Product Photography that Sells: Product Shots for Video | Marshall Rimmer | Skillshare

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Product Photography that Sells: Product Shots for Video

teacher avatar Marshall Rimmer, Filmmaker

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Class Overview


    • 2.

      Why I'm Teaching This Class


    • 3.

      Class Project


    • 4.

      Selecting a Look


    • 5.

      Project - STEP 1


    • 6.

      The 4 Factors


    • 7.

      Project - STEP 2


    • 8.

      How to Light Products


    • 9.

      Project - STEP 3


    • 10.



    • 11.



    • 12.

      Project - FINAL STEP


    • 13.

      Parting Words


    • 14.

      BONUS LESSONS: Color Grading Preview


    • 15.

      BONUS LESSONS: Color Correction Prep


    • 16.

      BONUS LESSONS: Color Correction Workshop


    • 17.

      BONUS LESSONS: Color Grading LUT Workflow


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About This Class

For anyone wanting to learn how to take beautiful, eye-catching product shots.

Practically speaking, we'll cover location, depth-of-field factors, basic studio lighting, 16x9 framing, GFX considerations, practical effects, ancillary aesthetics, and motion.

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

Meet Your Teacher

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Marshall Rimmer



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

Sample Projects:

Cinematography Sample

Angry Birds Movie Trailer

Facebook vs. Google+ Sketch

See full profile

Level: All Levels

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1. Class Overview: So this class is about product shots for traditional video and commercials. So we're gonna talk about shooting in a studio for shooting on location in which one is right for you and your brand. We're gonna talk about depth of field and how to get those beautiful shots as well as how to properly light the set up. We're gonna talk about proper framing and production design, just kind of the general aesthetics of everything. And then lastly, we're gonna talk about the motion that goes into the shot and how to keep your audiences attention. So that being said, let's get to it. 2. Why I'm Teaching This Class: Hello and welcome to this class. And thanks for checking out my Siris on product shots. So this syriza's comprised two classes. The 1st 1 is about traditional video commercials. Things like that, and the 2nd 1 is more for Web based mediums, things like Instagram and online marketplaces. That's kind of the Siri's overview who remind My name is Marshall Rimmer. I'm a commercial on branded content director. I work with clients such as Nestle, Adidas, AKI View Purina and a handful of others. What I do for a living is really not that difficult. So what I'm trying to do today is impart that knowledge to you guys lets you know that it's really not that difficult to take amazing product shots. So with that being said, let's jump to the next video, where I'll tell you what this class is all about. 3. Class Project: Okay, so the project for this class appreciate for its product shot eso product shot 4 to 5 seconds. Think of something that would either go at the end of, like a traditional 32nd TV spot or some kind of, you know, product overview. Kind of insert 4 to 5 second shot of some kind of app on some device or, you know, something? Something kind of tight. Something kind of pretty, Um, and something very beautiful. Eso That's what we'll be doing in this class. Uh, let's get to next video, and we'll see how to do it. 4. Selecting a Look: So let's jump into the location of where we're gonna be shooting now with video production commercials, things like that. You basically have to make a decision up front. Do you want to have the product shot be in a studio aesthetic, or do you want it to feel mawr on location like it's more part of the commercial eso There's pros and cons of each right off the bat. One of the benefits of doing it in the studio is that that little five second shot of the product with all the text, everything you could easily slap it on other commercials as well. So it's something that you can do once, and then you can kind of apply to a lot of things, whereas if you do it on location, you're kind of stuck in the world of that one particular commercial, and you'd have to do it. Uh, you know, many other times without the commercials. So let's jump into the studio setting first. So when I say studio, um, I don't necessarily mean renting out a studio $100 an hour to get lights and, you know, ah, background, everything like that, although that is an option, and that is a good option. Um, if you are more budget conscious, um, I typically do a lot of my stuff on backdrops in the business. We call them Sykes for whatever weird reason. But basically, a psych is a giant, seamless color. Um, and it's uses the background for these product shots. So if you're not afforded a giant studio, all you need to just one nice wall to shoot on. Um, those Sykes can run up to $100 depending on how big you need them to be. So if he don't want to spend money on that because you didn't want to spend money on the studio, you can always use a bed sheet, which is what I have definitely done many times a zoo, long as you make sure that it's ironed and, you know, not sagging and kind of pinned down and taught in all the areas that needs to be a bed sheet actually works great as a backdrop. Um, so those were kind of your options. As far as backdrop goes Now, when you think of a backdrop, you want to take color into consideration, shooting on white or black or possibly shades of grey is almost always a safe bet. You know, if you want to do something kind of sleek and sexy and mysterious, you maybe want to shoot on black. Whereas if you wanted to be a kind of modern and minimalistic, you want to shoot it on white. Um, you can definitely shoot the product against color backgrounds, but you need to be careful with color because, um, you definitely need to know, you know, color relationships and what color would best work with. You know, the color of the product where since black and white or more neutral, you can get away with not having as much thought put into that. Um, but there's ah, website by Adobe called Cooler. K u L E r. I think they may have recently changed it to actually color adobes color, but that is an amazing site where you can pick one color, and then it shows you all these different color relationships. So that's what I do. I not have an eye for graphic design and color and things like that, and so I always go to this Web site to cheat, to find out what color. I want things to be that kind of, you know, complement the image that I'm trying to create. So if you are going, color makes you make sure you definitely put a lot of thought into it and don't just kind of grab what ever color you think looks nice. Um, so next to the backdrop, when you talk about lighting and lighting gear, um, we will get into that in a later unit. But right now is just important to note that if you do the studio route, you definitely will need to be using lights. So that's kind of one of the drawbacks here. If you are able to rent a studio that has life, that's really nice. Otherwise, you you have to kind of run a few lights have, you know, know what you're doing. And later on, we'll talk about basic lighting. You know, three cameras set are three lighting set up to achieve these great images that you can get . But just know that going in that it will be a cost a Sfar. As the studio goes shooting on location, you typically have lights as well, but, um, some. Sometimes you're able to get away with that, so just know that you will need to be doing these lights as well on then. Finally, with studio setups, there's less variables, right? So when you shoot on a location you're very confined to, you know, the shape of the restaurants, you know where tables are placed and things like that. Where is if you shoot in a studio? Everything you bring into the images is is things that you've deliberately picked out, right? So you have a lot more control with the studio setting. And like I said earlier, you know the studio setting. You are able to kind of take that one little 4 to 5 second product shot and put it in multiple things. So it's a nice option, so there's definitely a lot of benefits to doing this studio bit. But you know some drawbacks as well. So that's kind of a basic overview of of what you need as faras what you need to think about it if you want to do the studio route. Like I said, I've definitely used bed sheets as backdrops on. They work totally fine. You can either use bed sheets. You can goto a a photo store and get the seamless paper is what they call it. And if you don't want to do either of those, you can rent studio time as well. So those your options as Faras studio goes now, as far as location goes, um, they're just a lot of kind of random factors that you need to think about because you are shooting on a location. We have a lot less control of things, so the first off is the time of day that you shoot at a location. If it's outside or even if has large windows, the lighting is gonna be very different different times of the day. So when you kind of when you do a location scout, when you go to a location before you shoot and see if it's where you want to shoot or not, you definitely need to take to take into consideration what time you do that at. So if you go somewhere in the evening and the lights amazing and you know that it's gonna, you know, bounce off this house and come and give you a really nice you know, light on your product, and this is definitely the thing you want. Make sure that when you're shooting your shooting of that exact