Color Grading from Beginner to Advanced in Final Cut Pro X | Myles Fearnley | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Color Grading from Beginner to Advanced in Final Cut Pro X

teacher avatar Myles Fearnley, BBC-published videographer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

24 Lessons (3h 4m)
    • 1. 1.1 Introduction

    • 2. 1.2 Tour of FCPX

    • 3. 1.3 The Scopes

    • 4. 1.4 Colour Wheels

    • 5. 1.5 Colour Curves

    • 6. 1.6 Hue Curves

    • 7. 1.7 Colour Workflow

    • 8. 2.1 Correction Introduction

    • 9. 2.2 Colour Conversion

    • 10. 2.3 Noise Reduction

    • 11. 2.4 Exposure and Contrast

    • 12. 2.5 How to Fix White Balance

    • 13. 2.6 Saturation

    • 14. 2.7 Get Perfect Skin Tones

    • 15. 2.8 Secondary Corrections - Small But Crucial

    • 16. 3.1 LUTs Introduction

    • 17. 3.2 Get the Best Free LUTs

    • 18. 3.3 Apply a LUT in FCPX

    • 19. 3.4 Get the Best from Any LUT

    • 20. 4.1 Black and White Grading

    • 21. 4.2 Matching Cameras in FCPX

    • 22. 4.3 Grade with Colour Wheels

    • 23. 4.4 3 Powerful Uses of Curves (5 Looks Including Warm / Cool)

    • 24. Bonus - FCPX Update for 2020

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Take your colour grading to the next level in Final Cut Pro!!

If you've ever felt lost when it comes to colour work, I feel your pain! I know the struggle:

  • online tutorials that conflict or don't tell the whole story

  • not knowing where to start or what makes footage look good

  • unnatural skin tones

  • applying a LUT to find that it looks bad

I've designed this course to resolve all this and more. This is all the knowledge I wish I knew when I started out with video, (too) many years ago.

In this course, you'll get:

  • Step-by-step workflow giving you a structured approach to get pro results

  • A solid understanding of the tools and scopes featured in Final Cut Pro

  • Where to get the best free LUTs, and more importantly, how to get the best from any LUT

  • The knowledge to create your own looks in FCPX

Hope to see you in there!

Meet Your Teacher

Teacher Profile Image

Myles Fearnley

BBC-published videographer


After working at my craft for 8 years,  I now run a video production business filming a variety of projects for a range of clients.

My work with the Panasonic G line has aired everywhere from BBC television, the local cinema screen and of course online.

Love sharing my knowledge and hearing how it has helped people!

