Color Correcting Video (ft. DaVinci Resolve, Premiere Pro, After Effects, and Redcine-X Pro) | Chad Perkins | Skillshare

Color Correcting Video (ft. DaVinci Resolve, Premiere Pro, After Effects, and Redcine-X Pro)

Chad Perkins, Super fun Adobe Certified Instructor!

Color Correcting Video (ft. DaVinci Resolve, Premiere Pro, After Effects, and Redcine-X Pro)

Chad Perkins, Super fun Adobe Certified Instructor!

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44 Lessons (4h 17m)
    • 1. 01 Course overview

      2:08
    • 2. 02a The difference color makes

      0:54
    • 3. 02b The basics of color theory

      2:14
    • 4. 02c Working with shadows and highlights

      3:01
    • 5. 02d The secret to beauty (Pssst: it's CONTRAST)

      2:19
    • 6. 03a Understanding primary vs. secondary correction

      1:37
    • 7. 03b Grading with raw vs. compressed footage

      2:10
    • 8. 03c Understanding LUTs

      1:19
    • 9. 03d Working with the DP

      0:59
    • 10. 04a Your eyes are liars (no offense)

      1:09
    • 11. 04b Using a waveform monitor

      4:54
    • 12. 04c Using the RGB Parade

      4:06
    • 13. 04d Using a histogram

      4:38
    • 14. 04e Using a vectorscope

      4:48
    • 15. 05a Downloading the FREE Redcine-X Pro

      1:47
    • 16. 05b Working with RED media

      2:34
    • 17. 05c Grading in Redcine-X

      6:52
    • 18. 05d Saving presets and exporting footage

      5:09
    • 19. 05e About the IPP2 workflow

      3:55
    • 20. 06a Using the Lumetri color panel in Premiere

      11:21
    • 21. 06b Applying and adjusting looks

      4:55
    • 22. 06c Performing secondary grades

      15:16
    • 23. 06d Working with R3D files in Premiere

      4:21
    • 24. 07a Understanding Curves

      11:46
    • 25. 07b Using Curves to create a cinematic look

      6:53
    • 26. 07c Intro to compositing with color in After Effects

      10:52
    • 27. 08a Preparing your editing timeline for export

      2:04
    • 28. 08b Exporting your edit to Resolve

      2:57
    • 29. 08c Common issues with the Premiere > Resolve workflow

      5:36
    • 30. 09a Conforming your edit in DaVinci Resolve

      11:58
    • 31. 09b An overview of DaVinci Resolve

      5:22
    • 32. 09c Understanding nodes in Resolve

      5:33
    • 33. 09d Performing a basic grade in Resolve

      15:29
    • 34. 09e Matching colors on shots in the same scene

      5:56
    • 35. 09f Isolating colors

      18:31
    • 36. 09g Masking with power windows

      11:06
    • 37. 09h Tracking motion with power windows

      8:26
    • 38. 09i Using OpenFX in DaVinci Resolve

      5:07
    • 39. 09j Grading a Challenging Shot, ex. #1

      18:59
    • 40. 09k Grading a Challenging Shot, ex. #2

      9:41
    • 41. 09l Exporting your timeline and rendering from Resolve

      3:35
    • 42. 10a Checking color at a movie theater

      1:54
    • 43. 10b Previewing the Audio course

      1:57
    • 44. 10c Final thoughts

      0:58
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About This Class

In this course, we'll take a goooooood solid look at color correcting video footage.

We'll start out by going over basics such as color theory, what makes an image look pleasing, using LUTs, primary vs. secondary grades, how to use scopes and more. Oh so much more. 

Then we'll get our hands dirty as we play with color in a host of popular color grading applications: Redcine-X Pro (which is FREE!), Adobe Premiere Pro, Adobe After Effects, and finally DaVinci Resolve. 

This class is for *all* skill levels. It might be a smidge helpful if you're vaguely familiar with Adobe Premiere and/or Adobe After Effects, but that's not essential. If you have experience with video in any editing application you should be able to follow along just fine and learn a ton.

The goal here is to get you so familiar with color grading, that you can feel comfortable diagnosing and fixing any color issues manually, and in any color correction application. And also, I think this is just really fun stuff! So, you know. There's that. 

Meet Your Teacher

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Chad Perkins

Super fun Adobe Certified Instructor!

