Canon M50 | CINEMATIC LOOK | Tutorial! Part 2

what’s up guys siggy here and welcome to another techie er talk today I’m going to show you how to get your m50 footage to go from this to this in part one I showed you how to set up the m50 so that it gives you the easiest starting point for getting great video footage now these were all things you needed to do before you start shooting today I’ll go over the actual shooting process and I’ll talk about the types of things that you can do to get the kind of cinematic look that everyone loves if you’re new to the m50 and want to learn more about the camera I’ve done a lot of videos about it so I’ll link to a complete playlist up in the corner and in the description and at the very least I recommend that you start with part 1 of this tutorial so that you’re ready to go I highly recommend you watch this entire tutorial because towards the end I’ll mention what could be the most important component of getting the kind of look that you want and unfortunately this is something that almost every beginner overlooks let’s get started the first thing we’re gonna discuss is framerate and in general this is going to be a stylistic choice in case you’re not familiar with what this means framerate refers literally to how many frames the camera in this case the m50 captures per second so 24 frames per

second means that the camera is actually recording 24 separate frames like think of how film looks every second and 60 frames per second means that it’s capturing 60 frames every second if you’re shooting an NTSC mode then the most popular options are 24 30 and 60 frames per second if you’re shooting in PAL then the most popular options are 25 and 50 frames per second I don’t want to spend a ton of time on this but 60 frames per second is gonna give you sharper and more crisp look like what you get when you’re watching the news or maybe a soap opera now on the other hand featured films are shot at 24 frames per second which provides a softer look with a little more motion blur now that softer 24 frames per second look is part of what you’re used to seeing when you watch movies and to a certain degree it’s what your mind equates with the cinematic look so in your m50 select movie mode on the mode and then click on menu shoot one move your record quality move your record size and then select full HD or 1080p twenty three point nine eight which is what we’ll call twenty four frames per second if you’re using pal go

ahead and select 25 frames per second now the only exception to this rule is if you want a film for slow motion in that case go ahead and select full HD 59.94 or what we’ll call 60 frames per second that means it will be slowing down 60 frames per second footage down to 24 frames per second later in our video editor and we’ll get slow motion by 2.5 times the way that works is that we can take one second recorded at 60 frames per second and then play those 60 individual frames at a rate of only 24 frames per second so in the first second of the video we’ll play the first 24 frames of the 60 in the next second we’ll play the next 24 frames and that will leave 12 frames which we can play in another half a second so that means we’ll stretch one second of recording time into two and a half seconds of play time if you want to know why I don’t normally shoot in 4k with um 50 check out part 1 of this tutorial or pretty much any of my other and 50 videos ok so we’ve got our frame rate let’s talk about shutter speed and because in part one of this series we set the m-52 manual exposure we’re gonna select the shutter speed aperture and ISO manually if you’re familiar with how to get the proper exposure for a

photography you know that shutter speed determines how long the shutter stays open for each picture so the longer it stays open the more light hits the sensor and the brighter your image will be now for filmmaking this may sound a little bit strange because you might be thinking I’m not really taking a picture I’m taking a continuous video but remember that our video is actually comprised of 24 individual frames for each second of video and the shutter speed determines how long the shutter records for each frame in this video I’m not going to explain the why of the 180 degree rule and I’m just gonna keep it super simple you’re going to want to always have your shutter speed beat why or about twice your frame rate so if you’re shooting at 24 frames per second you want your shutter speed to be one fiftieth of a second if you’re shooting at 60 frames per second for slow motion then you’re gonna use a shutter speed of a hundred and twenty-fifth of a second now notice that these aren’t exactly twice our frame rate but they’re close enough now you can find your shutter speed down on the bottom left and you

can either use the touchscreen to change it or use the top dial next to the shutter if you use the top dial make sure that you see the orange indicator in the correct spot if it’s on the aperture section go ahead and hit the top button in a directional pad on the back which toggles this setting and you’re only going to change this setting if you change your frame rate unlike with photography we don’t want to control our exposure by changing the shutter speed and we’re going to have to use aperture and ISO for that all right so let’s get to ISO and ISO determines how sensitive the m50 sensor is going to be to light and there isn’t one setting that’s gonna work for every situation because it’s gonna depend on the lighting conditions that you’re working with now lower ISO numbers mean that the sensor is less sensitive to light and higher ISO numbers mean that the sensor is more sensitive to light so in brighter conditions like on a sunny day you’re gonna use lower ISO settings and