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. 1.1 Introduction: Welcome. Welcome. Thank you for enrolling in the course. You're in the right place if you're just starting out or you're looking to improve on your color grading skills in final cut Pro. If you are a beginner than this course will give you a complete foundation of knowledge when it comes to using the tools in final Cut pro and you get in a tried and tested formula to get you pro looking color work that you can be proud off. I've seen a similar workflow being described a secret or the Hollywood colorist method. So hopefully this saves you money on further education and also from scouring the Internet for little bits of information that might not even tie together. Anyway. We break that workflow down here in small chunks on will build your knowledge step by step , giving you an overall deeper on something of color, grating without being more technical than we need to be. And you might also save money on lots of plug ins on. We'll take a look at some free looks on help you get the best out of them. That, to me, was my gateway into professional editing. After starting out in my movie, I'm sure some of your stories in the same but then I was fairly comfortable editing a video together. But when he came to the color grading aspect, it was a bit finger in the air for me. I didn't really know what to do or what would look good. That uncertainty was kind of stressful. But now, celebrating and being able to take fight footage and make it look awesome is probably my favorite part project. So I spent a bunch of time with learning, experimenting and developing this world floor. So now you don't have to have designed the structure of this course to build out the skills and knowledge in the way that I wish I'd have been taught when I first after now cover the fundamentals of Final Cut pro. And, of course, we're going through the whole workflow of taking footage that's straight out of camera on applying a creative look to it. Their example walk throughs of that throughout the course. So it's my aim here to get you more confident working with final cut pro. I can't wait to share these tips is you and I really hope you enjoy it theory. The whole thing is a two part process. We've got color correction, which has taken the footage out of camera fixing Any issues with Dwight Barnes or Exposure with matching shot two shot and we get in the footage to a neutral baseline. And secondly, there's applying creative walks of that footage to get the audience to feel something or to convey a message or a time of day. I'm not. Strictly speaking, grading is helping you tell the story. Is helping your video stand out from the crowd on makes it look more professional. Mustering that process takes experience. Those filmmakers have to be multi disciplined, and it's one of those things that you're always working on developing so in this course will obviously cover those fundamentals on, of course, the skills that you need in final cut pro. But it does come down to experience on developing your eye, developing your eyes. Unnecessary journey, I feel. But it is a bit of a blessing and a curse. You'll realize that when you start to look up pieces of your own work or even some other people's work, you're analyzing the footage and you're trying to see what's wrong with it if something's not looking right, but ultimately it will make your better colorists on speed up your workflow. That said, I'm a firm believer that your eyes complete tricks on you, especially for tweaking the color grade for hours and hours. Eventually, you lose all context about what looks good on what you've changed on what it looked like to begin with. So the focus should be why you starting out on what will cover in this section is to refer to the tools and the scopes in final cut pro in order to get objective look of what's going on with an image. And then in time when this first section is a mere distant memory, I'm sure you built to pick bills things out just by your eye, and you'll rely less on the color. Tal's within final cut pro 2. 1.2 Tour of FCPX: right. Without any further ado, let's dive into final cut pro. I would have a whistle stop tour of what's going on in terms of the cooler stuff in the videos. After this one will dive into a bit more detail about what the court ALS are actually doing . How to use them on also what scopes do. For now, this is what your final cut pro might look like. A the end of your editing. You've got time on here with your clips put together. Andi, you might have the clips that you've been using up here in this window. Now, personally, I like to arrange my final cut pro so that I can see as much as possible of the image, which is really important off soon. Economist to color grading. So I would lose this section here where we've got titles, generators and sound effects because it won't be using them. Um, or if we do, we just open it and close it again straight after. So to tuggle this window off and on, we've got the button appear with six squares pressing that will get rid of that window, the side, and give us a bigger image to work with, which is perfect. Next, we've got the inspector which refers to this window here. This is where any affected effects that you've added or scale changes. Things like that would be showing. Andi, we've got the effects, actually open down here now. I do like to keep the effects open. And if you want to find them, obviously, if you know the name of it, you would just go into the all tab. Then you can start typing that out on. You can apply your effect to the clip just by dropping on. And then you can make your changes. Eso, for example. That's how you would out of and yet really quickly. This isn't to show what I would do to grade this image. I'm just giving you a quick tour of what's going on. But if you don't have this effects panel here and you want it, you would click this button here with the two squares to total that on and off. We can see here now, in the inspector, The effects that I just applied is visible now. Color tools are also in this window. So I leave this open all the time. If it's not open, you want this button up here with the Dales. This will toggle that window open and closed on the cooler. Tools are actually in this triangle here. No, I will go into these in more depth in the next video, but quickly how you would article color changes. You would pick your poison in terms of what tools you wanted to use. Teoh. Make a change to your image. Obviously, that will add to the effect to the clip. You got a tick there to show that it's active on the changes that you make would now be visible. So, for example, could make changes to the shadows. Shadows down. Bring the highlights up. Andi had some saturation. As I said, we'll go into what, these tools or during the next video. But for now, I just want to show that once we go back to the filmstrip, the color wheels change that we've just done now appears in our inspector on weaken. Toggle that on and off just by hitting the check box. There next to the effect. What I would say about this inspector as well that's really important is one down the line when we start using multiple effects and multiple color changes, need to remember the order of