. So that's a nice little detail. Let's go to the other side. I am gonna increase to F 11. That's looking good. Now I'm gonna go just go backwards. Just like that. Beautiful. I usually like to take a couple of takes. Very nice. Um, let's see if there's any other shots of the living room that I can get. I love these lights. So what I'm gonna do this one h. I'm just gonna point up. Got to zoom in on those lights at 35. Looking at my monitor, make sure it's nice and focused. And then I'm just gonna reveal those lights. Let's see. I'm kind of cutting off that one at the bottom. I'm gonna go at 28 or focal length 28. Very nice. I think that is it for the living room. 9. 2.1.8 - Kitchen: Here we are at the kitchen. I am at F 11. It's a little dark. Zebras are telling me that. So I'm going to go to F eight. Still a little dark. F 6.3 is looking nice. Making sure I'm zoomed out all the way. White balance at 5,100. Uh yeah, it seems pretty good. Let's check out our focus. Let me take the zebras off. And that is looking very nice. Let's go ahead and do our move. I'm going to make sure all my verticals are nice and straight by hitting double clicking on my trigger on my RS three, and I am centering over the middle of, like, the sink. And I'm just gonna move forward into that area. Beautiful. I'm gonna move backwards as well. I'm gonna do one more. That looks nice. Okay. I'm going to get two detail shots here. Now, you're probably wondering, how do you know what these detail shots should be? Um, I shoot a lot of these same details for a lot of my homes, and I just kind of know which ones look really good. If I do see an opportunity to shoot another detail, I will. But I find that these details always look really nice. So I'm punching in at 35, not using any clear image Zoom, and I am focusing on the sink. And now making sure that my horizontals look nice and straight. I'm going to go slide to the right. Beautiful. There's another opportunity for a detail here. I am going to use clear image Zoom. I'm going to punch in at 50 millimeters. I'm going to make sure that kitchen aid stove is in focus, and I'm going to reveal using the side of this the side of this corner of the island. Just kind of show off the cabinet tree there. Okay, I'm gonna go on this side. It's gonna zoom out at 35 again. And make sure everything's nice and focused. I'm gonna go down the trench of this kitchen, and I'm just gonna push backwards. Beautiful. One more. Very nice. I'm going to take an opportunity to shoot one over here. I think I'm going to take this one at 24. I'm going to do a slow reveal right there. Now, you're probably thinking, are we going to use all these in the edits? I don't know. But as I see opportunities, I'm going to take them, and that way, I'll have these stored in my bin for use. There's a nice shot over here that I I like how the cabinetry is a nice backdrop for these chairs. I think I can punch in even a little bit more. Yeah, I like that. So at 50, it's looking really good. Try to get out of that reflection, and then make sure my horizontals are nice and straight, and then I'm going to just slide to the left. Beautiful. There's a nice shot from here down to the living room. And I'm just gonna go ahead and kind of get this this line. Beautiful. I like that compression. Also introduces the dining room, which is the next thing we're gonna shoot. So I will see you there. 11. 2.1.10 - Misc Areas: So there is a mud room over here. So I'm going to get this mudroom and also this pantry. Who knows if we'll use it? And there's also a desk on the other side of the kitchen. So let's get this mudroom, this pantry, and this desk. And then since we're already out by the patio, we might as well knock that one out, as well. So here we are in the mudroom. I'm going to stay wide at 16, and it looks like it looks like I might need to bump up to my second ISO. So I'm going to switch over to 12,800, which is my other clean ISO. And then go down to F 11. So when that plus two is blinking, oh, you can't see that. But there's a plus two blinking. That means it's still overexposed. I'm going to use my ND filter and then go down to F 6.3. You can tell that I'm getting a lot more zebras now in that area. And now I'm just going to push in to show off the space. Beautiful. Okay. So that's our mud room. Let's go ahead and show off. This pantry, 5,100 looks like it's too yellow. So I'm gonna go down about 3,900, and I'm gonna punch in to about 24. Let turn off my zebras now that I know I'm exposed well. That's looking good. I'm just gonna push in. Very nice. One more. Okay. That takes care of that one. And then I'm just gonna reveal this little study nook. So let's go ahead and change our IO to 800. Our white balance needs to be a lot warmer, so I'm gonna go to 5,100. I'm going to get my focus. Let's see how exposure's looking. Exposures looking nice. Okay. That looks good. So I'm going to just reveal the space. One more time. Just reveal the space. Beautiful. I'm also going to do one where I make it more as a detail shot. So I'm gonna punch in at 50. That way you can kind of see how it connects to the kitchen. So F 5.0 is looking good. And I'm just gonna slide. I really like that shot as well. So we'll see which one I end up using a post. Cool. And then finally, we have this little porch area back here. So I'm gonna go at 16 obviously too bright out here. So I'm going to use my ND filter. I need to be at 5,600 for my white balance. I'm going to switch to C two. And now, for Monitor plus, unfortunately, it doesn't show on Monitor plus. And what I'm going to do is I'm just going to get rid of those zebras by punching up my aperture. So I'm at F ten, and now those zebras are gone. So I know that all of my highlights are not clipping. And I'm gonna wait for that truck to pass 'cause we don't need that in the shot. Alright. Now I'm going to do the move. I'm basically just going from this corner, and I'm gonna push to that corner. Beautiful. So one more. Very nice. And then maybe I'll get a nice little detail shot there at the bottom. Kind of teasing that there's something down there to look at. So I'm just gonna do a little bit of a reveal and get some parallax from this geometry that's in my way. Just to kind of tease that there's something down there. Alright, that takes care of this patio. 12. 2.1.11 - Entry Landing: So there is a powder room over here. I'm not gonna shoot that. It's not much interest. It doesn't really add much to my final edit. This, however, is the landing. And so let's go ahead and get this landing. Gonna zoom out. I'm gonna take off this ND filter because we don't need it. And I'm going to switch back to C one, so I can have zebras for this interior. And we need some zebras in here. There we go. That's looking better. Zoom out at 16. Make sure we're in focus. And I'm going to go ahead and get this part. One more. And then let's go ahead and get this part. I like this area. Very nice. Let's make sure those horizontals are nice and straight. There we go. Very good. We got a cool light over here. So I'm gonna ask you to detail that. I'm gonna go in at 28 millimeters. And I'm just gonna gonna show that off right here. Very nice. And we have a guest bedroom in here. So let's go ahead and shoot that. 13. 2.1.12 - Guest Bedroom: So there is a powder room over here. I'm not gonna shoot that. It's not much interest. It doesn't really add much to my final edit. This, however, is the landing. And so let's go ahead and get this landing. Gonna zoom out. I'm gonna take off this ND filter because we don't need it. And I'm going to switch back to C one, so I can have zebras for this interior. And we need some zebras in here. There we go. That's looking better. Zoom out at 16. Make sure we're in focus. And I'm going to go ahead and get this part. One more. And then let's go ahead and get this part. I like this area. Very nice. Let's make sure those horizontals are nice and straight. There we go. Very good. We got a cool light over here. So I'm gonna ask you to detail that. I'm gonna go in at 28 millimeters. And I'm just gonna gonna show that off right here. Very nice. And we have a guest bedroom in here. So let's go ahead and shoot that. 14. 