in darker conditions where there isn’t enough light you’re gonna have to use higher ISO settings now some people have asked me why can’t I just use high eius all the time in that way I don’t have to worry about light and in theory you could but there’s a little bit of a trade-off here so the more sensitive you make the sensor the more noise is being introduced to your video now you can get different plugins that will help you reduce the noise in post-production but it’s always a good idea to get the best footage that you can to start with so as a general rule always use the lowest ISO that works for your situation for video the m50 has an ISO range between one hundred and twelve thousand eight hundred and I almost always select my ISO manually rather than having it on auto now this means that since I set my shutter speed aperture and ISO manually my exposure is not going to change on its own so again shoot at the lowest possible ISO to at the exposure that you need and this will give you the cleanest image possible to start working with now before I move to the next section if you like what you’ve seen so far let me know by giving this video a thumbs up it helps me know what kind of content you like so that I can make more of it and if this is your first time here go

ahead and hit the subscribe and notification buttons so you can stay up to date on all the latest gear and tutorials alright next let’s talk about aperture or sometimes you’ll hear people say f stops F stops will control the amount of light that exits the lens and hits the sensor of the m50 by changing the size of the opening known as the aperture now this is sometimes confusing but the thing to remember here is that the smaller number means a larger opening so when people say large aperture they mean large opening not a large number now if you get confused think of them as fractions so think of f 2 as 1 over 2 or 1/2 think of F 4 as 1 over 4 or 1/4 and you’ll immediately know that 1/2 is bigger than 1/4 now this isn’t the correct formula at all but it will help you remember the relationship between the number value and the size of the opening now the larger the opening the more light hits the sensor and the brighter the exposure and when we have more light we can turn down the ISO on the m50 and get cleaner footage now the next thing affected by the f-stop is the depth of field I’ll make a dedicated video about this but for the purposes of this video we mostly relate a shallow depth of field with a

cinematic look now a shallow depth of field means that our subject is in focus but things in front or behind the subject are out of focus so the smaller the f-stop number the shallower the depth of field so if we look at the same scene at F 1 point 4 F 4 F 8 and F 16 we can see how much more of the scene is in focus and F 16 so when we want to create separation between the subject and the background it’s great to have lenses with a wide maximum aperture now the EFM line from Canon has a few options but it’s pretty limited and this is why I was so excited to see that Sigma released their famous trio and the FM so now we have a 16-millimeter 30 millimeter and 56 millimeter all at F 1.4 which is a super wide opening and gives us crisp video with the separation that we’re looking for now I’ll leave links in the description to all three lenses and I highly recommend that you check them out I also have a dedicated video about these three lenses and I’ll link to it up in the corner and in the description if that’s something you’re interested in watching now in addition to great separation shooting wide open with an f-stop like F 1.4 is also great because it’s letting in more light meaning that we’re able to shoot in low-light situations however it does present a challenge when

shooting outside in bright daylight in this situation we’re faced with the fact that there’s actually too much light when we open the lens up now if this was photography we could simply shorten the shutter speed but we don’t have that option here since if you remember we said that the shutter speed has to stay at double the frame rate we could close down the aperture but then we lose that shallow depth of field that we wanted and this is where something like a variable neutral density filter helps by reducing the amount of light that passes through the lens and that means that we can have the lens wide open get that shallow depth of field that we want and still get the proper exposure right now I’m using the polar Pro variable ND filters which have been outstanding for me I have a dedicated video about them explaining how to use variable ND filters and why I chose to use these particular ones and I’ll leave a link to it up in the corner and in the description so you can watch it when you’re done with us alright so we’ve got our exposure next I want to talk about

white balance which refers to a setting that lets the center on the m50 know what color light to expect now that might sound strange to you because our eyes and our brain automatically adjust for different light colors so we don’t actually think about it in everyday life but something like a tungsten light bulb has a much different color than daylight which in turn is different than overcast now it’s important that we match the white balance setting on the m50 to the color of light that we have otherwise our footage is gonna look way off there are two ways to select white balance on the M 50 the first is by clicking on the Q on the touchscreen then go to the second icon from the top on the right side and you’ll get the white balance menu at the bottom the second is by clicking on menu shoot three white balance and then choosing one of the options from left to right the first option is a WB for auto white balance and this lets the camera try to figure out on its own what the correct white balance should be if you click on info you’ll see that there are actually two options here ambiens priority and white priority ambience priority retains a warm ambient color under warmer tungsten lighting and white priority will be slightly cooler even when shooting on