operations that it's applying here. Radical Pro is working top down in order to apply the effects in this order. So here is hiding the vignette first before it makes the color changes. Now, when we've got to things like a vineyard and a color change, that doesn't really matter because the two don conflict. But especially when we start looking at things like adding looks or cola presets to your images, This this order of operations is really important. So lastly, I would just make sure that this is set to fit because I want to see the whole frame. Andi. I would also come to the view dropped down here on add video scopes. Now you can see that the housing and into my real estate. So my adjust, by dragging that across a little bit by clicking on the divider that has reduced the screen and in real estate, as I said, devoted to the image. But it's still better than what that will like. So on these air, absolutely invaluable is we'll find good as we go through the course. So that is how I would set up final cut pro in order to start dealing with color. What we can do is so that final cut pro remembers this. Every time we want to start working with color, we can go to window workspaces and save workspace ours. We cannot that as a workspace on now, whenever something has changed, for example, we're editing future projects and all these windows have gone. Everything's resized. Then it's a case of getting back to your color workspace. You can just go to window workspaces color miles, and it should take us back to exactly how it was when we saved it. So I've got everything open that I know. I want Andi everything closed that I know I don't want, which is really handy. The last thing that I will set up is I will just tell final cut pro which color change that I want to come up as default. Now if I just take off this change their just by deleting my color wheels effect. If you go to the color effect, you can see it's taken me straight to the color wheels. Now you can tell final cut pro What to show, First of all by going into the final cut pro preferences. Andi Picking your poison in the color correction Now this just means these air the the first tools that it will show you when you hit that color born to see I've got it on color wheels. So when I click this triangle there, the wheels come up first, which is, I think, the most handy out of all of them. The last thing I'll show you really quickly is a recently added tool called Comparison Viewer. Now this one is really handy if you want to. As the name suggests, a one clip to another say you're much in cameras or just trying to match she shot to shop. So how you would view that on fellow court is by going to window showing workspace on comparison viewer, and that's just brought up a blank screen. But what you can do is you can find the frame that you want to use is your source on just click plus, say frame now, no matter where you move your play head. Now, you've constantly got that original shot there as a reference, which can be really handy. You can also, at your tools, your scopes to that one as well. So if you go into view, video scopes will add the scopes there as well. So in future, who were going through a demonstration of matching shots on will use the scopes in both clips to do that. So that's the comparison viewer. You can also add more and more frames. If you had a couple of hero shots on, you can see those in the frame browser in clip between those two. Andi, When you move, you play head. You've still got that reference there in your original windows. She's really useful, so we'll leave that there for now. And in the next video will go into a bit more detail in the cooler wheels on the scopes. 3. 1.3 The Scopes: in this video, we're gonna look at the video scopes that we've got in final cut pro. Now, the scopes are super important in order to keep an objective view off what's going on in your image, even if later on you can trust your eye on, do you concede problems that need to be fixed, etcetera. You'll still probably want to refer back to the scopes, so you can know for sure you've got a scientific overview of what is going on and it confirms your eye. So if we going to funnel put pro if they're not already visible, um, we set them up in the previous video. The interview video scopes and I like toe have to on show anyone point on. I only use three in total. So these are the two that I work with. We've got the vector scope, Andi, In the bottom half, I keep away form Andi. I'll flip the way form between Loomer, Andi rgb Parade on will go through What All those those mean in a second? So, first of all, just to set the view, I've got to the same time and I like them on top of each other. If you want to see one at a time, you would obviously click that button there just to have one. I prefer to have to, as I mentioned, so we'll start with the vector scope now. This is a representation off. What's going on with our colors on is dealing with which use are visible in the image on also how intense or saturated those who use are so we can see we've got coolers around the outside of the wheel on is basically just a color wheel. So we've got all the colors and also some boxes here for the major cause. Magenta, blue, cyan, green, yellow and red is plotting the colors that are in our image in here with what's called a trace. So we can see there is a strong red color in here that's pointing towards red on the wheel , and that's obviously this smoke bomb. Here, the direction that is pointing that's giving us the hue. The exact hue of the color on the distance that expands from the center represents the intensity off that you we can see that it's a very intense red because it almost extends out to this box here now, as a general rule, when I'm grading, I would imagine a line that's that's plotted between these squares. I wouldn't want any of my saturated values to go beyond that line. So this is very close to what I would deem is acceptable saturation. Weaken. See likewise, We've got some blues in here on day. We've got a whole lot of the trace over the middle of the vector scope, so there's a lot going on in there. You can imagine if this this firm here have no color in it, that it wouldn't be pointing to a hue. Andi. It also would have no saturation. So if we took the saturation down on the clip just like that, we can see that not there. No Hughes represented here all on board, none of those who use off the saturated eso. The trace goes back to zero. Andi. This is really important when we're looking at white balance because if you're white balancing off a great card, a neutral gray card than that color is neutral, and that means that it will look like this where it's not showing any Hugh or any saturation of any hue at all on that shows you that it's ah, neutral gray. So that's the vector scope. Looking at the wave form. This is the brightness of the image expressed between minus 20 and 120. Now, even though it extends to minus 20 and 120 I would tend to deal between the values of zero and 100 which is more of a broadcast safe range. You camera on the Internet might be able to display beyond zero when it comes to the depth of the blacks on the maker. Brighter than 100 especially if you've got an HD are TV, but the same time I would like