2.1.13 - Stairs Ascending: Let's go and do the stairs. I got everything here on the main floor, and when I go to a next area, I like to delineate that with stairs. And so I'm going to go ahead and expose for these stairs real quick at 5.0 looking good. So I'm at 16 millimeters for my focal length. And what I'm going to do is I'm going to first just go up and go up, just kind of I'm slowly pointing my camera up as I'm doing this. So I'm pushing in and then I'm pointing up as I'm pushing in. Now, visually, that's not as interesting because this is just a white wall, so I'm actually going to go to this next set of stairs because there's a lot more geometry that's more interesting. So I'm going to do the same move. I'm going to zoom in. And push up. And I like that so much more because I've got all these cool lines. So it's Beautiful. And obviously, I'm gonna have to cut out the portion where showing me and my assistant. So about right there. I'm gonna push in, and I'm going to point up. Showing these cool railings and all this visual interest that's happening up here. Now, Let's go ahead and go up the stairs. I like to tell my viewer that I'm ascending by shooting that first shot that I just did, and then I'll cut to this next shot. So I'm going to go and see the view down. And I see that there's a lot more visual interest going this way in this corner. So I'm going to do that again. And I'm going to go and point my camera down as I walk forward and kind of show where we came from. And what I'll do is I'll play that in reverse in post, and I'll cut those two stairpieces together. And that's a usually good indicator to the viewer that, Hey, we've changed levels and we are at a different area of the house at this time. 15. 2.1.14 - Second Floor Landing: I so coming up the stairs, we have this landing. We have this office, and then we have the master. So let's knock out this landing in this office real quick. So here at the top of the stairs, what I'm going to do since I just came up the stairs and we have these beautiful railings, I'm going to continue the theme of these railings that lead us into the sitting area. And what I'm going to do is I'm going to just kind of go in a little tight and do a detail shot that reveals the space and using these railings to kind of reveal it. Beautiful. Just like that. And then I'm gonna take it wide. Very nice. One more. I like this wide shot 'cause it teases that office in the next room. I'm also gonna go over here down magic Line. So I'm gonna go and take it from this other side down magic Line. I want to pull back just to kind of show where we came from. Beautiful. 16. 2.1.15 - Office: Et's go and get this office. So I'm going to do a detail shot that introduces the office. Show that there's this cool glass wall. So I'm just gonna reveal it. Very nice. Then I'll take it nice and wide. Very good. I'm gonna go to the opposite side of this office and show where we came from. And I'm just gonna pull back going down magic line. Cool. 17. 2.1.16 - Master Bedroom: Okay, here we are in the master bedroom. Very important room of this home. It's where the decision maker, if they're gonna buy this home or not, is going to sleep. So let's make sure to shoot this right. Let's get our exposure correct. And F eight is looking really nice. I am going to make sure that I am in focus. It looks great. 5,100 is looking good. So let's go ahead and shoot it here. So I'm going to push in Push out. Okay, one more push in. Awesome. I'm gonna also shoot a detail. Got to punch in at 50. Make sure I'm in focus. Gonna use this wall to reveal the bed. Love it. Now gonna go down magic line. Okay, here I am on magic line, and I'm going to just push backwards down magic line. Beautiful. And I love that it introduces the next space, which is this bathroom. So I'm going to introduce it by teasing it. I want to go to 35. From my focal length. And I'm just gonna do a small slide showing that there's this nice barn door revealing this beautiful space inside. So this is at 35. What does it look like at 50? And this is why I love these Sony cameras. I mean, I can just really just try to target. I'm loving that 50 even more. Love that compression. I can just really target what I want my focal length to be. Now that I've got that space, I think I'm gonna go on this side here. So I'm gonna stay at 16 and just kind of show the relationship of this bathroom from the bedroom. I'm also gonna get a nice wide shot of this tub. Since I teased it. Beautiful. Get it perfectly centered up. And then we have this shower. And for showers, what I like to do, especially if there's glass, I like to use the glass. And I always say, in my mind, let the glass pass. I'm gonna let the glass pass and reveal the space. Beautiful. Let's see if I can get a little lower. I have my reflection. Beautiful. Just like that. Okay. Then we also have this closet space. I can tell I'm gonna need to bump up my ISO to 12,800 because it's darker. Now that's too bright, so I'm gonna go to F 11. Focus is looking good. Let's go ahead and do the move. Just gonna push in and reveal this very reveal this very generous closet space. Just go to reveal this closet space. Awesome. Alright, let's move on to the next room. 18. 2.1.17 - Laundry: Alright, we've got this laundry facility right by the master bedroom. And let's see. I'm at 12,800, which is fine. Looks like I need to be at about 49 or 5,000 for my white balance. Let's make sure we're in focus. There we go. Et's go and do the move. Push in. Kind of pointing into the corner a little bit, just slowly pushing in. Awesome. Okay. That's the laundry room. 19. 2.1.18 - Bedrooms and Baths: Alright, we've got this suite over here. So let's go and check it out. Get our settings correct first. So I'm going to go to my first ISO, which is 800. Re remember if you're on a seven S three. Your first ISO is 640, okay? But since I'm on the FX three, it's 800. That's looking good. What is this? Let's see. F eight is looking nice. I don't really care what's at that window. So I don't mind blowing those out. Focus is looking nice. Let's go and do the move. So is gonna push in. Beautiful. One more. One, two, three. Awesome. Go down magic line. I'm gonna goad shoot magic line real fast. Go down the corner. One more time. And that looks good. Let's go and shoot this bathroom. So here's the connected bathroom of the ensuite. Let's make sure our zebras, let's see, 5.6 is looking good. It's pretty yellow in there, so I'm gonna go 3,800. Focus. Got the focus. Looking good. Okay. Let's push in. Beautiful. One more. Very nice. Okay, that takes care of that en sweet. We got one more bedroom. Let's just go ahead and shoot it. Looks like we have a bedroom and a bathroom. So this bedroom is pretty simple. Let's see. Let's go ahead and change our white balance to 4,800. I'm going to tease this bedroom real quick. We're punching into 35. You know what? I'm gonna punch into 50 using clear Image Zoom. Now, I'm gonna reveal the space. Very nice. Then I want to go to 16, get out of Clear Image Zoom, and just push in. Beautiful. One more. Then I'm going to go right here to this bathroom and knock that one out. Let's see. Looks like we need to bump up our ISO to our second IO. So 12,800. Let's get those zebras back. That's too much. So we're going to use our ND filter. And I'm gonna go to 5.6 That's looking good. Sharpness. Looking good. And then we're gonna go about 3,600 for our white balance. I'm gonna push in. Beautiful. One more. Awesome. And that takes care of all the rooms up here. Let's go downstairs, and let's go knock out the basement. Then we'll fly drone. 20. 2.1.19 - Stairs to Basement: Mm. Okay, here we are. We're about to descend into the basement, but like I said, I like to tell the viewer what we're about to do. So we're going to show some stairs. So let's go ahead and get our white balance. 4,800 gonna punch into about 28 millimeters, point my camera down, and then I'm going to use this wall just kind of reveal and slowly descend one more time, reveal and slowly descend. Alright now let's go downstairs. Well, what we'll do is when we get down here, we could show it from up top. Alright, we'll take it from this angle down here. We're gonna remove the ND filter. We don't need it. I'm gonna point the camera up. And then I'm just gonna push in and reveal those stairs that are descending. And then we can easily say, Hey, we're gonna come down to another level. 21. 2.1.20 - Basement Main Living: Alright, here we are in the basement. Let's go ahead and shoot this main space. ISO is too much, so I'm going to go down to the ISO 800. Nope, I need it. So I'm going to go back to 12,800. And F 11. Yep, F eleven's looking good. And let's check out our focus. Let's look and did. Alright, let's go ahead and do our move. We go just push in at 16 millimeters. One more. Very nice. And let's see. Let me just shoot a detail. Right here. Gonna punch in at 35. And just gonna do a small slide. Beautiful. I'm also going to do a slide not loving that. I want to show this other space. I like this. So I'm gonna slide from here. Alright, I'm gonna zoom in at 35 get this table. Make sure my horizontals are nice and straight, and just get this slide. Beautiful. One more. Beautiful. Uh, you know what? I'm gonna get this as well. Beautiful. There's a rest room over here. I want to go out and get this powder. And the way I'm gonna do it is I'm just gonna reveal the space. Just like this. And we'll see if that makes the cut or not. Very nice. Let's go to these two bedrooms. Okay. 22. 