same time, because if you show up to shoot in the morning, the lights gonna be in a different position, and it may not be exactly what you want. Um, so on top of that, you possibly need to rent a lens if you shoot on location on. And that's mostly because, um, product shots are all about this shallow depth of field, right, and we'll get into what that means a little bit later. But we want our product and focus. If I'm the product, we want the product and focus. We want everything else, you know, soft. You know, on this image right now, you want to be seeing me. You don't wanna be seeing, you know the walls behind me. And so the way that you achieve that, there's there's many ways, and we'll get into that. But one of the important ways that you achieve that is by the speed of your lens, meaning how wide of an aperture, how wide of the whole can the lens open up to toe? Let more light through that actually adjust what's in focus on what's not in focus, so cheaper lenses. You can't open up as wide, more expensive ones as you can. So the reason why you would need to rent a lens on location versus in the studio is because if you're shooting on all white backdrop, you know the backdrop a little bit out of focus versus the backdrop, a lot of it out of focus. It's pretty much the same thing. I mean, it's a solid color, right? But if you're shooting on location, you want to make sure that everything is very out of focus. So if you are using the lens is a little slower. That has Maurin focus. You're not gonna be able to cheat it as well as if you could in a studio. So that's just something to keep in mind. And again, we'll talk about depth of field a little bit later on. But just knowing that some of your money need may need to go to renting a lens to get that really shallow depth of field, and on top of that, you might need to consider on Indy filter. Indie filters actually cut light out of what's coming into the into the lens. So the reason why you would do that and we'll get to this in a little bit later. But the reason why you would do that is because if you cut light out, then you need to open up that aperture open up that whole that allows light in even Mawr, right? T kind of counter act that, and so what that allows us to do the wider that hole opens up the lessons in focus. And so those little indie filters, um, they're like, you know, $20 they're honestly, my favorite piece of equipment that I use every single time I shoot outdoors there. Really? What makes outdoor shooting look digital are look cinematic versus looking digital is that indie filter allows you to open up your aperture, get more light in and get that shallow depth of field. So just know that there has to be some stuff with your lenses when you shoot outdoors that when you shoot a studio you don't necessarily need to think about. There may be some timing restraints as faras How long the, um, location is available, so location. It's a little bit more of a headache having to get in touch with the owner of a place set up a time, you know, pay some staff to sit there and baby sits. U S O. Getting a location is a little bit more of a process than actually running a studio, even though it might be cheaper. Um, it's a little bit more of a hassle on depending on the location, depending on the studio studio, shooting may be cheaper locations. Shooting may be cheaper, so there's really no, uh, there's really no one option that that's your money saving option. Essentially, And one thing that's really important to note that if you do choose the location around, this location needs to say something about your brand about your product and that brand image. And it needs to be part of kind of this cohesive, you know, marketing thing going on, right? If you're shooting some commercial for some kids product, you probably don't want to set it in a bar, right that this is the part of the job that if you do it right, no one should ever know. But if you do it wrong, it's definitely gonna stick out like a sore thumb like ah lot of you know, a lot of video productions, kind of that invisible behind the scenes. So picking a location, just choosing a location that fits the tone of the brand that fits the brand image is a very important thing. Eso with studio sitting There's no there's no thought about you know what type of studio. You know, maybe that the color of the background that I was talking about, but with location it's definitely up a process that you need to I think a lot about. And you probably even need Teoh talk to other people within the organization to figure out if a location really does match the product well enough so that that's kind of where your head needs to be. As faras on a producing level of what location you need to dio like I said, Studio versus location in video shoots, you know both are good options. It really just depends on what you're trying to do and what you're trying to say with your product. 5. Project - STEP 1: Okay, So the first step for our project is securing a location. So, like I said in the last video, think of either if you want to do it on a studio or on a location basis, right? So go ahead, secure the location. If you are doing it on location, go ahead and get in touch with the people you need to get in touch with to reserve that location for a specific time. Specific date. If you do in a studio, go ahead and pick the color. Pick the color of the backdrop if you're going to go the backdrop route. If not, call up the studio with space. But the first step in a project is securing that location. Eso get out there and do that, probably for maybe, you know, a week to two weeks out. We will need to possibly rent equipment and things like that. So we want to make sure that all the schedules the line so don't go out and win something for tomorrow, maybe a few days out so that all these things can line up 6. The 4 Factors: So let's talk. Depth of field depth of field is a term that is constantly thrown around photography. It's one of the very first thing that people typically learn with photography, but it's something that you keep with you throughout your entire photography career. It's not like a beginning thing that you check off and then you move on. It's something that, you know, when I approached shoots, I'm constantly thinking about depth of field on how to make an image look as beautiful as possible. So the story always tell is, uh, you know my mom, who knows nothing about photography When she tells me that she wants me to take a picture of whatever she always says, You know, I want those what those images where you know, the things in focus and then everything behind its, you know, out of focus or whatever. Those are always really good, Um, and that is like exactly what we're always going for. All the time is especially especially in product product photography. You know, we want the one thing and focus, and we want everything else out of focus. So that's what depth of field is. That's what it refers to is the depth of the field of focus. Maybe is where it comes from. Um, so there are four things that you can adjust. Teoh, change your depth of field now a purist, a photography purist, am theorist and a professor and a professor would probably tell you that there's only three . But someone who is out in the field doing it all the time will tell you that there's four because one of them works, practically, but not theoretically, however, that works. But you don't really need to know that. Just know that there is kind of a debate on if they're actually three or four. But I'm just gonna tell you all four. So the very 1st 1 and the thing and this is the one that you are really You know, out of these four, you're thinking about this 98% of the time, and that is your aperture. That is the hole that the light goes through in your lens before hitcher sensor, right, so you can open the hole up and get more light in. You can close it down to get less light in, but the side effect of opening and closing it is changing your depth of field. So the wider the lenses, the more light that you're letting through the shallower. That depth of field is right thesis smaller year hole is, the more you close it down, the less light comes in and the Mawr focus you have now. Um, there's always this conversation about having something look cinematic, and this is really what people are talking about when they refer to something wanting it to be cinematic. They're mostly talking about it having shallow depth of field. When digital cameras first came out, everything was in focus, and that was the main complaint. Everything look digital and not cinematic. You know, times have changed a little bit. Cameras have gotten a little bit better, but it's kind of still is still kind of is bad taste in our mouths as Faras, wanting very shallow focus instead of, you know, very deep focus. So the aperture is one of the main things that that does that. Ah, and like I may have said earlier, having an indie filter is really, really nice, especially when shooting outdoors. An indie filter blocks a lot of that light coming in on allows you to open up the aperture , even Mawr, to get that shallow depth of field. If I don't have an indie filter and I'm shooting outside, if I open up too much, my whole image is completely washed out white. I can't make out in details, and it's not very attractive. So putting on that indie filter allows me to open up mawr and still have everything proper exposure. So in Indy filters, great. So the first thing is aperture. The second thing is the medium that the cameras actually shooting on. So some film cameras shoot on 35 millimeter, which is the size of the frame. Some shoot on 16. Some shoot on eight 35 naturally, has a showered up the field than a 16. And then even more than