to keep everything between zero and 100. If I'm not delivering HDR content will aim to keep our brightness between zero and 100 along the X axis axis here actually corresponds to the image, so the whole width of the image is expressed in trace on this graph here, from left to right, it's useful because it shows us where in the picture that that brightness is just to illustrate that point further. If we look at a film clip here from Fight Club, we can see that the highlights there are definitely in the windows on. The medal is very dark in comparison to the the windows. So if we overlay the way form to show what's going on, we can see that the highlights they represented appear nudging towards 100 in this case. And that's the window on you can see it lines up perfectly with the window itself. Then they're depressed in the middle, Um, ranging from zero to a max of 50. That's this area here. So that's over, Tyler Durden. And then we've got the window here again, which is causing as a highlight spike in the way form there. So that's just the brightness off the scene, expressed from left to right with a range off zero toe Wonder 100 in terms of our rec seven or nine grading. Lastly, let's have a quick look at the RGB parade so we can flip to that as we just saw by changing the channel of our wave form to RGB parade. Now what that is is away form accepted, split out the red, green and blue channels, which is useful when it comes to color balancing on. Do you want to see specifically what's going on in each of the channels so we can see here that it's fairly balanced in terms of there's nothing wildly out of work from the rest. But if we start to investigate the mid tones on weaken, use this this ruler here to give the line. If you wanted to measure specifically what value one of these spikes was, But we can see here that these red spikes go to about 65. The greens aren't far behind, but the blues are way lower. So that would suggest that the mid tones have a lack of blue in them, which is going to give a warm green, which saw embassy always got in the scene. So a color that is higher than another will be more dominant on the color. The colors that are lower are going to be less dominant on, and they'll have been removed from the scene. So even in the shadows here we can see the blues are a bit more compressed downwards compared to the red and green. Another difficulty with the RGB parade is, as you might expect if you're dealing with something that is red or blue or green, then that closed naturally. Gonna be dominant. So if you're looking at some water, for example than, of course, the blue in the RGB parade is going to be higher because there is more blue in the image. Eso is difficult then to judge where things should be on the artery parade. But we'll look at how we use our G period period later. But for now, you just need to remember that it's a way for monitor split into red, green and blue channels. 4. 1.4 Colour Wheels: this video, we're gonna look at the color wheels, which are a great all round coal. It'll within final cut pro. So when it comes to color grading your footage, you've done your project. Obviously on then you want to make color changes, so you'll go to this this colored triangle here on immediately That takes me to the cooler wheels. Now you can pick whichever tool you like, but the particular poison that I chose was color wheels. Now, if you don't want the color wheels come up by default, you can go to the final cook Pro preferences on a general. You can tell final cut pro, which color tools to launch when you set up your final cut pro. So I've got color wheels to come straight up. That's why they popped up first, and at the moment, I haven't done any changes. You can see it says no corrections there. But as soon as I do something to the footage, you can see on the filmstrip that supply to call the wheels effect to the clip. So just remove that for now. So what's going on here? Well, we've got four color wheels on each of them do three independent things. So if we take this master call the wheel here, master means that it will impact the whole image. Andi, we've got three tools within this one color wheel on the right here. We've got a slider that are just exposure or brightness so we can bring that down to, obviously bring it down in terms of exposure make and make it brighter by lifting that up, double clicking that will take that back to square one. On the left, there's a slide of his saturation, so this will increase the intensity off the colors as you direct the up. Likewise, if you drag it down, we're gonna make it black and white. So just don't know on these sliders, even though that looks like the very top of the slider you can actually click on. Keep dragging it and it will add further saturation. And that's just how these slider works. But I'll double click that to get it back to square one. Lastly, there's a poke in the middle, which allows you to introduce a hue or push your image to towards a certain caller so you can see the colors that are on the color wheel on the outside if I want to at the blue, which would remove orange, which is on the opposite side of the color wheel. I would simply drag this pork in the middle towards blue, and you can tell these saturation slider here is taken on the color that I'm actually introducing. On the further that I drag out towards the edge of the circle, the more off that color is being at it, doubling that will take that away so that might be used for when we're dealing with cooler bonds. Do you want to negate some warmth? Awesome coolness in the scene on Maybe when you start getting correct, creative with looks, and I want to be adding colors and pushing a color into the whole image. So these are the three color wheels or work the exact same. Except we've got individual cool wheels for the highlights, the brightest parts of the image, the mid tones on also the shadows. So if I was to take this image will go through a full color work through, obviously when it comes to the color correction and grading section. But just as an indication of what's going on. I could bring the shadows down with the slider on the exposure shadows, and you can see these changes happening in the image and also the way form on the left. And then if I bring the highlights exposure up, we're making the brightest parts of the image even brighter. So that's added some contrast. The scene. Just flipping this call. This tick here will show us the before and after. And then I might also want to introduce some saturation to this one because it was shot in a flat profile. So it was like in contrast on satchel saturation, so bringing that up will introduce some more intensity to the colors. The other tools we're looking at within call the wheels are the temperature and 10 sliders . This is useful when we're dealing with cola bonds again. On If you're white, balance is off. You'll be able to fix with either the temperature and the 10 sliders, and obviously we'll go through exactly how to do that when we get to that part in the course. But for now, all we really need to know is that this slider will affect the orange on blue scale. So weaken. Warm the image up with the orange push or call it down. If it was too warm in the first place by pushing