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Transcripts

1. 01 Course overview: hello, Good people of skill share in this training Siri's. We're going to be looking at color and how to take your footage from bland and lifeless or even downright ugly and make it something beautiful. You know, I get a lot of questions on social media and my classes or whatever about how to color grade. The problem is that much of the tutorials and training out there just kind of skim the surface or show you how to do one isolated technique. My goal in this course is to give you a deeper understanding of the fundamental principles of color and color correction. That way, when we cover the techniques, it will make sense why we're doing what we're doing. You'll be able to apply the understanding to your own work, so we're gonna start by breaking down and simplifying a lot of the core principles involved in color theory and color grading. We'll talk about the types of things that the human brain finds beautiful or interesting. Then we'll get into the basics of how to grade footage as well as how and why to check your work using color scopes. We'll look at how to do color correction in the host of applications, including the free Red City X, as well as in Adobe Premiere After Effects and DaVinci Resolve. By the end of the course, you'll realize how similar color grading is all across the board, giving you the confidence to color. Correct, using any tools out there. And we'll look at tons of bonus stuff along the way to such as what goes into making footage look more cinematic or how to use these color concept to create better composites and visual effects. Or how to get your edit from premier in a DaVinci resolve. But then back again and so much more. I should also point out that this course comes from a series of courses on linked and learning about filmmaking. For that, Syriza created a short film called The Assurance, and a lot of the footage will be looking at in this course is from that film. This is the 11th course in that Siri's know that the other courses can be found on Lee on linked in learning, so check those out there. If you're interested in these other topics, color correction might feel technical initially, but once you know what you're doing, Then you get to be the lucky one that just makes everything mawr beautiful, colorless, bring out the best of everyone else's work and help to mask or remove problems in footage. It's such fun stuff, so let's jump in and get started. 2. 02a The difference color makes: before we get into the how of how to adjust color, let's talk about the why of color. Why do we change the color of footage? Why don't we just record the color of a scene the way it is? Well, one of the reasons that colors can affect us on a primal level. It's not just about being pretty or improving aesthetics, although that is often a side effect. But it's more than that. Human brains are wired to respond to certain colors. Additionally, the cultures that were in often have their own associations with color as well. So you just imagine what color conduce with the stories you tell Color can make a lifeless seen feel ominous, or take scenes that look like regular old recordings and make them look cinematic. So as we go through this chapter, we're gonna look at some of the most foundational concepts and working with color, which will be the basis for all that we do in the rest of the course. 3. 02b The basics of color theory: and this we were going to look at the basics of color theory. There are several different models of color or ways to look at color, but in the digital world were primarily concerned with RGB or red, green and blue. This is the model use for digital art, because these are the color components of light in real life and in the digital world. All colors in RGB are made from a mixture of red, green and blue light. Now it's also important as a color is to be aware of another color model CM. Why K. This is the color model used for printing, and this might seem off topic. But just stay with me here. This is important. It will play a huge role throughout this course. You see RG B and C M y que are opposite color models with RGB the mawr, we add, the more of R G and B we add, the more were adding light, so the brighter things get with C M. Y que. The more we add, the more were adding ink. So the darker things get, and also the colors line up to be opposites as well. So the opposite of red is scion. The opposite of green is magenta, and the opposite of blue is yellow. And because of some weirdness and inks, when you mix them all together, you can't quite get to pure black. So they use black ink, which is what the case dance work. A being short for key. And this applies to you as a colorist because it's extremely handy to know the opposites off colors. So if you want to create a vintage look by yellowing footage, you can go to curves and take away blue. This adds yellow because yellow and blue are opposites. Oh, and you know, by the way, this works in everyday life as well. If you noticed that most toothpaste and dental products have a blue tent to them, or that most laundry detergent has a blue tint to it, this is because both teeth and closed 10 to yellow over time. And so we want to clean those things with the least yellow thing there is, which is blue. We'll be digging deeper into this idea as we go through this course, but the more that you're familiar with the color channels and they're opposites, the more skill you'll be at coloring footage 4. 02c Working with shadows and highlights: one colossally important aspect of color grading is tweaking the brightest parts of the image referred to as the highlights and the darkest parts of the image referred to as the shadows. The highlights and shadows control the tone and contrast of the entire image and are usually the very first thing. I just when coloring a clip, note that it's very easy to destroy little details in this shadows and highlights without even realizing it until you preview your filling another device. This is one of the big reasons to use the scope will be looking at later in this course. Bright skies, for example, will often have subtle details and like clouds. But if you're not careful when you lighten the whole clip, you could accidentally force all of those bright gray values to pure white. This is called blowing out the highlights. Sometimes this is a necessary evil, and I realized that I have a huge personal bias against the look of blown out highlights more than most other people do. But still, this is something just to be aware of. At least it's also easy to destroy detail in the shadows as well as we look in the info panel here. As I move my mouse over this footage, we can see that there's a lot of detail here as these color values change and shift as I move around. So even if we can't quite see with their eyes all the way, the info panel tells us that there's actually a variety of colors here as we darkened the footage just a smidge. All of those values are now pure black. We call this crushing the blacks, and sometimes like with blown out highlights, it creates an acceptable result but should also be avoided in most cases. Several years ago, when I first got into color, I increase the contrast too much on a few projects, and they looked fine on my mediocre quality monitors at home. But when the footage was broadcast on TV, there were noticeable edges around the areas with crushed plaques. I was like they got posterized and it looked horrible. So since then I've always been cautious about my white and black levels. Now, one other tip here about shadows and highlights. There's an interesting relationship between them, like the Odd Couple or Magneto and Professor X or something. When you adjust one. It changes. The perception of the other ones were the main reasons why the processing of color correcting is often referred to as kind, like a push pull process. You'll adjust the shadows and get them just right, and then you have to go back and tweak the highlights. I think I'll just filled with shadows all over again. But this could also come to your benefit. So, like sometimes you know, to make the the highlights feel brighter, all you have to do is just dark in the shadows or vice versa. Kind of like Jim Halpert and Dwight Schrute. Highlights and shadows often work against each other or with each other and then against each other, and their relationship seems to be in need of constant adjustment and balancing. But both are vitally important to the whole. 5. 02d The secret to beauty (Pssst: it's CONTRAST): and this movie, we're gonna be talking about two different kinds of contrast. Luminous contrast, which is what most people mean when they refer to contrast, it also color contrast now luminous contrast is kind of like, you know, your basic garden variety contrast the difference between light and dark. And we looked at this in the cinematography course, but its very pleasing to the eye to see edges were dark and light areas, meat. We saw that in this scene from the cinematography course in this masterful painting all over the place. Now most cameras these days shoot with pretty low contrast or, in other words, flat. And some filmmakers like that flat, washed out look. It goes, also without saying that you could add too much contrast to image. And this look will likely be forever associated with the early two thousands when it first became possible. To create looks like this. Typically, too much contrast is to be avoided unless you're going for something highly stylized, like a flashback scene, for example. Now the other type of contrast is color contrast or, in other words, the contrast between colors and a shot. This shot of Tian and The force, for example, has very low color. Contrast is basically grain with a little bit of white and brown, and most of the greens are very similar, so it feels almost monochromatic. But this shot with Bitsy has a really varied color palette and has a lot more contrast between the colors Now. Color contrast is largely the job of the production team, right? It has to be shot that way. Beautiful colors like those in Willy Wonka, the Chocolate Factory or the Last Emperor or the fall. These were created on set and captured in camera, but sometimes as skilled colorist weaken still, pitch in and lend a hand. One of the most common techniques that will look at is to warm the highlights and then create color contrast by cooling the shadows, essentially pulling them towards blue or teal. And it makes a huge difference, also isolating just the shadows of somewhat impossible on set. So there's some tricks that you can dio in post production as a color ist that you just can't do on set. So we've looked at color theory. Shadows highlights, contrast, so with that, we're ready to jump into some actual coloring and get our hands dirty in the next chapter, 6. 03a Understanding primary vs. secondary correction: throughout. This course will be constantly referring to all kinds of terms. So let's take a minute to define them. Often we use the terms, color grading and color correction interchangeably. Now some people see a distinction here. They view correction as the first step when you're fixing problems and grading as applying a creative look to the fridge. But if you think about it, that's a big gray area When you dark in the shadows, is that correction or grading? I mean, it could be both. So most of the time in this course just to keep it simple will use these two terms synonymous. Lee to refer to any kind of color adjustments. We'll also talk about primary and secondary corrections. Primary Corrections air When you're tweaking the entire scene, mostly to get all the colors, the highlights and shadows in the right place. Secondary corrections refer to going in and making a specific localised change, like changing a sweater from yellow to orange or bright ning someone's eyes. It's important to do primary color corrections first, because a lot of footage straight from a camera is really flat. So what we would call Green doesn't actually look like green yet at least not to our color grading software. So doing the primary grade gets those colors in the approximate place, so it is much easier to do secondary correction. I know it's tempting to want to jump in and fix a specific problem, but just hold off until your primary grade is done, or you'll likely have to fix it all over again later. Now we'll be finding more stuff as we go, but these are some of the more basic terms we might tend to use throughout the course. 7. 03b Grading with raw vs. compressed footage: I shot most of the footage will be using in this course using the red raw format. At the time, it was kind of revolutionary to shoot raw video, But these days you all kinds of cameras shoot raw video. So this is good stuff to know when most cameras record an image, they have to interpret the colors. Things like eso and white balance become just part of the DNA of the shot. But with raw footage, things like eso and white balance can be adjusted at any time. So shooting raw essentially has three main benefits for me. Number one. It allows me to shoot with more flexibility on set, because I can count of the power and flexibility of raw footage in post number two. Many raw formats allow me to work non destructively as we'll see in this course. That means that any changes I make to the footage could be removed at any time, and three, it dramatically changes how much footage could be pushed in post. I like to think of this like baking, You know, after you bake something like a cake or whatever, you can still add frosting or Sprinkle sugar on it. But if there's not enough flour or eggs or no, I don't know whatever goes in a case, then you're kind of stuck. You can't ADM or Vanilla Extract afterwards. That's like using regular footage. But using raw footage is like having access to the batter. So there's so much more flexibility. Let me show you what I mean. Here's a clip that I rendered out in a compressed formats that you can see the difference more readily when I do simple things like try and change the white balance, You can see how the image quality kind of falls apart and looks fake pretty quickly. But with the RAV version, there's so much more latitude to push the colors around even to ridiculous levels, and it still looks amazing. This is the power of raw footage again, as we go through, this course will be looking a lot and how to capitalize on footage. Captured rock and a lot of images and video clips provided with the exercise files are in their original red raw format for you to play around with, I strongly recommend doing that as working with raw images is a great way to learn how to color footage 8. 03c Understanding LUTs: on most professional productions and also in many independent ones, they will use something called a color look up table abbreviated as L. U T and pronounced Lut. Ah lot is almost like a color. Preset tells software how to interpret the colors. They're often used because their precise and oftentimes the director of photography, or DP, will use them to preview the footage as its shot. So they will expect this slut to be used in order to get the footage in line with what they were seeing when they shot it. So in those cases, it's best to start your color grade with those lutz from your DP or your D I T. Let's can be added in any color software program, be it the the Luminary Color Panel and Premier or DaVinci Resolve, or in pretty much any other professional application that deals with color. But because Lutz are like presets except that can't even be adjusted, really, they don't help us much here in this course, as we're trying to understand how to really get our fingers dirty and work with color on a deeper level. So I just wanted to mention let's hear as they're typically very important, but there's just not much you can do to adjust them. So and this course we're gonna focus our attention on how to actually adjust colors manually, so we understand how to really control the final image. 9. 03d Working with the DP: as a color issue might work under the direction of a post election supervisor or an editor director producer. But it's also really important on most productions is seek out the input of the director of photography, or DP. The DP is responsible for the look of the film and will often want input on the final look of the film, even stuff like the coloring of the visual effects. Also, as mentioned earlier, the DP will likely have Lutz that they would like you to be using a lot of the time these instructions and files will come to you from the editor. But it's always a good idea to remember that the DP had a clear vision of every shot and what it should look like. So every effort should be made to include them in the coloring process. And this isn't just about avoiding bruising their ego. It's more about the fact that the DP is also a phenomenal visual artist and could be another person within invested an expert opinion on the color of your film. The DP can help make you look better at your job and should play a role in the process of color grading where feasible 10. 04a Your eyes are liars (no offense): in this chapter. We're going to look at scopes aside for making your screen looks supercool because it's all you know, complex and techie and stuff. Like somewhat of a sci fi movie. Scopes help you accurately gauge the colors of your image, and we need scopes because our eyes are liars. Filthy, rotten liars like Look at this optical illusion created by neuroscientist Edward Adelson. I think I'm saying that right Adelson, probably the two squares with a and beyond them, seem like two completely different colors, right, but in reality they are the exact same color. You see our perceptions of brightness and color change so easily based on relative circumstances so they can't be trusted. Regardless of how good your eyes are, how skillfully your monitor is calibrated. You need to rely on scopes in order to get a good final image, and to ensure that your colors are in acceptable range is when they're shown on screens or TVs or other devices. So let's dig into this chapter where we're not gonna just learn about scopes, but we're also going to start learning about the key elements of color grading 11. 04b Using a waveform monitor: so we'll start our look at scopes with the way for monitor this big old Do Hickey thing right over here On the right hand side, this monitors luminant, sis, and also displays horizontally where in the frame that these values exists. And this is what it looks like here in Adobe Premiere Pro. Here's what it looks like in adobe after effects, what it looks like in Red City X and what it looks like individual resolve. Like all the scopes in this chapter, each one is found in each of these applications and most applications that deal with color . And also many of these air even found within a lot of cameras or in monitors used in production as well, sometimes with slight variations. So here's how this works. From the bottom to the top, we have the loom in its of the image. So zero is black and all the way at the top is white. Now in premiere, the way this works is the left hand side gives you the I. R E units. I R E is short for Institute of Radio Engineers and for some reason, the radio engineer guys created this standard that we use for brightness for video displays . So zero is black and ah, 100 is pure white. And on the right hand side and premier, we have the RGB values. So zero is black and 2 55 is pure white, so bottom to top is luminous. But left to right is where the way for monitor really shines and what makes it quite unique and interesting as the left. From left to right, we have a representation off the luminous values in the image. So if we look at this image of this creature over here, you could see that we have this big pocket of white on the left, a bigger pocket of right on the right and kind of like darker tones, mostly in the middle. And you could see that represented here in the way for monitors From the left side, we have the bright spot, the middle, we have the dark spot and the right again we have the bright area hit. It's almost pure white. Now, as we scroll through this image as we move through it, you can see that as the beast moves to the right that we're getting some mawr skies here. We're also getting some kind of like darker areas here as the beast moves and she almost followed the shape of the creature as it's moving to the right, because what's left here is a lot of really bright stuff, so you could just see it moving in the way for monitor. Now let's look at a couple other examples. Just we can kind of access in stone. And if you've never used a way for a monitor, this can be a little confusing. Here's a shot where There some ducks here and there's this looks kind of like grayish. Like you can tell this is Street like this is as fault, but because it had just rained. The reflections are actually pretty bright, as you can see by the luminous data here. But then, as we have these little birds come in here, you can see they kind of shake things up a little bit. So this bird has some, like, really dark stuff, um, in the ducks chest right here, and you could see that as it's moving through. Likewise, we have the Siegel in the background, and as the Siegel kind of moves over, we could see the spikes in white. So again, as we see it moving over, we could see these spikes in white. And as it's flapping its wings again, there's another one that comes in. We have these big flaps of white here and again. This is really helpful to see what's going on, because now we're not really getting much shadow detail in those areas where the Siegels are. And so that tells us this log here is actually creating a lot of the shadow detail. And so right now the Siegels are obscuring the law, which is obscuring the shadow detail and raising the luminess values there. And in this little like guard rail here on the freeway is also creates in the shadow here on the right hand side. So it's a little weird using away for monitor initially because sometimes what's high up here doesn't equate to what's at the bottom. So, for example, if the guard rail here, it's the darkest part of this area, but actually the bottom because it's it's dark over here, but again, from left to right, we know where this dark spots coming from because it's on the right of our away form under , so it's somewhere in this right section off the frame. So again, if there's something that's Peking, if there's like a little spike somewhere, you could see that maybe it's somewhere in that area of the frame. There's a speculator highlights something that's kind of blowing out, so it really helps you to gauge the luminous of your image, and then what specific areas of the frame are causing that Lew Minutes. 12. 04c Using the RGB Parade: some way for monitors are just black and white, so just have, like, a grayscale value here. But some of them, like this one in here and premiere, has a little bit of color data on the edges as well. And so we can see here that there is uniformly across the whole image, kind of like a blue halo. And there's a little bit of a magenta halo as well. So we could see that may be relieved me a little bit more red and magenta in this image. A kind of balance things out a little bit, but it is hard to see. So there's another scope that we can use for helping out in just cases just like this. So I'm gonna go here. I'm going to show the parade the RGB parade, and I'm also gonna hide the wave form. Now what the RGB parade is, or if you're in like DaVinci, resolve other programs. Just call this the parade. What this does this takes each channel separately and basically gives you a wave for monitor of each separate color channel. Now, this will make more sense as we go through this course, and I understand a little bit more about color, but we have a couple spikes here in each of the color channels, and they are for these little bright patches here on the I and also here on the back. And that's what we're seeing here. But you might be saying, Well, there's not that much blue and yellow, Blue and yellow are opposites, So why is there a little bit of spike right here where there is this bright yellow thing, If there's not much blue and yellow? Well, the deal is is that as we create brighter colors, we need more Resource is from all the color channels to get there. So even if we have a very, very, very, very bright yellow, we're still going to have to have some blue information in there in order to get there. RGB Parade is also really good. If you have one channel that's clipping, for example, there's a bigger spike in the blue area here than in the other two areas, and also we can see that there's more crushing of the blacks going on in the Green Channel than there is in the Red Channel and Blue Channel. So you come over here to the blacks area in the luminary color palette, for example, and lift those up. Now, if I undo this perceptively, this is just a tiny incremental change. You can't really see the difference, but this does prevent the the shadows from clipping. So again, this is exactly why you can't trust your eyes, because this clips of shadows this does not clip the shadows. And again, the changes just about imperceptible. Now another benefit of the RGB parade is from for removing color casts. Now there's a lot of technology that can automate a lot of these tasks for you. And if you want to use an automated thing, then knock yourself out. That's totally fine, but I think it's important as we're learning about color. The same reason why we're not using Lutz is that we want to really focus on that, how we want to be able to do all this stuff by ourselves, even if we use shortcuts down the road. So looking at this image, I really like the way that this looks. It's like a foggy seen, and it's just kind of like haunting, but it is on the cooler side again. I like it like this. I probably even push it a little bit colder even. But if we did want to balance this out, we could just ignore this image altogether And just look at the RGB parade. So here we know that we have a little bit too much blue. Now, this is not the best way to do this, but just as a quick hack and slash met that I could use temperature intent to kind of fiddle with the color channels to get things right. So I know I have to much blue. So I'm going to then increase the temperature here. So now, red and blue, her balance. But there's not enough green. So I could then bring the green into balance there. So I mean, this is not perfect, but here is the before and after before and after. So this is out of balance and a little bit bluish. And then this is more balanced gray. You could also see sometimes, you know, you have really bright areas of really dark areas or something silhouetted. You kind of see those figures here in the way for monitor or the RGB parade scope. So, like the way for monitor. The RGB parade shows you from left to right across your image, what that looks like, as well as the luminous values and also the color channels. You can remove color casts or do other color corrections to your image. 13. 04d Using a histogram: in the story. We'll look at how to use a history, Graham, which is this little guy right here. This measures luminous, and it's a little bit different than the wave for monitor as we'll see. But one thing I should point out that I'm here in red Sini X. There is, ah, hissed a gram, of course, in all the color grading APS, including Premier, which we've been looking at, but the one in Premiere and also in after effects that uses limit tree scopes, which is sideways for some reason as well. See, this is not just an aesthetic preference. This doesn't make much sense to me, and I don't preferred. I'm not sure why it's like that, and maybe you'll agree with me or disagree with me after going through this tutorial. But here we are, and basically what this does is that the left side of the hissed a gram represents pure black, the right side of history. Graham represents pure white, and then everything between represents mid tones and then the height over the scope represents how much of that particular tone is in the image. So just by looking at this, even if we weren't looking at the image itself. We could tell that this is a dark image, but it's not pure blood. There's no pure black anywhere. So even though this is very, very dark, there aren't any, like bright mid tones or highlights to speak of. It still doesn't have shadows. And a lot of times when you're trying to make one or the other popular highlights or shadows, you often times can fiddle with the opposite side to make the other one pop. In other words, we obviously want to brighten the highlights. But one way to easily do that is to darken the shadows. So as I dark in the shadows, I can watch the hissed a gram. Now I don't want to go too far, because if I push this too far than everything that was middle Gray is now shoved to pure black. So if we have, like a line all the way against vertical like this against the left side, we know that we're clipping the shadows. Same thing on the right hand side. If we have ah, bar right along the whole right edge, it means we're clipping some of the highlights, so I definitely don't want to do that. I could dial that back a little bit till we get some of that detail back. But that looks pretty good with a little bit of clipping. That's what this little indicator means, and that's totally fine, actually, in this case, But by doing so by doing that, by dropping this down a little bit, we have essentially made the highlights look like they're a little bit brighter. We haven't touched them, but because we've dark in the shadows, it appears that the highlights are then brighter. So again, here is what that looked like originally. And then here's what that looks like with a little bit darker again. Highlights in mid tones untouched. But they appear to be writer because we dark in the shadows. So now we could go in here with, Like, the Curves. Adjustment will talk about how to do all this stuff later. Throughout the course I get then bright, bright in the highlights, which doesn't do too much. But when I write in the mid tones because there are some mid tones and we see some of that detail being brought in here so again you could see this red patch right here, which represents his skin tones. As we brightened these dark, mid tones, we could see those going towards the right and becoming brighter. So this is why the adobe scopes, at least the history and part doesn't make any sense to me. Because, you know, the height represents the amount of the that particular tone in the image, and Soto have it. Sideways is kind of weird. Makes sense, toe have it horizontal like this, where the details are going up when there's more of it. Because that's just how I am used to seeing things when something fills up, it goes up, doesn't go sideways. I mean, you could still use it, and I do. But, you know, it's Ah little confusing to me now, Typically, when shooting, I like using cameras that have hissed a grams built into them so I can kind of see if I have with what I refer to is a healthy hissed a gram. If there's like a little bit of highlights, some shadows and then a lot of stuff in the middle, and then nothing clipping on the shadows or in the highlights, everything kind of in the middle. That gives me a lot of room to play with in post production. So I refer to that as a healthy hissed a gram, and I like seeing that whereas this one, like we didn't have all the light that we needed, and so this is the best we could do. And it's a night scene and this is fine and it works. But typically, I like to have a history that has a little bit more data to it. So that way, in post production, I have a little bit more flexibility as far as what I do there. You also find hissed a grams only in cameras, but you'll find it in like levels and curves in photo shop and just all over the place. And while you do get a lot of the same data as faras clipping the highlights and shadows that you do in the way for monitor, I really like being able to see how much of which value I have in my images kind of gives me a better sense of visually how my image is going to come across, and I like that 14. 04e Using a vectorscope: last, but definitely not least in our list of scopes is the vector scope, and the primary job of the vector scope is to monitor color that's a little bit different than the other scopes we've looked at. This is kind of set up to be almost like a makeshift color wheel. You could see the color wheels. Here we have red, magenta, blue, scion green, so on so forth. Basically, we have the three main colors rgb red, green, blue and then they're opposites. We have scion, magenta and yellow. Any time we have data here like we do like a little splotch and it's going in a certain direction, it means we have color in that range. So if we had a spike going towards yellow, that means we'd have something yellow in the image and the further away from the center that our data gets, the more saturated. It's indicating more saturation. That's indicating that we have. So right now we have some red. That's not supersaturated. Now, one of the keys here is that we have these lines here called Grad a cules if you case the party trivia points or whatever, so these grad a cules are actually very important because this graphic you'll right here that goes off between yellow and red represents human skin tone. And it's all races. All ethnicities are in this line right here. Even if you're all live very dark skin or like me, where you're basically just pale ghostie white with no, you are very, very little Hugh, All of us are on this line here, and this is great because you could see that we're kind of veering off here a little bit like to my eyes, this looks like good skin tone, you know? But as I fiddle with this, you could see that as I add some green here, this brings it along this line a little bit better, and maybe we want to add some warmth and bring that out a little bit as well. So now we've saturated this, and we've also brought it Maurin harmony with where the skin tones should be. So my eyes said, Now this is probably fine, but in actuality, the vector scope said not quite. It's a little bit too magenta, and now you can see that as we are seeing the before and after. So here's the before a little too magenta and then after. And that's just where we would expect human skin tones to be. Now you've got to kind of be careful with this a little bit like don't have, like a slavish devotion to the vector scope. In other words, like if your character is at a disco and all the lighting is pink, like in some scenes from John Wick or whatever, then like let the character be pink like they would be pink in real life. Don't try to pull skin tones out and make them be flesh colored, So just be aware that context really makes a big difference here. But generally speaking, we want our skin tones to be in this neck of the woods kind of scary for me to add green toe flesh tones because typically that, you know, makes people look sick. But the vector scope says that's actually a better move, and the vector scope is right Now we have a couple of dots here. The dots on the outside represent 100% saturation that dots on the inside represent broadcast safe levels of saturation. So if we're going out and we have something beyond this line, then it means that our colors are gonna get cut off. They're gonna look weird when their broadcast, and we want to bring those back down. So I think this is kind of like a like offence. You want to keep your animals inside this fence so you'll go crazy and get over saturated. You also see this for during bars and tone. You know, they have this this thing, you know, they played before shows or before when they're trying to calibrate something like this annoying beep or whatever. But the reason why this is because this is all of these tones. This is red, green and blue and also cyan, magenta and yellow. And this is just like exactly where they should be. And so you could use this to calibrate to make sure that all the colors are where they should be. If this at these dots were a little bit low, that means we need to increase our saturation and what not now, the vector scope honestly is a little frustrating for me because it is imprecise. So if I have like green trees that are over here and there, straight green it's great, but maybe for the scene they need to be over here. But that's such a subtle difference that it's it's difficult to tell, and sometimes you kind of a bigger range of acceptable color than it might seem like is the case. And this doesn't allow for color, tents and other such things. So, um, the vector scope for me is a kind of challenging proposition, but it's absolutely essential to make sure that your colors are kind of in the right spot. But then you also do have to use a little bit of your own intuition to make sure that everything still looks the way that it should. 