2.1.21 - Bedroom and Patio: Alright, let's get this other bedroom. My ISO needs to be at the first base, which is 800. I want to kind of get some Boca on here. So I'm gonna put my ND filter on. Go to F 2.8. And let's get that focus first. I want to those pillows. And then make sure we've got zebras on that. About right there. And let's clear Image zoom into 50. That way, we're getting more compression. Okay, there we go. And let's tease the space. Beautiful. Now, let's go to 16. Go to F eight F 11. Yeah, F 11. And let's push in. Beautiful. Gonna do one more. Awesome. Um, gonna get magic Line over here? Beautiful. And then let's go ahead and get this bathroom. I want to avoid that mirror. I'm gonna go F 5.6, little blue. Let's go white balance at 4,900. That's looking good. There's my camera. Now I'm gonna push it. One more time watching that mirror, making sure I'm not in it. Oh, I think the tip of my hair just got in it. Awesome. Let's go and get the patio outside. Um seeing this opportunity, so I'm gonna shoot this one. And maybe this as well. This is straight on. It was very realist this shot right here. So we'll see if that makes a cut. But I got it. Let's go ahead and get this patio. All right. So it's like one of these plants took a tumble. From the wind. It's pretty windy last night. So I'm gonna shoot from this corner. But let's get our settings set up. Let's go to C two, and we don't want zebras. So it looks like I'm gonna need my ND filter. And there we go. If you're seeing zebras on the screen, it's because on Monitor plus, it's still set to C one. So I'm using C two on my camera. Okay. I've been trying to get my assistant out of it. Here we go. Do the move. Very nice. One more. Very nice. I'm gonna tease what's out there, just by doing a detail. Beautiful. One more. Awesome. 23. 2.1.22 - Last Bedroom: We have got this bedroom down here. It's a little bunk room, and there's this little hallway of guitars. So I'm going to increase my ISO first to 12,800. Go to F 11. Yeah. F 11. Let's go down to 4,600 for our white balance. Then let's clear image zoom into that. There we go. I like that. So I want to go and do my slide. Kind of teases that space. Beautiful. And let's reveal the space. Get out of clear Image Zoom. It turns out this room is an ensuite, so let's go ahead and get this. Let's get this bathroom. Very nice. And then there's also this little study area, so I'm just gonna zoom in. That takes care of this room. 24. 2.1.23 - Drone Shots: Alright, let's go ahead and fly the drone. I'm flying the DGI Mavic three. I am P one oh seven certified. So if you are flying commercially, make sure that you're P one oh seven certified. That's all I'm gonna say about that. You shouldn't be flying commercially if you are not. Basically what you're gonna want to do is if this was my house, I'm basically going to take a couple of wide arcs around the house, and I'm going to also descend towards the house or ascend from the house at an angle. And that is mostly what we'll be doing for these particular shots. So let's go ahead and get the drone up in the air, and we're going to go and take those shots for the property. So, first off, I'm going to go ahead and get my settings I am shooting manually. So shutter speed needs to be 1/1 20th, I am shooting at four K 60. I'm going to increase my aperture 'cause right now I'm one stop overexposed. So 0.7 is better for me. And let's see. 5,600. That's looking good. So I am going to select my subject, which is the house. I'm gonna go into Cinymde, which is a nice slower speed, and I'm gonna go ahead and make those wide arcs like I was saying. Gonna make a nice arc this way. And I can tell that I'm a little off center. So I'm just gonna go a little left that way. I'm going to start from this corner and then make that arc again. So making sure that myself and my assistant are not in the shot. I'm going to slowly make my arc left from right to left. That was great. Now, I'm going to do one where I descend. So I'm going to start up high. And I'm just going to slowly lose altitude and push in as I descend, and it's gonna bring that house. Oh, there was a child on a bike, so we're going to do that again. So I am going to descend while pushing in. Gonna bring that house more into view. And that'll be a great shot to introduce the house. Since we're here at the front, I'm gonna just take it far back, and I'm gonna get a nice establishing shot to kind of show where we're at in relation to everything. So Just kind of showing the lay of the land. Shows that there's a lake there in the background, and that this is an up and coming neighborhood. Okay. Let's go ahead and head towards the back. Okay, Let's select our house. Now that we are back here, I'm going to go into a sei slower speed mode. I'm going to get some altitude. And then I'm going to again start descending and pushing forward. Beautiful. Very nice. I think I'm gonna get a nice close up of this little deck. Beautiful. Let's do one more because there was a little jitter. Okay. I'm gonna just churn and pivot and pull back. I can tell that I'm not really centered, so I'm gonna do it one last time, see if I can't get that. Pivot, pull back. That's a lot nicer. Very good. And then, let's see. What other shot I can do? I'm gonna point my camera straight down. And I'm gonna go square with the house. And I'm just gonna kind of show this backyard layout. Beautiful. And let's see if there's any other shots that I'd miss. I think this is a nice shot. So let's go ahead and record this part. And I'm just going to arc around while I show those mountains off in the background. I think my angle is a little high, so I'm going to do that again. So let's just arc around. Liking that gentle s shape around the home, and I'm really liking that. Nuts, that truck got in the way, so we're gonna shoot that one more time. Normally, I don't like any vehicles to be in my shot just because sometimes I might use a forward shot or a reverse shot of the shot, and if there's a vehicle, then it's obvious that I'm taking the reverse clip. Very nice. And then let's take one shot. Let's see if we're gonna have to move. Let's move out this way. Otherwise, we're gonna be in the shot. Let's see if we can get one shot where we're just kind of ascending away from the house. There we go. Let's do it from this angle, as well. Well, let's send away from this angle. So I'm gonna just pull back. And send away from the house. Awesome. Alright. Well, those are all the shots for the drone. That should make for a great edit. Let's go ahead and go back to my office, and let's go ahead and knock out this edit in post production. 25. 2.1.24 - Download Davinci Resolve: First thing that you're going to want to do is go to www.blackmagicdsign.com, and luckily for you, they have this for free, so we can download it for free right here. Right now, they have the public Beta. For Resolve 19, I would highly suggest not downloading a public Beta. That means it's still in Beta, and they're just allowing the public to mess around with it. So the stable version is DaVinci Resolve 18.6 as of this recording. Now the studio version, which is the one that I will actually be using is the paid version. It's about $300 and it's worth every penny. But I just want you guys to know that I started my business using the free version and the free version allows you to be able to do everything that we need. Use Mac or Windows. In my case, it's Mac, download it and install it. 26. 2.1.25 - Free vs Paid: Okay, just a quick word about the free version of Devinti Resolve. The positive side, it is free, absolutely free. And it works great with Black Magic cameras. And like I said, I started my business using the free version of Devinti Resolve, and I was using Black Magic cameras. The downside is the free version of Deventia Resolve does not really support the files coming out of the Sony cameras, like the A seven S three or the FX three. So I'm going to show you a way around that. You're going to use another free program called handbrake. Okay, so go to handbrake, download it and install it. Okay? So I already have it downloaded and installed here. This is handbrake, and it's really easy, okay? So here on my desktop, I have some footage that I shot on my FX three, and we're going to convert these so that way it plays nice with the free version of DaVinci Resolve. Here inside of Handbrek, all we're going to do is we're going to click Open Source. And then I'm going to point it to my FX three test folder, and it has my raw footage from my camera right here. What it's going to do is it's going to do a quick scan of all the files that are in that folder. Now this is going to be very dependent upon your CPU. Alright, so it's made this scan. What you're going to want to do is right here under preset, you're going to want to go to Production Max, okay? After that, you're going to want to go to the video tab. And the video encoder that you're going to want to use is h265 tenbt. Okay? So this is from our camera 422, and then we're going to spit it out as an h26 510 Bit. Finally, I am