eight, um, with digital photography, people talk about full frame sensors. Those are, uh, kind of larger sensors that have showered up the field. The smaller the sensor, the larger the depth of field. That's why a lot of phones a lot off point shoot cameras. You know, the GoPro, Anything that's super tiny is nine times out of 10 gonna have built in are really deep that the field. So the tinier a camera is typically this is not always true. Um, especially at the consumer level level. The tinier camera is, um the more depth of field, the more digital it looks. Typically, that's not always true. So when you're selecting the camera, if you happen to be renting for this, you wanna ask the guy at the camera store. If he knows what the sensor sizes on the camera, the bigger the sensor size, the shallower depth of field you can achieve. So the 1st 1 rapture the second it's sensor size or film size. Or, you know, whatever the medium you're shooting, too. The 3rd 1 is distance to the camera itself. The closer I am to the camera, naturally, the shallower depth of field I can get if I'm standing 50 feet away and you try to focus on me even with the same aperture, the same camera, same everything, maybe everything 40 feet to 80 feet gonna be in focus. That's like 40 feet of focus. If I'm way back there, right? But right now I'm only standing 2 to 3 feet away from the camera, Um, and right now I'm in focus, and the background is not so. I could walk up really close to the camera, and I'd be in focus in the background would be even more out of focus. Eso knowing that relationship The closer to the camera, the subject is the shallow depth of field you can achieve. So let's see, we've talked about aperture. We've talked about sensor size. We've talked about distance to camera the 4th 1 and this is the one that there's a little bit of controversy over is the focal length of the lens. So, um, in practice, the longer the lens essentially, the more zoomed in you are the shallower depth of field you'll achieve, the wider the lens. This is a wide lens theme or depth of field. That's kind of built in with that. And this is a point of contention where you know, people like on paper, this doesn't make sense. For whatever reason, if you do the science in the math behind all the optics of it, it doesn't make sense. But just know that practically when you're on the field when you're actually shooting, this is something to think about. Um, that being said, there's kind of ah, weird relationship between that one and in the distance the camera. Because with longer lens, you can't get as close to the camera or else you'll be really, you know, chopped off for obscured or whatever. And then conversely, you know, with wider the lens, the closer you can get. So there's kind of Ah dance there, the kind of a relationship there. So just know those four things are factors in creating the best up the field possible. So since we're always trying to get shallow depth of field, those four things we want a wide aperture, right? We want to be able to open up the lens really wide to get as much light in there as possible. So we want a wide aperture who with largest sensor size possible, um, we want to get close to the subject, but not so close that it becomes becomes warped or or bizarre or cut off. Um, you know, we don't want to think about that as much necessarily. We want to get our framing how we think it should look first. And if we don't happen to have the depth of field we want, maybe as a last resort. We moved the camera in, but just know that that is a relationship. And then fourth shooting with a longer lens or zoomed in a little bit more, we can achieve a little bit better depth of field. 7. Project - STEP 2: Okay, so the next step in a project is securing a camera. So we need to either rent this, borrow this from a friend or maybe even used when we have laying around. And when we do this, let's keep that depth of field in mind, right? So let's try to get a camera with a large sensor if we could. And if we need to rent a lens as well, let's try to get a lens that can open up really wide, have a great aperture, so I get that depth of field. So next step in the project. Go out, rent some equipment, make sure that it's available the same day that the locations available so all the stars start to align. 8. How to Light Products: So let's talk about lighting. What we're gonna cover in this class is just product photography lighting, so it's not gonna go super in depth. But if this does wet your appetite, you want to learn a little bit more about lighting. I do teach a lighting class that covers studio photography from under $65. So it's very cost effective way of making things look very great on very much like you're in a studio, even though you could just be doing it from your home or apartment. So check that out if you want to learn a little bit more about lighting. Um, but that being said, let's jump into product photography lighting. So Rule one of product photography, lighting and really this, you know, covers carries over to a lot of other types of lighting as well. If we weren't really soft, bright lights. So the softer the light, the you know, the happier, the nicer, the the better the images. We don't want a harsh direct shadows or anything like that that looks bad and unprofessional. Eso we won't really soft lighting. We want it to be really bright as well. We mostly wanted to be bright because the brighter, the more light we can have on a subject the nicer and image it will achieve in the cameras themselves. Cameras are always trying to fight the the light that not fight the light. But they're always trying toe extrapolated information from the light, essentially so they're always wanting mawr light. That's why when you have your iPhone and you're at a party at night and you try to take a picture, it's really, you know, blurred and smeary and kind of, you know, noisy and nasty. That's because there's not enough light. So the more light you can put on your subject, the better. It'll create a cleaner image, so product photography is all about very soft lighting. Um, you know, we're not going for any kind of stylized look most of the time, you know, we're not trying to light from the side to make shadows and make it mysterious like we could in some kind of dramatic film. Really, we're putting the white right in front of subject. We're making sure the background is lit well ist Well, let's well as well, um, and we're just trying to make everything look kind of nice and even so soft lights in front , but also with product photography. It's really important. Have a backlight eso what a backlight does, and I don't have one right now. But what a backlight does, is it? It helps outline your subject. So if I had a backlight on me right now, my shoulders would be a lot brighter. And just to just enough for you to kind of see an outline of my shoulder in front of the background. And what that does is it helps helps the subject pop a little bit more eso it grabs your eye a little bit more and again with all this video production. What we're trying to do is we're trying to be invisible behind the curtains, right? We don't want anyone to see what's happening. And, um, if we don't have a back light, the subject might get lost in the background a little bit a little bit, and we might be focused on places in the image that we shouldn't be focused on. So a backlight is very important, and typically, you know, if you can get a backlight kind of up high and directly behind something that's great because it kind of outlines the whole subject. But if not, you know, if you have it kind of high and off to one side as well, that's great, too. So, back lights and front lights, really, you both want kind of up high above the camera. Um, but make sure that it's not at such an angle where you cause any kind of shadows, anything like that. So we have soft lights. We have back lights. It's also very important to talk about color of lights. So one important thing to note and a lot of people don't think about this don't know. This is that Light has different colors. Lights that we use indoors in lamps and fans and things like that. Those air, a very yellow light sunlight is actually a little bit bluer. Strangely enough, some lights a little bit more blue than those lights that we use inside. Ah, and so when we're when we're filming something when we're using our cameras or cameras do not really adjust these colors as well as our eyes dio. So if we are lit with, you know, half indoors but then we have a window, the window is gonna register is blue, and Thean Door's Gonna Register is yellow. So it's very important that when when we are selecting lights, selecting a location, really, you know, during the whole production, we need to think about the color temperature of these lights. And we need to make sure that we don't mix color temperature. Mixing color temperature is a thing that it's popular in movies, at least modern day movies. Back in the day, you could never mix color temperature. That was a huge no no. But nowadays people are fine with it. But with product shots, Um, it's really all about the product. And so what we're trying to do, and we're just trying to make the product looked as great as possible. If we do have any kind of mixed colors, it's gonna throw us off. So with product photography, we don't like to mix colors. There are a few exceptions. If if you know the product was, you know, if the commercial was set at some kind of, you know, dance party, some kind of bar, some kind of club. You know, maybe we have some kind of party lights like red, green, blue, Whatever but as far as as far as like, daylight versus indoors, we never really wanted Makes those, um so we have soft lights. We have our back lights that