15. 05a Downloading the FREE Redcine-X Pro: in this whole chapter, we're going to start looking at color grading by looking at this free tool Red City X Pro. This is free color grading software made by the creators of the red camera system. And that's the camera system that I used to shoot the assurance, and also the red camera system shoots raw, and we can process the raw using this free red sini X tools. So no matter what else you have, you definitely can get access to this red sitting ex pro. And we're gonna talk about how to do that in this tutorial. So the first thing you want to do is get on the old Internets there and go to red dot com And on red dot com, there's a support area, by the way. This might change. This isn't permanent, but right now this is where this is at. But just be aware that this is here so I can click on support and I could go down to guides and downloads. Now, a lot of times, what people are doing here is downloading firmware for their cameras, but also right here at the top. There's a quick link to read City X pro for Mac or Windows. If we scroll down just a little bit more underneath all downloads, there's also the software here, and you can get a beta version of Red Syntax Pro for Windows or Mac. Now there's much of their handy utilities here as well. There's an apple workflow installer if you're on a Mac system, there's also installers for Red in photo shop and Red rocket stuff. But really, what we're concerned about here is the Red Sini ex pro. Now, don't that this name this pro business throw you off. It is absolutely free software, so you can go ahead and click on the operating system of your choice to download Red City X and go ahead and get that installed, and you could go through the rest this chapter 16. 05b Working with RED media: before we dive into Red City X, I want to show you another really cool feature of using red files. And this is going to be the case throughout this course because we're gonna be using room using the same Red Files, which is our three D that the file format here. And I have this file loaded up here in Red City X. And to do that, you can just go ahead and navigate to it over here on the upper left hand side, the file browser area, and this drag it into the project area. Then you could double click it to open it in the main editing source window here. But watch this. This is what makes Red files so cool. So I'm going to make a change, and I want you to watch the finder window. Look at this file on my hard drive. When I make this change, I'm just gonna add, like, a little bit of temperature and then, like the file window disappears. But here what happened and you could probably see the difference here. We created something called an R M D file. So what happened was is when I made this change. It's stored this change inside this little RM defile notice that it has the exact same name as this other previous file as the R three D file. Now the magic here is that that this change is temperature change here is stored in the RMD files. So at any point I can go back to the metadata, clique em for metadata, and that goes back. And now we're using the RMD. But it's just a dummy rmd there's nothing there. And so all these changes that we make to the R three D files could be stored in this little sidecar rmd files. And at any time I could delete this. And no matter how crazy I go with, like all of these changes, I could just go ahead and delete this RMD file. And then those changes are completely gone as well. And this is another. One of the magical things about working with red media is that at any point, it's it's not destructive at any point. We could just go ahead and delete the armed e file and start from scratch. And it's fantastic. By the way, if you're here in Red City X, you can click this little sprocket icon to force it to save an RMD file. If it's not saving, you'll also notice throughout red based workflow like if you're in premiere or resolve. He could also reload a file from the RMD file or save too that, say, the changes to the RMD file as well. So working on red raw media not only gives you access to so much more fine tune control because of the final format, but also allows you to make nondestructive changes throughout your workflow. 17. 05c Grading in Redcine-X: with that set up stuff out of the way. Finally, we're ready to now tackle the look are at least the beginning of our look into red sitting x. So to find this file, I'm in the exercise files. I'll go to the media folder in tow are three DS, and it's the same scene here. The A 10 c 16 22 and 28 is the one that we're looking for so I can drag and drop this into the media. And then I can double click this year. Toe have this show up. Now it's showing us this weird thing from the RMD. But I could go ahead and go change that if I want to. I can go over to the look and click metadata, or I could find out where this is happening. And it looks like there's ah, weird setting over here on the lift and so I can click on the metadata there, or I could just go in and double click and zero these out in order to get rid of that. Now what we're gonna be covering in this tutorial is the old way of doing things. The legacy workflow and you could see that right here at the top, and this gives us a little bit mawr control. The new workflow is definitely better, but it doesn't allow you to have as much control over the individual setting. So I want to start here with the legacy and then later on in this chapter, will talk about the new I p B two workflow. So the top here, we have presets. We'll talk about those in the next tutorial. We also have the look area where you can choose the color space and the gamma curve. And again, if you're using a legacy workflow. This is where you want to start. You want to pick a color science and usually the the later numbers are newer, so red color four would be an upgrade, basically just a way of thinking about the color the way that the software can think about the color. And also we can choose a gamma space. So Red gamma four is newer. You almost think of these as like Lutz, like we talked about earlier. And you could even see a big difference in the history Graham here when we change that. So when we go back to Well, now I can't go back to read Gamma two because it's kind of old and antiquated. But if I say like red log film, for example, you could see it. This definitely looks a lot more washed out. We're losing highlights and shadows, so we have mawr washed out image in terms of both highlights and shadows. Take this to read gamma four and it spreads out that hissed a gram. We don't quite have crust shadows. Nothing's pure black and nothing pure white, but the hissed a gram is a little bit more spread out now. It's interesting to me is that it feels like this is a warm toned image. But if I look at, like, what, this, uh, this area here, that should be white. You could see if there's a little bit more of a blue color cast, so we maybe you might want to ah, warm this up a little bit, and then now we could see we have blue and red balance a little bit better, but now we're lacking some green. So now I could bring that in, and we have a little bit more of a balanced image I actually like the way that looks so again. That's by adjusting the temperature or called Kelvin here in Red Cenex and also the tent. Also another benefit to ah red footage is that I eso as metadata 800 is typically the native control. But I can fiddle with that if I want to a little bit more. I'm not going to. In this case, the flood control is almost like a fine tuned I s O so you could see we made, like, a little tiny change here, and it makes a really big adjustment. Whereas the flood control, um, you couldn't be a little bit more subtle with that, make a little bit more subtle changes. I'm gonna take that back to zero for now. Now we can adjust our shadow area here like the shadows. We also just something called D R X, which allows us to restore some of the data from highlights that are blown out, which is really, really cool. It's a very subtle effect that it's it's hard to see in the image, but if you have something that is blown out and you're getting kind of like a harder edge on something like her nose is almost blowing out here. Sometimes raising the D R X value can soften that, which is really cool. And then we have some, you know, standard controls, saturation, contrast, brightness, exposure. And we get a just individual values of the color color channel and what not? And we also have a curve that we can play with, and this works like the curves. We'll talk about curves a little bit more detailed little bit later on in this course, but it's gonna want to give you a basic overview of Red City accent in its controls. And there's also lift gamma gain. Now we'll see a lot of these same values in Premiere when we look at Lumet Tree and we'll see it again individually resolved, we look DaVinci resolve, and we'll see these same controls. The temperature of the tent saturation contrast eso what's really cool about, and also same thing here, too, with the lift gamma and gain. And so it's really cool about color. Grading is that once you learn how to do it, the tools are pretty much universal. They're the same in most applications, so you learn it. One place and then you're good to go, you concolor great and after effects for premier or resolve or fusion or nuke or whatever else you want. So lift. Gamma gain refers to the shadows, mid tones and highlights, respectively. And oftentimes, when you're dealing with lift gamma gain, you'll have four controls for each one. You'll have a master thing, which will universally, um, lower or raise all of the shadows mid tones and highlights. And you'll also will actually mean to take this back to zero here. But you'll also have access to each color channel as well, so that you can adjust the color channels as you see fit. And these color wheels do basically the same thing. So if you want dialling and ADM or Red, you could do that by adjusting the Red Channel of the lift. But I could also take the the wheel here and move the shadows and lift to read. Now, I don't like using the wheels for this exact reason that you're seeing here, because they are very coarse. So if I make a little tiny adjustment, it looks ridiculous when I'm seeing it here. So I prefer to just my colors in a different way. As we will look at, say, something like Curves, for example, there's much more fine tune adjustments, so I really like using curves and also some of the other tools will be looking at. But that's essentially the overview here of what we've got going on in our image. So basically what we've done here so far as we've just removed the color cast by increasing , are changing the the temperature and the tent a little bit. And we've also filled very little bit with some of these other settings, like Flood. And we've also talked about the lift, gamma gain and the curve just to know that they're here in the next tutorial will look at how to save look presets as well as how to adjust the framing, and we'll talk about the metadata as well. 18. 05d Saving presets and exporting footage: this story. We're going to get some of the other cool features of Red City X pro. So I first want to make some changes here. Basically, gonna did what we did in the last tutorial. We're going to just fiddle with this a little bit. Get rid of that cast. Doesn't really matter what we do. You think maybe I'll bump up the contrast, maybe even take down or up the saturation a little bit? Yeah, maybe up. I like that. Okay, so let's say that this is now our setting that we like. What things that we can do is now come up here and click Little plus icon. And I could call this my own name chance. Look. What? Um, not the most original things. I won't win any awards for that, but whatever. So I can then import new clips, and then I can select this new preset and go ahead and apply. Now, you want to make sure that this'll drop down is set the way that you want it. So by default, it's going to apply the clip in the viewer which is here. But be aware that this could be applied to the bin, which is this area here, to all quips in the bin or just selected clips in the bend. And also, if you have a timeline panel and you're editing a timeline, you could apply this setting to all clips or selected clip So. But a lot of times where I've been clicking that apply button aimlessly and just been like , Come on, go apply Why aren't you working? And I had the wrong thing set in the apply to drop down so I can go ahead and click apply and all that work that I did here with the color, temperature and saturation contrast etcetera, etcetera have now been applied to this new clip with no effort. So these look presets can be very helpful now. One of the things I think like you do to Dio earlier in this tutorial was to change the color, science and the gamma space. So let's say I'll take this to Red Color four and Red Gamma four, and then maybe we'll update this by clicking missile icon. And so now this preset has these color changes as well. It also click a little folder Teoh, create a folder of presets, depending on may be different scenes in my footage that I'm grating or whatever. Now there's also this framing option, which is really cool as well. So if I wanted to, I could change the fit resolutions. I could stretch the width and height I can change, Um, the the width or height to be a certain aspect ratio. I could also crop this, so maybe I could like left crop this So it's maybe like, I don't know, Let's say four thousands were crapping like 96 pixels in or whatever. We could also crop it vertically. So, um, maybe we we bring in custom option here and that we could change the heightened. Maybe I'll change the height to something like 10 80. So we got to see what that might look like if we were going to crop it for a different aspect. Ratio will be 1200 or or whatever, so I'm gonna go expected no crop. I could also flip this vertically or horizontally if I wanted Teoh. And if I have a certain like I'm projecting this somewhere, was he different? Workflow. I could do that, or if I'm rotating this or whatever and as always I can get the metadata back from the file by clicking the M here for the metadata to reset this or I could click on D for the default settings. I could also go over here to the meditate. A tablet is really cool, because when you're recording red footage, there's so much stuff that is recorded while you're shooting this. Like right now, I can't see my focal length of my lens. But I know it's here so I can go to this little sprocket click on properties. And then here are all of the things that I can see data about so I can click on the shutter speed. I could click on the camera model. I could click on the ah, the focal length, the focus distance, the exact lens, etcetera, etcetera mean all these different things I could choose to see because all this information is metadata that was stored in the clip. When I shots, I click OK, and now here's this. The focal length is 14 millimeters and the focus distances this many millimeters from the focal plane of the camera, and the lens data did not transfer over. So that's kind of interesting. Also, my compression settings and the shutter degree are here as well. And there's my my camera model that I was using to shoot this way. So Red City X Pro is a really great tool, not just for doing like a first past color correction, to get just kind of like a sense of how this is going like if I could push my clips in this direction or whatever, but also to adjust things like framing and to see stuff like metadata for the Clippers. Well, as I was doing the visual effects of this film, this was an invaluable workflow To be able to open up all my the effects shots and just see exactly what the focal length of each shot. Waas Next, we're going to talk about this image pipeline where it talks about the clip Original image pipeline, Current image, pipeline houses legacy. There's a new sheriff in town called I pp two. We'll talk about that in the next tutorial 19. 05e About the IPP2 workflow: and finally we're gonna wrap up our look at Red City X by taking a look at the new I P P two workflow, and I'm gonna go over here to read sitting next. I want to take a look at this shot here. This is an ungrateful raw shot, and I want you to watch the difference that the new workflow will make to this shot instantaneously. Right now, we're looking at the legacy, color and gamma science here, and this is the stuff embedded in the shot using red color to a red Gamma To and again, I want you to see the difference here going to go to the Red City X Men menu. I'm gonna go to Preferences, and I am going to go to the image pipeline section and this is where you choose to use I p p two or not again. I've been using legacies to have a little bit more control. I could show you some more options here, but really what you want to be doing is using i PP two. So I was going to choose show i PP two controls and new projects R i p p. Two an important projects I'm gonna change from leave as is to always convert to I p p two now I PP two stands for brilliantly image processing pipeline to as opposed to the old way the legacy way which apparently is I pp one eso It's not brilliantly named but, you know, there's a lot of letters in the number here. So you could sound cool your friends by saying I use I p p two. How about you? So I click. OK, and now when I bring in any of these clips here, they're brought in as I PP two. Now you can't really tell that much of a difference. It's actually looks even more washed out because there's this drop down here and right now we're looking at primary development on Lee. But if we changes to fully grated i PP two mode, then we could see the difference at the benefit here of I. P p two is that, uh, this gets a lot more out of your footage. So if you shot with red stuff, even if back in like the first generation red one stuff, you can put that in the I p p two and that color science will make all of your footage look better. So much mawr, rich and vibrant, even like highlights have had stuff where I blew out the highlights in my footage and it looked terrible, but just converting to the new I p p two workflow those highlights details were restored and everything looks so much better. And this is the reason why I didn't go through so much. That stuff initially, Um and I didn't start out 90 p two because once you're in, I pp two, you really don't have too many controls. You have s o. And then instead of flood, you have exposure. Adjust. This is kind of like a fine tuned setting, kind of like flood used to be in the legacy workflow. And we still have Calvin and tit here, but we don't have all the same kind of color controls that we once did. I could be to kind of handles a lot of that for you. And what's really cool is that I pp two is now also, um, understood by premier. So if you're in premiere, you could double click a clip to open it in the source monitor and then you can go over to the Effect Controls panel and the Master tab. Just get its master settings, and then you could just change the image pipeline from Legacy Toe I PP two on old clips. And again, it's It's almost like having a Lut, but it's better than a lot because it's almost like it expands the color space it. So it's not your not just applying Ah, Lut. You're changing the entire color pipeline, which makes everything so much more rich and easier to grade. So with that, we're done with our set up here of looking at Red Synnex Pro, and next we're going to look at Adobe Premiere and how to color Great using the luminary color panel. 20. 06a Using the Lumetri color panel in Premiere: in this chapter, we're going to look at the Loom ITRI color panel here and Premiere, though this is similar to after. Effects will also looking after effects the next chapter. A little bit more detail. But here we're going to play with Lumet Tree Color, which I think is a really powerful way to not only color grade, but it's laid out in such a way that it's a really great introduction toe. Learn how to color grade, and I find that I actually like toe work in the order that this is set up. This feels like it was intentionally and purposefully designed. Now there's six categories here, and when you click on one, let's say vignette that it opens up the settings for that category. Click it again to close it. You could also only have one open at a time. So if I open up vignette, then I click on basic correction. It automatically called us up vignette for me, which is really nice. Another thing to be aware of the will be looking at is that once you adjust one of these settings and Lumet tree color panel, you automatically have the loom ITRI color effect in the effect controls panel and you can go in and adjust the settings here. But there are graphic things here in in this area in the loo entry color panel that you don't have here in the settings is just kind of numeric values in fact, controls panel. But this is here. You could also use the masking tools in Premiere and also can reset the effect from here as well. Now again, kind of like with the effect as a whole where you can start at the top and go down to the bottom. I like to do that in the basic correction section. If we're using a let weaken input that here or use one of the preset lutz, I'm just gonna skip over that for now. But again, that would be the first thing that you would do in the workflow into the top of the stack. Right here. It's perfect. And then we want to adjust the white balance. Now for my footage here I have some interesting stuff going on. It's a night shot, so it's already kind of dark back here, but she feels a little too illuminated and the way that we let this is that we want to make it seem like there's torchlight coming from this side, so, like a warmth right here and then kind of like a cooler moonlight coming from this site. But right now it's all really washed out. So it all just kind of feels like weird tents of white light, and that's not really great. So we could do. We could go to the eyedropper here. And if you click on her white shirt and then use that to automatically balance the color out and I like that. But our case is gonna be a little bit tougher to do this because, you know, we don't necessarily want the balance to be like that. So we have this kind of like a stylized blue on this side and a stylized orange on this side. So I don't know necessarily that we want to use this white and make that pure whites. In this case, it doesn't really work now to reset one of these buttons. I mean, I could click over here at this thing and reset the whole effect. I don't have to do that. I just double click one of these little circles and that resets each individual parameter, which is really nice now, actually Do want toe warm this a little bit, but we're gonna come back to temperature intent. LA times will start here, but my footage is so flat and it's so off from where I want it that I think I want to adjust some of these basic controls first and then go back and play with the color. So exposures. Okay, um, the thing I don't like about exposures that universally lowers all pixels or universally brightens all pixels. And I don't really want that at the moment, but I might come back there. Contrast does what you would expect. It brightens highlights and darkened shadows. But I want you to be aware of something really important here, and I have my weight form monitor here. And I know like, a lot times when you're watching, like training courses and stuff like that, like a lot of times when you have, like, a bunch of no warm up stuff, a bunch of like stuff about the interface or a bunch of like getting started stuff, it could be kind of annoying, but this is one of the reasons why we covered these the scopes first. Because now we can understand really what's happening here by looking at the way for a monitor. And this is the power of the luminary color pounds. So I just took contrast, which is going to brighten the highlights and dark in the shadows. We already have. Ah, big peak in the highlights right here in her shirt. And we also have a lot of dark shadows over here in the trees. So as I take contrast all the way up, you would think that it would blow out these bright highlights and crushed these dark shadows, but it doesn't. So these white highlights have been brightened, but they're they're stopped right here. They're not allowed to peek and same thing with shadow content. And so this contrast setting is really intelligent, which is fantastic and very helpful when you're doing stuff because you want to make sure that you preserve those highlights and shadows and that you're careful with them. Now, I can do this independently on the highlights and one of things that confused me about the luminary color panel that's not standard in all color applications is that there's AH highlights value and a whites value and then a shadows value and a blacks value. So here's the deal because they both you know the highlights will affect the brighter tones , and the whites will do the same. But here's the deal. The whites affect the brightest parts of the image. The highlights effect, the brighter mid tones. Same thing with shadows. The shadows affect the darker mid tones, and the blacks kind of effect pure black. So if I really want to, like, make sure that I have pure black in my image, this is a night scene. So why not? Then? I could take blacks down a little bit and you could see the bottom of my way for monitor. It's definitely going quickly to the base there very quickly. Lose that extra detail in the shadows. We want to be a little careful of that, but if I take down the shadows that it's not really affecting the black point per se that much. So if I take down the shadows, you could see that we're kind of like crushing them in the black points, lowering a little bit, but not too much. It's really careful with your shadows and highlights. And that's another reason why I love the luminary color panel so manually setting this, I can look at my highlights and maybe I want to add a little bit more to the whites. And so that brings this out a little bit. Now, I actually don't want to do that because I do want to dark in this overall. So I don't don't necessarily need like a full hissed a gram I don't need All of the luminous colors are all the the degrees of luminous be represented. Well, cause this is a 19 here, so I might actually take down my highlights. And there we go. And now maybe I'll might wanna warm this a little bit more. And then now I feel like the colors are all in the right spot, but I might want to saturate them a little bit. And you do that with saturation here now because I have a warm light on her face. Then this light is not going to be supernatural. I should say this color is not going to be like a natural skin tone. But if I was, I did have something that was more of a skin tone here. I wouldn't use saturation to brighten that, because saturation kind of uniformly or I should say dumb. Lee, in a dumb way, kind of saturates all colors equally. And there are some colors that we want it to be a little bit more careful of specifically human skin tone. So if I click on basic correction and go to creative, you'll see that we have saturation down here again. We also have vibrance, and vibrance is the saturation that you typically want to use because it saturates all colors except for like the orangish yellow pinkish tones in skin. And it just sets rates those a little bit and every other color more, but again because we have an extra warm torchlight or little okay to do that here. Now let's go ahead and just turn this on and off by going this effects icon here. So see the before and the after the before and the after. What a difference, right? We'll come back here to this creative section in the next tutorial, but let's just go through here. We have curves, and there's two different types of curves. There's RGB curves and we could adjust the luminous curve and then each individual color channel. We'll talk about how to do that mawr throughout this course, but not necessarily here in the literature color panel. But once you learn it in this course, you can come back here and use this all the time. I love me some curves, they're fantastic. And there's also hue saturation curves, which are a little bit more complex. We'll talk about these as well a little bit later. In this chapter, we also have color, wheels and match, and I should point out that Ah, lot of colorists like to use color wheels when their coloring. But I don't like to. And here's how this works, though. Just so you know, there's shadows, mid tones and highlights. So they the darkest parts of the image, that medium tones of the image and the bright parts of the image and then we have a color wheel where we can add a color tint to a shadow are the shadows or middle of their highlights. And then there's also this value slider here so we could brighten or darken the shadows, brighten or darken the mid tones and the highlights, etcetera. Now the reason why I don't like using these color wheels is because color wheels don't have the same respect for my highlights and shadows that we saw earlier with Lumet Tree. So if I were to, like, maybe, like, cool the shadows down or whatever, Oftentimes this really raises the shadow value. It brightens them. It doesn't keep the shadows where they're supposed to be. So I don't I don't like that. I prefer to use other methods that will look at as we go through this course. But again, these are very popular and can be used if you want to as well, especially for the mid tones. So, like I do maybe want, like, a little bit cooler, the mid tones like that, just a little bit of difference like that. And that looks really cool to me and could also go over here to color wheels and match. And I could click this little check box I could see before that effect. And after that effects. This is not the all of luminary. This is all of luminary right here, but the color wheels and match check box just turns off color wheels and match. You could see the blue that we added. There just kind of adds like a nice little Mooney tint. Teoh everything in the background and there's a chess l secondary. We're gonna have another tutorial just on secondary grading later in this chapter, and finally a vignette just a darkening or a brightening of the edges. If we take the amount to a positive value, we will brighten the edges. We take it to a negative value. We will darken the edges and again, just like everything else here in the loo tree color panel. This is an intelligent then. Yet so a lot of times what happens when you apply? Haven't yet. Let's say you have a bright sun right here. Um, a non intelligent vignette would darken the sun. But that's not really how things work in the real world. We're gonna create a real vignette like really bright spots don't have the same degree of darkening universally applied to the edges. And that's what we have here in the vignette ing in luminary color panel. So here we have, ah, pretty big difference here. So here's the before the original. And then here's the after We even have, like a little bit of a flare that I should have masked off and not recorded, but I did, and then color grading kind of fixes that. So now we have this really cool duality with the warm stuff on this side and the cool stuff on the other side, and it's definitely, um, or interesting image. And also look at our way for monitor were not crushing. The blacks were not making the highlights crushed out to a white. So this image looks better and it is better. So next we'll talk more about this creative section in the limited color panel. 21. 06b Applying and adjusting looks: Mr. We're really talking about the creative section in the limit tree color panel, and this section is basically there to provide quick looks. So we talked about before the basic correction last tutorial that we could apply input let in the creative section we have a bunch of, like, look, so they're not really Lutz per se. They are stylized color grades essentially and kind, just like packed in here. So if we want to use like, Sina space, for example now a lot of these, like this one, are far too intense. That really heavy handed. And our footage was initially very, very flat. And it's still way too heavy handed, so I don't have to say a Yeah, I'm never gonna use this. We can use it and just adjust the intensity a little bit. So I take the intensity slider down. It's almost like an opacity slider off this particular look. So now here is the before and the after, maybe still a little heavy handed, but definitely something that we can work with. I'm gonna go ahead and double click the intensity button to reset this. There's a lot of other more toned down ones and we could also increase the intensity of these if we wanted to. But these air, modeled after film stocks and do generally provide some pretty cool results. If we come down here, we have SL big eso We want to kind of, like stretch all the colors and make everything like really big and vibrant. There's a bunch of bleach bypass settings. There's blue ones like Blue Steel. An old favorite, Um, and again we can dial back the intensity if we don't want to be is blue or even more blue fits. Maybe a day for night shot or something like that. We have total control, and we have a bunch of warming ones as well. So, like gold orange. There's also wants us to take a look at what that looks like here. And, um, some like Western, you know. So if you're kind of going for that look a really desert E look like something's in Mexico , um, that can work there as well. There's also Matrix Mars, which has, like a green tint to it, and a bunch of new are black and white presets at the bottom. I'm just gonna go ahead and use one of these basic presets here and again, this intensity slider really delivers here because we can add an intensity or dilute the intensity if we if we need to. And, you know, earlier in this course we first started out, I said that I'm not going to be using Lutz very much. And so you might be wondering why this tutorial is here. Because, you know, a lot of times when you are working on color grading or on edit, you kind of want just a stylized clip of something. Maybe there's a flashback scene. Maybe there's some kind of like dream sequence where we enter into kind of like another world temporarily, and we needed to feel like another world. We need it to be, like, otherworldly somehow, and so these presets can be a great way to just jump into a new world temporarily, and these little other adjustments can be used here as well. For example, we can fade the film, and as you watch the way for monitor, you could see what it's doing to the shadow detail. It's basically just kind of like raising the shadow detail, and it makes it feel like this is, you know, some kind of like Grindhouse 19 seventies movie or something like that. Slater's before, which is already really flattened, washed out. But once we add this, then you could tell that we have a lot of color. But also we've raised that black level. It makes it feel like a vintage, you know, 60 seventies movie playing a bit drivin or something like that, but also sharpen the footage we talked to in the last story about vibrance and saturation. And we could also adjust the shadow tint and the highlight tent. And this is not really where you'd want to go if you're gonna really make this polished again. This is just for kind of creating stylized, creative looks. So say, for example, I wanted to warm the highlights and then I could come down here and cool the shadow. Something will be doing a lot throughout this course. What I could do here is that could adjust the tent balance if I want. Some of the shadow tend to take over mawr of the colors and more of this to be blue that I could take this over to the right if I wanted to the opposite and take the highlight tent, which in this case is warm over two more of the shadows and mid tones that I could drag this to the left. So again the highlights are warms or making mawr warmth as reductive. The left shadows are blue cool, and we are cooling things down as we move this towards the right. So again, this is not a great way to color grade, but it's just good to be aware of that. There are these kind of cool looks that are available. Should you need something just super quick in a pension. You want to make something that stylized and feels like a seventies movie on the screen, or something else that you don't want to put a lot of time and effort into. You just wanted to look super stylized, really quick. The creative section in the color panel is really handy 22. 