going to point where I want it to go. So I'm just going to put it back into this folder. I'm going to make a new folder in there. Call it hand braked. Okay? And that's where I'm going to send the converted files. So what I'm going to do is I'm going to click on this little arrow, this little drop down. I'm going to add all of the titles to the Q. And if you want to see that, this is it. So these are my three files that I'm going to convert, and then I'm going to hit Start Q. And again, this is dependent upon your processor. But the cool thing is, it totally works. Now, I've already done this because I wanted to make sure that it worked for you. And here on my desktop, these are the actual files that were converted, okay? So I'm going to go ahead and stop this. And I already went ahead and tested these inside of here to make sure that you can still edit and grade them. So I'm just going to drag this file over. And as you can see, now you're able to play the file. Mine did struggle just a little bit. So I put it to either half or quarter sometimes. But the good news is is it totally works, and it works on the free version. Um, and if you're wondering if color grading works, it totally does. I was able to color grade this just fine inside of the color tab, so no problems there. Anyway, that's what you're going to want to do if you're going to be using only the free version of DaVinci Resolve and you're shooting on a Sony camera like the A sevens three or the FX three. 27. 2.1.26 - Davinci Resolve Overview: A After we fired DaVinci Resolve, you'll go ahead and be greeted with this Projects panel. And this Projects panel, you'll notice that there is a projects tree. You can create a new folder. I have a projects folder, and then I delineate it by the years within that year, then I'll make a new folder, and I'll say 01, January. Inside of that 01 January, then I'll go ahead and have my project. And then, you know, I'll have 02, February, oh three, March. I'm going to go and just delete this. It's really handy for keeping things organized. Once you fired up, you'll notice that you have these tabs on here, media, cut, edit, fusion, color, falte, and deliver, each one of these pages is a work area for DaVinci. I'm going to tell you right now the things that we're going to be using is the Edit page, the color page, and the deliver page. Those are going to be the main three that we will be in. We won't really be editing in the cut page or fusion or Fairlight at all, or even the media. So let's go ahead and look at these panels. This is kind of like our tree structure. So it's always going to stay as master, and then I can right click and I can create a new bin. We can call this FX three footage. Or I can right click on Master again and say, drone. I can make another one and I can say, music. So this is just a fold review of that. Obviously, this is where we have our footage that we will import. For example, our FX three footage that we took, let's say, I know, I'm just going to take these three clips here from a different shoot and I'm just going to drag them in. Once I drag them into this folder, it'll ask if I want to change the project frame rate, I always say don't change because I want to be in control of that. Now this is where our footage resides. Getting your drone footage, same way. This is basically just how we bring in our clips and we keep it organized by creating a tree structure. Let's just use that one. When you double click on it, this is the preview screen, and then the way I usually do it, let's say I want from here, so I will hit the I key for N, or you can use this for N and then that for out. If I click here in the middle and drag it to the timeline, it drags both the video and the audio. I don't need the audio, so I'm going to hit Control Z, and I'm just going to drag just the video, and there it is in the timeline. Now, this is the timeline view, so this is the master view of what the video is. Final video. Notice that when I drug in the footage, it made this thing called timeline one because I was in the FX three footage folder and I drug in my first piece of footage into the timeline, it automatically made a timeline for me. Now, usually what I would do is in Master, I would right click and create a new bin and I'd have a timeline folder, and then I'm going to drag this timeline folder in the timeline because you can have multiple timelines. So let's see. Inside of the timeline, you can zoom in and zoom out. The quick ques for that is Control plus or Control minus. If I had this other clip, let's say in, I'm just hitting the ikey out, and then let's just drag that. Then let's say we grab this one in let's go in I out. Okay. Here's our three little clubs. Terrible terrible edit, but just for the sake of teaching. Inside of the timeline, like I said, we can use Command plus to zoom in, Command minus to zoom out. I think it's Control plus Control minus for Windows. It's either control or Alt. I can't remember Windows. Actually, I think it's Alt. It's Alt plus Alt to minus to zoom in and zoom out. You can do it this way if you want. If I'm really zoomed into the timeline, I can hit my middle mouse button and drag and I can navigate my timeline that way. S, watch this bar. I'm just middle mouse clicking. Here, the ones that I mainly use, I use these two. This is the selection mode and then the blade mode. Selection, I can select it and move it around and the blade, I can cut things up. Undo that. I like to use snapping on. That way, if I'm here, it'll just snap like that. And then when I hit the middle of a timeline, it'll just snap right to it. So that's pretty handy. There is this effects window. So let's say I wanted to put a transition, like a little cross dissolve. I can drag it over that, and then now there's a little crossissolve. Put one right there. Okay. I'm going to undo that. And that is here in this effects window. You can also put titles. I usually use text. For a clip, now notice that these clips aren't interpreted currently, they are the actual clip frame. So for my FXI footage, that should be 60 frames per second. I can right click on it and say clip attributes. And right now, the video frame rate is 59.9. Same with the drones probably 6,059.9. So it's not interpreted, and my timeline, I'm going to right click and then hit timeline settings is at 24. So what I usually like to do is I delete all of this. What I normally would do is I'll select all of my clips in my exit footage. I'll hit clip attributes, and then I'll interpret it to 24. And this is how I get that. Nice, buttery smooth. So it's interpreted into 24 frames. So I will do that also for my drone, right click clip attributes 24. So when I let's see. Here's a move. It'll be nice and slow and ethereal. That leads me to what are my main settings for the project. So you hit this little cog here, and then here are my master settings. So my master settings that I like to do, my timeline resolution, I like to keep at 38 40 by 21 60, and then my playback is at 24. Let's see. We'll just go through all these settings of how I like it. Image scaling. I always go to scale full frame with crop. Color management. This is important. So you want to keep it DaVinci i or GB color managed. And the color processing mode is this HDR Davinci wide gamut. Okay? You don't want to do this automatic color. You want to untick it and make sure that it's HDR DaVinci wide color gamut. The output color space, if I'm on my Mac, then I'm going to use Rec 709 A. And if this monitor that I'm using is going to be my final monitor I'm gonna keep at Rec 709 A. Because I have a nice monitor connected, I will actually be at Rec 709 Gamma 2.4. Um, general options. Camera raw now. Okay. So those are my main settings. Let's say I wanted to keep this, I can set the default settings as the default preset. That way, you don't have to keep doing this every single time. I'm going to hit Cancel on that. Like I said, the other tab that we will mostly be on is color. Let's put something in our timeline real fast. Let's get this little bedroom scene in and out. And then let's get one of these drone scenes. In and out. Okay. So let's say we're going to color these. I'm going to now click on the Color tab. And here, my individual edit items from my edit are represented as these clips. If you don't see those clips, you can hit clips there, and then you'll see them. Also in the edit, if yours doesn't look like this, you can always you can always go to Workspace reset UI layout. So let me go back to color. This area is where we have our node tree, which is how you color grade inside of DaVinci. These are our primaries color wheels. We will be using these extensively. If you don't see it, all you have to do is click this guy right there. And then this little area here, it's dependent on what tool we're using here. And then here, it's always on keyframes. I like to click it on this little guy right here, and this is the scopes, and I like to make sure it's on foray. All right? And then obviously, when we're done editing, we'll go to the deliver page. So you can have a custom export or a h264 master. Sometimes I'll straight to I'll make it a straight YouTube or a vimeo export for my clients. Quite a few, or you can totally go custom and do your own. So that's how it works. And that's what all the meanings of those tabs are. So hopefully, that's a quick little overview of DaVinci Resolve. 