to the left on, we reset, not with the arrow. Likewise, the tent moves the image between green and magenta, and you can see on the on the vector scope on the left up here. What's happening when I move this slider? So for now, we'll just leave. Those has neutral. As with nearly all the effects in final Cut Pro, we've got tools appear, which allow us to at key frames and also masks. So I'm sure you're familiar with with key frames. But just as a quick one through what you could do with a color key frame, you could set your play head to where you want in the timeline, and then we click on this diamond here. When it's yellow, you know it's activated. That's added a key for him. So what that means is, if we make any of the changes to this clip, when the play head gets to this point in the clip, these are the values that will be relevant at that point. So let's say for example, I want the color to start black and white the beginning of this clip. I don't want it to transition into full color. So now that I've set this key frame here, I can go to the beginning of the clip and I can take all the saturation out off the clip. Now, as I moved the play head to the right, you'll see that the slider on the saturation is automatically animated to take it up to the key for him that we said earlier, which is there so that will now look like this. Let's also have a quick look how to use the cola masks while we're here. Let's say that we wanted to make changes to the image, but we didn't want those changes to apply to the skin turns. Or likewise, we wanted to change skin tones, but not the rest of the image, So we can do that using the masks. So at a new cool wheels here, just so much changes are all isolated that I'll click the mask button, appear on a lot, a cola mask that will give me a picker that I can then use to stretch out over the tones that I want to impact. So I'll drag out this circle and it will pick up all the colors that are included in the mask you can see is the further that I go, the more closer being picked up. So I want to just pick the skin tones so I can only go about that far before I start pickup Harrell smoke. But then, if I hold shift, I get a plus sign. Next the picker on I can add more and more areas, so I'll just go through the image. Andi keep making little small circles over where I want my core change to happen. Now let's say you picked up a call that you didn't want. So far, I drag a little bit over the purple. What you can actually do is hold all tor option on. You can remove colors that you picked up in your mask so you can see a negative has appeared next to the picker on dime. I'm allowing it there to remove that color from the mosque. That's not done a great job, so I'm just gonna start my mask again. And then if you click view masks you can see exactly what's been picked up on, although I only went with skin tones. In the end, you can see that there were plenty of things in the scene which were similar human saturation. So here's where I could use a shape mask to refine the color masks that we just did there. So if I click on the marks again and hit out of shape musk, it'll give me this generic shape here, and you can only make a circle or square. You can change that with this crab point here, but I want to keep that to be fairly round. And then I'm gonna just using the green green grass points there and get it over my subject . So this is the area where it will impact 100% on the changes that I make will feather out up to 0% this feather point there. So I'll keep that quite close in this case. Now I've got two options I've got inside on outside the mask and changes that I make inside will happen to the area that I've now must out, which is the skin tones within this circle region on, then changes that I make outside will apply, obviously, outside of these white areas. Here, you can change how the color and shape must interact using this drop down here so you could make that a negative of the cola mask that were originally done on off. See, there's the adoption as well to include the column Ask that was originally must out, plus the shape that I also added. But in this case, I was happy with just the Intersect to give me the color as well as the within the area that I specified. So now that we've got a mask set up, I'll remove the view masks on, Let's say, on the outside I wanted to kill the brightness a little bit because I want our face to be really prominent and to pop out. So bring the outside of that down a little bit. Also. Likewise, I want to kill the saturation a little bit. Just so the faces more permanent on the subject, Then I could go to inside the mosque on. Let's say it's looking a little bit warm for us. We could go into the mid tones where the skin tones are likely to be Onda. We could drag that into blue a little bit, just toe call that down a little bit. So if we go back to the clip weaken, See, we've got two changes. We've got the original little correction mated with the exposure Andi saturation on the cool wheels. Then we've got the masking that we did on the changes that that's done to the clip. So that's an overview of the Cool Wheels. Very useful tool. Quite versatile. Onda. We can have a look as well at the cool aboard. Now, if you're old school editor on Final Cut Pro, you'll know that the cooler board was the original color totals that we got on. That was actually all we got until a few years ago, when they added the Kurds and the color wheels. This is working a very similar way to the color wheels. It's just represented differently. So instead of a color wheel we've gotta call aboard, we've got independent tabs to deal with color saturation on exposure on within each of these tubs. We've got sliders to affect the global changes or muster than the shadows than the mids and the highs for each of the exposure saturation on color changes. So to replicate what we just did with the color wheels, we brought down the exposure in the shadows. We lifted it in the highs on. We also added saturation on a global scale to give some color to the footage. Now these types of fairly self explanatory. But the color one can be a bit confusing here. We've got a master pulque there. We've got shadows, mids and highs on. You can see the changes that you make represented in degrees and percentages below the Kola board. So let's say, for example, the skin tones were felt they were too warm then what you can do is you can drug your mid tone slider along the line to orange on because we think there to orange. If we drag the pulque below the line, it will actually remove orange, which is the same as adding blue. By bringing this down, we're changing all of the meds in the image to remove orange and add blue. Obviously, this time I haven't gone on made the mask, but you could do a similar effect is what we did just by dragging it over and reducing the orange a touch just to kill off a bit of the warmth. And just like the color wheels, you could say, Introduce touch of teal to the shadows, Touch of orange, the highs for something like a quick orange until look on, we'll get into the looks later on. But that's just how the cooler board works. And, as I said, that's something I've left behind now that we've got more advanced tools within the cooler wheels on specifically color curves. 