06c Performing secondary grades: at the beginning of this chapter, we looked at the basic correction section and what we were doing there was called getting the primary color greater primary color grading. And when you're doing the primary gray, this is always where you want to start and you're basically affecting the entire image. So I can go here to the white balance selector the eyedropper and let's just get, like, a base grade here. So I'm gonna go to this white police pull that should be white And then, uh, premier gonna use that to adjust the colors and our image we confined. Tune this if we don't like the result and I want this to be a little warmer and then I also I'm gonna just bump up the contrast a little bit and we have something looks fairly decent . I can click this little like a check box here and there is the original. There's we turn it into I like that. I'm also gonna go down to vignette Take this down. I could change the midpoint so that this comes in a little bit. Mawr If I wanted Teoh, I'm just gonna add a little bit of nice soft vignette ing there, and I like that kind of just slight darkening along the edges here just looks like we have almost like dark and grass, and it really just point your attention right here to the the center of the image. So again, here's the original, and there is what we turned it into. But here's there's two problems here for May. Ah, this blue tent is, um, not quite blue enough. I wanted to be a little bit more vibrant, a little bit darker, a little bit more saturated and a little bit maybe change the tent a little bit. Little are the hue. Um, I'm not really happy with this, uh, this blue and also the hue of this tractor. I mean, I like the saturation. I like that. It's vibrant. It's definitely like a really great piece that captures your attention. But I need something a little bit more red and less magenta. Even after fiddling with our color here and warming this, you could see by our vector scope that we're still kind of headed off towards the magenta direction. And I want this to be like classic, you know, Coca Cola fire engine Red over here. So that's what we're gonna do. A secondary color correction, secondary color correction. Looks at one little piece of the puzzle and focuses on just that. Not the entire image is not the primary. Great. We're just gonna focus on one little piece now. Gonna skip ahead to the H S, L secondary and I am going to go down to the key area here, and the key area is really great. This is came from over from Adobe Speed grade. And I feel that this is a really good way, Teoh. Select color for secondary color correction. So what we do is we start with the eyedropper tool. We click of representative color of what we want to fiddle with and then automatically It gives us a little bracket here for hue, saturation and lightness. Now there's two arrows here. The top one chooses the range of, in this case, lightness that were selecting, or the range of saturation, the range of hue. And then the bottom triangle is like a feather option, which kind of like smooths that out, which is we'll see, is very important as well. So a lot of just coming here to like one of these top triangles and start fiddling with this. And as I'm moving the hue this way, it doesn't do anything, so don't leave it here. So, like, if it doesn't do anything right here, that I'm gonna take it to where it is starting to do stuff. And I might even move the hue as it as a whole by clicking this and moving this around as well to see if that gets us anywhere. And it really doesn't so like that, Hugh. It's pretty much all in that one family. So now let's see if we can adjust the saturation and get more of the color. See now, as we're expanding this, we are getting a lot more saturation, and we're not picking up any other colors in the image, which is great. And so now maybe we'll feather this edge a little bit, and then what we do that we start getting in like other colors as well. So let's not do that. Let's bring this back and maybe even shrink this year so that we can feather it without picking up those other colors. And then finally, let's look at the lightness. Let's increase the amount of lightness that we have here and who? Yeah, that's getting us a lot more of the color here. I'm gonna be careful not to pick up little pieces here and there. There's a lot of red and the trees on others or apples or what? Um, so maybe bring this down and then maybe increased the feathering of those edges, which is really cool and also very important. And another thing we could do here, open up the refined section because as we start picking some, these colors will gonna We're going to start getting some noise here. So as we increase this, it automatically kind of d noises this. It's a very subtle adjustments. You can crank this up quite a bit. Same thing with blur. As we increase this, it's going to blur the mask. It's going to soften those edges. And this is really important because as we start adjusting thes colors, then we're gonna be able to see more clearly the edges if we don't have a good Matt. So in the key area, we picked our color, refined it well, close up key, refined area. We refined the mat that were using going close. That and the correction is really what we're going to do to change this. So we have a color wheel here. We could move it around his shift, that color that we've selected into a different direction. We could brighten it by taking the slider up or darken it by taking it down. In this case, I'm going to go ahead and warm it by increasing the temperature. And you could see that, as I do that that are vector scope, starts pulling this a little bit more towards the red. If I wanted to, I could also go to the color wheel and maybe add some yellow as well, which would also pull the colors towards what we're looking for. And also seeing is how it's a little bit too magenta and green is the opposite of magenta. Maybe we could try tinting this a little bit, adding a little bit of green and see if we can't pull this even further away from Magenta. Now I really like that, Hugh, but it's crossing this line. That means it's too saturated. So if we play this back on some monitors, there might be some weird glowy, yucky stuff because these colors are oversaturated. So I can go down to saturation and tone this down a little bit until we could bring our colors back on the vector scope into um, or acceptable range. And maybe I might want Teoh cool this down or magenta this up a little bit. And that pretty much fixed everything right there. And actually, now I might want to restore that saturation, and that's still a little bit too much. This is color correction. Folks like you're going like it's pushing and pulling your fiddling with something and then like that makes everything out of whack and have to go put out that fire. And you kind of keep going back and forth until, like right here, we're going in the red direction and we're not crossing any lines. But it's like pretty close to there, and it looks, ah, lot better. So here's the before with this Ah, definite magenta tint in there. And then we also have fit with it and made it a lot more standard. Good old red. Now could we have made this green or blue? Yes, we could have, but the further away that you take a secondary grade than the Mauritz going to stick out as something weird and unnatural. So again you can do this. But be very careful as you're doing it. You're gonna have to put a lot more effort into refining your key and all these things because, like right now, we just tweak its a slightly and some really not seeing any artifacts or any problems. I mean, it looks great. It's very isolated just to those areas. I mean, this is a great secondary color. Great. But again is the more I'm going to push this, the more I'm going to start to see some issues. So I actually go back to a correction again. I like the way this is now. But let's say I went to Green and even just doing that, you could see that, like, right here, it's not happy with us the way it's going, and so that I could go down to tent and maybe take this all the way to the green. And again you start getting 10 of these like weird artifacts, and things just don't start. They start to not really feel realistic, but you definitely do some more tweaking and take this mawr toe blue and away from red. And maybe that would make a difference. Or what have you. But again, the further away you get from the actual color that the thing is, the more it starts breaking up and being a challenge. So undo this a few times. Command Z. Now let's talk about this blue tent. There's a couple different things that we could do one of things that we could do. And this is one of things I do often. Actually, I'll go over here to the luminary color panel and then press commander controls C to copy and then Commander Control V to Paste. And then I'll reset the copy. And also all right, click. Still, I could rename. This will rename this one tractor and then I'll rename this one tent. And so then I can isolate and have those color grades in two separate effects. And this is a limitation of the limit tree color panel because you can't do more than one secondary correction in one instance of the effect. Um, but also it's kind of helpful toe. Have those separated out if I need to go back later and fiddle with them I'm going to for right now, though, just hit the delete key and delete that on the text. I want to show you another trick, and I said that you could only have one secondary color correction and really what? The truth is that I only have one hs l secondary color correction. But in the curves area there's a standard RGB curves. But there's also hue saturation curves, and we have these lines. And this is something that will also see in DaVinci resolve, which is really cool, although it might be a little confusing to initially wrap your head around. So what? This is these curves. Hugh versus Saturation, Hugh versus Hugh, Hugh versus Lumen. What this is saying is Hugh is the horizontal axis here. We could see all the hues in the Rambo in this line, and then saturation is what we have vertically. So if we want to take one of the Hughes and adjust its saturation, we would go to Huber's has set. If we want to take one of the Hughes and adjust its hue, we would go to Hugh versus you know you want to take one of the Hughes and adjust its brightness. We go to Hugh versus Louima. So Lou, My versus Sat. You probably guess what that does. It takes a luminous value and saturates all of aluminum value saturation versus saturation takes one version of saturation or one amount of saturation and then saturates all those things. As as well, I find that these last two saturation saturation is not as as helpful, but these huge versus saturation, hue and loom A are very helpful. So what I can do here is click one of these eyedropper tools for like, that's a huge versus Ah, Hugh versus Let's start out with Lou Minutes. Let's go to Humorous is Louima. I'm gonna use this eyedropper tool click on this tent and then automatically It creates a point that represents where I clicked and then also two points, one on either side of it to kind of lock it down. You see, if you go in just kind of like, click on a point and then like you move it up, it's going to change everything. So I don't just a just that one little point. I kind of need these points on either side toe lock it down, and so it automatically does that for me. And by the way, if you are in, want to reset this just double click or these points and then it's all back to normal, which is really cool. So here's this point in the middle that represents again the tent, and I could bring it up to brighten it or down to darken it. And again, just like with all secondary color correction, the further away from normal I take this, the wackier it's gonna look. So I think this really, really dark. You know, I could technically get black, but it's not going toe look right, and I could also take this upto white. But again, it's going to look weird. Now I'm going to just adjust this a little bit, and that looks pretty good. Let's do the same thing with Hugh versus Hugh. When I click on this here again and I want to change the hue ever so slightly, I mean a little dabble, do you? This, I mean, doesn't seem like it's doing that much, but I've only moved at that little tiny degree, but that's the amount that I've changed it. So it's kind of like this purple Lee blue and now it's more of a greenish blue. And that's actually all I want to do there. For Hue, Saturation again will select the same tent, and then we could also make this little bit more vibrant by bringing this up. If you find that you want Teoh Select Mawr area like there's parts of your object that are not getting selected, you could widen these points toe, widen the area of hue that's being affected, or like the opposite. If you're finding that you're getting too much of one color, like as we were just in Hue verses Loomer here we were starting to see. Or maybe it was Hugh versus You were seeing some changes in this similarly colored purplish hay bale back here. So what we could do is bring that in a little bit more to narrow in our focus so that we're not getting extra tones getting adjusted. Aziz. Well, now I like the way that this looks looks a little bit better, but you'll notice that I don't have the same type of control here. Rocket adjust, the blur of the mat or the Denoix zing of the mat. So we have a few little random pixels here that aren't included. And we don't really have the tools that we saw in the HSE l secondary to go and fix those. We kind of have to just kind of like guests and keep including mawr of those colors and what not in that can be kind of more monotonous and frustrating. But I like how we pulled this blew away from this purple and that it is a stronger blue. Here's before and after. So again we can see our before and after by turning off the curves and hs else secondary. So this is after a primary color correction, and then this is after the secondary correction on the tractor and the secondary correction on the tent again, we're getting some, like, really weird, um, little oddity here because we can't really let's see if I could zoom in here. Well, jeez, that's quite zoom, but this little highlight right here on the tent, we're seeing it as something that's bright and part of the tent. But the software isn't so when it changes it, it's not super great. And again, you know, as we zoom in closer here. You could see that these edges aren't perfect and they are noisy. And the changes that we made are pretty severe, even though they didn't seem like it. So maybe depending on where this is being viewed, that might be OK. But it might be better to go back to H S L secondary and do that there so that you can de noise and blur the mat and have a little bit cleaner of Matt here and a color grade. And also remember that in addition to duplicating the loom ITRI effect if you need to, you can also use the masking tools toe isolate so you could have, let's say, one other luminary color that's just fixing the tent, and then you go in with the pen tool and then you select the pen tools so you could isolate just that. In case maybe it's picking up some of these bales or something like that in the background . So you have tons of flexibility with the luminary color panel and the built in features of premier as well 23. 06d Working with R3D files in Premiere: in the story. We're gonna look at how toe work with red media. Or in other words, are three D files in Premiere. We talked about this very briefly and kind of in passing in the last chapter when we're looking at Red City X. But I want to show you in detail how to do this. It's also changed over the years, for better or worse. So, um, I have here my footage and this clip here that you know, a 00 to C 0 54 is right here. So instead of actually grading this with the limit tree color panel, we actually have access to the raw read data here in Premiere so I can double click this toe, open this in the source monitor, and that could go over here to the Effect controls panel. By the way, let me just pause right there and say there used to be a really great workflow that I loved , where you can click on source settings and then you would would open up this window that was very much like Red City X, and it was really easy to understand, and you could create presets and then reload presets, which is great for scenes. Um, and what not and I just love that workflow. You could also call out source settings, the keyboard shortcut. So if I needed the launch, the raw settings, I could just click a button and it would just jump up with the source settings. Even if I was in the timeline was such a great workflow, and I don't know why they got rid of it, but they did. So this is now what the new normal is, so I could go over the Fed controls panel again. This is in the source monitor, and then there's affect controls for the clip. But if I click on this tab over here that I get access to the master settings for this clip , and when you change something on the master settings, it affects all the instances of this clips. You definitely want to be doing this on the master tab in the Effect controls panel so that all the instances of this clip will be affected. And here we have the image pipeline. We looked at this before, so I'm gonna change us from legacy to I p p two and then instantly. This is amazing and it looks so much better. And so it doesn't just change the source monitor, Even the instance that we had in a timeline was also changed as well because we're changing the master. And again we have all these different settings that we had when we were in Red City X right here in premiere, we have access to the color space and gamma curve, which are already pretty much set for you when you choose the I p p two workflow. But I can change the i s so in the exposure, or I can adjust the the Kelvin, the temperature or the tent or whatever the color decision list. There's also curves here as we saw in Red Cindy X and also thes, um, you know, highlight roll offs. Also, if you're using the legacy workflow, you'd have access to lift gamma gain and like all that kind of stuff, but my switch over back to I p p two here leave that set. I could come in here and maybe bring down the shadows a little bit and crank up the highlights mid tones, Um, and then we have, like, you know, this really great image with this I p p two workflow very quickly graded, and it's great. It's a matter of fact. What I want to do here is Click Save to Rmd. And as we looked at in the last chapter, this will create an RMD file and you don't see anything that happens here. But it's a little sidecar file to get saved with the file. And then at any point, let's say I change this and muck this up a bunch and let's just do a bunch of weird things to it. It's fairly weird. Let's go even weird Or, um, let's do that. Maybe make this like a weird color. Let's go that way. I don't think it green way too saturated. Just super weird stuff. So let's say I do all this and this is what my footage looks like. Now all the instances of my footage is all screwy. What I could do is go back to my master here and then click reload from RMD and then all of a sudden it goes back the I. P P two pipeline and everything else that we set up here because it saved in this sidecar file. So if I ever need to even go back to the way it was shot or just the default settings or could reload from RMD if I've saved the RMD or if you're in another application like I could be working here and premiere in my edit and then I could go back to read City X saving RM D after doing a little bit of a grade, and then I could click reload from RMD here in Premiere to bring in the grade that I have created from another application. It's really a great workflow. 24. 07a Understanding Curves: and this chapter, we're going to be looking at grading and after effects. But more than that, we're gonna be digging into curves, which again applies whether you're in the luminary color panel and premier A DaVinci Resolve or Red Sitting X or wherever. Curves. It's just kind of one of these universal color tools that are really helpful. We just happened to be in after effects for this. But also leader on this chapter will look at how to composite using color. I want to show you also here and after effects the workflow of dealing with red footage, which is kind of interesting to me. It's almost like the old version of Premier. You might remember me winding a little bit in the last chapter about how things had changed and the old workflow does exist anymore. Well, it doesn't exist anymore in premier, but this is it still the same way here and after effects as of the time of this recording lists and after effects 2020. So if I right click on a piece of red media, go to interpret footage, main still see nothing here. But there's this little button here that says Mawr options, which seems like, you know, doesn't maybe give you more technical options like that. But if I click that, that actually opens up the same type of deal that I was talking about in the last chapter. So this is the old red workflow in and premier, but the current one in here and after effects. And here you can save presets and use those presets, which is really cool As you save presets, you'll have them show up down here in this list below this dotted line. And you can also reload from the RMD and safe to the rmd as well, as well as going to the I p p two pipeline if you wanted to do that. And again, it's just like premier where you have like a Red City X where you have curves and the color space and gamma space. Nice own exposure in all of that whole thing. I'm just gonna go ahead and take this back Teoh legacy for now, though, and click ok and click OK, here. And I'm gonna go ahead and start color grading this clip. Now what I want to do is go ahead and first apply the levels effect. This is it. This is my typical workflow of how I grade things, especially from not using the luminary color panel in and Premier from here and aftereffects. This is what I dio. I use levels because it has history. Graham here. So I could basically just get the shadows and the highlights in about the right space. And again, if I take this s o. This is the brightest tones of the image right here. I don't have any spikes over here like any. The last remaining bits of data and the highlights is right here. So if I were to take this beyond that, that all of this is forced to be pure white And so I'm losing details in the highlights and you could kind of see, hear what that often does. It often creates this kind of only take up the resolution to full, so it's a little bit more clear. But you can you get these like, kind of like, weird post or ization things when the whites or clipped and say things happens with shadows as well. So you'll have hard edges, hard lines. Things will just look really gross. And that's why I harp so much on making sure that we don't clip the highlights and shadows that we're careful about that data. I usually I know this is not super accurate, so I try not to get even that close. But even just this much, it brightens up our image and gets things pretty much in the right way. So that's almost like, not even like a base grade. But it's just the preparation for the base grade. So now what I'll do is I can add curves, and I could do so safely because we're gonna spell it right first. My goodness, Perkins, here we go. So the thing that gives me security and peace of mind when I'm using curves after use the levels effect is that curves anchors the highlights and anchors the shadows. So I don't have to worry about messing those up and so levels gets them in the right spot, and I know curves won't mess with them. So now I could use curves with all sorts of security and confidence, knowing everything's OK. So here's how curves work. I love using curves and again curves were found everything up every application, but not everyone loves using them. But for me, this is just the most flexible tool for for color grading and what's cool in after effects . As I can make these, um, this curves like we and a little bigger than we and, um ridiculously, ridiculously large. I'm not sure why you your curves to be that big. But if you know as a joke like I don't know white elephant gift curves to be that they was going, you settle on the medium, which is actually a colossal, colossal medium of these curse. We could see what's going on. But here's how this works. This line represents shadows mapped on the bottom side here and highlights mapped on the right. And so basically the bottom edge represents the values of the image as they are, and the left side represents. Think of like if they were like a black toe white grating here, the values that they could be. So that's why this line is a diagonal line to start because mid grey is mapped to make great. But if I were to click here and mad map mid grey to a slightly brighter value, well, then it takes that mid tone value and boost it up a little bit, and you could see how ah little bit does the trick. And that's why they made these curves laughably huge because little subtle adjustments do make a really big difference. And the benefit of curves. One of the benefits of curves is that it is a curve. So instead of just like making this one little area pop, it kind of smoothly boosts that area, the mid tones and the surrounding area. So we have these nice, smooth color corrections, and they typically don't unless you had too many points and things get wacky. Things tend to look very organic and believable were the common things to do with curves is to go over to the highlights here and boost them a little bit and then go over to the shadows and take those down below this line which darkens them. And so what they call this is an S curve. Because we boosted the highlights and taken out of the shadows, and we could go overboard with this and we could increase the contrast by increasing the share, brightening the highlights and darkening the shadows even more. You could see that intense look. Generally with curves the mawr steep. The line is, the more intense. The contrast is so when we had this line like this, that was a very gentle s curve and very smooth and flowing and more horizontal than we have . Kind of like a more normal looking image. But if we were to take this over here, I'm gonna make this look really bad intentionally and have a more vertical line here. The more vertical the line is the mawr intense. The contrast is so just be aware of that. And if you want to adjust a point they've already created like this, make sure you click directly on the point. If you click somewhere else, like over here, you're gonna create another point. And when you start having multiple points, especially if they're kind of you get these kind of like Biggs swoopy lines right here. That's when things start getting posterized and looking gross. So when I click on the reset button and basically here, what I want to do is increase the highlights and dark in the shadows. By the way, if you're working with the way for monitor, you can do what we did with levels here in curves so I could take this upper right point, which represents the white point, and I can drag this in, which takes the the white point and moves it up. Likewise, I can take the black point over here and move this in which darkens the black point so you can do those things. But again because you don't really have a frame of reference like a hist a gram going on in side the the object itself inside curves You'll want to make sure and be using a monitor for that are ah, one of the scopes. So what I'm gonna do for this is I'm going to just leave this set as is dark in the shadows , brighten the highlights, and then we're ready to perform Amore creative grade. And then we'll look at how to do that in the next tutorial. Before I do that, I want to do one last thing. I'm gonna go ahead and right click in the timeline panel here. I'm gonna create a new adjustment layer and I'm going to go ahead and apply the loom ITRI color effect, which is actually here and after effects so I mostly just want to show you that this is here in after effects. But all those same tools, we don't have the same kind of, like, pretty visual display that we had in Premier. But all the controls air here if we want to add that. And I find that the Lewin tree color affected aftereffects is a great quick way to add a vignette so I could go ahead and drop the amount down. This is why it pays to know the names of these commands and what they do from premier. So that way, when you're here in after effects, you don't have access to the cool sliders and the other information that they have here in the effect you still kind of know what's going on and what each of these parameters do. So I can kind of increase decrease that little bit so you could see the before and the after. By the way, you might be wondering, Why did I apply the loom itri color effect to an adjustment layer, not to the layer itself? Well, let me show you. If I were Teoh, I think it's going quite a copy and paste this looming tree Commander Control, See To copy Command to control V to Paste. If I were to apply the vignette here, it's applying it to the whole image. And I've resize this image and kind of like, moved it around a little bit to get a better aspect ratio. So it's actually applying. They've been yet to these corners, which are off screen and these corners, which are way, way off screen and so we wouldn't see that. But if we apply this to the adjustment layer, the adjustment layer is going to apply it to this area here and not to the entire image. So with that, ready to move on to the next tutorial and look at how to make this more cinematic by playing with the individual color channels one last bit about the curves and also as an appetizer for the next tutorial, we can adjust not just the RGB as a whole begin to just individual color channels and the Alfa 10 itself. So this essay is a pretty great king tool. But let's talk about the red, green and blue channels just very quickly. If I put my cursor for example over this part of his robe. We know that this should be white, but as I look at the RGB values, Aiken and I put my cursor over here. I could see that there is not as much green and there's not as much red as well. But there's really a deficiency in green, no matter where we put our cursor. So one of the things that I can do is go over to green and I can basically at a little bit more green now just a little bit here, not tons. But now, as I do, we have a little bit more balanced green and red levels, and this is less magenta because green is the opposite of magenta. We've added more green, and as we are playing around this, we might say, Hey, you know what? Maybe his skin's a little bit to read or not read enough so that we could be boost the red or take down the red as we do that, you could see that we get a cooler tent as we increase the ready so we get a warmer tent and we kind of play with the colors there. But we'll talk about this again a little bit more in detail in the next tutorial 25. 07b Using Curves to create a cinematic look: All right, folks, I'm excited about this when this might be one of the best tutorials and this entire course , certainly one of the most helpful, as I mentioned a little bit earlier on, like one of the things that makes things look cinematic is color contrast. And in this image, there's not too much color contrast. There's just a white background, lots of white pieces. And then there's like some red here than red in their skin tone, so there isn't too much color contrast me. It's not completely monochromatic. I mean, there's like reds and warm tones, and there's white, but we really don't have too much strong contrast so that there's thes, you know, orangey flesh tones, but not the opposite of that. And so what we want to do with curves here is we want to create some of that cinematic contrast, and the way that we do that typically in like film color correction is that we want toe warm. The highlights, which brings out the skin tones, makes them feel more rich and vibrant. And then we also want to do the opposite to the shadows. We want to cool the shadows, so I can go ahead and make this medium size against. We could really see what's going on here. And I'm going to go into the Red Color Channel, which is where this typically it happens here. And what I want to do is I want to boost the Reds just a little bit, in this case, just a little bit. And then I want to dark in or take read out of the shadows and you kind of see what's happening here. Actually, let me go ahead and exaggerate this affect a little bit. I'm gonna add a little bit more warmth, toe the highlights, and I'm going to take a little bit more red out of the shadows and keep kind of fiddling with this until they have almost a an exaggeration of this. But now what I'm gonna do is I'm gonna reset this. You can see the difference. So here is the after, and then here is the before you could see that when I reset that it's almost like it read. End the shadows and these other details here in the background. It's almost like it put a red wash over everything. But realistically, it didn't. We just put the red back in the shadow areas and we took read out of the characters faces. So I'm gonna put that back. And by the way, one of the things I typically do this is like a weird trick. This is not an official thing. I just noticed this from from working. I don't think there's any kind of like science to this, but I typically used the S curve, which you could kind of see in the background here, like the white s curve I use. That is kind of like a basic starting point for my Red Channel adjustment. So basically, I'm gonna take the highlights and the Red Channel to the point that they were at in the RGB curves. Likewise, I'm gonna take out red, kind of like what we did to the shadows in the RGB curves as well. So my red curve kind of mimics the RGB curves, and I usually find that that's a pretty good starting point. But I can fit with this a little bit more if I want to. And one of the things I did in in this part that's a little bit different than what we saw in the last tutorial is that in setting up this one, I used the I P p two workflow. So then I went back to my luminary color panel and I reduced the vibrance a little bit So we can take that back up so we can see a little bit more, and I also decrease the saturation a little bit. So I take that back up to 100% so we could see what this would be like at full saturation. And now it seems a little overkill. And we have a little bit of like red over here, and I'm not sure I'm totally like in that. So I actually might want take this back down to about 85%. But what a difference, right? It's so cinematic. Now we're really telling a story. We're not just recording an image that doesn't look like you know somebody's backyard party or something like this looks like ah, movie, and it's because of this cinematic curve. It's because we added warmth to the highlights and took away read from the shadows. So there's again color contrast or separation between the shadows that are now cool and the highlights, which are war. And that's really what cinematic means, cinematic means that were telling a story. And as we pull colors away from the skin tones, the story of this image is visually even, is that these people are now mawr important because we've gotten rid of fluff and other colors that were kind of getting in the way. We've isolated that it's almost like like depth of field on a camera. But instead of using, Blur were using isolation of skin tones in order to make them pop. Now we could also go in and maybe like, adds some or green to the shadows. If we wanted Teoh, I don't typically do this, but, you know, if we wanted to, like, leave the highlights of mid tones where they're at for the green and then maybe just like, click here and just boost the greens in the shadows or whatever. So we have more of like a matrix eat SciFi thing. I don't know. I don't really like that very much in this case. I'm gonna go ahead Commander Control Z undo that, but that is an option. Another thing that I like to do is, um, there's a red giant mojo, which is a really cool color grading effect. And the and the purpose of mojo is to do this very thing. Go ahead, turn off curves for a second. But mojo, um, does this very thing where it warms the highlights and then cools the shadows. And so then we can, you know, tweak the tent as faras How much magenta and blue there is same thing here to weaken, squeeze the skin tones together. So we get just those and then also squeeze the shadow areas. If we want to, we could take down the strength. We can use one of the presets here if we want toe, you know, just have ah jumping off point to play with this a little bit. But all of these looks are attempting to do something similar in that they are warming the highlights and cooling down the shadows. Because such a popular thing to Dio and I'm showing in this because there are a lot of different ways to warm the highlights and cool the shadows sometimes is in this case, it's basically just a wash of, you know, bluish green. But then we just have a little bit of this skin tone that pops out and has allowed to kind of stick out to have so much contrast again. I think this is a little bit overdone in this case, but all these options are here to play with, because this is how you create cinematic color. Just this combination here. I'm just going to leave mojo here. This combination of warming the highlights and cooling off the shadows 26. 