28. 2.1.27 - First Floor Edit: Let's go ahead and do the edit for Toll Brothers. So I'm going to click on my Projects panel, and I'm going to make a new project in here. I'm just gonna call it Toll Brothers. And this is the post production workshop. I'm just going to go ahead and check all of my settings here. And it's looking very good, okay? So if you didn't know what the settings needed to be, watch my last video, and those are the settings that I want, okay? So I'm going to go ahead and make sure that I'm here on my Edit panel, and I'm just going to create a new bin. And I'm going to call this Bin FX three. I'm gonna make another bin. Call this drone. And then I'm going to make a music bin. So I'm just going to go to my finder window and drag in my FX three footage. It's gonna ask me if I want to change it. I'm not going to change it. And then I'm going to go to my drone footage, get all of those. I'm going to go to the music. I can also just right click and say Import Media, and then I can get it that way as well. I have all of my media in. I'm going to go and prepare my media by selecting them all, I can also look at it this way if I wanted to. I'm going to select all of them, right click. And I'm going to say click attributes. I want them to all be interpreted at 24. Same with all of my drone footage. Right, click. Make sure that those are all 24 frames per second. Or interpret it at 24 frames per second. So now when I play it, it should be nice and slow. Let's see. Yep. So looking nice and slow. All right. This is going to be my song that I'm going to use. So I can drag that down if I want to. Here's a little bit. A dead room here, so I'm just going to hit my B key for my blade, select my A, and hit the delete key. And that's going to ripple delete everything back. Notice that when I drug in my media, it made a timeline for me inside of the music folder. So I'm just going to right click, create a new bin called Timelines. Go to that music folder and drag that timeline in play. I'm going to hit Shift Z so I can see my entire timeline or we can zoom out like this. Okay. Spacebar starts and stopped the play. Alright, so let's go through our footage. So I know that I was just talking in a few of these. So I'm trying to find where I actually started moving. So there's one move right there. It's a little difficult because I was doing this during the tutorial, and normally I would have these as singular clips. I would just hit Start, do the move, stop. But because I was doing the tutorial, they're long clips and I have to find my move while I was teaching. So you just keep that in mind as I'm doing this. I'm just going to have to set my in and out points for the good clips. So I'm just basically looking for a good clip. So here's a start of an end point. Down. Okay. That's not bad. So I'm gonna take that clip. I most likely did it again that's very much style. Let's go to the other side. Looks like I only took one take. Oh, here we go. Start in. In Okay. I know it's longer than what I need, but I just wanted to see how much I grabbed. So that seems like a nicer take. Now, if you find that your computer is kind of lagging, mine's a little bit lagging because I've got OBS running in the background. You can change your timeline proxy resolution to half or even a quarter if you need to, and that will help your playback. So in so that's a slide move that I can choose if I wanted to. Let's see, there's another one. It's not bad. So I like to give myself different takes if you haven't noticed. So that way, I have options. Okay, then it looks like I'm swinging over to the other side. I'm hitting the button. JKL, just like an Adobe premiere, you can control your time or your play settings. K stops it, L plays it in the normal direction. L another times faster. This is three times faster, four times faster, now I hit Stop and now I'm I'm going to hit J to rewind it just a little bit, hit I to set my endpoint, L to play it. Yep. And then O to hit out. So that kind of gives you an idea of my quick keys that I'm using. Spacebar to stop it. I to set a new endpoint spacebar to hit Play, or you can use the key and then K for the out, then drag it in. Okay. Looking for another angle. Just hitting L several times to kind of quickly go through the footage to see where I'm heading up my next spot. Okay. Looks like I'm doing it. I just did a move. So rewind it using J. Stop it using K. Hit the play button, L. So let me rewind it again. Okay, so hit stop with K. I set my endpoint, L to hit play. K to stop, O for my outpoint. Okay, I probably did it a couple more times. So here's one. So I for a new Ifoint L to hit play. I'm not liking that conversion because I'm cutting this part off. Oh, look at me. I'm thinking the same way I did on the shoot. So I for new infoyt L to hit play. Okay, to stop O, for the outpoint. Now, you saw how I went full screen? I hit the P button to go full. You can also go Alt F or Control F. I mean, Alt F or Command F to go full. I personally like Command F to go full. And I want to say that's all the stuff for Yep. That's all the stuff for the living room. So I'm just going to mute this audio track so I'm not listening to it. When I edit my things, I like to just kind of edit with the music in my head. There's a pacing that you can kind of see. And so what I mean by that is this. So let's say I want the second clip that I liked. So I'm just going to hit Play button somewhere about there that I'm going to pick one of these that one looks good. So I'm playing it, and then it's gonna cut. I can feel like I can now cut to a different shot. So I'll probably take this one. Let me zoom in. Just hitting Command plus and then using my middle mouse, but So without any music, I can tell that this even that it's a little bit long, so I'm going to bring it in. And then let's get Let's get this one. Okay. This is and I'm just taking out these that I'm not using, just getting rid of them. Gonna put this at the beginning. And this is our living room edit. And I'm not listening to the music. I'm just kind of feeling the pace of this. Now, I don't like to I don't like to do these fast edits when it's going to be a home that's for sale. You know, the buyer doesn't need to go through on this roller coaster ride. They just want to see the home and all its beauty. So I'm avoiding speed ramps and things of that nature. I just want a nice, graceful view of the home. So that's my living room. The living room is usually the first shot when I enter the home if it's not the entryway. The very first thing that I usually like to do, though, is establish it with my drone. So I know that I took a wide shot, and I notice how I'm kind of just quickly scrubbing through this. I'm just literally hovering my mouse over the icon. And then with my mouse over it like this, I can just quickly go over it like that. I can quickly scrub through the footage. And I'm thinking this shot and might serve as a good. So let me see what else I got here. And this one might serve as a good one, as well. And Let's see. What else do I have here? I like this. So let's say fact that I'm descending and heading towards the house. I think we'll use this. Oh, that kid got in the way. So I'm sure I did it again. Ah did I Yep. Okay. I think I'm going to use this shot. And it's a little slow, so I'm just going to go ahead I'm going to try to cut out this stuff right there. I'm not crazy about it. So I think I'm going to go right there, click the B for the blade tool and then get rid of that M hitting the delete key. Okay, now I'm going to listen to the music. And then I think the moment it kicks in here. So from here, we can kind of tweak to our hearts content. Beautiful. So that kind of gives me my establishing, and this is the house. We're gonna go in. The first thing we see is the living room. And then from there, we just keep moving forward, so I'm gonna turn off the music again, so I'm not distracted by it, and I'm going to go to the next thing. So the next thing being the kitchen. Okay, there's a move. So in at 35 again. And My voice, like hearing my voice is kind of distracting. Kind of throwing me off. Okay. And I know that I teased this somewhere. So I think I teased it with the stools. Yep, right there. You know, my playback is getting really slow, so I'm going to go to quarter. So just using the JK keys to kind of find where I want it, I think, right there. So let's set an in 0.0 point. And then from