their tungsten light now this choice will depend on the look that you’re going for in your particular video but it’s easy enough to switch and see which one you like better next we have a setting for daylight which should be used outdoors under clear sky we also have a setting for shooting in the shade followed by one for a cloudy day then incandescent or tungsten light and followed by white florescent light then flash which you’re only going to use for photography a custom white balance option and a color temperature setting which lets you manually select color temperature between 2500 and 10,000 K I suggest that you select the option that best fits the light that you have and only use a WB or auto white balance as a last resort and the reason for that is that auto white balance might change your white balance settings during a clip as like different things come into the frame or as the light changes and so if you’re gonna have a continuous clip it’s gonna look weird if something shifts from being a little bit cooler to a little bit warmer while I’m

watching it happen so the most important part here is to capture colors as close as possible to how they appear to the naked eye and then you can make slight adjustments in post if needed next I want to talk about the histogram feature of the m50 which is a feature that a lot of people either forget to turn on or they just don’t know how to use it to turn the histogram on just click the info button until you see it appear on the top right area of the LCD now if for some reason you don’t see it even if you cycle through all the options go back to part this tutorial where I show you how to resolve that this histogram represents the pixels exposed in your scene and this one is set to show brightness now the way to read a histogram is that the left side of the graph represents the blacks or shadows in your scene and the right side represents a white or the highlights so anything that is all the way to the left is going to be pure

black and anything that bumps against the right side will be pure white here’s a scene that’s well exposed and you can see that we have details in the shadows and that the highlights are not blown out now here’s the same scene underexposed so you can see that the histogram has shifted to the left and is now bumping up against the left edge now here is the same scene overexposed and you can see that the whole thing shifted to the right and our highlights are completely blown out so as a goal we want the entire graph to be visible with the tiniest gap on each side now notice that I said that this is a goal it’s not always possible but just do your best and remember that you cannot use shutter speed to adjust your exposure just ISO and aperture now if we need to we go back to the variable and D filters to control the amount of light that hits the sensor if you have to choose between overexposing and underexposing your scene always set your m-52 slightly underexposed meaning you make things a little darker than they actually are it’s easier to brighten up the footage in post-production and bring out details out of the shadows and if a portion of your footage is completely blown out and it’s pure white there’s just nothing you can do in post-production to bring it back as

always we want the best footage that we can get to start with so we’re at the best position to do some color correcting and color grading later on next I want to discuss picture styles and the Canon m50 has eight different built-in picture Styles designed to make adjustments to the picture profile for different types of shootings if I’m just shooting a regular video for YouTube and I don’t plan on color grading it I’m most likely using standard picture profile it gives me super usable footage with a nice amount of contrast and saturation right out of the camera now it doesn’t have the best dynamic range but it gives me a much faster workflow I can get things done more quick if you’re not familiar with the term dynamic range in the context of photography and video it’s a measurement between the brightest and the darkest parts of your image it can also refer to the sensors capabilities in terms of how much of a

difference between the shadows and the highlights of your image it can capture without the highlights being blown out or the shadows going to pure black so while standard picture profile works well in some cases when we try to get a more cinematic look we need to do something a little different we want to use a flat picture profile if we remember the histogram a flat picture profile is going to push your shadows and your highlights into the center of the graph it’s easier to see why it’s called flat when editing a Premiere Pro for example where the luma waveform graph is displayed vertically so you can see that a flat image is literally represented by a flat waveform so essentially what we’re doing is we’re creating an image that’s very gray we’re eliminating black and white and trying to move everything into some shade of gray now this is not a great-looking image and lacks color and contrast but the important point is that the m50 captured details in the shadows and the highlights this gives us a lot of room to play with in post-production and get that cinematic look that we’re going for I have a tutorial about color grading for the SL 2 and I’ll link to it up in the corner and at the end of this video so you can check it out and even though the footage was captured with a different camera the concepts are exactly the same there are many good

