in this video I'm going to show you the best cinematic slow motion settings for
the EOS R so the most out of your next project we're gonna go over the settings
how to shoot it and then some of the editing techniques in Premiere Pro that
you can use to get the most out of this footage that you've just shot so let's
roll the clip that's gonna be used as an example let's go what is going on my
name is Daniel and welcome back to the channel where you go everything
mirrorless Canon cameras the last clip that you just saw was a short clip from
a intro that I shot for another youtuber here in Helsinki we're gonna be using it
as an example everything in there was shot at 60 frames a second and let's get
into it first off cinematic is not setting sadly
is only a style it makes things look like they're 3-dimensional using a
two-dimensional format this means having good dynamic range having mid-ground
foreground and background they're all moving in conjunction to give it a
layered look this also means having contrast of colors between different
things so that one image looks like it's pulling away from everything else so
that it feels three-dimensional so before I get into the do's and don'ts of
60 frames a second with the EOS R and generally most cameras I'm going to give
you these settings that you're going to need to get the most dynamic range out
of the EOS R and it's gonna be eight bits elog or ten bit if you have an
external recorder it's gonna give you the most dynamic range and then you're
going to want to switch it over to 60 frames a second you are also capable of
shooting in 120 but it will be in 720p which is not ideal for getting wonderful
quality and that's cinematic look but it can be useful for some situations so if
you're going to canon C log settings this is where you can get the most
dynamic range and this is going to Menem mimic what cinema cameras have which is
a high dynamic range which means it has more colors between black and white to
show you meaning that shadows are going to be
more gradual there's going to be so much more highlights retain
and details in the shadows so if you go into the red camera number four and then
about the fifth one down it's going to be Canon log settings go into there turn
on 8-bit or ten bit if you have an external quarter you're going to be able
to I use view assist that is a personal preference it allows you to see a lot
better then in color matrix I go to neutral rather than the cinematic AOS
original because I find that it gives you much greater you know your ability
to pull colors and push them around is so much greater in post in neutral and
then characteristics I use for strength or five depending on how strong I
actually want the sharpness to be saturation at zero and hue at zero and I
find that these settings allow you to be able to once again push everything where
you want it to in post another key characteristic is that you're going to
need to hit is the white balance before you do it so just go and set the white
balance in the exact same menu before you start shooting otherwise it always
looks a little bit off and post if your white balance isn't correct then for a
movie quality settings you're going to go to the red camera number one the
first option movie size quality and you're going to press on the 59.94 and
hit okay then you're going to go back into your regular menu this is going to
give you the highest frame rate that you can shoot at while still retaining all
the features and 1080p in this camera if you are stuck at 50 frames a second
there's a video right there that is about 30 seconds long that will show you
how to be able to access all the frame rates it's our you're on pal rather than
NTSC and you need to go and switch that next settings that you're going to need
to be able to switch is your shutter speed if you are shooting at 60 the word
to the wise is shoot at double that so 120 I prefer shooting at 160 to get a
little bit less motion blur then to get the most dynamic
you're gonna want to shoot at exactly 400 ISO this will give you the most
retention of detail in your highlights and your shadows which is kind of what
you're going for here as cinematic looks you know before I show you exactly how
to edit this footage that you're going to get I'm going to go over some real
don'ts of shooting in 60 frames a second if you are trying to shoot an entire
thing or part of it is going to be regular time motion you're going to want
to switch back into 2 24 23 or 48 so that the motion blur is accurate and if
you shoot in 60 frames a second at the shutter speed of 120 you are going to
have a lack of motion blur or when you play them back at regular speed in 24
frames a second because you're going to be missing half of that motion blur
which is half of the cinematic effect so if you're shooting something at normal
speed make sure to switch your settings back to 24 or 23 point eight nine
another don't is don't under expose I know you should be sticking to about 400
ISO but underexposing footage will leave it with a ton of grain and post which is
the opposite of well hopefully the obstinate effect you're trying to look
for in cinematic most people for skin tones will expose about a half stop
above what they're looking for alright so back to the computer I'm going to
show you how to edit this footage that you've just shot some of the things like
I said to make sure that before shooting is trying to look for contrast textures
and just making three-dimensional movement within your images so I'm going
to show you the video one more time in straight C log out of the camera none of
it has been edited yet and you'll see that it is very flat and needs to be
have that contrast
so when you are pulling down these speed of these clips you're gonna want to pull
it to about 40% slower and that's going to give you the almost exact frame rate
as 24 frames a second what you're gonna want to do we're just gonna edit this
first little bit there where it's his hand the white and the green right there
so the contrast comes from the textures and the bag his hand and the rock all
being different colors so if you come in here you're going to go to basic
correction you're going to want to do the exposure first so that you can end
up because your exposure if you switch everything else and then you adjust your
exposure it's going to change your colors once again so I'm going to boost
the contrast right in there and that's where it makes it look I'm actually
going to pull that almost all the way to a hundred and then I'm going to boost
the highlights a little bit and bring the shadows down even more and then I'm
going to go into creative and boost the vibrance and a little bit of sharpen and
then for this I kind of want a yellowish tint to it all so we're going to put a
little bit of yellow into the shadows I think there's a little bit too much red
in his hand so I'm gonna go over to these curves and adjust accordingly by
just pulling it down ever so slightly coming over to the next one is going to
have pretty much the exact same settings applied to it
and then this one right here is a little bit tricky because the last bit is a
little bit tricky because the sky was so overexposed in comparison to what he was
I really needed an ND filter to shoot this but I didn't have one on hand so
I'm actually going to change make it a little bit cooler and then bring the
exposure ever so slightly up and then I'm going to actually drop the
highlights a little bit and take down the shadows and then the whites as well
well adding my contrast that's gonna give us about where I'm gonna leave it I
would do a fade to white in this since it's already so exposed
but I'm gonna leave it there so you can just see how it works through the entire
thing a little bit sharpness and adding that yellow get ahead a little bit more
on this one than on the others simply because it's also it's all it wasn't
shot with completely correct settings and that pretty much wraps up the best
cinematic settings to get slow-motion out of the ESO R I hope this video
helped you out if it did don't forget to Like and subscribe