5. 1.5 Colour Curves: Let's take a look at the color curves tool that you get in final cut pro by clicking the drop down. I can pick color curves on and we can see here we've got a loomer color curve, and then it's split out into red, green and blue. So these are really powerful new color tools in final Cut pro, and they allow you much more control than what you get with the color wheels. I'll show you a quick example. So if I had a color wheel on, I make an adjustment to the shadows. Watch the wave form to see how much of the exposure is actually being changed. I'm Onley affecting the shadows. Call the wheel here, but we can see even the luminous levels around 75 are being affected. So there's a lot of overlap over highlights, mids and shadows that may work to your benefit. Otherwise, if you want more precision than the color, wheels are not going to give it to you. So if we take off the Koreas, change and just go back to the curves. So as an overview, we've got exposure plotted here from zero all the way up to 100 Onda. We can pick points on this curve on. We can make adjustments by dragging the curve around. So in the first instance, what we did with the color wheels was we killed the shadows on. We lifted the highs. So could do that by bringing this point down to the right. Which means that as we've deviated from this central line, every every point below that central line has been darkened. We could lift the highs by moving the very top to the left, and that makes all of these parts no brighter than what they were before. So the heuser brighter, the lows a darker. So you've got a higher contrast scene. You can then adjust the midst by just picking a point on the curve on moving, not to taste. If I reset, this will have a look at the picture here, which is a really interesting addition compared to the color wheels. So this picture allows us to select. Any part of the image on it will show us on the curve how bright that part of the images, which is useful. So let's say we've got an image like this and we want to introduce more contrast on want that contrast to be specifically tailored to our subject's face. So we want specifically more contrast there so that brighter parts of the face to get brighter on the darker parts to get darker, we could pick a point that was about the mid level of the face exposure and that shows us how bright that is in the image. Then we could drug the curve down below that. So every partners darker than the bit we just chose just got more darker or even darker, Should I say on then? Likewise Weaken Pull up on the curve above that, Andi, we've made the brightest parts of the face. Indeed. Everything in the image that was brighter than the point we set just got brighter. So we've got more contrast now and that was specifically tailored to the subjects face, which is potentially something useful. Even if you just wanted a quick grade What? You'll see a lot of people, dear, is just add the standard s curve to add contrast to the scene which does something similar or likewise. If you wanted to reduce contrast, then you do an inverted s curve. Obviously here because we've got such a flat image, we wouldn't normally want to reduce contrast any further. But if you wanted to do that, it's just a inverted s just like that. So grabbing at the extremes gives a more dramatic effect on the image on. If you want to be more subtle about it, you just pick point in the curve, and it will apply a smooth Grady in between those two points. Now, we haven't got any saturation control in here, so we still would need either color wheels or a cooler board or the hue saturation curves to apply saturation, so that would be another step. But the curves give you much more control when it comes to the exposure. On contrast, you remember that when we looked at the color wheels, we were changing. The explosion in the shadows own seeing a difference even up to the 75 level and exposure what you can do in the curves and I'll decide a new one. For this. You can set use your picture to set a point on. You can lock off that range so that very little changes with it. So let's say I wanted to brighten the image. But I didn't want this guy to be any brighter than it already is so confined where this guy lies on the exposure line just by using the picker. And then I could make a change below that to say, brighten the image a little bit, Andi, because I set the sky point in place. Anything that bright or above was no impacted by that change. So the Kurds are useful for targeting specific areas that you do want to change, but also locking parts, which you don't now. The red, green and blue channels will make more sense when we're dealing with color bonds. But if I just change my way form to an artery parade, you can see here that obviously the cooler coz in these channels are going to correspond to what we see in the RGB parade. And that's useful. If you want to make a change, the color balance on Do you want to tale that to the highs, the midst of the lows, then the color wheel adjustment was just a global temperature, and 10 change on that changed the whole image. But if you wanna be really precise about it. Then you can dio a temperature change using the highs theme IDs in the shadows specifically on. You can do that using these RGB curves so you could warm the image up by dragging the red curve up. Likewise, you could make it cooler by dragging it down or writing blue. They behave exactly the same as the lunar curve on you can see in the RGB parade and in the image What's happening when I manipulate these. So these are hunde for cola bonds, and we'll show you how to do that later. Also, in actually developing creative looks where people will manipulate these channels in order to come up with a look that they think is more cinematic. You can actually change the color that air being impacted by these color curves. But in truth, it's more honey to me to leave them as rgb Andi that will allow you to make the changes we just discussed 6. 1.6 Hue Curves: Lastly, let's have a look at the huge versus saturation curves, which are another recent addition to final cut Pro on. These are all also really powerful. Now the good thing about these is they are quite specific on they let you find Tune the look that you're going for. There's no overlap here between, um hue, saturation curves and the board or the curves of the wheels. Unlike the others, which are during similar things but in a repackage kind of way. These are very specific, different changes. So these air is good to get to know. So what's going on here? So let's move on to a different power of the clip. So let's go through these tools one by one. So, 1st 4 we've got Hugh versus you. Now how all these curves work is you've got a slider on the left to adjust global bounds, shaken double click to get back to zero. Or you can pick points on the curve itself and either adjust those or using his placeholders and do stuff in between the points that you set or you've got the picker here , which which I like to use. So if we click the the picker fa que versus you on. We pick this purple color here drug our little square. I drug out circle to broaden the range of colors, but if I just click once ill, just give me a