07c Intro to compositing with color in After Effects: So now that we know a bit more about compositing, we can actually dig into compositing using color, See compositing. You know, it's a It's a big world in compositing, you know, sometimes the composite with mats and blurs and tracking and those type of things. And also a lot of times we composite using color. And that's the thing that's really going to sell it. And so that's why I'm including it here in this course on color here. And I have this example from this movie the assurance that I did and I have a foreground element and a background element. In order to be able to give these to you with the exercise files, I had to compress them to MP four. So the mat is really awful here. So please ignore the the awful edges of this transparency here and focus on just the color . So I have this green screen footage of the main character here, and I shall just just like in front of my house. And it was an overcast day, and the scene is supposed to be dark and overcast, but obviously these don't match at all. Now, seeing is how color compositing isn't always an exact science. I want to mention some helpers as we go that can help us in one of those is RGB Parade. So one of things it's not going to help us really here is seeing the RGB parade while we're looking at the entire composite we need to do is look at the background layer by itself and see if we can discern any characteristics or properties or data that might help us at all. And there's not that much help in this case because there's just not that much. We're kind of like looking at the ground, and so we're a little bit limited. But if we look over here at the RGB printer is gonna go ahead and maximize that using the tilde key, we do kind of get a sense of the overall color balance off the background plate that we're trying to match. So if we look at, for example, the shadow detail, we can see that about 10 IRA units is where the red is hanging out there. The red shadow detail greens a little bit higher than that blues even higher than that, and you could see that also with this line of 60 Ira units. Redd's a little stri of it, greens a little over it blues even mawr over it. So we basically have mostly blue blue is the dominant color and then second place is green And then we have distanced. Third, we have read and that's about all week unglued in from this representation here and the RGB parade. So we're not gonna be using that anymore. As I look at this object that could also see that in the RGB parade, too. So we could analyze that. And it looks like there's about similar amounts of red and green and maybe a little bit more blue, so we would probably want to do it. Looks like we're trying to balance. This is at a little bit more blue and maybe a little bit more green. Or maybe subtract some red. Another thing of no, that's kind of interesting to is, if we look at the RGB parade here, we could see that there is some shadow detail being crushed in the image in each channel. So we're gonna need to do is we're gonna need to raise the black point value for each channel in order to get a good composite here as well. Also, maybe things are a little bit too bright. There's a lot of data here in these highlights. And it looked like before from the background plate, that 60 was the highest, about about the highest value before, so that that's what our task is ahead of us here. So let's try to a couple different ways to composite this. I'm gonna go ahead and apply the levels effectively. Good effects of presets that I'm gonna look for levels and apply levels to the foreground objects. That's the middle layer in this composition, if you ply taking their two layers so I could be super helpful here. So this is a great old compositing trick. That's ah, really helpful in handy. We're going to do is we're going to adjust each color channel of this foreground object national turn on the background layer. That's pretty important, and we're going to do is come down here to the bottom. The composition panel that's dropped down and look at each individual color channel while we do it. So we're going to look at the Red Channel and then adjust the Red Channel So basically we're trying to do is we're trying to make the shadows mid tones and highlights as well as the black point, the darkest point of the image and the white point. The brightest point of the image matched the background as well. So we didn't talk about this earlier with levels, but we talked about how this is a history, Graham. We can crush this toe black if we want to, or crush everything above this toe white, and this will white our Brighton and this will darken over here. But I don't talk about this, Grady it down here this greedy is kind of like a master ingredient, and it controls the Black Point and White Point. So in this case, actually want to take down the white point. And we can't do that with just this regular history. I'm up here because this Onley will brighten the white point. But what I can do is actually take this down. And so that diminishes the white point. And now that seems to sit a little better here. Those whites don't seem so garish in out of place and then also wonder the same thing with shadow detail. which was a little bit too dark as well. So I want to bring that up. But also this kind of the whole thing needs to be darker in order to kind of sit with the background. So I'm gonna bring this down. So you see what I'm doing here? I'm trying to make a ziff this war a grayscale image. I'm just trying to composite this in gray scale and so a lot of this is very subjective, like, Oh, I think this this would be brighter or darker and whatever. So the lot of this is kind of like your own personal guesswork in your own taste. But that feels like it's pretty believable to me. Maybe a little bit brighter. So then we go to the Green Channel here and the Green Channel here and do the same thing with the Green Channel and go pretty quickly through this because I've already kind of explained basically the gist of it again. I'm lowering the white point. I'm raising the black point. Maybe not as much in this case, and I'm going Teoh dark in this whole thing that looks pretty good. Finally will go to the blue channel here and the Blue Channel here, and we'll also drop down, but not as much. The white point and bring up the black point. And the gamma actually looks fairly decent here. Maybe just starting this a little bit, but that's looking pretty good. Maybe raise up the black point a little bit. I want to make sure that I don't have any spots here that are darker than the darker parts of my image in the background here. So I could raise that up a little bit dark in this. Okay, that's a good, pretty good. Now for the big reveal, actually, Take down this white point a little bit. I think this is gonna be perfect. I would probably spend a lot more time on this if I was working on this on my own. But I'm just gonna go and take this back to RGB, take this toe rgb and let's see what we have. Okay, so we're a little bit closer, but it's still not quite great. And so we could do is now fiddle with this while we're looking at it. So I might want to bring back some of that red and also feels maybe a little bit too magenta, so I can go over to the Green Channel and adjust this and maybe not enough blue so I can go over to the Blue Channel and fiddle with the blue to get that right. Maybe actually do need a little bit Mawr green here. So here's the before and the after. That's definitely sitting better. Let's look in a different way to do this. Let's look at our old buddy curves. I'm gonna go ahead and go to the same layer, the foreground layer in that other composition, and I'm gonna do a search for curves like it smelled like I spell it right, guys on go ahead and apply curves here. And this time we're gonna use curves to do this. I'm also gonna keep my eye on the info panel whenever I'm compositing. All often kind of like keep my cursor here and look at symbolic thing we're doing. We're looking at the RGB parade. I'm looking at the relative values of red, green and blue for background point, especially if there's a white point in the background or a black point in the background and then comparing the same thing with my footage here, so I can kind of compare the RGB values between the foreground, the background. But I know that I don't want the white point to be this bright so I can go to the right point. Ah, here uppermost point, which is the white point of the image, and bring that way down. And then I can click down here and drop this to kind of bring down the Gamma, the mid tones, and it's also to read so I can click the red point here, take read out of the highlights and you click here to bring read out of the mid tones just a little bit. And now it's starting to look, maybe a little greenish. So maybe we want to add a little bit more blue. Click in here and just bump that up just a little bit. Maybe now it's a little bit too dark. Bring those values up a little bit, and that's looking pretty good to my eye. So here is the before, and here is the after before and after using curves. Now I think that that matches, but it's also a little too bluish for skin tone and that that sometimes convey bother us, so I might bring back a little bit of that. Read into those highlights just to make her skin tone feel a little bit more believable. So it's kind of that this this balance, you know, we got to make sure that the skin tone looks like skin tone because even if the world is kind of like bluish we got, we can't lose those skin tones. So that's looking like it's a pretty decent, composite, too high. I that's a really big change. So here's what we came to with levels means a little washed out there. So maybe we won't want toe put the black point back with a lot of these colors in order to restore that. Make it a little bit darker. So that's what we got with levels. And that's what we got with curves both pretty good composites but also could handle a little bit more tweaking. But really, the moral of the story is understanding the power with color. It's not just Teoh make images look right. It's not just even to make images look better. It's to help tell stories, and also there's all kinds of utilitarian uses like this, like compositing, like blending images and making them seem like they fit in the same world together. Once you understand color correction and color grading and you really have control over those tools, I mean the possibilities are endless with what you could accomplish. 27. 08a Preparing your editing timeline for export: this chapter actually doesn't have anything to do with color specifically, but we're about to start talking about coloring in the powerhouse application. Divinci resolved in the next chapter, and the process of getting your edit from premier in to resolve is you know it's not great . Definitely not simple. There are several steps in this process, and again we'll be using Premier because that's my N. Ellie. But the steps are similar regardless of you know, whatever n l e you're using. Also, I want to use actual sequences that I edited with in this chapter, and the media would just be too large to distribute. So for this chapter and the editorial on conforming in the next chapter, we look it resolved. You can just watch our follow along using your own files. Now first, what we have to do is we have to get our timeline in premier ready for export. Then we export our timeline in an exchange format. That resolve can understand, of course, next we import that exchange format into resolve to get our edit there for coloring, and finally, we need to do a process called conforming in resolve. This consists of connecting any proxy media that you're using to the full resolution. Full quality source. Media conforming also involves double checking to make sure each clip and resolve looks like it did in Premiere and that all the edits are in the same places. We'll look at how to import editing timelines and informed projects in the next chapter. We're looking result, but this chapter is gonna be all about getting your timeline ready and out of premier. This may sound like a simple process, and you know, there's a lot of YouTube tutorials that make it seem like it is. Ah, very simple, quick and easy process. But in actuality, there are a ton of pitfalls and potential issues along the way. But, as we'll see later, resolves just an incredible tool for color correction. It's really the ideal color tool for most professional projects. Again, getting your timeline into DaVinci resolve is not an easier, simple process. But resolve is so powerful and honestly fun to use, so all this extra effort to me is worth it. So let's jump in and figure it out 28. 08b Exporting your edit to Resolve: Let's first look at just the basic process of exporting your timeline from Premier. As we'll see in the next movie, it's a bit more complex than it seems. I mean, you know, knowing the buttons to push the mechanics of exporting or super easy. But in reality, there are tons of potential issues and problems through this process. For now, though, let's just focus on the big picture stuff. The first thing to know is that we need a file format that understands editing timelines that weaken transfer, are edits and get them into resolve. There are three main formats for doing this. Number one is E L, which is the oldest of these formats and has been an industry staple for a long time. This means the E D L or edit decision list files are compatible with the most platforms and applications, but also E. D l file store the least amount of data, but most editing systems out there can import and export CDL files. Number two is a F. This is another longtime standard exchange format that is used all over the place. It's newer than E d. L and stores. More data. We will also look more at a F Files in the next course in the Siris on audio because we attended to use a F Files to transfer our audio edit to our sound designers and mixers so it could be used for that, too. Third and finally is XML Final Cut Pro XML is the exchange file format that I've had the best luck with, and actually what I use when I color grated this short film as we'll see in the next tutorial. There's still stuff that XML didn't carry over properly, but it's also kind of amazing how much actually did now to export a sequence from Premier first selected either in the timeline panel or in the project panel. This step is really crucial because Onley one sequence will be exported at a time so the sequence must be selected. And also be sure that the panel that you selected the sequence in is currently active as well. Like if I have this sequence open in my timeline panel here and then go select something else in my project panel, see if I exported now this sequence in the project panel be exported, not the one open and big and right in front of me in the timeline Pale because that isn't the currently active panel. So be aware that with my secret selected, I'm ready to go to file export final Cut Pro XML, though be aware that you can also export A F or CDL from this menu as well. And again, XML worked best for beyond this project. But depending on how your project is set up and where it's going, who is going to? One of these other options might work better for you, so make sure you give it a shot. If XML is just giving you to any problems once you click OK and do that, Premier will let you know that it's finished doing that and also create a text file with a list of problems that it encountered on export or things were not able to be put into the XML file. So let's have a conversation about more common issues with this process. In the next tutorial 29. 08c Common issues with the Premiere > Resolve workflow: as I've mentioned in this chapter, probably a few times maybe, like a 1,000,000 times. So there are often issues when exporting your timeline from premier into DaVinci resolve. Lots of stuff doesn't come over correctly or just doesn't come over at all. For example, nested sequences in Premiere don't usually show up at all and resolve. This could be a big problem, because using nested sequences can be efficient way to edit for videos that I'm not exporting to resolve. I like to use as a sequences to edit pieces of the program like scenes or entire acts also per year often forces you to use this it sequences for certain functions and effects. So even if you remove the effect, the contents in the nested sequence might not be recognized in resolve. Many other effects applied in Premiere don't translate over as well. Perhaps even most effects don't carry over. This applies not just third party effects but native effects as well and often even very basic native effects. And you can probably just forget about audio. The most basic of audio adjustments, like volume and panning, don't even carry over. But you know that's a forgivable sin because we're just looking to fiddle with the color and resolve anyway. But it's still just something to be aware of. A lot of times basic transformed data position, rotation, scale and so forth doesn't carry over correctly either. And and added that frustration. Sometimes it does. In all my tests haven't found any consistent patterns that would allow for predictable set up in premier. So I just assumed the basic transforms aren't going to carry over and need to be checked. From my experience, I've never seen animation data carry over anything that's key. Framed is just completely ignored by results. Sometimes transitions carry over, but they're often converted to resolve transitions if they carry over at all. And oftentimes those look different. So I just remove all of transitions when I exported the XML to resolve. Also in my test, I've never had any adjustment. Layers carry over. They come over and to resolve is offline media, and that really clogs up your time liner. It can and I am an adjustment layer fanatic, so this causes me tremendous suffering, So this is a lot of stuff that can cause problems. I realize that how can you deal with this. Well, here's what I recommend. I recommend that you duplicate your final sequence so that your original sequence is untouched and also maybe even save a new copy of the entire project just to be extra shirt in the duplicate sequence, remove all effects, transforms adjustment layers, audio animation transitions and take the content from inside of any Necid sequences and put them at the top in the parents sequence and get rid of all nested sequence is empty or not , Then export this new duplicate sequence. Now, at this point, you might be wondering how you get back all of those things that you lost in the export. Well, you really have two options for restoring this data. Number one. You could rebuild it in resolve. Resolve is actually a very powerful editing tool and has the ability to most of what you set up in. Premier Resolve has its own transitions and effects. It could animate and so forth. That's one option. Or you can also do what I did and export your timeline and your colored render from resolve back into premiere. This is often called round tripping, by the way, and reapply the deleted stuff and then do your final render from premier now being very black and white here like Oh, there's these two options and that's it. But keep in mind that could also mix and match between these two. For example, maybe you readjust your scale data and resolve, but reapply the effects and transitions back in premiere. Now there are a couple very helpful lifesavers. When going through this process, Number one export a reference movie using your original time lights of the same sequence that you used to export. The XML also render a movie from premier as well. So have, like a master. And that way you can check everything and resolve to make sure that everything translated well. When I first started coloring this short film, the assurance I didn't realize that a few of the edits had been adjusted. A few frames in resolve somehow. So we're some frames when I was going through in coloring it that weren't colored, that needed to be, and a few frames that I colored that didn't need to be colored, and it caused a bunch of huge headaches. If I would have been more careful and patient with this process. I would have done this. I would have exported a reference movie and I would have caught those little errors because I do the same thing when I, you know, color other people's movies. I was just in a huge hurry and I thought I would be okay. But that was a mistake, and I really paid the price for doing that. Number two. When you export your timeline from Premier, it will generate a text file that will tell you some of things that didn't convert over properly. We talked about this briefly at the end of the last tutorial. Now do not completely rely on this text file. From my experience, there are always more issues than that little document would suggest. But at least that gives you a place to start in terms of known problem areas to fix. Okay, so this was a fairly long tutorial, and it might feel a little overwhelming and discouraging. But coloring your project and resolve can be worth all of this trouble. And you saw earlier how much I love the limit tree color panel and premier and how powerful that is. So I don't say this lightly so Let's move on to the next chapter. Look at how to import are sequences from premier into resolve, as well as how to conform and what that's all about, how to problem solve and how to use this incredibly powerful color tool that is DaVinci Resolve. 30. 09a Conforming your edit in DaVinci Resolve: in this chapter, we're going to learn about DaVinci resolve and not just about result. We're gonna learn a lot more about color correction along the way as well in this tutorial , specifically, we're gonna be looking at that can forming business we talked about in the last chapter. And, you know, you probably have, like, an entire course on conforming, but we're gonna give you just the most important bits in this movie. Now again, the purpose of conforming is for two main reasons. We need to connect files in our edit back to the source material. Or, in other words, we create an online at it. So if you've been editing with proxy files or if the editor at it with editor with proxy files than the Conform is the opportunity to reconnect the timeline to all the original source material, I mean, that's why we shot really high quality stuff in the first place, right? So that when weaken, color it, we can actually use this really high quality footage. I mean, this is showtime for the high quality files that we shot with. That's one reason. The second reason we want to make sure that what we're seeing in our color grading application is what we saw in the edit. Now we're gonna be talking about both of these things, but let's first start talking about how to reconnect your media. So if I go over to premiere, I have this timeline that I mocked up by the way, you'll find this in the chapter nine folder of the exercise files. So you couldn't follow along with this timeline if you want. And all these files are here as well. So I have what's called an offline timeline. And that means that I'm using proxy media. If I go into my project panel, you can see if I click on this clip. I have the, uh, the preview area here. So we checked preview area. You can see the preview area, So if I look at the stats for my timeline, it's a full HD 1920 by 10 80. These clips, however, are a measly 10 54 by 5 92 so they are much smaller and they're also MP force. This is proxy media, and that's what I'm editing with. But the original source material for this were some quick time files that were much higher quality and full HD. So what we can do here is export. This timeline, which was referred to, is an offline timeline. Even though, like our media is technically online, like it's, we can see it here. Um, that's not offline media. It's an offline timeline. So we're not, um, or the edit we should say is offline. But what we want to do is reconnect it to our high quality media, which is referred to his on lining. And instead of manually right clicking on each one of these clips and choosing you replaced footage or making off line that click link media one by one or whatever, we just have DaVinci resolve. Do this for us automatically, which is really helpful. So I want to select my timeline, go to file export A Z talked about in the last chapter. We could choose Final cut Pro XML A f or E d. L. I've already gone ahead and export of this. You'll find these in the chapter nine folder as well, and I went ahead and exported all three xml a f anny de l of this timeline so you could practice with those and see what they're like of that's of interest to you. So I could go back to DaVinci Resolve and I don't even have to import anything. I can go to file import timeline, and I'm gonna choose import a f e d, l or XML and this works for all three of those options. I'm gonna navigate the chapter nine folder, and I'm just gonna use thea xml file here. But again, the a f e d l files air here for you to play with going to go ahead and click open. I get options to play with here, but the one I really want to direct your attention to is this. Ignore file extensions when matching, because what this is going to do is gonna look at the names of the files in our sequence in Premiere. And these are MP four files, but we want to reconnect them to identically named M O V Files. So if we leave this unchecked, it will bring in theoretically the MP four files. If we check this, then we can have it reconnect to the high quality media because it's going to ignore the file extension, but just really quickly I want to show you this. I'm gonna leave this unchecked and I'm gonna go ahead and click, OK? And when I do it says five of five clips were not yet found, so it can't find the media. And this is actually I'm glad that this happened because this is been my experience trying to bring over sequences from premier to resolve. There's often a lot of sure locking that needs to happen. A lot of detective work to figure out what's going on. If I were to go ahead and just say no, don't worry about it. If I say yes and I pick another folder, it's not gonna find it. It's not. I could drag it exactly. I could point exactly to the folder where those clips are. It still will use them. So if I say no right here, then they all come in. Not even is off line. They just don't even exist. So I can't like, right click and then, you know, reconnect these or whatever. They're just dummy files that can't be reconnected. So it's, you know, it's really frustrating. It's very, very frustrating process. So I'm gonna delete this timeline and with it, whatever these kind of placeholder things are eso for. If this was real life and that was really my timeline that I had to fiddle with, I would be stuck. I would have to go back to premier and figure out what's going on and do a bunch of, like, homework and whatever. But thankfully don't need to do that in this case, because I could just open this and then I'm gonna have it. Ignore the file extensions. So for whatever reason, it won't bring in those MP four files. But if I choose to ignore the file extensions, then it will ignore those files, and it will allow me to select a different place on my hard drive. And once I do that and click OK, it just brings in everything just fun. As you could see that this is the M O V files, so automatically reconnected them. And again, here's what the exercise files look like. If you go to the exercise files in the media folder in the video folder, there's two folders. There is the H quick Q folder, which is the high quality media. And then, if I go to the proxy folder. This is where the MP four files are. So by telling it to ignore file extensions, it just ignored the MP four files and picked up the high quality media and reconnected that for me. So it automatically what they refer to as on lined my edit. It made my edit online. So it took my MP four files in my premier sequence, connected him to the M O V files, which is awesome. So, you know, there you have it one purpose of conforming reconnecting to source media, creating an online edit. And that's what we've done here. Now it's gonna go ahead and start from scratch here. I can go to the project manager if I want to do that. But I'm going to create a new blank project now. The other purpose off conforming that I mentioned is to ensure the quality of the timeline to make sure that what we have in resolve matches what we had in our editing program or editing timeline. So what I'm gonna do here is I'm gonna use a product that I'm actually working on right now . A short film called The Skipping House by an Hartner. Thank you and for letting us use these files so you won't have access to this media. But I just going to show you how to do this. Now, the first thing that I want to do is I want to bring in what's called a reference video. I talked about this in the last chapter. So little for a little bit more information. You can go check that out. But I rendered this from Premier so that I could check it against my work here in result for the conform. So I'm gonna open up the color folder, and here is my reference movie, and I don't want to import this. I'm going to right click on it here in my media area, not in the media pool, and I'm going to choose. Add is offline. Reference clip. So right, click. Choose. Add as offline reference clip. When you do that, it brings it in as an offline reference clip. Now we're gonna come back to that. Just remember that that's an important step. I'm gonna go and import the timeline just like we did before. Just know that this process takes substantially longer when you're working on actual projects where There's a long running time, and this is just a short film, but it still takes quite a while for those clips to be reconnected. So eventually all my stuff comes in here and we could see the clips were come in and the edits everything that the markers, including the labels for the markers from Premier come in, which is really great. But now we need to do is associate this timeline with the reference clip that I brought in earlier. So I need to find the the actual timeline here and beware. That's not one these media clips, actually the timeline, right Click on the timeline, go to the timeline sub menu and choose link offline reference clip and then choose the reference clip. And when you do that, nothing happens. So don't freak out. So what I'm gonna do is I'm gonna get another monitor here. I'm just double click one of these clips, and I might need to go to work space, uncheck a single viewer mode. So I get both viewers here and then I want to change this because I don't want to actually look at this clip. It's kind of like most editors here where we have the clip on the left like the source monitor. And we have, like, the program monitor here on the right. But I don't want to see this. I want to see my reference. What I can do is go to this drop down and I could choose off line. And so now these monitors are both showing what might be similar. But on the left, we're seeing our reference and on the right were actually seeing the actual timeline. So now, initially, these will hopefully be the exact same thing. But sometimes they do get a little off track. And so if I go over here, you could see that the clip here has some sizing adjustments that aren't in my reference or need to fix this. Now, another thing you do is right. Click in your main monitor here and choose vertical wipe to divide this vertically. And I could also just click to dynamically resize this or could right click and choose horizontal wipe. Same thing. Click and drag to resize. But the real magic here, one of things I think is very interesting is this difference mode. And if you're familiar with blend modes. And like after a factor photo shop. This is identical to that. And so if there's something that's off by a frame, which happens if there's maybe like time shifts or something like that that are in your original timeline that didn't carry over into resolve, then you'll notice those by those subtle differences. And this is a pretty obvious difference. Really. Don't need the difference blend mode for this. But Difference blend mode is a great way to see that something's off just a little bit, because when things are totally lined up in the difference blend mode there black now, one more thing to be aware of here really quick is that sometimes these don't line up your timeline and then your reference clip. Don't line up because the time code and that could be really frustrating. It doesn't seem like there's any way to change that, but you can go over here to your reference clip, right click on it, choose clip attributes and then go over to the time code tab and adjust the start of the time code. You could also adjust that for your your timeline as well, so that they sync up So again, this isn't a completely exhaustive look at conforming, but it's enough to get you started and to get going to relinking media Korean, your online edit and bring your timelines into resolve, making sure that they are accurate and ready for color, which we'll get to in the next story. 31. 