here, Boom. I'm loving that. Let's get some detail shots. I think before we go into this part of the kitchen, I think I want to show off some of that part of the kitchen first. So where was that footage? I think it was this clip. Here we go. So let's go with that, maybe. And then we'll go to another detail shot that cuts over to the sink. Now, these are two sliding shots. Notice that this one is going from left to right, and this one's going from right to left. So I'm going to select this guy and I'm going to hit right click Change clip speed. Speed to reverse speed. So that way, the directions of both my clips are the same. So pushing in, show this area. Then I'm going to cut to this detail. What else do I have here? I don't know if I need that one. Let's go. With this shot. Okay. And I'll start in there. Okay. I think I'll do it About right there. Okay. So let's look at our kitchen edits. And I'm going to turn on my music. Lovely. Lovely, lovely. Alright. Um I'm going to go ahead and see this is dining room. Kind of scrubbing through this, see what we get. Looks like there's some more living room stuff that we might be able to add in there. It's another option for the lights if I wanted to use that instead. Do I tease I tease those. Do I tease the dining table in any way? Let's see. I have a detail shot of the dining table, detail shot of that thing for the sofa. I might have not teased the dining room table. Hm, what is this? That's kind of a dining room tease I focus straight here, I can tell. Let's see what happens. Let's say I go from here to this. Let me turn this off. I'm going to reverse it. So I just hit the archy. I'm gonna reverse it. And then Here we are in the dining room. Cut. I'm going to use the back of this chair. Okay. Not in love with that, but let's just get our shots or at least all of our clips that we've got. I shoot in detail. I'll shoot the quick to be able to go from 16 all the way up to 50. And I'm thinking of using that one instead. I feel that that moves better. And then did I shoot a detail? I did. Let me sheet a details that. So from the kitchen tease the dining. Come back. Show the dining and relationship to the kitchen. Show close up of the dining. And let's reverse this clip. I don't mind that. I don't mind that at all. Okay. Let's see. Do we want to use any of those? What is this? That is that's nothing. Okay, these are the mudroom. Nick. So there's a mudroom, and we have this pantry right by it. And we have this outdoor Well, let's take the pantry. I don't know if that really does anything for the edit. Let's see if I can do anything about the study. Let me bring in this guy. Then let's also get focus. Oh, my goodness. More as a detail shot. The fact that there are these massively long clips is really killing me. That's the one trade off for just recording a long clip for the tutorial. It's fine. I like that show. Okay. Let's see. All right. With the kitchen. We'll show this and we go into the dining, give a little detail for that dining room table, show it in relationship to the living room. Go to the pantry. Study space, and then just kind of this built in mud area. Alright, so let's go ahead and move from the mud room. And over here we have the entryway. Entryway, I'm not like in the front door, but I like this little side room that, you know, has a transition to the stairs. And I do like that over here, this is where the guest bedroom is. So I'm going to use this area to kind of tie in that guest bedroom so I can knock out this guest bedroom. So let's go ahead and get our endpoint. Let's see. Where do I do my move right there. That's good. And then let's go and get that guest bedroom. In O. Now we're going to go down magic line, go on the opposite side. Going backwards. Let's see. Where's my move? There we go. Let's see, probably from there. That's should be good. And now we've got this bathroom right there. It's my first take. Let's see what my second take looks like. That looks better. Nice. Alright. That pretty much takes care of the first floor. Let's go ahead and go to the second floor. 29. 2.1.28 - Second Floor Edit: I have this d transition, but I wasn't loving this wall, so I know that I did it on this part. So right there. But then I noticed that my assistant and myself were in the mirror. So I was trying to hide it. Let's see. Probably about close to there. It's not too bad. Let's see. What do my other takes look like? It might have to be that. My little shoulders right in there. Not the end of the world. Cool. And then let's go on the top of the stairs and get it coming down. It's like I'm making my move here. No loving that. Did I do any others? That one looks a lot better. That looks good. I'm going to bring it here, and then let's hit the R button to reverse it. And then let's take it P right there. So going up and then taking it from the top angle. Cool. Let's see how from the mud room, how is this edit sounding, you know, with the music? Alright, for the sake of flow, I think that I'm going to put this guy this bedroom right after the mudroom. And then I'm going to put Let me see. That's a little long. That goes there. Then the stair. That's better. All right. So now we are upstairs. And we'll do this kind of rail kind of show this rail that we're coming from the stairs, so we kind of continue on with this rail. So I'll take this little detail shot. Pull back. Show. Okay, maybe right there. Endpoint. Now, let's go ahead and get this office. Okay. So And then I'm sure I took it wide. Good. All right. What other angle that I grab? We'll go down magic line. Okay, about there. Now, we show the other side of this room. Okay. That takes care of that room. Let's go into the office. So kind of start off with this little tease shot. Let the glass pass. So I'm gonna tease it. And then probably go wide. And then let's go down magic line. Cool. Nice. All right. So the stair landing area, we come up from the stairs. Nice. Tease the office, go into the office, and then go down magic line. Awesome. Alright. Um, I think we should go to the master. Yep, master bedroom. So let's see. Did I tease the office at all? Yes, I did. Or not the office, the master. So here we go. So let's tease it. A All right. Teas. And then we go wide, I'm sure. Yeah. I started with a wide, so Okay. So I go in nice and wide. That looks good. So Then let's go down Magic Line on the other side. Did I go down magic line? There we go. So Good. So go down magic line. Why do I feel like that's fast? Let's try this one. I feel like that's a better better option, better speed. Then we can go into this room now. All right. So that looks like it's at 35. That looks like it's at 50. So let's use the 50. It should be good. So let's use this one instead. I don't let that first little heart. That looks good. So in O. And then Let's go tub. Nice straight on. Good. And then the shower. There we go. Let's let that glass pass. And then the master closet. And then the laundry room, which is right by the master bedroom, but I always kind of if they intentionally put the laundry room by the master, I always try to show it right after. Just 'cause it's like it's such a convenience that I always let the laundry. I always let the kind of, like, the potential buyer know, like, Hey, we've got a laundry right by your master's so I always usually put it right after the closet. Alright, that takes care of the master and the laundry. So let's see after the office, let's see how the edit sounds. Tease it to go into the master. Down magic line, go to tease the bathroom, get in the bathroom. Show that tub and show that shower. Just kind of feeling the pacing right now. Make sure it's not like too long or too short of clips. That looks good. Alright, let's look at these bedrooms. Oh, that's a great shot right there. There. Well, I got the choice to use magic line here, but I think I'm just gonna go straight to the next. I think I'm just gonna just gonna go straight to the bathroom. A, let's see. Start there. Cool. Okay. What's next? Looks like I got this bedroom. Yeah, I did the Ts, so and then let's go wide. Okay, that's good. And then there's a shared bathroom right in here. I got my setting. Okay. And there's the move. All right. There we go. Got that. And I believe that's it for upstairs. 31. 