very specific color, and that's picked out the purple in that in the smoke bomb. So this point, we can adjust the hue off that purple on because it set these placeholder points in the side of it. It won't affect the Hughes off the other colors, so I can drag that up to push it through the color chart scale and you can see on the vector scope what's going on When I do this, it's completely skewing the hue that I isolated on this color curve, which is pretty cool. This will come really useful later on. Likewise, in the next one, we've got Hugh versus Saturation, so we've got the Hughes depicted here in this line on. Then we can adjust the saturation of these use but adding to it by dragging the lineup on taking away by dragging it down. So say, for example, in this video, I didn't like the orange of the rooftops here. I could use my picker. I could go over to the orange there. This is around skin tones as well, because it's isolated the orangey reds. But I've got no skin tone, so I want to bring those down on D. I would just drag that down there to bring down the saturation. Now all of a sudden that oranges left loud, and it's attracting less attention in this scene, which I find more pleasing. So that's you versus saturation. We could do same in the smoke bomb, for example, and we could either bring that down because that's way to saturate in the image. Or if you actually wanted to go to town, you could make that the most saturated thing in the image and by a long way as well. Next, we've got the huge verses Loomer Cove, and you might have guessed what this is doing for any hue that you specify. It will adjust how bright that here is in your image. So let's say, for example, we wanted to increase the brightness of the trees a little bit. You could use the picker to highlight an area of the tree on. It's given me a yellow green area there. Now, if I drag up, it will make that area brighter or that color brighter. Andi, if I brought it down, it would make it darker. This easy is that? Next? We've got Loomer versus Saturation on in this one. We've got Loomer plotted on the X axis on saturation on the Y axis. So this line here represents Loomer from 0 to 100. Andi, if we move that open down, that will affect Sethi situation. So again, we've got a global thing here. We could add saturation, of course. Everything or more useful, We can start hitting points on this line toe. Isolate a range in the loomer and Onley. Change the saturation in those ranges. So something will be doing throughout the course will be reducing the saturation in the shadows so we can do that by isolating the shadows, fixing these in place. So not touching the middle, The highs. And we can bring down that point on the end on that will have made sure that the very dark areas on the image are less saturated or barely saturated. Obviously, I can move this point across the curve if I want on that I'll start impacting more and more of the image until it's affecting the mid tones on eventually the highs. So if we set out to somewhere around there, we know that shadows, then they're gonna be de saturated, which means they'll be black and they have lost any cooler cast that we've got while shooting. Likewise, you could do the same in the highlights, so we can set a point there and then reducing. That will make the whites white instead of any color contrast. And then you could, out of point in the middle to add some saturation to the middle without making any saturation changes to the extreme highs, all the extreme lows, which is useful. Next, we've got the saturation versus saturation curve on what last during. Is it saying? Well, likewise. We've got saturation on both axes, of course, and that's saying these areas here are the least saturated colors in the image on. By pulling them down, we are taking out even more saturation. And that leaves the saturation across the board unchanged on DWI conduce, the same for the most saturated image. Most saturated parts of the image. We could bring those down If you wanted that, I would expect to be the smoke. So if I bring that down, we can see saturation starts to leave in the smoke. It's attacking the most saturated part parts of the image on. That's not a result that you would want, but just to demonstrate what it's doing. Lastly, we've got the orange versus saturation curve. This is just a quick one to use for skin tones because they'll also be in your orange arrange. If you wanted to make your skin tones more saturated without impacting the rest of the colors, you could quickly pull that up on the global scale or reduce it on. It is pumping the saturation in the oranges. Andi, if you wanted to actually do a different call, you could do, although I just leave it as is orange and use it as a quick skin tone adjustment without affecting the rest of the image. Too much. Okay, that was a really quick was around all the color tools, what they're doing. We looked at the masking process to Moscow, either color shape or both. On we look to some key frames as well, so you can animate the changes that you making over a period of time. Now, if that was a lot taken, don't worry about it because we'll be digging into examples throughout the course. So don't worry, as a said about memorizing everything we've just been through, but hopefully you feel a bit more familiar with the tools ready for when we do dive in. 7. 1.7 Colour Workflow: Okay. Hope you still with me when nearly the end of this section coming up to the practical stuff soon. Don't worry. Before we do move on. I just want to zoom out a little bit and get overhead view of the whole work for that we're gonna be going through. So this is the whole process when it comes to the color workflow. Obviously, we've edited the video at this point, and color is among one of the last things to be done. Although I can't pretend I don't often delve into the grading beforehand just to make sure it's looking good. But strictly speaking, the edit is normally locked in by this point. Then it's on to color correction stage, which will cover in Section two. That's where we correct the footage out of the camera to deal with any issues of exposure or cooler. We get all the shots matching on. I generally combine those clips into a compound clip within final cook. The next step, then, is to apply a creative look to the footage, and that's the bit will call Cole a grade for that stage. I'm picking out a few key scenes in the project on time, making sure that the grade works well across all of them. Then, at some stage, it's worth taking a break and revisiting it. Then, after that break way rise of her chance to recalibrate when you come back to the project, you might find that actually, something doesn't look quite as good as I thought it did. Or this here might need, tweaking, etcetera. Once I've recalibrated and made any adjustments, I'll then export some of the footage and test it out on various devices. This is to make sure that what I see in my mark is similar enough to what other people could be seeing on their own devices when they watching my stuff online. It's worth bearing in mind, for example, that even the browser that people use might affect the coal handling on stuff like YouTube . Chrome is apparently the most common browser, so that's