09b An overview of DaVinci Resolve: before we actually get integrating, were in a back way up in the next couple tutorials and just look at resolving some of the basics in case you're not familiar. First off, you know, when you're greeted with resolve, you agree with this weird databases and projects thing. Essentially, you know, resolve was made for these big studio houses that, you know different projects or different users could have their own database with multiple projects inside of that database. So create a database, create a project, and I'm just gonna go ahead and double click this to open a new, entitled project now probably one. The most important things to know about resolve is that it's free. I mean, there is ah, paid version that has more features that's very inexpensive. But for most users, the free version is going to be just fine. There are no watermarks. There's no, like, really significant limitations. You get output 1920. By 10 80 you could have four K timelines. There's you could have effects. You could have fusion audio color, all that stuff in the free version, so it's definitely worth checking out if you don't have it Now. The interface is divided into these seven sections down here. Below that, you can see resolve our first of these as pages, you could almost think of them as separate applications within resolve, like modules. And so, in the media pages, typically where we start. And this is almost like, ah, big project panel if you're familiar with Premier. So in this left hand window up here, we navigate to our footage and this could be kind of a pain. And so what I like to do is when I click on a folder and find it Finally, after digging through all these menus ID like to right, click on it and then choose add folder two favorites and that shows up on the left. So I did that here with the exercise files. I recommend men do you doing that as well? Because in this chapter, we're constantly going back to this, and so will help you kind of get here quicker if you have this as a favorite. So actually gonna go in the exercise files in the media folder and go into the are three DS folder and I'm going to take this shot right here. The A 00 to C 054 blah, blah whatever. And I'm going to just drag it here into the media pool. This'll section is called the Media Pool. It's kind of like where your footage exists and right here, it says. The clip that I'm bringing in has a different frame rate than the current project settings . I never set the project settings of the frame, right? So yeah, sure, whatever result, knock yourself out. Someone say change. So that way our project matches this footage, which is great. And then I'm ready. Teoh fiddle with it. I can go over here to one of these other pages. For example, The cut page. Now the cut page is a relatively new thing inside of resolve, and there's a lot of confusion between the cut page and the edit page. With the cut page. Resolve is trying to create a new way toe edit. So what they've done is really stripped down the interface so that you just have the timeline. And then there's also a second time line up here that gives you an eagle eye view at all times of your entire timeline, so we could instantly jumped anywhere in your timeline while you're doing kind of like tinier like surgical edits on clips down here. And then when you go to the edit page, you have You know what you're used to with the edit page. We have multiple monitors and you have effects and the whole deal. Now in the cut page or in the edit page, Aiken take my clip and drag it down to my timeline and that instantly will create a timeline for me. And, as is the case in most N Eli's, except for premier, the timecode typically starts at one hour. This is to make it a little bit easier in case you need to back up a little bit. You don't have to go into negative time code or kind of deal with any of that kind of nonsense. So we have the cut page with the edit page. We also have fusion, which is actually a really high end compositing application. Kind of like after effects, but probably mawr equivalent to nuke. Now, just because resolve gets all of the attention and glory, don't discount Fusion fusion has an extremely, ah, powerful tool. If I go to the effects library here and open up. You know my tools. The very 1st 1 here is three D, and the very first option I have is the import and Olympic into into fusion. So this is pretty high end stuff that we're that we're talking about here you could export FB X. I mean, this is ah, lot of stuff that after effects is not capable of, and that's built here right in to resolve even the free version of resolve, which is incredible. And then, of course, we have the color pages which is working. We're gonna be spending the bulk of our time in in this chapter. There's also the fair light page, which is a really full featured audio app. Think of it like Adobe Audition or pro tools or logic built right it here into resolve. And then finally, there's the deliver page where you can output everything and set up queues and all that kind of stuff now going back to the color page. One of the things that is often most confusing for New Year's users of resolve is this whole node based workflow. It's very unconventional social. You're coming from something with a layer or track based background like aftereffects, Premiere photo shop even. And so that can throw people for a loop. So in the next story, we're gonna continue from this spot and talk about nodes. 32. 09c Understanding nodes in Resolve: so continuing on from where we left off in the last tutorial where you're going to be talking about the node based workflow that we find in resolve. And, you know, when resolve was first acquired by Black Magic and I started kind of looking at it that was really intimidated by this note based work, folks. I was so used to the adobe stuff. And, you know, I found that since acclimating to it, it's actually more difficult as a trainer to explain a layer based workflow to some has never heard of it than a note based workflow. Cause the notes stuff just actually makes a lot of sense. And so we're gonna do it here is just gonna run you through a little example using nodes. And I'm gonna explain all this other stuff what I'm doing later, like in this chapter in the next few movies. But for now, I just want you to pay attention to what the nodes are doing because what we do with nodes is we can put different effects on them and then stack these effects and weaken create nodes that store effects and then it's isolated to just that note let me show you. Talk about when you right click on this note Here, the first initial node. Choose add node, Add cereal. Now, we could actually select this note and perform functions and you edit this on. A lot of people do that. A lot of people don't even use the node based workflow. They just do all of the edits on one thing. But I want to show you that the difference here, I'm gonna click this second No, to select it. And then let's do some color correction. What's gonna maybe, like, drop down the gamma here, the curve toe lower this maybe, like, crushed the shadows a little bit again. Don't worry about what I'm doing. We'll talk about what that is. A little bit later. Might bring up these highlights at some contrast here we're playing with the highlights and shadows. But now, as you can see here, it gives you this little icon here with a little curve, letting us letting you know that you know, this one has this particular adjustment on. And actually, if you mouse over this and wait for the tool tip to pop up, it will tell you all of the adjustments that I did to this custom curves. That's the thing that's on this. And what I could do is use the keyboard shortcut, command D on the Mac or controlled the on the PC to disable this note, and then I could see my original. So this is with this note, and this is without that note. Now, let's go ahead and add something else. I'm gonna right click on this ad note. Add cereal note now, cereal noticed. Kind of like the most common note. And what's really cool is that they've added keyboard shortcuts. Teoh, help us out there. So Ault s on the PC or option s on the Mac will create a new serial note. And it's a simple is that so again, this no does nothing. If we hit the delete key or backspace key on the PC to delete it, we would just go right back to where we were. Nothing changes. So think of it just like an empty repository for effects. That's basically what it note is doing. So let's say I want to add it a vignette on this I can click over here and again, I'll be going through all these steps in detail later on in this chapter. So don't worry exactly about what I'm doing, but I can go over here and I've isolated this effect to just this area. And then I could go and make adjustments to just where the mask is. Actually, that's insight. Sort of flip that. There we go. And then now, as I do this here, maybe I want to not only dark in the outside edges, but maybe over here saturation and increase the saturation of this area around the edges here. And so now you could see here in the thumbnail, we could see them asking the thumbnail. And as again, I hold my mouse over, get the tool tip that we've adjusted the saturation hue and luminous mix. We've adjusted custom curves and also the power window. And so all of that again is located just on this note, and I could go over here to the key section. And then there's this key output section and gain, and this is almost like the opacity for the node. And so I can click and drag down this I have looked at a fine tune that is like to the thousands. I can drop this down and she could see as I'm you know, when I go really extreme, you could see the difference. It's making like over here, for example, in this edge so I can adjust capacity of the whole entire node. So every effect has its own compositing controls. I have so much control over what I want to do, and then in the same way that I could press a command or control de to remove the visibility of a note, I could also press old D to remove the visibility of all effects at once to see my original footage. So this is what I turned it into. And this is the original. Now, this is not a great color adjustment. I would definitely go back to these curves and, you know, lighten this up and, you know, spend more time on this and make something a little bit better. But what I want to show you is how flexible nodes are and a node based workflow is because all of these effects are isolated and separate. And so I could if I want to, you know, have the same workflow for each clip so I could have one. No, that's like my shadows won. No, that's my highlights. One note, my mid tones. One. No, that's my white balance or whatever I want to do. And then I again again. I have these. This at a glance. All of the effects on that note it's truly, Ah, great workflow. So again, let's see how this works. The next story were actually going to perform a real color grade here inside results. 33. 09d Performing a basic grade in Resolve: Let's look at how to do an actual color grade in resolve. I mean, the exercise files I'm gonna go to media are three D's and I'm gonna import this clip a 0 12 c 006 Looks like this. And again, I kind of had, like, a hover scrub type thing where I could move my cursor over and look at the clip. So I'm gonna go ahead and dragged that in, and then I'm gonna go ahead and go to, like, the cut page, and then I couldn't drag this in and make a new timeline with it. When I shot this, I was at this lake on. I wanted to start with this, like, sweeping Pan. And there's these people kayaking right there. And so I'm gonna dio is I'm going Teoh, click this and then trim this till we move past the good people and there kayaks there. Ok, now let's go over to the color page and we can press the space bar to play this. I'm gonna go ahead and stop it right there, because I want to be able to play with this frame because this is where the clouds are. The brightest. Now, the reason why I saved resolve for last in this training course is because we're going to be using all the things that we've learned in all the other applications here in result because it's so incredibly powerful. For example, if I look at these highlights I mentioned before, I hate blown out highlights. I look at my scope that you're going to see on the right hand side. If you're not seeing them, you click this little like icon right here. So you might be saying key frames or info. But you click. This little icon looks like a little jagged thing here. We get our scopes. And so I'm just looking at the way for monitor. You could see that there is, um, flat line here. When you see a flat line at the top or bottom, that's bad. That means that the footage is clipped. My highlights in this case are clipped. Now. It's not even at the top line. So, um, this is to add insult to injury, you know, like we have. We've lost detail in the highlights because they're blown out, but they're not even pure white. And that's really frustrating for me So they're detail. I can't get back here. Or can I? So if I go over here to the left section here into camera raw, I actually changes because right now it's decoding this using the project settings, which, as you could see here, is using the color science of the legacy color science. So its red color to for the color space and red gamma two for the gamma curve. But if I decode this using the clip, then we have access to these settings and I could change the color science from legacy to I p p two. And once I do that, look at what happens to our highlights. We automatically restore all of that data and we don't have any flatlines, so we don't have any loss of information. So this is the magic of the I. P p two workflow where it can restore data that was previously not even there. So I'm gonna leave all of the settings the same and go back to this little wheel here. What's cool about resolve and what's also intimidating about resolve is that there are a lot of options here, so we have camera raw and we have all of these options in camera raw and then we have ah color match system here and then we have to go over the wheels. We have color wheels and within color wheels. I go to this private bills dropped down and we have primary wheels, primaries, bars and log wheels. So we have a lot of options or like, for example, with curves, and I go over here and click on curves. I have custom curves, but I also have Hugh versus Hugh curves and a lot of the curves that we already saw in Lumet Tree, where of hue versus saturation and etcetera. So we go back to custom here now. Although the interface might look different, the principles of color correction are the same. So whether we are in Red City X over in premiere or after effects or resolve, we want to start with our black point. So I'm going over here, Teoh Lift, which represents my shadows. Gamma represents mid tones. Gain represents highlights. I'm gonna go over here to my left and then this color will adjust the color. We're not there yet. We just wanted just luminous of things so far and we also have these little dial's right here for lift gamma and gain that controlled the loo, minutes of the shadows, mid tones and highlights respectively. So I'm gonna click on this wheel and dragged this down, keeping a never watchful eye on my my way for monitor here and drag this down just a little bit. Now again, once we start seeing any kind of flat line here were crushing the black values and we definitely don't want that. So I'm gonna raise this back up again a little bit and a little bit of clipping is okay, but with how bright my scene is, I want to be careful with that now. You can also adjust the game the highlights and I could make this a little bit brighter, but I kind of feel like this is already really bright as it is, So I don't know if I need to really do that there and then also I can adjust the gamma here , the mid tones, and I might want to bring those mid tones down a little bit and you could see that it's kind of basically leaving the highlights and shadows where they are but it is messing with them a little bit. So I bring my Gamma down a little bit until I have something that looks fairly decent. Now, the next thing I want to do is adjust the white balance and I'm gonna use a different note for that sort of press cult s or option s on the Mac to create a new serial node. And then I could put the adjustment here, So it's isolated and separate. Now again, I like to keep my first node empty and not have anything on there That's just, like personal, like workflow preference for me. And I realize it's kind of like obsessive a little bit and not super important. So that's why I didn't do that here. But my normal workflow. I like to have my like one. No, that's kind of like the original. So if I want to delete everything and get back to the original, have to worry about resetting anything. So let's look at how to adjust the white balance. There a few ways to do this. Obviously we could adjust the colors of gay and gamma and lift with these color wheels were also a few automatic tools down here. There's the auto white balance. I just click this to have resolved guests. Or I could click the eyedropper tool and then manually click something like her cloak here that should be or her main robe thing that should be white and then have it adjust that for me. Now, to be totally honest, this shot is one that really gave me problems when I was color correcting this film, I just never found Ah, great mix there sometimes where I have footage and it just works like the colors, like they can't go wrong. And there's sometimes were shots like this where I just can't seem to get them rights is a really challenging shot. Um, and maybe not the best first example for looking at resolve I I wanted to challenge, um, and I wanted you to have a clip that you could play with a lot and get come up with something that's different and unique on your own. But, um, this one is tough, you know, there's things like this, which I really don't like. Like, you know, I wanted her kind of cloak on the outside to kind of be on this shoulder and provide contrast, but and said, We have white clouds on this on this white tunic thing against the white clouds, and it's just there's no contrast there. It's kind of frustrating now. Later in the clip, if we play this, you know, she kneels down, and then at this point it starts being really cool, because then we have, you know, light on light and then darker and then darker than light against. We have all these like all this contrast, and it looks a lot better than we have the epic like, you know, blowing her fur cloak there. And that's great. But like this part, especially, was just really challenging for me. So I clicked on the eyedropper tool. Had it change the white balance for me. Where did that edit show up? Well, if I go over here, there's one into one. Has these options right here we have contrast and then pivot, which adjusts where the highlights and shadows are used for the contrast and then we also have a saturation. And then if I go to like to, then we have, like temperature and tent. So I look at this temperature and it's is a bit warm here so I can drop this down to taste . And this is a really sensitive control. So got to be kind of careful. So about 202 of 6.6 in this case, that looks better. And then maybe I could adjust, Um, that the tent a little bit as well as we take it to the left. It gets more green as we go to the right. It gets more magenta. So somewhere around negative 30 ish somewhere on their works for May. Now let's talk about custom curves. I know a lot of professional color directors, color grading, color artists, those types of folks they like using these color wheels. I really prefer curves. They're just so flexible. What I'm gonna do is go over here to now. But But if fault they're linked, why rgb native? You don't see why rgb But what? This is kind of cool. This is separated by Lou Minutes. So why is just loom in its an R, G and B are the color channels by default? There's this little chain icon. They're all linked together. So if I make it adjustment on the curve than why r G and B are all adjust. I'm gonna go ahead and just I could right click on one of these little never points toe get rid of a But I don't want to do that. I want to just just the loo minutes and I want to bring just the luminous down a little bit . And I like the way that looks now. There's still too much yellow in the clouds here and maybe too much blue here in the Midtown's. So what I could do is go over here to the Blue Channel and then push Mawr blew into the highlights again, ever watchful of our way for monitor here to make sure not clipping anything. But we still got some room never safe, and we restored the balance to this. Okay, So like if I go back over here, you could see that we had yellow in the clouds. And now, as we push the blue morning the highlights we have less yellow because we added more blue. Now I want to take blue again out of the main part of the image, though, so I could click in here and take this down. You see that were by doing that, we're keeping the clouds where they were. But we're also essentially warming these trees here by getting him a little bit closer to green. Yeah, I like that. Now there is a little bit too much red overall, so I'm gonna go over to the red and then just bring this down slightly. Just take a little bit of the red of the highlights and just a little bit of the reds out of the midst as well. And now we're starting to have something that's like, a little bit more believable, a little bit more on track. Here and again, I'm gonna press Ault or option D to see the original and then what we have original and what we haven't. Maybe it's a little dark, so I might go back to the why here and maybe boost that a little bit color grading again. I think I've mentioned this before, probably more than once, but it is this kind of like push pull thing, so, like, you'll adjust the highlights and that will change the way that the shadows looks and you'll need to go fiddle with the shadows. And then after doing that. You'll need to go back to the mid tones and then so on so forth. So it's not like a you just dial this one set again for the highlights. Then you go to the shadows, you dial that and you kind of have to, you know, fiddle with it, constantly fiddle with all these dimensions in order to make sure that the images is looking. Right now, the image here is basically kind of like set. It's kind of like, Ah, plane image. It's what we call normal or what I call normal. And so now what I want to do is at another node that's more of a creative grade. So if I wanted this to look, cinematic, if I want this to look like I'm telling a story and not just, like, recorded an image, then I might create a new, separate note for that. So we have luminess correction, our first node that we have white balance and color correction in our second note and the third no room to do it on press cult s or option s on the Mac and create a new serial node . And then I'm gonna put my creative great in this. Now I like the idea of warming the shadows now. Previously, we talked about that cool cinematic trick where you warm the highlights to bring out skin tones. And then we put scion in the shadows and we take out read from the shadows to add scion into the shadows Here, we're gonna do kind of the opposite. So I'm going to add some orange into the shadows That really brings out her cloak. And I like the way that looks. And then in the game, the highlights. We're gonna add some blue to those clouds and maybe like towards purple, even a little bit. And again, I want to be watchful this because it's starting to a little bit bright. So I might need to go back to my gain and bring this down. So I'm not blowing out those highlights there. Maybe this is too blue, so I might need to go back and pull this down a little bit and then, lastly, I kind of want to bring a little bit more life to these plants, like in this in this movie. I probably wouldn't actually do this for the movie, cause I wanted things to look kind of dead. But in this case, I think I want them to feel a little bit more green so I could push this a little bit further. Maybe even further than that. I might pull this down even more. I like that. And maybe I'll go over here to the blue curve and take a little bit more blue, one of the highlights there. And then I can restore some of the brightness by increasing the gain because now the Blue Channel isn't going to be clipping in the way for a monitor. Also gonna go back over here to the one and I'm gonna increase my saturation a bit because I like the way that this looks. And I also want to go ahead and play this and make sure that the whole clip is looking good as well. Let's also check this with the original so press option are all d. So there is the original, and that's what we turned it into original. There's what we turned it into, and I'm you know, I'm happy with that. I think that there are some things we could probably do, like her skin tone feels like there might be some weirdness here. I'm also not sure if those air totally in harmony skin tones. We might want to take some of the Reds out because it feels maybe a little bit too saturated. For that, I'd probably go to my vector scope and just see how we're doing. See, yeah, it feels like we might be off track a little bit, but I have to play with it a little bit more and see. But for now, that's that's all right. I'm a right click on this, and also what we could do is go to split screen and then turn on and off, which initially doesn't do anything. But I'm right. Click go back to split screen and changes from version two versions and original. So now I'm seeing the version and original. So as I play this back, I could see the color changes that I've made side by side with my original and see the difference that I've made. That's how to do a basic grade in DaVinci Resolve. Later, in this chapter will have a couple other examples Teoh play with. In the next tutorial, though, we're gonna look at one of my personal favorite features of DaVinci Resolve, and that is matching shots across the sequence 34. 09e Matching colors on shots in the same scene: Mr Torrey A. We're going to look at some tricks for grading whole scenes, and this is something that really sets DaVinci resolve apart from other tools. In my opinion, now, just real quick to get here. I have created this matching color project defined in chapter nine of the exercise files. If that doesn't work, you could just go to, ah, file import Timeline XML, as we did earlier when we talk about conforming to bring in this project here that it's like the exact same XML. Now we have here multiple cuts and none of them really match these air. Not this is all supposed to be from the same scene, but none of these clips really look like they belong in the same world, but they should. So here's one of my favorite tricks here. I'm just gonna go to this second clip here with the back of this girl's head, and I've noticed that it looks like the raw footage. These two clips are probably the most similar. So what I can do is, let's say all great, this one and again, this is just super quick. I'm just gonna do a basic generic grade brighten the ah, the highlights dark in the shadows and mid tones A little bit. Maybe it's a little bit too excessive even for this quick example. And then we go go over here to the gain and do something a little bit more obvious. Like war. Whoa, warm the highlights. Just a smidge. Maybe I'll cool down the shadows just a smidge just so we could see that there is something different here. Now, if I go over to this clip, you might think, Well, I could copy the node and pace the No, that's one option. I could also, you know, recreate the same thing. But it would be so much easier if I just instantly take all of this data and put it on this clip, and I can. The way to do that is with the middle mouse button. So you don't want to scroll with the middle mouse wheel. You actually want to push the middle mouse button. So of course you need three button amounts for this. What I could do, I'm on this clip. I could go over this clip that I want to kind of like, suck the life from, and I can middle mouse button click and then boom. All that stuff is instantly applied. And so now these clips match, which is really cool. Now let's see that I want to use this as a reference like I really love the way this works . And then when I grade these other clips I want to be able to use this is kind of like a master reference. What I can do is right. Click on it. Actually, I'm sorry. Not in the timeline here. You want to actually, right? Click in this area and the viewer, right? Click and choose. Grab still. Now that doesn't seem to do anything because you can't see are still. So I need to go over the gallery here, press gallery, and now we can see that still. So this could be like a reference I can increase the size of if I want to. This could be like a reference as we're grading the rest the clips in the scene to like what the gold standard is for the colors and mid tones and highlights and whatnot. That's gonna go ahead and click on gallery again to close up the gallery. And I actually don't like this. Great adults drive me crazy someone right click on the node and she was reset Node grade, Which is really helpful to get back to square one here. Now I want to show you another mind bogglingly cool feature here and resolve. I'm gonna go ahead and click on this clip and I'm gonna reset this node grade as well. And I'm gonna go back to the edit menu and just bear with me here for a second. Let's split this clip in half. I'm gonna use the blade tool here, and I'm a click. This split it. Go back the selection tool and click and drag this copy, hear, clicking, drags like both of these and move these together. So basically, now what we have is the clip of the girl and people approach approaching the girl. We cut to something else. We cut back to the girl. But these two clips are from the same source. That's important to go back here and what I want to show you here is this amazing feature and resolve to work with footage that's from the same source. Oftentimes you if you're shooting a scene or especially something like an interview. You have a bunch of takes of the same camera in the same shot, but just kind of spread throughout the project. You keep going back and forth between those multiple takes, and that's what we have here in these two clips. By default, Resolve uses something called ah, local grade. And that means, as I adjust one of these clips, then they it only effects that one. And again remember, these two right here on the in the middle and at the end are from the same source. So again, by default with local grades. If I tweet this, then nothing happens to this other clip. And by the way, when you adjust a clip and resolve, this grey outline turns into this rainbow colored outlined let you know, this clip has a great applied. Nothing happens to this one, and that's what we'd expect. But when we right click on a clip and use remote grades, then we get this little icon right here. This is like Red Arrow here that lets us know that we're using remote grades, which connects all footage from the same source. So now if I were to do that same change where I'm like darkening the shadows. And then I'm lightning the highlights. And then let's say just again to make it clear, I'm gonna, you know, orange ify this a little bit at some orange to the gain. You could see that both of these clips have that grade applied, so you have this instant way of creating grades across multiple clips. You can goto a clip, and you can middle mouse button click to take that grade. Or you can use remote grades to instantly change all the clips that use the same source. 35. 