2.1.30 - Color Correction and Export: I All right, let's go ahead and let's start color grading. I'm going to one more time, just click on this cog wheel to look at my project settings. I just want to verify that my color space, my color management settings are correct. And what you want to make sure is since we did shoot this in S Log three, we want to make sure that our color science is DaVinci YR GV color managed. Untick this automatic color management box, and our processing mode is HDR DaVinci white Gamut Intermediate. Um my my output color space is going to beRec seven oh nine Gamma 2.4 because I have a monitor attached to my MacBook Pro. If I was just going to be grading this on my MacBook Pro and using this as my final, if you will, my final viewing monitor, then I would most likely choose Rec 709 A. But for most everyone, if they're using an external monitor, Rec seven oh nine Gamma 2.4 should do it for you. Um, anything else out here? I believe that is it. So after I've verified my color management in my project settings, I'm now going to go into the color tab. And here in the color tab, let's go ahead and talk a little bit about what's going on here. So we have all of our clips, and these clips are represented here by these little blue clips that are in our edit, and these are the individual clips that need to be color graded. Down here, these are the color wheels. Oh, let me reset this so that way it looks reset the UI layout, and there we go. I should look like this for you. I was messing around with a few things. So here's our clips and represented here in the blue, these are color wheels, are the offset and then the highs, mediums and lows, if you will. Or the lift Gamma gain. Now, what that means is, let me switch this here. This middle section is here, right now it's set on curves, so you can see the curves here. Then here on this side of the screen, I like to put this on the parade scope. For lift gamma gain for these wheels, the way it works is, like I said, these are high mids and lows. So I can take this and I got a high, I'm affecting all the highs. All the lows and then all the mid tones. I can reset it like this. I'm just going to go ahead and output my monitor so I can see it here on my side. If you don't have the professional version or the studio version, then that will probably be grade out for you. Okay, so yeah, lift gamma gain, and then the offset, you can see what it's doing. It's offsetting all three primary colors. Now, for each lift gamma gain, you can also just adjust the reds, the greens, and the blues individually that way, or you can go here in the middle. And let's say in the gain, I want to push it more towards red or cool it down towards blue. That's how it works. Normally, I'm working in the wheels, and then I'm always messing around with the temperature and the tint and the contrast. Mid and detail or mid detail. This is for sharpening. I'm also messing around with the shadows and highlights and saturation. That's usually what I'm messing with here in the primaries color wheels. In this area, I'm usually in the curves, or the color warper. We'll talk a little bit more about the color warper. I also use the blur, which is what I use for sharpening. I know a little counterintuitive. In terms of the scopes, I'm always using my parade scopes. So when you first load it up, it's probably on the key frames. So just click it on to scopes and make sure that you're on the right one. If it doesn't look like it's bright enough, you can always go to the options and brighten them here. Okay. So for example, let's look at this drone shot. If we were going to color grade this, you know, like I said, we shot this in Dalg. Everything's very washed out. So, you know, if I was just looking at my parade, I would obviously add some highlights and some shadow. I would probably add some contrast with my curve. I would want some saturation. Let's put this like 65, maybe a little bit more contrast. You can see as I'm pushing and pulling, then I'm getting the corrected color that I like, you can see that the highlights are a little bit more towards blue, obviously because of the sky. If I wanted to balance that out a little bit more, I can push not the offsets undo that one. I could push the gain a little bit warmer just to get the highlights a little bit more balanced. Now, because, um we shot this in Dog. We can actually transform our color space inside of here. So we know that our color space for our project, we said was in HDR DaVinci wide gamut Intermediate. So what I'm going to do is I'm going to just going to right click and reset this node grade. Now, notice that when we did all that stuff here, that happened all within this singular node. That's how you color grade inside of Divini Resolve, if you've never color graded inside of this program before. You do it through nodes. So I can add a node. Let's say I want to add another node. I'm going to right click add a node, I'm just going to add a serial node, and then I can say I want this to be a contrast node. Then I can add another node. And then I can say this is just for saturation. Okay? So that's the premise. So I'm just going to reset the right click here, reset all the nodes to be what it was right when it came in. So instead of doing that because I shot it in Dalg and, um because I shot in the Dalg there is a way that we can transform all these. I'm just going to go into this effects. I'm going to search for color space transform, and I'm going to add a color space transform into this one. What we're going to do is we're going to transform our drone color space into DaVinci wide gamut. Input, we have a DGIDGameut and we shot it in DJ Dog. We want to output it DaVinci wide gamut. Oh, and Gamma 2.4. Gamma 2.4. I'm sorry. It's DaVinci Intermediate. Let me label this real quick. This'll VAR color space transform. All right, so it's coming in as this, and then I'm going to make another one. I add a node. I'm going to add a cereal. I'm going to add this color space transform, and then we are going to come in. We're going to come in as Davenci wide gamut and DaVinci Intermediate is our gamma. And then we're gonna go out to Rec seven oh nine at Gamma 2.4 because I have my monitor connected. Okay, so let me label this. So what we want to do is we want to do all this color correction inside of here. So how is that going to look? This is normally how I set up my node structure. What I'll do and the shortcut to add a node, a serial node is option S. I'm going to label this as exposure. I'm going to add another node. I'm going to label this as white balance. I'm going to add another node and label this as highlights and shadows. Add another node. I'm going to label this as saturation. I'm going to add another node, and I'm going to label this as contrast. Also one for sharpness. I'm going to put one for a denoise and a de flicker. Now, I want to just put my transform node up here and down here. And then I can clearly see this is all the stuff that I'll be doing to my clips is right here. And I'm going linearly like this. So I bring in my color space, I do all this stuff, and then I spit it out right here. So if I want to change the exposure on this, then I can change it here, and then I can change the Y balance here. Let's go ahead let's go ahead and do this real fast. Let me reset this node and this node. Just by looking at my scopes, I know that I want to bring up my highlights just a little bit more. My white balance actually looks okay. My highlights and shadows look fine. Saturation. I think I'm going to push this to 65. Contrast, I usually like it at 1.1. And because I did that, I'm also going to add a little S curve in here and see what it did to my shadows. I'm going to go back to highlights and shadows. So I'm going to increase the shadows and bring down the highlights just ever so slightly. Sharpness. Oop. I spelled that wrong. Sharpness. You go here, and I use it like at 0.47. And I also put a mid detail of about 15. And if you want to see what it looks like before and after, you can click on just the node and hit Command D to see what it looks like before and after. And then the denoise and the D flicker, it's only when I need it. I'm actually going I'm also going to hit Command D on each of these because right now I don't need a denoise and I don't need a D flicker. So it's just going to bypass those. So in terms of what my tree looks like, let's see. I'm going to go to saturation, and I'm going to go to the color warper I'm going to make this color warper bigger so you can see what's going on here. I'm going to make this blue a little bit more like a deep blue. The way the color warper works is you will get this eyedropper, and so you can see that wherever I'm targeting that wherever I go up here in the viewer, it's reflecting where that color is down here. So if I'm picking the green, notice that it's picking the green here, and if I pick the blue, it's picking the blue over here. Now, the way it works is when I click and drag, notice that this color wheel the further out I go, I get more saturated. And as I go around, it's kind of changing the hue of the color. So if I click and hold here with my eyedropper, notice down in the color warper tool, or in the grid, you can see that my red um, my red icon, it shows that it's been targeted, and wherever I turn my mouse, wherever I turn my mouse away right now, I'm turning my mouse in this clockwise fashion. It's actually warping that point. And so if I wanted it more blue, then I could push it more towards blue. So let's see. I'm going to just undo and let's say I want