give us that outline. We have, um, the color temperature and then the fourth thing to note it's very important the time of day that you're shooting. Um, especially if you happen to be shooting on location the time of day. You're shooting the light, you know, the sunlight will change. So if you are shooting outdoors, um, and the light changes, you know, if you go if you check out your location in the morning, but you're shoots in the evening, then the lights gonna be different, and that's gonna be no good. So knowing just having that knowledge of where the sun's gonna be at what time is really good to know. So soft lights in the front back lights in the back. Um, don't mix color temperatures. So, um, I guess what I forgot to say is, when you when you buy lights, um, you know Home Depot, anything like that. Just basic lights, not studio lights, even though studio lights do this as well. But if you're buying just basic lights. You know, they have different options at the store. They have, like soft, white, bright white and daylight. I think I always try to get daylight bulbs for everything. Just because if there happens to be a window, it's gonna be matched with daylight. So using daylight bulbs is a really good practice. If everything is very, you know, if you're shooting in a studio or, um, everything is is, you know there aren't as many variables. There's no spillage from any kind of windows or anything like that. You know, shooting with basic indoor lights. That's that's great, too. But I always try to shoot what they light. Make sure they're soft, make sure they're bright, Um, and then if you're shooting outside, definitely know where the sun is gonna be at what time of day 9. Project - STEP 3: Okay, So now the next step in the project is securing lights. We've secured the location. We've got the camera. Now we just need to go out there and get the lights. So we need to either go out and rent thes from the equipment rental place, or we need to pick some up from Home Depot. I keep things like that. Bright lights, soft lights. 10. Visuals: So we've picked our location. We've learned how to a light are subject. Let's talk about the general aesthetics, right? The production design, uh, the framing everything that goes into the visual elements of what we're doing. So first off, you know, this is video. This is, you know, traditional commercials. So we're looking at a rectangle, right? We're leanna 16 by nine rectangle and one of the most important things about photography, about cinematography. One of the first things photographers always learn is the rule of thirds. Now the rule of thirds is it's it's a soft rule. It's like a good launching off point for a lot of things. But it's definitely not something that is a very hard and fast rule. As with most you know, creative rules, they're kind of meant to be broken. So when you look at this image right now, um, kind of applies to the rule of thirds, right? You could technically say that I'm in the middle third and you could say that you know, my left third on my right third or kind of empty space, but what we're really kind of falls into the rule of thirds is my eye line. The I line is, in theory, you know, 2/3 up and then, you know, 1/3 from the top. So that's how this kind of matches the rule of thirds. But all that being said, Rule 30 is important for product photography because mostly because of the graphic element , right, So at the end of the commercial, we have our product and we're gonna throw a logo. We're gonna throw a slow been, you know, some kind of brand something. So we're gonna have some text on other areas of the image. So typically, those shots the product is gonna be in the left, third or the right third of the image with a lot of kind of blank space over here to allow those graphics to come in and have something else going on. If we put our product right in the middle, those graphics we're gonna have to be, you know, is going to be like tall, skinny text logo's gonna have to be compressed. So you know, you're gonna have to do a lot, Teoh. You know, manage that. Whereas if you just kind of have it on the line on the third line you're allowed a lot more space going on in the image, so that's really important to note, Um, and then with with the graphics, it's It's It would be great if, before you shoot, you know exactly what graphics you're going to use a t least kind of what they look like, because you'll know where to place your product in the frame, right? So if you know that your graphic happens to be kind of a tall, skinny graphic, then maybe you want to do something funky and you want to have your you know your product. Take 2/3 of the frame and allow that tall, skinny guy on the edge. But if you know that your graphic is some kind of long, you know, title some kind of logo will, you know. Okay, that should probably go in the top of the bottom, and they kind of frame everything accordingly. So, like with most production things, it's always great to have your brain around the big picture of what's happening. Know exactly what's going into all these elements once you get started, if you don't have that information and a lot of times you don't a lot of times. You know, the production department in the post production are very separate entities. But a lot of times, it's great to get options, right? I mean, you're there, you're at the studio, you're at the location. You've you've paid for the time or whatever and you set up the lights and, you know, why don't you go ahead and get you know, your product on the left? Third, maybe get it on the right third, maybe get it in the middle. Maybe, you know, have it long ways, you know, maybe do something. So get 567 options. It's gonna spend you. It's gonna spend, what, 10 more minutes to get these. You don't have to reposition the lights. You don't have to change locations. Just get a bunch of options at the location to allow yourself in post once you realize. OK, so the graphically one is actually kind of a nice circle here, so that will go well with it on the third. So kind of knowing exactly what those graph is gonna be is really great. So that's kind of my advice. As faras framing goes, Definitely the rule of thirds is a great starting point. Knowing your graphics is great, but this war is, um, first production design goes, you know, this is both for studio and for location. Think about think about what could go in the frame that supports your brand that supports your product. Right? So let's say that we're doing a Coca Cola commercial. Okay, Um, and the commercial is the commercial set in the movie theater. It's about drinking coke at the movies. But for whatever reason, we decided, you know what? We want the production at the end to be a student studio shot. You know, I'm just kind of a black background. We wanted just to be about the, you know, the coke and everything that goes into that. And we wanted just to be that, um, you know, maybe maybe we put, you know, a bag of popcorn in with the coke as well, you know, obscure the brand or whatever, but we see the popcorn with coke, even though it's in the studio is still kind of still kind of, you know, makes that makes that whole idea little bit more complete. So, you know, with the studio with the location, think about think about what else could be added and make sure it doesn't distract right, because we want to definitely be looking at the Coke. We don't want to be looking at the popcorn, so maybe if we have, you know, very nice step the field. Would you get the Coke and focus? Popcorns may be behind. It may be the popcorn soft. We still see that there's popcorn there, right? So thinking of what other objects can we put in there to kind of the icing on the cake? And, you know, depending on if you're doing it yourself or your feet doing it with a client, you definitely wanna give yourself options again. Um, so maybe do it once with the popcorn once without the popcorn on things like that, but, you know, painting. Ah, paying a more interesting picture than just, um, than just the product itself is, you know, it's always, always a good idea as well. So let's also talk about practical effects. So what I mean by that is we have this image on and the product is there. Um, how do we make it a little bit? Mawr? Interesting. A little bit more sexy. So one of things that is, You know, you always always, always do this, You know, the whole time around the board with any kind of drink, any kind of beer and it kind of soda. What you do is you spray it with a little water bottle. Um, and so you have the little, you know, the little water droplets moving down the side. That is, like rule one of product photography for any kind of drink, because that basically gives the idea that Oh, it's cool. Oh, it's refreshing. Um, you know, for whatever reason, it appeals to us a little bit more than if we see a, you know, a dry can. You know, for whatever reason, we're not as thirsty when we look at that as we see the, you know, the water droplets moving down the side. You know, maybe if we're maybe before doing a product shoot. But we have, you know, some kind of Hector model in that product shot, you know, maybe drinking it, Whatever. Looking at the camera, you know, maybe we do something nice, you know, have some kind of fan have some kind of, you know, blowing hair, some kind of you know something, I'm not sure, But, you know, I'm sure there are products out there as well that having some kind of fan having some kind of like subtle movement is very interesting because we'll talk about this here in a minute . But you know, we'll get to motion in the frame. Um, and since we are kind of looking at a still frame, having more things happening allows us to look at it longer without becoming bored, even though it is 