09f Isolating colors: for this tutorial, go to the exercise files and go to the media folder and the R three DS folder, and we're gonna get this a 109 Blobel blow. Whatever file looks like this woman on a couch drag it into the media pool. Let's go to the cut page or the edit page. Drag this down to the timeline here to make a new timeline. And then let's go over here to the color page and color this. Now what? We're just talking about editing. You know, the shadows, mid tones and highlights and getting the basic values where they're supposed to be. That's referred to as a primary grade or primary color correction, and in this tutorial we're going to look at the next step, which is secondary grading or performing a secondary color correction. You see, when I shot this, I had this cool vision of this really deep purple couch and his really vibrant red wall with her really awesome greenish teal hair. So what we're going to do is isolate each of these colors independently to have control over them and adjust them one at a time so he gets off on the right foot. I'm gonna go over to Ah, camera raw here. I'm a decode using clip so that I could change the color science from legacy toe, I PP too. And that does, ah, bulk of the work for us. I'm gonna change my scopes over here to the wave form, and we can come over here to our wheels. I'll change this to primary wheels and just make sure that our shadows air down that the bottom Here. I'm looking over this spot on the right here, making sure they're close to zero. We don't want to crush any of our blacks, but this is pretty good here. And then we could also bump up our gain a little bit. And then maybe we could adjust our gamma to taste. I might want it. Maybe dial that down. I really don't want to grade this too much here. I don't want this to look too pretty. I really want to just get things exactly where they should be. To that end, I really love the warmth of this, but I I want to make the colors a little bit more neutral to start with, so I'm gonna go over to the two button here. Click over that to see the other side. Further controls and my temperature. I'm going to drag this to a negative value and just cool this down. Probably a little bit too much, actually, because what's going to go on is that we're gonna be selecting the couch and selecting her dress. And so I want to create more separation between them. So again, I'm gonna go back and re warm this up later. But for now, I want to separate thes so I have a little bit more control over them independently. Now we're gonna be creating a lot of serial nodes in this tutorial. So again, I could right click and choose add node and add cereal to that. Or I could use the keyboard shortcut. Cult s on the PC or option s on the Mac. And we're gonna be doing doing that so many times in this tutorial that I'm just going to say, add a serial note and I'm not going Teoh tell you how to do that. So whether you right click and add the serial note that way or using the keyboard shortcut old s or option s that's how you do that. So I'm gonna go ahead and create my first serial note here and for this I'm just going to start easy. Where is gonna Just the background, Even though this is fairly warmer and we're gonna warm this a little bit more, I still want the background to be a little bit more vibrant. Red. So what we're gonna do here is I'm actually gonna right click on this and I'm gonna change the node label. The node label is the name of the node. So I choose this. I'm just gonna say, red background. So that way I have a nicely named note and I could tell what this is doing. We haven't added any node label so far, but I use this Ah, 100% of time when I'm coloring on my own now because we're adjusting just one big flat color like this, we could actually go down to the curves, which is one the easiest ways to adjust color, in my opinion. Now, this default curve is just this custom curve that we've been looking at that you'll find in every application. But if I go to this drop down here we actually several different types of curves We have Hugh versus you. We have huge versus saturation, Hugh versus luminous. And this is very similar to what we saw earlier when we looked at loom itri color in premieres matter fact, this was here in resolve long before it was ever in Premier. I'm not saying they stole it, but, you know, yeah, and for what you will, and I'm gonna go ahead and ah, I don't want to do Huber's issue because I actually like the Hugh where it's at. I'm gonna go to Hugh versus Saturation and then when I'm on this graph, I automatically get a little eyedropper here so I can click on this background. And then I see that color show up here in my graph and there's kind like these anchor nodes on either side of it. Toe lock it down so that we can adjust independently. As I raise this up, I'm going to be adding saturation. As I take this down, I'm gonna be decreasing saturation. So everything that falls in this color spectrum is gonna be having that adjustment applied to it again. If I go to the left or right, I'm gonna be shifting the hue a little bit. So if I go over to the left or maybe adding a little bit of blue to it, I go over there, right it's gonna be looking a little bit more oranges. I add some or yellow to this, but I want this to be, like, straight up and down, and we're gonna be adding some more saturation, Leader. So I don't want to go too crazy with this, but that's a good way to do it. So again, if I wanted to just a just a color family. This is a great way to do it. If I want to tweak a hue and move it around differently, I could do a huge versus you again if I want to brighten or darken the Hewitt could do. Hubris is luminous. And so first. So those are some great easy ways to adjust color. And if I can use those than I will because I find these really easy to use, But for tougher jobs, there's a different method. I'm gonna go ahead and create a new serial note, and I'm gonna go ahead and right click. I'm gonna add a node label. I'm gonna choose hair. This is gonna be her hair. And what we're gonna do is we're gonna go over here to this little eyedropper tool. This is the qualifier section. So we've been in curves. We're going to go to Qualifier. And what I want to do here is select some of her hair. Now, as I click on this, I really don't get a good sense of what's going on. I can't really tell what's going these doo hickeys or doing something. And then there's something reading out over here. So what I like to do is go over here to the highlight areas, A little magic wand looking thing. Click on that. Then I can see a little bit more clearly what I'm doing and what I'm selecting here. And by the way, if you're not saying that, you can come down here to the eyedropper and make sure that this is set to qualifier as well again, because we're gonna be doing this a lot in this tutorial. I'm going to be showing you that they will be using the keyboard shortcut shift H. So shift H is what gets you back to the original image or shows you your qualifier as long as you are in the qualifier section. If we go over to a different section or a different note, sometimes that qualifier will go away. So just be aware of that school back to qualifier here and again. I want to get a good base selection here and now. We could come down here to the qualifier section and fine tune this and basically we have what's what we refer to as an HS El qualifier. In other words, a hue saturation Luminant qualifier. And we can adjust the hue and saturation luminous to make sure that we get the best key possible. We don't have to use all three of these if we don't want to, but as we use this that we can usually get a better selection. For example, there are some darker parts of her hair that are not being selected, so I want to go down to the left side of my loom in its and increase that to include mawr shadow values in this range, and that's not doing at all what I thought I was what I thought it would maybe need to increase the luminous. Now that's not helping at all. As I move this around left and right, that's not really doing much at all. Maybe I don't even need to worry about Lou Minutes for this so I could try turning off flu minutes. Yeah, it's not really doing anything. So maybe a getting a justice saturation, soem or saturated values are included now that's not really doing much, either. Now we could turn that off, too. So now I could just adjust the hue that I'm just just just selecting this with the hue. And there's not too much other stuff in my shot here that is this kind of like light teal ish green, so I can just then dial this in with these color values to change the size of the object on the right. I could grab the right side. It expands the the range of hues like also click in the middle and move this to a different spot if I want to there. If I want to smooth this selection, I could increase the softness, and so it kind of tapers off a little bit, and then once I'm done kind of in the ballpark of what I'm looking for. Then I always go over here to the mat finesse area. You might not want to do that, but this is something that I do. Ah, I d noise this section, Um, and that kind of like softens the noise here. I could also clean up the black, which gets rid of the extra little speckles that we, um selected and don't want it. Also, clean the white, which increases the amount of area selected by our key. I could also blur this and soften this quite a bit. So now we have a really good selection for our hair. We have a little bit of extra junk right here, and I could take some time to polish that up. Maybe maybe take this left or whatever. I'm not going to be spending tons of time doing that because it drives me crazy And tutorials when there's tons of time taking up, taken up getting it perfect. I'll show you the end, my final result. But for right now, we can leave this be. But I'm gonna go ahead and press shift h again to see my whole object. But now, because we made that qualifier selection. Everything that we do to this node Onley effects what's inside the qualifier? So as I increase the saturation, go back to the one over here. As I increase the saturation, I'm Onley increasing the saturation of the stuff that's in the qualifier. Now, if I double click, this word sat right here. I go back to the default values, which is what I want. But I could go down here, maybe add some more teal at some more green here, maybe in the mid tones. And I like that. So if I press command d on the Mac or controlled the on the PC, I could see before and after before and after its not a colossal difference, but I'm not looking for a colossal difference. Actually, maybe I might want to add a little bit more green to this to make it pop because green and red or a little bit further on the, uh, the color spectrum there. So, yeah, I like that Command D control day before after. Yes. Now this is going to get a little tougher. I'm gonna create a new serial node, and I'm going to add a node label couch and we're gonna try to select the couch. This is a tough one, folks. This is a difficult challenge because there's a lot of Red Spill coming from this background, and also it's a really kind of like a older couch, and it's not very vibrant in the first place, So trying to select this is going to be a challenge. It's not going to be going to be perfect, but we're gonna proceed nonetheless. So here they got my qualifier selected. I'm gonna turn on my highlight, and I'm gonna go ahead and click around until I get up the most representative color. So I want the most couch selected and the least of our model selected so you could see that I could get a lot of the couch selected by going over here. But then I also get a lot of her, and I don't I don't want that. So I'm gonna maybe go over this region, and I think that gives me a good amount toe work with. I want to start here right right about there. Now, again, I usually start with luminous and saturation and kind of play with the edges of this and see kind of what's working and what's not working. And as I'm adjusting Luminess as I go higher than we're losing our key. But it's not giving us too much here. Well, if we get too much the out, there we go. So if we take the top end of the luminous down, we're only selecting darker colors. And that way we could get rid of some of her skin tone, which is good. So in this case, luminous is doing something for, so it could stay saturation. As I play with this, we can get rid of the girls dress, but we're also getting rid of some of the couch. So I think we could deal with some of that. But maybe not all of it if we try to trick us like too much saturation where you start getting the background there so I don't like that also might go ahead and adjust the softness of the left side of the low, the low side of the saturation as I increase the softness. We're getting a little bit of, ah, stuff there. Maybe not maybe just a little bit of softness, a little bit of softness on that edge. And finally, it's fiddle fiddle with the hue and see if we can't get this to really die Aulin as much as possible again. There are some other things we can do here. Teoh fiddle with this. When we talk about masks in the next couple tutorials, we could use masks to help us here, but, um, otherwise we're just gonna have to do our best with these these tools here. So that's about as good as I can get it here if I want to. I can try to take away from the selection with the minus eyedropper. Add to it with the plus eye dropper. I don't find that these worked very well for me often, so I'm just going to skip those for now. But that's something else you could play with. I'm gonna increase. Denoix used to try to soften this edge here. I'm not able to select a big chunk of this couch, and this is because her shadow is right here, like the key lights coming from this side and her shadows right here. So we're just kind of stuck in this case. Typically, what that means is that we're not going to be able to push these colors that much. So if you have a key that has some problem areas again, it just means that you're gonna not be able to push your colors that far. So I'm gonna increase clean black, which again removes the parts that we don't want a little bit more and then clean White adds more of what we do want. And we are getting a lot of her dress here, which I don't like at all blurt radius here and again. Maybe weaken reduced that by getting rid of the luminous. I really don't like that. But the thing is, we really need this edge of the couch because this is the the brightest part of the couch. If these tones aren't selected, it's going to be really clear. Now, this is not a fantastic key by any stretch. This is not. This is not a great key, but for this tutorial, for right now, it's gonna at least show you what we can do in a press shift h to get back to the regular part of my image. Now what I can do is try to add some blue to this some purple in the Gamma and the gain. The lift. Yeah, it gets really garish really quickly, so you have to be kind of subtle about it. I could also perform brightness adjustments to so I could dark in this, and it only darkens the couch was It is kind of cool effect as well when you take down the gain on the couch in the shadows of the couch. But again, you're also seeing that we're selecting some of the dress here so that the dresses also getting the same adjustments applied to it and thats diminishing the coolness of this effect. And that's not great. So the next tutorial, we're gonna talk about something called Power Windows, which are essentially masks if you're familiar in the adobe world and we could use those to assist us in our qualifiers to remove areas like her dress. But for right now, let's add one more cereal node. That's kind of like our final polish here. And then we could go back into our gain at some warmth to the highlights in mid tones. And there we have something that's, ah, getting pretty good. So I press all D or option D on the Mac, I can go to my original, which actually isn't even my original. This is the I P P two version the original. The legacy color science looked much more washed out and terrible. So this is after I p p two and this is all of our notes again. We did a little bit overboard with the couch. And what I really would like to do is go back through with her dress and selected and then maybe de saturated there, which we could do with another note here and also with the couch. Maybe we could go into the key section and take down the gain, which is essentially, like the opacity of this node. Can't dial that back to taste, but yeah, so this is original. And then what? We change it too. With the power of these secondary correction where we could make the background really pop , we could make her hair pop and change the hue ever so slightly. And also add some color to this couch and add, you know, some more separation from her and the couch. Now again, I, uh, did another example of this where I took some more time with my keys and I added some power masks. I went in with her dress and de saturated it, darkened a little bit and actually let me just like right click here in a blank spot in the in the note area. I'm gonna choose cleanup node graph and then that organizes a little bit here. But, well, it's not kind of wonky gonna hold down the altar option key. And I'm gonna use my mouse wheel to zoom out a little bit so I could see everything a little bit more. But this is the final version. I came up with a little bit more time, and these are the couch keys that I use Actually sit blood this up into two different nodes so I could get her her background shadow as well as the rest of the couch. I also use power windows, which we'll talk about the next story a will to create a vignette. But here is the final result before, after, before and after. Your secondary color correction is usually my favorite part of color grading because it becomes a really artistic process where you can art direct everything and really bring all these colors together. So let's talk about the incredible power of power windows in the next couple of movies. 36. 09g Masking with power windows: in the next couple movies were going to be looking at power windows, which are easily one of resolves best features. I guess I've probably said that more than once about a few things. But seriously, though, this is amazing. Okay, I'm gonna go to their size files. Folder of Media folder are three DS and I want this file here. That's a 00 to drag it into my media pool. Gonna go to the cut page, drag this to my timeline to make ah, new timeline object that we could then take into the color page and fiddle with and again, I'm gonna go to camera Raw Almond echoed this using clip and change the color science to I p p two. So we have a better starting baseline here. Now, if we go over here to this little busy looking oval so normally maybe this you might be in curves. We talked about qualifiers last tutorial, and then here in this window area. This is where you find the power windows or, in other words, the masks. And this is actually pretty powerful stuff. This is not just like a simple mashed. They do quite a bit as well talk about in this movie and in the next movie. And what's cool about this is that when I create one of these masks or power windows, it makes it so that kind of like what we saw with the qualifier in the last tutorial that the adjustments that we make to the node Onley apply to wear the mask exists. So what I'm gonna do is I'm gonna create a new note by pressing Ault s or option s on the Mac. So I have a node that contains all of our changes here. And I'm going to click on this little circle here which creates, Ah, circular power window and pretty simple stuff. You know, like as we click on the edges, we scale this uniformly as we click on one of the sides or top and bottom, we scale it non uniformly. We could click on this little circle right here to rotate this, and we could also click in the middle to move it around. Also, if we go to the outside circle, we see this little red circle here. So you click this. We're increasing the feather. So this inner circle indicates where the adjustment starts and then a to the outer circle indicates where it is at 100%. And by the way, when you're in the window area, all these things could be controlled through sliders here as well. So we have size. We also have aspect, and we also have pan, which moves it left to right till which moves it up. And down we go. So rotate it or adjust the opacity, which is really cool. The opacity off the mask. We can also adjust the softness, the feathering I'm gonna go. And what I actually want to do is I want to darken the background right here on the other side of the tree. There's a lot of cool haze and mist and stuff like that, and it's distracting. It takes your eye away from our characters, and we don't want that. So if I were to go and put this over here and then let's say lower the gamma or something like that, Um, that's ridiculous. That's not what I meant to do here. My mouse kind of slipped on May, but as I started doing that, I mean that works, but it doesn't really match this shape of what we're doing, so I want to use a different shape, and there are all kinds of shapes to use here. And you'll notice, though, that I can't delete this. If I click this, I'll get a warning that says default Windows cannot be deleted. So I actually can't delete this because it's one of our main default windows. So I could turn this off just by clicking the little icon again and it goes away. And now are adjustment applies to everything, universally in the entire image. By the way, if I wanted to create an additional circle power window, I can go over here to the little plus circle so you actually create as many masks as I want . But I can only I can't delete the original one. So this one I just create over here, this one. I can go ahead and click, delete on and delete. And by the way, you can have all control over how you combine these masks or these power window so I could click a rectangular um, power window called a linear window. And so now I can adjust these corners and adjust the feathering on sides independently, which is really cool. So I have a little bit mawr control. But these do become a little bit more difficult to wield, so they have a little bit more complexity to them. And they're not as easy These round power windows based, basically, just have you, you move them. The feathering is just kind of universal. Quick, easy. Um and these give you a little bit more control, but also take a little bit more work. Now, over here we have these really cool mask modes, which are really helpful. So I'm gonna turn off my linear mask, my rectangular one for a moment and show you this because, like, let's say, for example, I wanted to apply this darkening here to everything except this area. I could invert the mask by clicking this icon right here. Now everything's dark except for that area. Also, I'll turn back on my linear mask here. There's mask modes over here on the right hand sites. I can control how these masks intersect. So if I click and this is kind of tougher to see so I could turn this off for the time being and let me actually take down the softness here too, So that, um, I'll take this back so I can see it. I'll take back Thea window here and I'll take down the feathering so it's a little bit more clear what I'm doing. There we go. Now I could turn this off and maybe I'll make the change a little bit more ridiculous so that just so we could see what's going on. So you see, by default when we add new power windows, that kind of all add together. But I could also use these mask modes to separate them. So now the the 1st 1 The linear mask is kind of becoming a cut out for the elliptical mask , the circular power window. I could also do the opposite where the circle becomes a cut out for the rectangle you could see there that's being cut out. Rectangles combine multiple shapes and really get whatever result that you need to get. Turn back on the power window, Turn these off. What I really want to do here is create my own custom shape. So gonna go down here to the curve power window, which allows you to create busy a curse. I'm gonna click. Once here, click and drag and click and drag and click and drag. And I could create a power window that way and then just click and let go without dragging to create a corner point that isn't curved and then click on the original point to create a close path. And from here we have a lot of the same controls. You know, we can increase the softness. We can rotate this or transform it. You know, adjust the size pan tilt. All that kind of stuff is gonna undo that. Take this back down to where it was about right here. And I actually can adjust the feathering inside and outside independently so I could have it the fade out along the edges here or fade out afterwards or both if I want to. And that kind of smooth it out. So it's not so obvious what's happening. So now again, if I take this drop down this view toe off, so I I'm not looking at this, I could see the background. This looks pretty good. So here is before and after just a little bit darkened and again we have this like misty haze, which is really cool, but it is distracting and we still have the haze, but it's just kind of darker and in the background Now. Now we could use this technique the power window, to create a quick vignette. So we'll go ahead and create a new ah cereal node using Ault s or option s. And I'll go ahead and click on the elliptical power window here, resize it and maybe even move it to our characters are so it's not even just kind of like a dummy vignette, but it's like a, you know, focus vignette increased the feathering a little bit, and then I want a dark in this, like dark in the Gammas. But then what's happening is it's darkening our characters, the stuff we don't want darkened. It's doing the opposite. So again we click the invert mask here and there you have it again. This is a little a little heavy handed here because we already have the darkening on this section. Someone raise this backup, maybe even expand this Here, move this over. And now we have a nice little focus, Finn. Yet here and everything that we're gonna dio is going apply only to the areas on the edges of the image. So again, I'm gonna press option D or all day on the PC to turn off all of the nodes here. Here's our original, and here's what we did with the help of power notes. Again, we didn't do anything to our characters. We didn't really do anything to the baseline footage itself. We only adjusted areas using power windows, and this is the difference that it made before and after. This also calls them to mind a really important concept of color grading is that often times when you want to fix a problem spot, sometimes you don't need to adjust the problem spot itself. Sometimes you could adjust everything else. In other words, sometimes if the shadows air off, you don't actually have to adjust the shadows. You could actually just the highlights or say, for example, that the highlights are blown out. Everything looks washed out. You don't necessarily have to adjust the highlights. You could do something to the shadows to make things work as well. So again, colors are all about relationships, so we don't necessarily have to brighten her. If we want her to pop weaken, darken everything else again before and after before and after, and she looks like she pops here. But really nothing has changed. Now imagine what we could have done with power windows when we were adjusting our initial scene. When we're adjusting our initial grade earlier in this chapter, we could have had done so much more. If we use power Mass. Me. Obviously, we could have added a vignette. We could have also added a power window in the upper left hand corner to increase the contrast in the clouds, making them look more ominous and foreboding. We could have added a power window to our main characters face to draw the eye to her, because on this notary used a power window for her face. We could lighten this to bring her out. So then this is before and this is after or what after could have been with power windows, so before power windows and after power windows. Next, we'll look at another incredible feature of power windows as we learn how to track moving features automatically 37. 09h Tracking motion with power windows: in this story, we're going to look at how to use power windows to track moving features super quick and easy and also some other tricks as well. I'm gonna go the exercise files and then go to the media folder are three ds and then this clip over here that a 12 we looked at before. Go ahead and drag and drop that in now. Previously in this chapter we've done has gone to the cut page made a timeline, but I can also do is right click on this clip right here in the media page and the top option here. Create new timeline. Using selected clips does take a little bit One more step, I guess because you have to know then input all this stuff. I'm just gonna go ahead and click on create and then I can go on ahead to the color page here and weaken greatness this. Now what I want to do here is just do a very quick, uh, gray just to kind of get this in the ball park so that are tracking trick will work. I'm gonna go ahead and click on camera Raw going to decode using the clip Change the color science toe I pp two. And then I'll go back over here to the color wheels and I'll I will just kind of get the levels basically where they should be here. Not ridiculous like that. I'm not sure. I mean, it's just gonna, like, flew off the screen there. Now that went sideways real fast. Um, so I'm looking over here at the way for modern on the right. That's fine. And I don't need to fill with the highlights. And actually, what I want to do here is click this little in the curves section the custom curves I'm gonna click this little link icon toe link all the color channels and I'll go ahead and just drag this down to, ah, dark in this quite a bit here and then I will also take down the saturation a little bit over here on the left side. Now, another thing that could also do here is if I go ahead and right, click on this and choose reset note grade. That will get me back to square one. And nothing I could do is go over here to this little a icon, which is auto balance, which kind of attempts to do all that stuff on its own. So if I click that you could see that we still have something that's, Ah, oversaturated. But it did kind of get our shadows mid tones and highlights about in the right spot. I like my gain to be a little bit lower than that and a little bit more room in my lifts or not clipping anything. But it does a good job of kind of getting everything pretty much in the right spot. I feel like there's a little bit of a magenta cast, so I might want to do is go to the Green Channel, click on Green, maybe bumped that up a little bit. And now the whole thing is just a little bit too bright, so I could actually go over here to the why by itself. But be aware that when you just why, by itself it does adjust just the luminous. But because you're not adjusting all the color channels at once, it tends to mess with the perceive saturation a little bit so often. After adjusting just the why I thought find myself having to adjust the colors a little bit as well. So this case, what I might do is click over here, Teoh this icon right here, which will reset my curves, that I will link them and then initially make the why. Adjustment Teoh de saturate everything. So the colors kind of stay in the right spot that I could go back just to the Green Channel and bump up just the Green Channel. I usually get better results from doing that rather than starting with the why. Adjustment. Okay, this is good enough for our purposes here. I just basically want Teoh dark in this, so her face is a little bit too dark. Maybe we could even go back to just why and darken it a little bit more. Just where Faces a little bit too dark. They're going to create a new serial node using Ault s or option s. And then I'm gonna go ahead and create a power window here. Somebody go over to the window area right here, Button. I'm gonna click on the circle and create a circular power mask. I'm going to click in this area to move it to the right spot. I'll click on this little button right here to rotate this. And then I'll click on the white dots to resize the window and maybe even use the mouse wheel to zoom in here. Hold down the mouse button, Teoh pan around your shot that we could just dial this in and get this in the exact right spot Here, click on the red on the outside here to increase the feathering. And that way, this mask only applies to what is on her face here. Okay, Now, this works out perfectly here because there's actually a lot of shadow here in the center of her face, and this side is lit, so it's gonna work perfectly for the feathering of this effect. But again, now that I have this power window, all the effects that I make to this note only apply to what is in that power window. So I'm gonna increase the lift. He increased the gam a little bit and maybe even warm those up. Just a smidge. Bring those a little bit towards orange. I do want to overdo this a little bit, So the effect is kind of obvious a little bit more than I normally would, And that looks pretty good. So go to custom curves just to get that thing off screen here. And as I press command D or controlled the Teoh see the before and after. So you see that that's lighting her there. So before and after. Okay, that's all fine and dandy. But what happens is if I move in time here, then the selection still stays here. Announced lighting the edge of her year and like, that's not what we want at all. So I'm gonna go back to that same frame, which was about 7 17 here, and what I want is this power window to stay with her face and to do this It's so easy. I just have to go to this track area here this, like a little track tab, the Tracker tab, and then just play it forward. And this disc Lucilla plight play icon. It's gonna just track whatever's in the selected power window forward. Watch this boom, and I'm gonna talk in real time so you could see that this is tracking this quickly in real time. All the movement and the tweaking and her shaking her head the way the cameras tilting down It's not phasing the tracker and resolved at all. And so now this window stays with her locked on her face, and it's perfect that change were I've lived that up is sticking with her locked on, and it's amazing. Now what I could do is go back here to the first frame and then just track backwards. So then the rest of the shot is tracked as well as perfect takes it right off screen, which is incredible. So now, as I play this back and actually go ahead and go to custom curves just to take off the visibility, that master also just go this drop down and chews off. But go ahead and have space or to play it. And now that mask is with her the entire time. That looks so much better. It looks like we have just like somebody shooting a fill light and her on set here, Command de control De. Look at that. Now, if I want to go back to my mask and maybe that's rotate a little bit too much, maybe I want to make it a little bit smaller. Maybe bring in the feather a little bit. Whatever and that's updated throughout the shop. I don't have to go tell it to recalculate or anything like that. That's just the new mask shape, which is just incredible. Now, if there are in perfect tracks, I can go back to the tracker area here, and I could say Okay, well, actually only wanted to track the panning or Onley track zooming or vice versa. If I know that there's no zoom here, I could unchecked zoom or, if there's no till, taken unchecked, ill. But typically, honestly, I just leave all these checked almost always, and I usually don't have to do anything to adjust it or fiddle with it at all. If needed, I can go in interactive mode. There are these other choices here where I can select other points that can increase points . I can use the little trashcan icon here to delete tracking points of its tracking, something that is not in the shot but most of time using power windows for tracking. It's for doing little Subtle adjustments like this was just kind of like the part of somebody's face, because if you're using power windows and you're trying to do too much with them, than it really sticks out, and it's very obvious. So making little subtle changes like that and then tracking them. It works for me almost 100% of the time, and this is just again one of my favorite features of DaVinci resolve. 38. 09i Using OpenFX in DaVinci Resolve: this story is gonna be Ah, quick little tip on how to use open effects and result basically plug ins for other companies. In result, I'm gonna go there size files. I'm gonna go to media are three DS and I'm gonna bring in this shot right here a 005 blah, blah, blah whatever. And I'm gonna right click on it and I'm gonna choose create new timeline using selected clips. Click, Create. And I could actually go over to the edit page and apply plug ins over here on this side. So there's no the toolbox, the stock transitions and effects in resolve, which is a pretty meaty collection. But then, as you install other plug ins from other companies, they will show up here in open effects open effect. It's almost like a standard, an effect standard that other companies can you, So you likely might not have the same effects that I do. So it's not really something you could fall along with here, just kind of informational. But as I go over to the color page here, you can see the effects here in the open effects area. Now, in order to use this here. I'm just gonna scroll this all the way to the top, and I'm gonna go ahead and do a light color correction just to get this image in the right spots. I'm gonna go to camera raw decode using clip change the color science toe, I pp two. And let's go ahead and go to the primaries Wheels. I'll go ahead and auto balance this and then I'll go to my custom curves and I'll bring down the white level and blacks already pretty good there and all the dark in this quite a bit quarter I get a bit, maybe make the highlights, pop just a smidge and will cool those our warm knows highlights up just a little bit with Thea gain control. They're not too much. Just a just a smidge. Now want to create a blink node to apply these open effects? Now, you could do whatever you want. I'm not the boss of you. I'm not your mom. But this is what I found to be the best way to do things. Because if I press old s option s to make a new serial note and I apply my open effects to that I find that there's a lot more flexibility, open effects or not really like 100% integrated, really, with the resolve workflow just yet. So if I apply an effect and I want to remove it, it's it's not as flexible. So I like to do all my work with open effects on their own note and even each effect on its own note. So I'm gonna go ahead and roll down, and I have resolved affects, blur, resolve, effects, color and these roll effects that come with result. But as I scroll down here, we'll start to see some unusual names here. For example, Boris affects Mocha. So I have Mocha Pro, which is an amazing tracking application installed, and it installs here so I could use mocha pro in resolve, which is incredible. I also have red giant universe, which is really helpful and actually used a lot of red giant universe effects in the assurance when I was color grading. It causes a lot of us settle blurs and little simple effects that I wanted here and resolve that result didn't have. And so the universe collection installs that allows me to use that here for example, I have this retrograde effect, which kind of gives this cool like exploitation movie of the seventies stylization on everything. But as this is very filmic, grain out. Maybe change the film stock over here in the settings, By the way, for not seeing this again. Open up three. Effect setting libraries where you pick your effects settings where you tweak them. And I'll tell you the film stock Teoh, Let's see Ah, 16 millimeter home movie And then I could come down here to saturation and increase the saturation to my liking. You could see that it it's kind of like warmed it And give this kid at this very like, uh, Texas Chainsaw Massacre vibe. Very like homemade feel. And I just love the way that looks again. I'll press a command deer control de on the PC to deactivate that's that's before the open effects. And then after. Now, if I want to temporarily remove this effect, I can click this little switch here, and this turns it often on, but it's still here, so if I actually want to remove it, you could see little effects icon here. Tell me that I have an effect apply to this note. If I right click, I can choose. Remove, remove open effects plug in and that's that's pretty much our choice. We don't really have the option to go in and delete single effects or really you re stack them or have that kind of control. So I'm going to a choose a remove open, oh effects plug in and there it goes. But just be aware that there is a huge library of effects out there of companies that make effects for the open effect open effects format. And you could bring that into resolve and use that here and really increase what you're able to do. Red Giant Magic Bullet Suite is here as well. So a lot of power here in resolve with the help of open effects. 39. 