this blue value here, and I just want it a little bit more blue. So now, I can tell that it shifted my white balance a little bit. So I'm going to go back to my white balance. And let's try one more. Yeah, a little goes a long way. I'm gonna increase the shadows just a little bit. Alright, that's looking good. Anyway, so that is how I would set up my node structure for all of this. So the cool thing about DaVinci is we can steal these grades. So I'm going to go ahead and take a still of this by just right clicking and saying grabbing still. And I know that for my drone, I want them to all basically look like this. I'm going to look for another drone clip here in my clips panel. I know I had it here towards the end. Okay. So here's an ungraded clip. I'm just going to right click and I'm going to say apply grade. Notice that when I apply the grade, it took everything from that. And then here, this is also from the same flight. I'm actually just going to click on this and then right click and hover over this, and I'm also going to apply that grade. And just like that, it builds out my node tree. Okay. So I'm going to just fly this grade, apply this grade, and this one as well. Since all of that was in the same flight, the lighting was pretty much the same for all those. Okay, that's all of our drone footage right there. Now, what about our S log three footage? Well, I'm just going to go ahead and steal this grade. And right now my CSTs, my color space transforms are set for DGIs Dlog. So I'm going to go and click this Effects panel. Oh, and by the way, to navigate around in here like this how I'm navigating. I'm just middle clicking my mouse button. So click on the node, and now I can change my input color space. I know that my input color space was Sony's gamut dot cin and the Gamma was Sony slog three. And then the output would be the same because I converted it to Danci wide Gamma DaVinci Intermediate, see? And then I'm spitting it out at Gamma 2.4 because I'm using my monitor. Let's just make sure these are reset so that these haven't been graded at all. Okay. Close that window. I have a little bit more real estate here. So I'm going to go ahead and right click and grab a still, and this will be for my Sony footage. Okay? I'm going to go ahead and go linearly here real quick. So I know that for my exposure, it's definitely looking pretty dark. So I'm going to just increase the mid tones. White bonds is looking pretty cool and a little bit of tint. Gonna increase the shadow by quite a bit and bring down the highlights. Increase my saturation 65 gonna increase my contrast to about 1.1. Make a small curve. And because I did that, I'm going to go back to the shadows. Bring up a little and then bring down those highlights. For sharpness, I'm going to put this at 0.47, and then put my med detail to 15. It the before or after. And that's looking really good. Let me go to the saturation node. Let me see what this tint looks like. I'm gonna adjust this tint a little bit. Yeah, 1.5 is looking good. Okay. So I like that. And what I'm going to start doing is I'm going to just copying these grades. So I'm just going to click on this clip. All right click here, apply the grade. And that's already looking really nice. Same thing here. Let's see. These shadows could probably be turned up a hair. This entire exposure, I'm going to just lift it some. At this point, now I'm just kind of looking at my parade, making sure that things are balanced color temperature wise. It looks a little warm, and yep, you can tell it definitely is. This looks cool and also kind of blown out. You can see that everything is kind of high, so I'm going to bring down the exposure and tint it a little cool, so I'm going to go ahead and increase the warmth a little bit and bring down a little bit of that tint. So I love color correction. I mean, for real estate, you want it just to be pretty much correct colors, and you want it to pop. You know, you want the colors to pop and to be clean. And so that's usually what you're looking for. I'm not really grading anything. I'm not grading it to be like, you know, cinematic movie style. I'm just wanting to make sure that the colors are clean and accurate and that they pop off my screen. You can see that this is a pretty dramatic shift. So what I like to do is I'll choose the white balance and reset it, and then I'll kind of look for the right value. Here, we can see that it's a little warm. So there's a little bit of yellowtint so I'm going to use this here in the middle. Gonna go back to the curves. And then this third item here in the curves, this is the hue versus saturation. And so I'm going to click on my saturation. And then I'm going to click on the yellow values here, and it's going to put these points. Every time I click on one of these points, it puts it up here. And I want to basically click on this yellow and then bring it down. And that can remove some of that color cast that I'm not liking and it'll make it a little bit cleaner in the whites. So that's looking nice right there. Same with this guy. So I'm going to do the same thing here. Poking down just a hair. So it's not so overwhelmingly yellow. So you can see you can kind of breeze through this. So here I'm just kind of looking at the walls. I just want to make sure that they look nice and white. I'm gonna reset this white balance. Something looks off. Looks kind of cool. What's our saturation here? 65. What's our contrast? 1.1. Maybe you just need a little bit more contrast. Looks better. I can tell it looks a little blue over here. So I'm just gonna mix that with the temperature and then hit it with a little bit of tint. Always keep an eye on that RGB parade. I could tell that it was too hot and too warm just by looking at the graph. And this one looks way too cool. Oh, that looks gross. Let's reset this wide balance. Let's reset this exposure. Okay. Okay. Let me just look at the I'm looking at the porcelain whites and that towel. Trying to get it adjusted to that. And let's increase some of these shadow details in that bathroom, and I can tell that there's quite a bit of yellow, so I'm gonna go into the saturation, go to the curves. And let's get some of these yellows. Just tone it down just a little bit. So it's not so strong. Cool. Okay, let's go aside. Way too blue. Some of those shadows are too dark. Very nice. Oh, did I miss one? I got it. Alright. That didn't take too long to color grade. Or color correct. Excuse me. The next thing that we need to do is we need to for all of my gimble shots, not the ones on my drone, I need to go ahead and smooth it out with some stabilization. So clicking on the inspector, I'm going to click the clip. I'm going to click this clip and then choose its stabilization properties here in the inspector window. I like to use translation. I'll bump it up to about 0.88 and hit stabilize. Very nice. And the nice thing is, you can do that with a bunch of these, so I'll zoom out like a click, take a bunch, set it to translation, put it around 8.9, and it stabilized, and it'll do a whole group of them. I guess you can do all of them at one hit, but I don't want to tax it too much. All right. So now that everything's been color graded and everything's been stabilized, it should be nice and smooth now. And it's looking really good. So I'm happy with my edit. I'm going to go to the end. I'm going to hit the ok for out to select this entire section because this is what I want to deliver or export. So what I like to do I'm just going to choose one of these. I'm going to export it as a vimeo clip. And then I'll add it into the queue. I'll also make myself h264 master. And that's looking great. Let's put It's not really four KUHD I'll add that to the Que. Now that I have them both, I'm going to shift, select them both and render all of it. Okay, the HD version is almost done, and then it's just going to go ahead and go right into the UHD version. So just let this guy go. Okay, just about done with the UHD version. Nice. So I'm just gonna right click here and then reveal it in the finder. Double click it. There it is. And that is the finished product. That is the color grading and the render portion of this project. That's from start to finish. That's how you do it. 32. 2.1.31 - Thank You: Includes this portion of my course on how to shoot professional real estate and luxury property videos. You should now have a core understanding of how I set up my Sony gear to shoot real estate and what my camera settings are. You've seen how I shoot a home from start to finish, and I welcome you to emulate and copy that style. And you've seen my workflow for both editing and color correction inside of DaVincia Resolve. The real estate industry is a hungry market for media needs, and video has been a great offering that has gotten a lot of eyes on me and plenty of repeat business. Thanks again for joining me, and I wish all of you the very best. Happy shooting.