45 seconds. There's a reason why this is video versus a completely still image. So having those practice effects, you know, some kind of like water bottle, some kind of fans, some kind of, you know, settle something, allow it to come to life a little bit. Mawr really kind of helps complete this. This image. So that's my advice is for us kind of the aesthetic and the production design goes, Uh, and in the next one we will get to the motion in the frame and how toe to keep our audiences attention and how to get them to be looking in parts of the frame where we want them to be looking 11. Motion: So this last little bit Let's talk about motion and how to capture your audiences attention . Even though it's a short 45 2nd little product video, we want to make sure that we're engaged the whole time. So when I say motion, I'm both referring to camera motion, and I'm referring to kind of, you know, motion in frame. So when it comes to camera motion, my advice honestly is don't, um, product shots are a lot easier to pull off when they're static product shots, mostly because of the graphic overlay. You know, that logo that slogan, that element that comes up a swell because what we're gonna have to do if the camera happens to be moving in, you know, during the whole product, Maybe that that text has to grow, you know, with with the product as well. So you're gonna have to have some kind of after effects motion graphics guru to be able to match that speed and do that. Um, and if you have that, that's great. Sometimes that effect is a little disconcerting to some people. I don't mind personally, but that is something to note as well. It's also possible that maybe have some kind of quick slide in, you know, quick slide. As soon as it ends, then that's when the graphics come up. Um, but it's very difficult to have any kind of graphics that are cohesive with the frame. If there is motion in the camera, if if you know how to do that and if you take care of that, that's great. But you'll even look at you know, when you watch TV. Look at those product shots. Most of them are static, and because they're static, there needs to be something going on in the frame that makes him a little bit more interesting to look at. So we talked about practical effects, you know, starting with water fan or something like that. But also, you know, having some kind of, you know, maybe it's a beer commercial. Maybe that products shot starts with a hand, you know, slamming it down on the bar, and then the graphics come in or whatever. Eso having some kind of motion in frame is interesting. Maybe if you know it's even something going on subtle in the background. That's cool, too, but there really needs to be a reason why this is video as opposed to just a still photo. So with that being said, slow motion is cool. Eso slow motion. You know, if that hand does come down with the beer and maybe some ice pops off or something, that water's coming down the side. You know, if that's in slow motion, that's a little bit more interesting to look at. Um, so even though there's not a ton to motion, it really is important to think about how to keep the audiences and when I say and keep their attention. I mean, obviously they're gonna be watching the whole thing if it's 45 seconds. But we never want them to be at a point where they're looking at something and they're waiting for the next cut toe happen there, waiting for the video to be over. So that being said, having some kind of subtle motion, you obviously again, this all goes back to not distracting. We're just going to kind of be the invisible hands that that run everything but, you know, don't distract from the actual product, but have all this stuff that kind of comes in and kind of really supports, supports the product, supports the brand and supports, you know, the commercial that we're making 12. Project - FINAL STEP: Okay, so when it comes to a project, we've secured the location. We've got the camera. We got the lights. We now know how to properly frame. We know how everything comes together. So we just need to go out there and do it s o. That's this step of the project. Just go out there, take your product shot, remember, 45 seconds, something that would be a the end of a commercial or some kind of, you know, product display kind of thing and a couple things to remember possibly throwing some kind of ancillary object. Remember, we talked about the popcorn with a coke, you know, try to possibly find something that we can put in the frame out of focus. That really kind of helps the thing come along. And on top of that one last thing that I didn't say is be careful of Blair, right? If we're if we have some kind of can some kind of glass, something like that, we need to be very careful off the glare. Win lighting our product shop s Oh, that's the last last bit of last tip there. Um, I think we have everything else we need, so let's just go out there, take those product shots and make sure to upload them and share 13. Parting Words: So if you guys are feeling more confident about product shots and realizing that it's not quite as intimidating as baby we thought it was, I don't We talked about a lot of little things in this class, little lighting and locations and things like that. I do teach other classes ago, really in depth in these topics. So you're feeling, if you still have some questions about those, feel free to check those out on. Also, regardless of which video that you've watched in this Siri's, whether it be the commercial one, the Social Media one or the online storefront one, I'm sure that there's something to learn in each of these that maybe you haven't thought of . So if you have some spare time, go ahead and check those out as well on. Besides that, go out there, takes in product shots and have fun with it. 14. BONUS LESSONS: Color Grading Preview: 15. BONUS LESSONS: Color Correction Prep: okay, today we're learning about color correction and it's important to note that color correction happens at the end of your process. So you've gone out. You film your footage, you've edited everything. And now at the end, you're doing color correction. We do this at the end because if you were to do color correction before you start editing, you would have to color correct every clip that you bring in every part of every clip. And when it comes editing, you really only using 10 to 15% of your footage, right? So because of that, you only do it at the end. So you're Onley color, correcting the part that you need to. So you're saving yourself a lot of time and possibly a lot of money. So today we're gonna be using a adobe premiere and the concept that we're learning today our basic universal concepts. So even if you're on final cut pro or DaVinci resolve or anything like that, we're only learning about color correction theory today. So the tools that we're using are very basic and universal, and you should be able to use any software while you're doing this eso today we're going to take footage that looks like this, and we're going to turn it into something that looks a little bit more like this. So again, we're just doing color correction. We're not doing any fancy color grades or styles or filters or anything like that. That's for a later lesson. But today we're just going from kind of a bland, boring, de saturated image to something that looks nice here. So one thing that I like to do before I start also is I like to set my background of my desktop to this neutral gray. You can just search on Google neutral gray color correction card or something like that, and you'll be able to find something like this comes up now. What I like about this is you actually see what's true white. What's true black so you can get your colors adjusted accordingly. And you know professional colors actually have their entire color. Corrections studios painted this neutral gray so that they can see if if if colors have deviated from where they're supposed to be, So with color correction, you do use some some scopes and charts and things like that, but you're also using your eye. It's kind of a balance between the two. So I have my footage. I've set this as my background on and I'm about ready to get started. So what? Adobe premiere. Quick Little thing about the software. And then we're gonna dump, jump into concepts. Um, if you click on this color tab up top, Ah, you are able to easily have everything right in front of you and also on the left. I like to look at the scopes as well as my image, so I can kind of come at it from from all sides there. So I'm going to erase what I have done already, and we will get started with something new. So, uh, before I start color correcting, I like to think of factors that may have, um ah, adjusted things in my image. So when I went out and film this, it was overcast. And so that means with overcast days, your image is gonna be a little less saturated, and it's gonna have a little less contrast. So I know that those things might have been adjusted. And I also know that I filmed this using an indie filter. An indie filter allows you to set your camera to settings that you get this really nice, blurred background. However, sometimes it adds a little bit of green tent to the image. So I'm going to assume that we're gonna have toe at a little bit magenta to compensate for that on then. Finally, the lens that I used sometimes films a little cooler than other lenses. So we might have to warm it up a little bit. Um, and then another thing. With overcast days, it is typically difficult to get the color correction correct on overcast days so I could see my, um, color correction here between daylight are blue and orange. Basically, I could see that having to be adjusted. But when I look at the image, it doesn't look terribly off. One thing