flat picture styles when it comes to the m50 but today I’m gonna use two examples the first is Technicolor cinestyle and the second is Pro lost I prefer Technicolor cinestyle because it’s even more flat than Pro lost but it does require a free download and installation whereas pro loss can just be set up in a few seconds on any Canon DSLR or mirrorless camera that offers user-defined picture profiles I’ll leave a link up in the corner and in the description to my tutorial about how to install cinestyle and pro lost on any Canon mirrorless and DSLR cameras so either pause this video and head over to check it out or just watch it when you’re done with this video so here’s the same scene and standard picture profile and you can see that it’s pretty sharp contrast and saturated but we do lose some detail in shadows and the highlights here it is using Pro lost we definitely have a softer image less contrast and less saturation and finally cinestyle where we have an even flatter profile with even less contrast and less

saturation again I know it doesn’t look great right now but it will allow us to do some color grading and get the final cinematic look that we want now let’s talk about aspect ratio so the m50 shoots at full HD or 1080p which is 1920 pixels by 1080 pixels and that results in a 16 by 9 aspect ratio but traditionally motion pictures are viewed at a much wider aspect ratio and there isn’t really a right or wrong answer here it’s a personal

preference now most of the time I go for something around two point three five to one some creators like two to one you can pick exactly the look that works best for you now some people add black bars at the top and at the bottom which I don’t like because well I just don’t like how it looks and especially on mobile because it makes the whole image smaller so instead what we’re going to do is actually change the aspect ratio to do this you simply change the resolution in your project file so in Premiere Pro go to sequence sequence settings and then change the vertical value to 817 now in addition to getting a wide-angle video you also have the added benefit of being able to reframe your shot since you can move the footage up and down within this new frame alright let’s move on to film green now pay attention the next time you’re watching a movie and you’ll notice that the image isn’t really all that clean it’s actually kind of noisy or grainy now if your movie was shot digitally this is not how the footage looked when he shot it there was actual film grain added to the final product to help it mimic the look of actual film here’s some sample footage with no film grain and you can see that it’s pretty clean and clear now I’m going to go ahead and add some 35 millimeter film grain on top of it and then adjust the blend mode to overlay now there’s again a stylistic choice here and you get to choose just how much grain you want to actually add to your footage I think 50 percent looks

good in this case and let me zoom into a hundred percent to show you the difference so without grain and then with grain again without grain and with grain okay then so let’s play this clip and look at how it looks when it’s rendered now I created some free 4k grain for you you can also use it on 1080p and I’ll put a link down in the description you’re welcome to use it in your personal and your commercial projects now let’s move on to color grading and I want to start out by pointing out that color grading is both subjective and a stylistic choice there’s no right or wrong here it’s a matter of getting the look that you want as a filmmaker it will also depend on the type of project that you’re working on so a promo for a boxing gym it’s gonna have just a different look and feel than one for a yoga studio now there are a ton of film Luntz and color grading plugins out there and they’re an excellent way to give your footage a more cinematic look and feel they’re also a great way to save yourself some time when you’re doing editing by starting with a preset I’ll add a link in the description to where you can download a few free Luntz and I constantly publish new options so keep an eye out now I also created a color correcting and color grading tutorial because it was just too much to fit in this video and it deserved the dedicated tutorial alright so the last thing I wanted to discuss is the one that I think most people overlook and that’s lighting a lot of what we associate with the cinematic look comes down to certain lighting techniques used to create specific looks

and the specific techniques will depend on the mood of the scene and the overall feel that you’re trying to convey but the only thing I change between this scene and this one is the lighting there are four components of lighting that we should cover quality quantity direction and color and using these basic components we can create depth separation and create a more cinematic and appealing look now if this is a topic that’s interesting to you or you’d like me to talk more about let me know in the comment section and I’ll create a dedicated tutorial alright so that covers how to achieve the cinematic look with a Canon m50 and I hope that I was able to show you that even though this is an entry level model you can still achieve some really nice results I have links in the description to the free film grain and the lots I was talking about as well as some of the other products that I discussed in this video definitely check out the Sigma lenses and the polar Pro variable and D filters they’re gonna make a huge difference in your creative process I really hope that this video was helpful if it was please let me know by leaving a comment giving this video a thumbs up and if you haven’t yet join the community by hitting the subscribe and notification buttons for more tips and tutorials I also recommend you follow me on Instagram Twitter and Facebook at Tech your talk you know what I always say buy it nice or buy twice good luck and see you soon


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