09j Grading a Challenging Shot, ex. #1: in the next couple tutorials, we're gonna put together what we've learned and grade some really tough shots. And we also learn a little bit along the way. I'm go. The exercise files Media are three DS and I'm going Teoh, get this clip here, which is actually ah, video clip and kind of like hover, scrub and premier for you. Move your cursor over this. We can actually play the whole clip in to drag this down, and I'm gonna go ahead and change my project settings. If I get that prompted and right click on the clip, create a new timeline using this clip. Go ahead and click create, and then I will move over to the color page. And here we have this scene. It's supposed to look like I was gonna click open effects and close that up. This is supposed to look kind of like, ah, crude, rudimentary sick bay. And it's supposed to look dark and brooding and it was shot with way too much light. That's kind of cool, because we have a little bit of flexibility in in postproduction and color grading, and it's not gonna be noisy if we choose to a bump up some of these darker areas because there's all kind of black set dressing here. Ah, but this is not giving us the look that we're going for. So I'm gonna go over here to camera raw, decode the project using clip change, the color science toe, I pp two. And this did a good job of kind of bringing this back into kind of normal levels, except that the face here off our subject is still totally blown out. And so what I can do here, I'm actually going to use my mouse wheel to zoom in and I'm gonna hold the mouse wheel down and I'm gonna pan around with That's we can really see here. And this boy is supposed to look like he has some kind of, like, horrible illness on his face. So we're gonna be signifying him quite a bit. But even though the backgrounds kind of dark in a little bit, we're still having a lot of detail, just kind of crushed. It's not totally blown out in a lot of places. There's some post ization happening, but that's due to the candles up here, and we don't really need any of that detail packs. That's fine, but we don't want this to be so crunched together. Want to spread this out a little bit? So when we're using, I PP two, we could actually control the highlight Rohloff. So we to fold its medium. But if I go too soft, we get some of that detail back. If I choose very soft, I get even more of that detail back so you could see that my mid tones and shadows are pretty much in the same spot. It's just that I have a little bit more detail in my highlights. I find this is often really helpful for actors like such as myself, that have a super pasty white skin and tend to glow even in the dark. And also like, if you're pointing at the sky, you're looking at clouds or something like that. Rolling off the highlights very softly can create some more detail on beauty. There again, here is the medium version, and then here is very soft, big difference. Okay, now I'm gonna go over here to my primary wheels and because we're doing this tutorial in the right way, I don't want to use any shortcuts. I want to manually adjust the color of this like I normally would on a real project. No, no tricks or gimmicks here. When you use the mouse wheel to zoom back out here and again, use the middle mouse button to kind of re center. That now first thing I want to dio is get down the shadows. Want have my way for a monitor? I have my scope selected here has dropped down. I have wave form selected and I want to look at the bottom of this as I adjust the lift loom in its on a Bring that down right until we just about touch the bottom. This is a really dark scene, so I can bring this pretty much all the way to the bottom and we're going to be fine. Normally, I would take the highlights up a little bit, but we already have kind of like artificially bright highlights, so I don't need to do that at all. I could put these things back, but I don't want to dark in this too much because if I start taking, let's say up, for example, go to custom curves here, I'll take this Brightpoint down. What tends to happen is it lowers the luminant of all the colors. And so then this blown out White is actually not white. It's great. And that starts looking very fake very quickly. So I actually want to make sure that I do have pure white in this and because we're gonna be darkening everything so much, it's OK if it's not perfectly pure white. Now, with the shadows and the highlights where I want them, I could now fiddle with the mid tones. I could do that by going to the gamma wheel here and taking this down if I want to go that route. Uh, I prefer having more control and going over here to the custom curves. And I'm going to initially lock all these together clicking this little like link thing here. So all the color channels are adjusted together, and then that we have a little bit more control over exactly where I want the dark stuff to be, So I think I might do this type of thing. Yeah, I like that. Now. I might choose to go back and fiddle with this a little bit more and make it a little bit darker, but that's a good kind of base level grade for right now we could build off of this and then at a polishing note at the end, going to right Click on this, go to ah, add note. I'm going to add a serial note, and I'm also gonna label these so we know what's going on. A right click on that 1st 1 choose no label am, honest, say based grade. And then the 2nd 1 I'm going to right click on it, go to node label and I'm gonna choose. Look, this is gonna be my cinematic look for that. I'm gonna do what we did earlier in this course. I'm gonna go to the Red Color Channel and I like the Reds for the highlights where they are basically, and I'm gonna go down here to the shadows and take red out of them. You'll see what's happening. If we do that a little bit, then we kind of have a more neutral shadow. If we do that a little bit Mawr direction, you be putting a little bit of green lit a scion into those shadows and I love that look. So if I press command D or controlled the on the PC with this note Select. I could see before and after before and after. Definitely like that. Better now I'm gonna make another serial noted in a press cult s this time Use the keyboard shortcut or option s on the Mac or right click on this note label. Emina choose candle fix. And what I'm gonna do is go over here to my power window and I'm gonna create a circle and I'm going to shrink this down so it just effects the candle and I'll increase the feathering here quite a bit. And I mean, he did just this mask later. Again, Color correction is never just kind of like a jump in, and it's just perfect the first time you have to fiddle with it, experiment and see every time. Now these candles, unlike these, were kind of blasted with light. And I don't like that. I wish they look more like this, but this is just kind of how they are. They're blown out there blurrier. They're just different. They'll never aspire to their older brothers just getting. But we don't. We kind of would like Teoh go more in that direction, but still kind of respect the fact that these were shot differently, and I think that's important. I'm going over to my custom curves here. I'm a link, all the curves and actually I'm going to blow out the highlights a little bit more with all the color, So these are a little bit brighter. But then I want to darken everything besides this really Brill Ebright Point. So don't click like right here and then bring this down so that we have a little bit more darkness. Now if I get too close to that point and this line is too vertical will create some post or ization some hard contrast. I don't want that. I want this kind of like smoother look over here, So I'm going to bring this that now, as I start doing that, you see that like that power window, it's making it so everything else is getting dark as well, and that's that's not great. So what I want to do maybe, is gored. My primary wheels were have a little bit more specified control over lift gamma and gain, so if I just gain, it's gonna take down the highlights. We just bumped up. But it's also going Teoh dark in just the highlights. Just the highlights there. We also tried taking down the Gamma of these candles. But I think that we're gonna start running into the same problem. We start to see the darkening around the whole edge. Someone reset just the gamma with this little loopy loo thinking here mostly to see where we're at by pressing command D or control de to turn this off. And I don't like the darkening that's happening around here. So I think that's coming from my my curves over here somewhere. Bring that back up and maybe even bring up my highlights a little bit more. Actually, this is no longer being recognized as a highlight because we took down the gain. So just gonna go ahead and reset the custom curve and we'll just use gain here. So as I bring this down, you can see that we're darkening the candle without darkening the background too much. We also might want Teoh move the gain control over to warm this a little bit, so it doesn't feel as quite as blown out now if we take this too far. You'll see an issue here where the flames here are very yellow and they're not yellow here , So we can't take this too far in that direction. That's again. Ah, very common color thing. You got to be careful. You can't can't pushed things too far. Else it starts looking pretty phony. So just a little smidge in that direction is good. We could also take down the contrast of this little area. We might want to also maybe take down the saturation or take up the saturation fiddle with that. Now we still need to bring back that candlelight a little bit. Another thing we could do is go over here to the log wheels, which are a little bit more specific. So maybe adjusting the highlights here would get some of that detail back just a little bit . It's still allow us to keep the darkening from the other side of the primaries wheels. I realize we're kind of working against ourselves, but we are trying to just specifically raise just that one little bright area there. So now if I press command D before and after before and after, actually might want to go back down to the saturation and take saturation down a little bit because now that extra yellow is bothering me and maybe play with the highlight a little bit, Okay? Again, Before and after I could live with that. It's a little dim, but when we dark and everything else, I think it's gonna work out just fine. We could always come back to this if we want to change something now, I'm going to go ahead and select candle fixing a press alter option s to make a new serial node right click. No label, and I'll call this pillow fix. And what I want to do here is create a another circle window and I want to smash this. You could create any shape, actually, like I seem to have, like, a strong, strong preference for circle masks. And I suppose that I do because they're just really easy. You just, you know, just grab one feather control, and that's all you have to worry about. And I find that to be really, really nice here. So with the window on this pillow, I can go ahead and go to my custom curves and just drag this down find this pillow to be just really distracting. It takes away from the kid and his make up in the whole bit and also might want to de saturate this. So it's just kind of just kind of recedes into the background a little bit more so command G or controlled d to turn that off and on off and on. I like that. I think I might want to feather it more, though, So it feels like this a little bit more of an organic shadow right there. And I'm just gonna increase this and maybe even shrink this down a little bit. So now I could go back to my curve to turn off the power window display. Here's before and after I like that. Now, the real issue here is the boy's face. We really gotta play with this, So I'm going to Ah, press alter option s to create a new node, right click. No label and I'll call this sick kid fix, and I want to create a power window circle window again cause I dig that and I'm going to really create a little bit more of a tight mask around his face here and I'm trying to strike a balance here as I go between having a really detailed tutorial and also editorial that's engaging. If I were do this for reals, I would spend a little bit more time fiddling the little nuances like the pillow fix and this sick kid fix some. I'm kind of approximating a bit here, and so forgive me for being a little bit sloppy as we go through this. So now what I want to do here I mean, there are a few things, and again, this is not like there's not like some kind of rule book about how to make a kid look sick in this shot, but I definitely want to take some of the color out of his face so I might take the saturation down. And I love how the controls and resolve are really gradual. But that can also be super dangerous, because then you could make really big changes and not realize it. So I always like to use that commands or that keyboard shortcut command dear controlled the to turn off the node and then turn it back on again, so make sure I don't get too far off there. I also want to darken this. I'm just gonna take down the Brightpoint and dark in just like the whole face. Just a little bit. It's about Fitted with that a little bit more, a little bit more darkening, a little bit more d saturation. And if you get in the right spot, if you go too much starts to look like a 19 forties black and white movie or like a zombie . And if you get it just right, then hey, looks a little bit more. Six started. See, like the tip of his nose is saturated, so we gotta go back to our power window and bump this up a little bit. Maybe we need to take down that feathering a little bit more intensely. Nothing we could do here is go to, let's say, our primaries wheels again. And maybe we want to move the hue to something faintly greenish just slightly, slightly slightly. And that just gives him just kind of like a sickly hue with skin tones again, You really don't want to push very far because it looks really bad really fast. But as I hit a commander control D, you could see that line now around there. So what I probably would do in real life was is go back here to my power windows. And instead of using a circle, I would use a curve and manually go over us face that follows the contours of his face. And that would come in handy again as we play this clip back in just a moment. But I'm gonna leave with a circle for now, just so we can go a little bit more quickly because we have some other stuff to talk about here. I'm gonna go over to my tracking tab here, and I'm gonna go ahead and leave all the settings of their default. And I'm gonna go ahead and press play to track this forward and everything locks on as normal. And this is me getting my camera situated. But then the kid turns his head, and then we have some issues. So does a great job of tracking him offscreen. Thank you. Resolve. It's amazing. But we have this big glaring problem where he turns his head and then half of his head is exposed. So it moves this down Now, we could just move this back up but then was going to do is just gonna offset the entire mask. So then this would be a little bit too high. So we want to do is almost create a key frame for just this area right here as long that this frame it's right. But then the rest of the track is as it waas. So what I can do here is just go over to the frame section. So it's on clip right now, just go to frame. And then as I adjust this, it's adjusting it for this frame. It's not adjusting our entire track. You see, it's crazy little diamond key frame here, locking that into position, and I could go earlier and then bring this down blocks that into position. And now it just follows the kid the entire time, which is really great. So now I would just add a couple finishing nodes really quick to wrap this up, I would add a option s serial note and I'm just going Teoh, call this vig e short for vignette. That's what I That's my own thing that I like to do, and I would make a circle mask and make this bigger and feather the heck out of this. And it also in this case, bring this down because I don't want a dark in the books. He's kind of like the main subject here. And I also might make this larger to ah include the candles cause I don't want to darken those either. So now I could go over here. Actually, I wanna convert this by clicking this so that darkens the outside. So if I click down on this, we're going to just create a little bit of a vignette there, and I also want to create a final grade. But for vignettes, you typically want to create those last. So what I can do here? Let's say I created a new note already. Add at a new serial note. You can also use a keyboard shirt that cut that I go over all the time, and what we could do is we can select one of these connectors to delete them, right click on it, click delete link, and then I could insert this in between these two. And once it gets over the highlight there, that could let go. That automatically puts that back in and I could click and drag to reconnect the output of the vignette to the output of the whole clip. And we're good. So all right, click on this. Change the node label to final grade, and I feel like we still have a bit too much red, so I might go to the Red Channel, take this out a bit. Also might de saturate the whole thing a bit, and they also might go back and add some contrast, so I might take down the Gamma a bit. Now the kids started to look a little too fake ish, so I'm gonna go back to Sick kid fix It may be given back some saturation, so it's not as bad. And that still looks pretty gory. So that's good. So ah, gory in a good way. And so now, as I play this back, I still might want to go back to my final grade, maybe go back to the why and just take some life out of this. Just take it all down and de saturated all a little bit more here and then there. We have a pretty cool look there. Now if I press olt d or option D on the Mac, it's gonna turn off all my notes. So that's what we started with kind of a tough grade, and that's what we turned it into again. We're going to see some of this color correction from the power window on her wrist, and you know that's not great. We don't want that. So again, if we had more time, we go into the curve power window and manually make this so we could, you know, really separate the color separation from her wrist. But for right now, this is a pretty great grade, all things considered again before and after. Next, we'll get a different shot and another example and talk about some other features we haven't covered yet as well. 40. 09k Grading a Challenging Shot, ex. #2: for our next project. Go to the exercise files. Media are three DS and we're gonna be looking at this clip a 00 to seize or 15 bubble or whatever. And you know, I wanted this toe have, like, a film noir look and this is just way too bright. And as we'll see, there's a magenta tent when we actually get thes luminess values, right? This is it. This is a tricky shot. So we're gonna go ahead and drag this to import it again. Right? Click on it, create a new timeline using selected clips, click create, and they will hop on over to the color page. And as before, we'll go to camera raw decode using clip change this over from the color science to I P p two. Let's go over to the primary wheels here. We'll make sure that we have pure black again looking at my way for monitor here. Looking good might also bump up my gain a little bit. I'm not really in danger of blowing anything out, and, uh, this actually looks good. I don't think I need to go any further here. Next thing I want to do is get my mid tones in the right spots. I'm gonna drop the gamma down, we down. That's looking pretty good. I feel like we're starting to clip a little bit of detail in the shadows there. And so I'm gonna bring that back up and actually, I'm going to Well, I'll just go and click this to reset it. And then I'll go over here to my custom curves. They're gonna do this with curves instead clicking here, drag this down. I have a little bit more control again over how those shadows are darkening. Now, our colors are looking terrible here changing things over the I. P P two is great, but it increases the saturation so much that for this vintage forties look and with the color caste that's in the image the magenta color cast, this is just a real big mess. So what I'm gonna do is on press all s or option as to create a new serial note. Right click on the 1st 1 No label called this base grade and then I'm gonna right click on the next one. Choose no label. I'll just type C c for color, correct. And thankfully, these little circles here in the background should be white. So I conclude this little eyedropper here and again, making sure we're on the second cc node. And I'm gonna click on the eyedropper here on that background. And then it corrects that for us. Now, I don't think that that's necessarily neutral to my eye, That looks a little bit yellowish still. So what I want to do is go over to the Blue Channel and I want to add blue to get rid of the yellow. So as I add blue, it's gonna get rid of that yellow. I also might want to go to the green, and there are some some magenta here. Still, it's what I want to do is add some green to neutralize that magenta. Maybe even add some green in the shadows to neutralize the magenta shadows that we're seeing here. Now, what I really need to be doing here is checking the color with my vector scope. So I'm gonna go over to my scopes and go to this drop down and I'm gonna choose vector scope. I could see that my colors here are off in this direction and there's nothing going out this way, which is where we want to see skin tones in between red and yellow. So the vector scope says, still, too much magenta, so we can go to the lift Gamma gain too quickly, just kind of push some green into the shadows. Mid tones highlights, and as we do that we're seeing are vector scope shift a little bit again. We want to be careful not to introduce any color casts here because we don't want thes circles here to be magenta. We want this to be kind of neutral. We also might want to grab the gamma, which represents the mid tones, and push them over to kind of like this yellowish green, maybe a little bit just straight yellow. And as we do, we're kind of moving the Hughes in the right direction. And again, this is why color correction is not just like a, you know, click this button and it's done type thing because as we introduce the green and yellow Teoh the image here, her skin tones are looking better. But then the background is starting to turn yellow, and there's also starting to be yellow, introduced into the shadows as well, so we might want to introduce some blue to the shadows and maybe some blue to the highlights toe offset what we're doing to the gamma controls. So again, color corrections. Often this, like push pull thing where we're kind of moving this and then that messes things up. Then we gotta go back and fix that other thing and and so on and so forth. So as I am, keep pulling thes lift and gain towards cool tones and gamma towards warm tones were solely getting where we want to go. Let's see what we have before and after one hit command deer control de to turn this note off. There's before good heavens, it's awful. And we press command de control de to get that back. And now that's looking Ah, a little better. Maybe we could warm up the Gamma just a little bit more now that gives us a little bit of yellowing in the highlights, but I am kind of going for a cool vintage look here. So, like, that's not it's not the worst thing that could happen, so maybe you could call that off a little bit, but I cannot like that but that is more of a creative choice. So for this grade, I'm just going to neutralize the highlights, and then I'll add more of stylized stuff on a future. Great. And I like to keep things organized like that, Just so I remember where things are. If I don't like the creative great, I can go back later and fix just that. I don't to go digging through all my settings like, Oh, what's the offending thing? That doesn't look right. So when a press Ault s to make another, um, note All right, click and the note label, I'll choose. Look, and maybe here will go to the gain and warm this up a little bit. Maybe we wanted to feel neo noir, in which case we would take the shadows, maybe to a cooler color, to create this kind of cool contrast. If we wanted to feel vintage, we would take the shadows to a warmer tone, so makes it look like film a little bit. Also at this point would go to a power window, link all these, drop these tones a little bit, and then also bump up the highlights here. So we want to take down the shadows. Not that much bump up highlights the create more contrast here. It's a little hard core. Maybe we bring back up the shadows so we bit and this will probably better if we were looking at our wave form monitor while we did this Because we're seeing it's a lot of dark here and a little bit of crushing in the blacks. Would you bring that up Just just a wee bit. Maybe again. We go to the gamma dial, take this down a little bit. There. Now again. Always good to look at the beginning when we started something, press old dear Option d There's before and there's what we have now. And if I press command D or control de, that's going to turn off just this note. So this is the look now one last thing I want to do here is I want to Well, a couple last things I'm actually gonna press alter option s to create of and yet no label Vicky. And I'm gonna go ahead and create a circular power window. Feather the heck out of it. Here we go and go to custom curves. The mall linked drop this down, and it's We haven't inverted it yet, so it's working everything inside. That's the opposite of what we want. Go back to my power windows. Here, invert this. Oh, yes, yes, yes. Power window. Just like that. Okay, so this is getting to a cool spot. But, you know, I'm starting to feel like maybe this is a little bit too. I don't know, like a little bit Teoh. New looking, the saturation like hard core. I love the way our lips are popping out, but, you know, maybe we want to do something different. What I can do is right. Click on the clip goto local versions and to create a new version called this version to copy all marks. And then now we have a different version. So if I right click on this clip, you could see that we're now using version two. So maybe I go to version two and I take the look node and I right click on it, and I choose reset node grade. So everything else about the image is the same, except for the look. And so then I could take down the overall saturation and like, oh, That's kind of interesting. And then, with the over set overall saturation adjusted, maybe then I'm just gonna give this a big tent to the Gammas. Just a nice, warm look there. That definitely looks a lot more vintage. So now I could go back and look at Version one and load it and see there's my original and there's my version to So I could take a look back and forth and see which version I prefer So I could make Ah, bunch of different looks for each clip and audition them for my producer, a boss or supervisor, whatever client that I'm working with and or myself, you know, whatever. And I can, you know, go back in 14 different versions and still experiment without losing anything, which is great. So there we have it, folks. I'm gonna again press all D. There's what we started with, and there's what we turned it into pretty cool stuff. 41. 09l Exporting your timeline and rendering from Resolve: for this tutorial gonna be using the actual resolve project that I used when I greeted my short film. The assurance. It's a colossal collection of files with a bunch of links, and it's just not feasible to distribute. So just watch along for this one and basically want to talk about exporting from resolve and getting stuff back into premiere. Four more tweaks, if that's your workflow. So here in resolve, I can go from the color page over to the deliver page down at the bottom of the screen here , and when we choose to deliver, we can choose all type of stuff here. There's all kinds of nice presets now at the top. This didn't used to be that way. There's a fair, the recent addition to resolve that makes it much easier. You can look at the top here and just kind of like, Oh, yeah, I want a H 264 low quality master or I want a pro rez, high quality master or something for, um, you know, a film screening or to submit to film festivals. You couldn't go there, or you can put it on YouTube, whatever. And I could also choose to export just the audio or the video, and it could also change the format and also the Kodak and all types of options here. And ah, And then once you get the settings that you want, you click. Add to render queue. You'll see over here on the right hand side and kind of just like in adobe programs, you can go ahead and add multiple things to the render queue, heads the name render queue, and then when you're ready to render, you can go ahead and hit. Start, render notice. He could also change this from render entire timeline to just in an outrage. If you want to test settings or something along those lines, you can just rendered just a range. But for this I'm just gonna export the entire timeline. And I want to show you here that if you go over the top here one of the options as you could actually export to another editing tools such as Pro Tools or Avatar Final cut. In my case, I wanted to do Premier XML so I can click on Premier XML, and then I can add that to my rhetoric, you as well and that's exactly what I did. It exported a maximum on XML file. For me, that's more difficult to say that it sounds like So don't judge an XML file and that I could bring that into Premiere. So in Premiere, I can you treat the XML file like a project, I could import it. I can open it like a project. And then when I do that, it comes in as a sequence with all of the clips here. Now, what's awesome is that it will output one solid file, but the XML file has the data to tell it where to cut. So the cuts will already show up for you, which is really awesome. You have to go in and manually cut things that cuts will already be here for you. So what I did was I brought in my final video, added some little last minute tweaks, tracking a little polish here and there used some third party effects that aren't in open, that I don't have open effects versions that I can't use and resolve. It's a little bit of polish. And then I brought in my high quality audio from my sound designer and then rendered the whole thing out of premier, exported that to a D. C. P file that I could use at the movie theater screening and whatever other formats that I want to find. That premier has a little bit more flexibility in terms of output formats. So that was my output tool of choice. But whatever your workflow, that's how you get footage out of resolve, whether you're going to render it and have that be the end product or where you're going to send it back to premier or another editor for more tweaking. 42. 10a Checking color at a movie theater: What are the tough things about coloring video is that you never know what the color is going to look like to your viewers. In most cases, no matter how accurately your moderates calibrated or how well managed your color workflow is, you really don't have any control over the color settings of the devices like the you know TVs or computer monitors or whatever that are showing your contact. However, if you're working on an indie film and you're screening your film in a theater, you can often do something called a tech check. I did that with my short film, The Assurance. I met the text staff of the CIF Uptown Theater in downtown Seattle a couple days before the screening of the film, at a time when they weren't holding a screening in the theater that would be screening the assurance. And then we had them do a test screening of the assurance so that I could make sure that the sound was working and that the colors were correct. And I'm really glad I did that because in the tech check, I realize that the shadows the film looked a little bit muddy and dense, so I was able to then quickly lighten the shadows of the film overall, a little bit less contract in the shadows and render a new version for the screen that looked the way I want it to. So if it's at all possible, check your color and the final output medium before calling your project done. And even if you're out putting to an unpredictable medium like the Internet or TV, do some tests on other systems, especially with unprofessional setups. So, like, you know, go ask your mom, go to your boyfriend's house, test your stuff on their TVs or computers to see what it looks like. And if you go out and you run like four or five tests or whatever, and then maybe one monitor or TV seemed, you know, to green or had too much contrast, then you could chalk that up to an anomaly for just that, just that one system. But if you're highlights look blown out consistently on different setups, it's a good sign that a lot of your viewers are likewise going to see blown out highlights . You put a lot of effort into perfecting your color, so it's worth putting some effort into ensuring that viewers can experience your content the way you intended 43. 10b Previewing the Audio course: This training course on color is part of a series of filmmaking courses on Linked in Learning. This is the 11th Stallman in the creating a short film, Siri's. The next course in this series is all about audio recording, audio on set editing, audio during the edit, adding fully and sound design. Mixing. And MAWR will also look at sending the audio mix out toe other specialists on your team for my short film, The Insurance, The sound mix went international. We hired to local sound designers, including one that won a Grammy for a sound design. And the final mix of the film was done by Bruce Williams in Australia. Proofs is a good friend of mine and is also a long time audio pro. And a fellow. Lynda dot com link in learning author in this course will also take a good look at the music I composed for the film. We'll look at how music is used in films to tell stories and build a culture will look a little at the music of the assurance and how I started with a theme in pre production and how that theme evolved into a full orchestral score I also enlisted the help of my dad to help with the orchestration, and we'll talk about that whole process. I also rented out a gorgeous chapel, which is actually where the musical scores for Hollywood films like The Incredible Hulk and Brokeback Mountain were recorded. And I got the help of 20 wonderful souls to create this makeshift orchestra. And I conducted this said orchestra, which was, um, it was eye opening. I learned a lot from that, and, uh, you know, I probably won't ever do that again, but I learned a lot, and I'll tell you what I learned in the struggles that I had. We also had a great crew for recording that orchestra, including Doug here, who also recorded the onset audio for the 1st 2 seasons of breaking Bad. I learned so, so so much about audio through this process and, as you can see and also here, we had a really talented group of people helping out on this project, so there will be, ah, lot toe learn. It's gonna be a phenomenal course, and it will only be available on linked in learning, so be sure to come check it out 44. 10c Final thoughts: well, that ends our training course. So where might you go from here? You know, there's so much more to learn that we couldn't get to. In this course, there are great color plug ins like Magic Bullet Looks and Cal Arista by Red Giant. There are also tons of other features and resolve that are incredible. There's technical stuff to explore, like color management work flows. I might also recommend finding great still frames online or pausing your favorite movie and just just observe. Just take it all in. What's making that image so beautiful? What are the colors doing? What are the shadows like? What's going on in the highlights with the contrast like, regardless, best of luck with all that you do with color color is just so magical, isn't it? You know, changes moods. It helps us tell stories that creates beauty. It's such a gift just to be able to see it all and use these incredible tools to fiddle and play with it. Thank you so much for joining me folks again. I'm Chad Perkins. Take care