that was nice. I own one of these cards here that about on Amazon for maybe 10 bucks. Don't feel the need to splurge on the $100.150 dollar versions of these. This card is is really just a good It's just printed on cheap card stock, but has all the proper colors. So, like using that a lot. Ah, and so I Typically, when I get to set, I will do something like this. I'll take a quick video of this so I'm able to get proper colors. And because of that, Adobe has this nice little eyedropper. So you can actually click on the proper white, and it will adjust accordingly. Ah, but before we jump right into that, I want to talk about thes the vector scope here in the history ram here, Um, just let you know what both of these charts me because they're both really important. So this one here is about the chroma and the saturation. And so you see red, magenta blue, so angry and yellow. So it's it's kind of a wheel here of the color and then the further out the the white pieces go, the higher the saturation ad saturation spreads out. When I decrease saturation to black and white, there's nothing there. So, um, one thing to know also, this little circle in the middle is typically seen as like maximum saturation. You don't want anything to get outside of this circle. That's not to say that the pieces need to touch the circle. They just shouldn't go above the circle there Also, one thing that's very important is this line right here. This is this skin tone line, So typically you want your skin tone tow line up against here. And the really interesting thing is, is no matter the ethnicity of the subject. Caucasian, African American, Latino agent, anything like that. It's really supposed to be mostly on the same skin tone line. The saturation and brightness are different, but the actual Hugh itself is very a similar, regardless of the ethnicity of the person, which is really interesting. Now this line here is opposite skin tone, and so what? That's just basically helping you to do. You know, when you think of Hollywood movies, a lot of the the the color palettes air like this orange and teal right And and that's because these are, um, these colors are opposite on the color wheel, their complementary. And so because of that, it's It's really easy to grade an image that has a lot of cool colors as clothes and furniture pieces and things like that. So if you can't help but it's actually really nice to have cool parts of your image leaves , you know, whatever cool partner image Reverse from the skin tone. Even if it's you know, a green or a blue doesn't have to be directly along this line. It's still gonna be a lot easier to color, great and make interesting later on. Once you start adding or in warm colors such as yellow, red or magenta, it's actually pretty difficult to make an image look really interesting. And this actually takes kind of amore expert, uh, color grader to make something interesting there. So a quick and easy cheap fixes at a lot of cool things to your image opposite the skin tone. It's always gonna look pretty nice. And this history and right here is basically a chart of the brightness of the image. So and it's from left to right. So left to right is the same as left of my image to right of my image here, Um, so you can see this right here. Is this wall right here kind of medium exposed? So what this does is you want your brightest parts, your image to be up here if you're seeing sky especially, and you what? Your darkest parts, your image to be down here. So you're saying this only goes up to about 95. This only goes about 2 10 So that is in step with with with with what I was saying about the contrast of the image, Um, not being super high because of the overcast day here. So that's brief overview of these scopes. Now we will be using our eye and looking at the's just depending on what we're adjusting. So with all that being said, we're now ready to jump into color correction, so 16. BONUS LESSONS: Color Correction Workshop: we're gonna start off by the eyedropper for the white balance. And what we will do here is we will click on the white on this card right here. And actually, I'm gonna reset to make sure everything is good. And we're going to do the eyedropper. We're going to do the eyedropper here, and you see it is 0.8 and 3.6. Now, this looks very good. Any time these numbers are less than five or less than the absolute value. Five, they could be negative as well, but less than five. Um, that means you are very close. And that's typically what you want to see. Sometimes they'll be less than 10 and that's okay. But typically these air large numbers. You've either messed something up or it was shot under strange conditions. Like if you'll see if I use the white balance. If I try to tell Adobe that that this this is white, I click on it and now suddenly have added 112 and 30. And so it's all over the place. Right? Um so I just want use eyedropper on the white part right here. Now, like I said, this this sometimes does get it wrong, so you might have to adjust things after use the eyedropper. Um, but worked for me on this one s. Oh, that's great. So now I know it's 00.8 towards orange and 3.6 towards Magenta. And this lines up with what I was saying about the indie filter and the lens sometimes being cool. So now I'm going to go to my actual clip and just real quick start off. This was 0.8, and this was 3.6. So now, in theory, this color is looking really good. And so I like to go just kind of down the line and see what I can do. The exposure right now, Um, there's not anything grossly overexposed or under exposed in the skin tones. I'm gonna leave that be, um, one thing that is important note is I put so much focus on the skin tone. That's really where people should be looking on. 95% of any kind of footage that you take that does have does have people in it. So that being said, if certain things were overexposed or technically improper, as long as these skin tone looks good. That's really what you want to be doing. So not gonna just the exposure. For now, I'm gonna add the contrast and you'll see that thes lines will go up. These lines will go down. And when you add contrast actually ad saturation. So this will spread out a little bit. Um, one thing to know that the conditions that this was shot and because it was overcast, um, I can probably at a lot of contrast without having to add saturation. So that's maximum right there. This is minimum. You don't want that. You typically want to be adding contrast. What I'm looking for right now is I'm looking to make sure that I still have detail in the skin tone because sometimes in the bright areas of the skin, you will lose detail special on sunny days, and I'm making sure that the dark parts of the hair still have some texture in there as well. So it looks like on this image, I'm up to about 50 something. So this looks this looks good. For now, color correction is a little bit of a dance. Sometimes I will have to affect one thing, and then go back or or affect something else. So but for now, this contrast looks good. This went up a little bit. This went down just a little bit. So highlights you typically bring down on an image. And what you're really looking for in highlights most of the time is the brightest part of the face is sometimes over exposed. Now, this was nice and overcast, so I'm still getting a lot of detail here, which is great, but I'm going to drop down the highlights just to about there. So this is really settle. Um, but you can see this looks gross. This now it does look like we may want to bring everything up, but for now, we're not quite there yet, so Yeah, something like there for the highlights is good. Now, with shadows with still photos, actually usually add value to the shadows. But with video, it looks a little better to lower now. So there's all the way we lost a lot of detail here is bringing it up. Looks kind of washed out in milky. So what I'm looking for here is the detail in the beard especially, and some of the hair. So somewhere around here, I'm still getting adding to the contrast, but I'm still being able to see all the dark spots. And again, I'm really just focusing on the subject. I need to be aware of other things in the frame that they don't look awful. Um, but I'm really just look at the subject for all this. Now that I brought this shadows down, I think I can actually brighten things up a little bit. So here's all the way. That's two months, years down. Whatever, Um, I think I can, actually, you know, with this overcast day, it's really nice. I can actually add a lot of exposure overall and still have detail in all the skin tone, which is really nice. That's it doesn't typically happen with with everything that you're doing. So that's nice. Just little point for boost because that I was going to raise the whites up a little bit. Um, but because I've done the exposure probably won't go too high. I really want thes these white points just Onley kiss the 100. If if that so this will be very subtle. I mean something just like three or four. And I look at the image. I'm still getting detail. It's fine. So image still looks good, but for the whites and blacks, I look a lot of thes these graphs here. So the blacks I want to go all the way down and just kiss that bottom there. Something like that looks fine. I look at my image. Have I lost anything in the beard? Maybe a little bit. So I'm gonna play with these shadows again. Yeah, I think I'm gonna bring them shows just a little bit. So something like that looks great. So we still have detail in the dark parts we still detail in the bright parts. That's great. Now let's look at the saturation. I'm gonna lower this down so I can kind of see the spread here of of my image. And, um, I go all the way saturated. That looks bad on here's black and white. Um, so when I go till I think it might be in a good place, there's a nice rule of a lot of creative design. Things just called the rule of haves. So when I add something that starts to look okay, I just want to cut it in half, and that's the better, more subtle version. So this was at 100 and I put it 100 40. That that right now, my I thinks maybe it's OK seeing this. This grayscale is really nice, because this this realizes how, you know, maybe overexposed part of this are over saturated part. This is I'm just gonna put it almost in half. Not quite half, but maybe here when 27 or so. That's actually looking pretty nice. Um, we have detail in all parts of the face. This part is a little over exposed. But you know what? It doesn't matter cause it's not the main part of the subjects is not distracting. Um, and so that's looking pretty good. Um, this was just color correction. This wasn't any sort of creative, um, filter, anything like that. But if I want to see what we've actually done, you know, it may not look like we've done a ton because we did it step by step. But if we toggle on the effect, here's the effect on. And this is what we started with. That's a whole lot of difference. Yeah, that's day and night. That's really nice. So we've just kind of corrected the image into something that's that's nice and standard, and we haven't really added any kind of color style or anything like that to our image. So that's for a later, um, later tutorial, but that's that's color correction. In a nutshell. Um, Premier has this this creative tab also where you can add some nice lutz. It has you can add vignette and what's nice about Premier? It actually has a A. When you go up, it brightens Devyn yet, So if you have a lens that has a built in bad vignette, you can you can actually counteracted here, which is really nice. Ah, this secondary. You can isolate certain colors color wheel. You can start playing with color relations and things like that. So there's a whole whole deep world here, man. I love the Cursed have is really nice. You can you can. All this is kind of in in depth stuff, but you can play with specific color saturation. You can change specific colors to look different and brighten him up in dark in, um, so this tab, I like a whole lot, but there's a ton here. It's definitely worth looking into. One thing that's fun about, um any any color correction is you can add Lutz, which are look up tables is the term, But really just think of them as instagram filters and things like that. So you could do some subtle ones. Um, let's see what I have pulled up right here. Uh, vintage urban fashion. So that will give it a nice Okay, Now, suddenly were We've given it a very distinct look, and you can actually add the intensity so I could do something like that. That actually looks pretty nice. That with some of the saturation, maybe. Um, so now I've given it kind of a look and style feels a little bit more vintage e Ah. And so you could do a whole lot with this creative tab and adding those lutz, which is great. Ah, but that is co creation in a nutshell. Hope you guys enjoyed it. Stay tuned for the next lesson and talk to you, then 17. BONUS LESSONS: Color Grading LUT Workflow: - All right, So this is a lesson on let's and how to use lots in Adobe Premiere. Ah, Lut L u t stands for look up table, which doesn't really mean a whole lot this day and age, but basically think of it as, like an instagram filter or a way to achieve a Hollywood movie. Look, eso, um, when we watch movies, it's interesting to see that's even though we think the image looks fairly natural if we are to take a screenshot taken. A few screenshots of this is of skyfall. We look at screen shots and we can actually tell while this image there's a whole lot of blue until it's really cold. Um, and we look at scenes like maybe, ah, see this scene right here. While this is like an intimate dinner scene, uh, clandestine meeting kind of thing because you can see the whole images really orange really yellow, really read really warm, whereas these other scenes seem natural. But ah, as you can see, we're only really seeing, uh, some some tans, some science here. So everything that is done in movies you can see we don't see any red, any purple, anything like that. A lot of it is in production design, Yes, but after the fact, actually go in and change the color as well. So this image, we might think, is natural when we're watching the movie in the theater. But as you can see, we see skin tone and pretty much everything else is green, even when this car's probably black in real life. So as you can see, um, color grading does a whole lot for your story, and different genres will have different types of color that go along with them. This is images from assassination of Jesse James. You can see everything is kind of we're seeing a lot of Tan's. Even this. We're really only seeing a monochromatic image here. So different movies have different looks and styles, and so that being said, I'm going to go over some Let's that I've been working on in the past few weeks that I think turned out pretty well, So I divided them up into basically into different locations indoors and outdoors, city nature, but also different styles as well. So that's kind of how how I did a lot of people approach there. Let's just from a trying to make a cool image. But I wanted to approach it from a very practical standpoint. Basically saying, OK, I know this was shot in the desert. This will look cool. I know this was Shot and snow. I know this was shot in an urban city environment indoors, etcetera. So I approached it from a very practical standpoint, which allows you to get kind of the most out of it. So I divided up here on my premier timeline Hollywood moods, but also outdoors indoors. So just kind of want to go through these and show you guys how to, um, put Lutz on an image. Now, one thing that's important to note is that all of these clips are from stock photos or stock video sites. And so because of that, they've already done the basic correction. And I try to find clips that were basically on. Lee used basic correction and didn't add any additional style or look or anything like this . So most of these air pretty true to the colors that were on set. So that being said, let's jump in. So I selected these. I think these would be good style a Hollywood style. The Hollywood is heavily saturated. You see a lot of skin tones, and then everything else is a very cool color. One thing to note when when you're doing your lutz, any image that has the least amount of colors is going to give you. Ah typically give you the best results for using Lutz. So as you can see in this image, we're seeing blue. We're seeing skin tone. I guess there's a little bit of pink in this shirt, but it's heavily saturated, So really, we're not seeing a ton of colors. Same with this image. We're seeing black and white skin tone. Um, here we're seeing blue and skin tone. That's pretty much it. So anything that has, the less colors, the better. For Lutz, anything that has is vibrant like this. I typically like to dio with some of my fashion Lunts, which looked really good with a lot of different colors going on. But any kind of Hollywood stuff, you want to try to keep it, and this is important for you to note while you're on set, try to keep it the the least amount of colors as you possibly can while filming. All that being said, Let's jump into the lutz. So if this were a clip that we had filmed ourself, we would use the basic correction to make the image correct. And then the creative tab here on Premier is where we style eyes it. So I go to look, um, have a bunch of let's preloaded, but the ones that I created that I really like, I'm going to find here and lots. And so this is a Hollywood style, so we can either go with style were also outdoors. I believe City has some interesting stuff as well, but let's start with, um, this style in the Hollywood orange teal and I like. I used the look that dot look in Premier certain software. She'll use the DOT Cube Premier works best with the dot look. So when I open it up, we see that this is a pretty heavily added image, which again, if we're watching this in a movie theater, we're not thinking twice about how realistic this is. However, if we want, we can adjust the intensity here and with with let's I typically balance the intensity, and the saturation is typically what I'm doing, so maybe you want to go a little less. Let's see. This is nothing. This is twice which is too much. Let's say I want to go a little lasts maybe around 86 or so. And what if I boost the saturation just well, that image If I'm watching that, I'm really not thinking that this is a heavily graded style, even though it definitely is. Um, so some of these looks for more subtle than others. This looks really nice to me. We can toggle this. This is on and this is off. This is on. That's really nice. I'll see what else we got. Um, Cinematic subtle won't see if that does anything for us, it's a very different look. I would even say this is a little bit more of a fashion. Look, with this, I think braiding bringing the fated film bottom might be kind of nice. So this is a nice look as well. And as you can see, these luds minutes really just kind of drag and drop. Let's try some of those outdoor urban. Let's see, urban grand. You should. We'll see if that does anything interesting. Okay, so now we're getting into a different style of movie, right? This, um, maybe a little bit. Maybe there's some kind of horror element. Maybe there's some kind of suspense thriller, that kind of thing. Let's see if we add the intensity it's take away. That's faded. Film. Look, get some saturation. Now that's pretty cool. That's definitely a nice, you know, scary movie. Dramatic kind of thing again. All these air Real Dragon dropped really nice. And like I said, the less amount of colors you have in an image, the more versatile that image is probably gonna be. So let's just go to something else again. This has very few colors, so I'm going to assume that let's see, Hollywood action hero. Does that do anything for us? So here his skin tone is not super Ah, saturated. So this doesn't do as much as I would like. It still does. Still does center it, though, but I do think this might might be a little bit better on that, um, Hollywood orange teal cinematic subtle, Probably Also, yes, this that's a little extreme. Let's see if I bring it down, something like that might look nice. So again, this may seem extreme just by itself, because we know what it was. But if we were in a theater watching this, we wouldn't think twice about it. You know, we can look at some comparison. So correo man, he's a really nice images. Um, I'll see if I get one, try to find one that's very saturated. Something like this. Pretty saturated orange. You know, we're seeing a lot of warm towns here. Um, again, this one because there's not as many colors. This is gonna look nice for sure. Hollywood tea oranges might be boom, and that's a right Hollywood epic Transformers. And again, you know, we can obviously play with the intensity. So that's kind of how the Hollywood ones look heavy contrast. Oh, this might actually be nice. A lot of gray green. I think I'm gonna try that grunge on this one. Let's city urban grunge. Yeah, that looks great. That looks great. So So here's one that is in the Hollywood. Um, but ah, when I did this one earlier, I found a really moody, dramatic one. So, uh, let's see what urban crunch does. Yeah, that's that's not gonna work for us, probably because the prevalence of the greens. But if we release the saturation of the greens, the one that I liked here outdoors nature there was a moody forest one, She's in the forest. Let's do dot Look, she's in the forests were doing moody Forest and Boom. There's something pretty scary and off putting about this. We d saturated, darkened all the leaves, and that looks really creepy and nice. So this would be a great Hollywood horror movie now, Like I said, um, with the fashion one's anyone's that have a lot of colors. I typically like to do these fashion filters. Um, so let's throw on one and see what we get, Um, and the fashion one's air. But the style is mostly Hollywood, so the fashion ones are actually gonna be outdoor city Hollywood action hero. Warm fashion memories, Vintage urban, frustrated vintage urban fashion. See, we get as an interesting look. Yeah, that's really nice. So again, lots of colors in the city. Finnish, German. That looks really nice. Let's try with this warm fashion memories, and this is definitely a heavy filter, something, you know, some kind of instagram something. This is definitely stylized, but this looks really nice as well. So again, very colorful lot going on. Let's try one of these. I was trying vintage urban. See how that goes And that is not going to do it for us. Yeah, that blue really does not work for us. And warm fashion memories. Oh, see, now, that's interesting. Nice, warm. And again, this one, you're definitely going for a look. If you want to make it real subtle, you probably could. But I think this one actually benefits from being pretty extreme and leaning into it that way and see warm fashion memories. Yeah, that's nice. So these air really again, These lets air just drag and drop. Really cool. Um, like this one a lot with the warm fashion memories. Yeah, it's really nice. So it brings up the blacks. Let's see, we'll put on the scopes. We're way up here, but it's really nice. Stylized in the urban fashion. Really like that. So that's the fashion ones and this mood intimate. So this is we go back to any kind of cops here. Um, let's see. We have a Blade Runner. Blade Runner is gonna be crazy of it. So this seems pretty normal again. This is green and skin tone. The least amount of colors the better. But look at these. Look, I warm. These colors are I mean, this is a dystopian thing, but if we were to g o back Teoh any kind of intimate dinner scene and pretty much any movie we're getting this right. It's variations of skin tone. We saw that in the sky. Fall is well, I believe Yeah. So this so I mean, this is really heavy. Just one color, right? So if we're trying to imitate anything like that, um, we have a really nice one on indoors. Moody Room is Yeah. So something like that immediately feels a little bit more like that movie. There was another I did a candle lit one at works on some doesn't work on others here, Um, the colors not quite. Or the brightness is not quite right for it. So, um, anything like this intimate. I mean, these air out of the camera. But if we go to that moody room boom, we're looking at just yellow. That's kind of nice. Now, this will be nice, and it'll warm up the street lights here, in which will be really good. Many Ram, though. Yeah, so that again, we think this is totally natural, but it's very yellow. All the moody filters work best when you have a subject in a very dark background. So what I noticed in this clip is the background is not dark enough. If we were to put that moody room or the candle it, Ah, one on it, I believe everything is gonna be yellow in a kind of bizarre way too romantic candle dinner . This actually this is passable. This is not I don't love it because of how bright the background is. Um, there was one that's really good for intimate stuff with a brighter background. And that's just settle skin push. This is again, it's called. It's called subtle, but you are just trying to make the skin tones pop here is with it on. Here's with it off. As you can tell, the use of it definitely makes you focus on the skin a little bit more. That one's very subtle. Um, what? This should go with something big, and so those are the intimate ones. And then with outdoors outdoors, cool. I'm basically talking about anything with blues or greens in the images. And so something like this. Let's say we wanted to make this match that horror movie that we had talked about earlier. So this is the outdoors nature, and we're gonna go the forced the moody Forest. And while look at that, that's cool. So this is definitely a spooky, scary thing. And what's nice about these lessons, just how easily they are to drag and drop? We're really not having to mess of the intensity or saturation of most of them. One thing that's really nice about, uh, these is some of the travel ones are actually really good. Um, so I like this when you see aerial view of the ocean of the beach here and if we go to this is outdoors nature, we're going to go to Ocean Beach travel and suddenly boom, that that ocean pops a lot more, looks a lot better. We can actually even improve. The intensity of it may be of the saturation, and suddenly this water looks so nice. So this is really good for some travel stuff. We could do the same here with this family. Ocean Beach travel boom seems a lot more tropical doesn't, doesn't it? That's great. So 11 of these filters that I really like is this autumn Push some of these green. Some of these leaves are yellow, but a lot is green If we go to this autumn Autumn boost. Sorry. Autumn boost, filter, Boom. Now everything. Now this is the middle of autumn. All these leaves, even though it's snowing, it looks like all these leaves are now or engine yellow, which is really cool. Yeah. So I bet we could do that with this clip. It might be hard, but we'll see what autumn boost does with this one. So this one Interesting. Yeah. It kills the grass, makes all the leaves. Wow, this is really nice. So this puts anything in the season of autumn. Wow, that's incredible. The difference there. So this is I mean, this is night and day that autumn one is really cool. Um, this is another beach. One outdoors. Yellow. Now look at this one right here. There's actually not a ton of Is there some blue? But it's fairly monochromatic. I think this one would actually do well with one of those fashion filters that we saw. Um, so that was outdoor city Vintage urban fashion. Uh, not that one. Let's see her brand warm fashion memories. That's kind of cool. Yeah, that's a heavy color caste, but it looks really nice. Yeah, that's really cool. Um, again, when there's less colors on the frame ah, you can typically get away with with, um, putting basically any kind of filter on it. Let's weaken tried desert Dusty. Does that do anything for us all puts it together into some nice, more kind of khaki feel, so that's really nice and outdoors. Yellow. We could do a lot here. Um, there's some good like desert ones. Outdoor snow. There's a lot of really good snow. One. Um, I did three different snow. I think snow landscape was the best one there, and suddenly it feels a lot colder there, doesn't it? So we preserve the pops of yellow and red, which is nice. Ah, but but it really cools everything off. Makes you really embrace that snow a little bit more, which is really nice. As you can see, there are a ton of different options, a lot of good work ones as well. But there's a ton of good options here. And these lets Air really designed, so you can kind of really drag and drop almost any of them into an image. So that is, is how you do lots. It's really easy. You definitely want to keep it in the creative tab. Ah, it's real Dragon drop and adjust the intensity and saturation, but that's pretty much it. So for you guys, these let's are on sale. So if you wanna give him a download, feel free to do that. Ah, having broken down into different packages or if you want to get a discount, you can get him all at once. Um, so that's lots in a nutshell.