definitely one that I would test. Pay particular attention to the mobile phone if I think my users will be watching on a phone. Obviously, people have their own brightness settings on their own phones, so I would probably take mind to about 50%. I think most people would try and conserve battery the 50 cent level. I watch it back on there and make sure it looks OK. If not, I would go back and adjust of the projects accordingly. You could do that without exporting the footage. Even if you hook up your mobile phone to your computer, there's an app called Duet, which will allow you to use your mobile phone as a monitor should be up to watch live what the footage looks like on a on a mobile phone or otherwise. The new Mac OS is supposed to allow you to use another IOS device, such as an iPod, as a second monitor as well. I don't know yet if that's gonna work with mobile phones, but you could potentially use your iPod as a second monitor to your computer on. Make sure that the footage is good. If you're grading for a client, I would suggest exporting five or so of stills from footage rather than exporting the whole video. You know that they'll get distracted by the video, and they want to make changes to the actual edit, and they won't focus on the cooler. So by just exporting some stills. They're just focusing on the cooler. Hopefully has this cost earlier in this section, you've got them to agree to a mood board to the closer in line with what they expect. From what you've agreed upon, you're gonna want to set a time allocation for grading. So the client kind just flip flop the whole time and keep giving you more work to do. I would person limit the number of edits I would do as well build that into a framework of feedback. If you've got the option to get the decision maker in the room with you while you do a grade or while you make a few tweaks, that's even better than you can lock them into the grid then and there. And then it's done dusted and you can forget about it. And that's no view of the whole work floor beginning to end well done for getting this far . Hoping still awake in the next section is a big one will be going into color correction, which is super important. I'll see you then 8. 2.1 Correction Introduction: Welcome back. This is Section two on Dhere will be looking at color correction. Now this assed faras the workflow goes the secret colorist Hollywood workflow. This is a crucial step because what we'll be doing is taken footage straight from camera that my various issues with it and getting all corrected to a neutral position, from which point we can start adding a creative look to it. But this step is so important, and it can get into quite some detail because there could be numerous issues that are wrong with an image on do. You might not know where to start with that. So in this section you'll be given a workflow to get through a step by step process so you can get your footage to a good neutral based point. This slide here will outline all the steps that we're about to go through, but we'll break it down into a video purse step. So don't worry about memorizing this right now. This is just to give you an overview of what we're about to embark on. So with correction being a process of getting all of the eclipse down to a common baseline , you can see how you might need to do this clip by clip, because if you're changing scene or lighting or camera settings, you could have different issues in every clip that you need to correct individually in order to get them looking the same. If you are working the same camera scene settings, lighting everything is consistent across several clips. Then, of course, you can correct warn and then paste those changes to other clips on. We'll see how to do that as we go through this. This section before we do dive into the color correction workflow in this section. I just want to call out one thing, and that's the question I ask myself before I even start editing on that is, will this clip and look being chopped up and scattered throughout my video? If I have got a long clip that say could be an interview, and I know it will be cut up as power of my edit, I don't want to be dealing with 100 clips when it comes to correcting that image. I just want to be dealing with one single clip so I could make the corrections once on. Then those corrections are then syndicated across every one of the little chunks of that clip that I end up breaking into. I sure what that means right now. In final Cut pro Herring Chronicle pro. Let's assume I've got this interview clip on. Even though it's on the eight seconds long, let's assume that it's 10 minutes long on this interview we scattered throughout my video. No, you could make your little cooks Andi. In the end, you'll have to make changes to each one individually. So if I just for the purpose of example, kill the exposure on the 1st 1 the exposure is back up for the rest of them. So rather than make those cooks, my suggestion is you make the clip a compound clip. So you right click it it. New compound clip. I'll name it the same file name. Just so. Confined it again later, and there it is in my project. So now if I dive into the compound clipped by double clicking on to make my changes to this clip within it still quick, Great. I know I haven't done much there, but for the sake of this example, let's say that that's done. If I go back out to the compound clip, I can even delete it. But when I take chunks from the compound clip on, put them into my project. Those clips are edited exactly the same, even though I made the change wants to the clip within the compound clip, so that's really handy. So, for example, you've already edited your project on You didn't use compound clip method, but actually you have some shots which have the same camera settings, the same lighting. Everything looks the same. You just want to be able to copy your changes, to warn and paste the other. You can quickly do that. I'll show you how so. Let's make a change to this 1st 1 Apply some more. Contrast Christian shadows a little bit. Raise the highlights. We've got a really contracting look now on the first clip, which is not the same on the second clip, but if it If you come and see to copy the changes and then clip on click on your destination clip but to edit paste attributes and you can pick which edits that you made on the original one that you want to apply to the second so I've got my color curves ticked, quick paced than the extra contrast now appears on the 2nd 1 and you can do that for loads . You can just hold command and keep copying different clips, and you can hit, edit paste and do the same thing, and it apply the same changes across the board. So those two quick tips out of the way in this section will be looking at going through the workflow to correct your footage. Step by step, and they'll be a video for each of those steps that were highlighted in the slide. Now this is a really important section, so it is a bit of a meaty one. Do pay attention, hope it makes sense. There'll be an assignment at the end on it. Will you all worth it in the end? This alone? Just this thorough correction process will already be the difference between amateur looking footage. That's just come straight off camera with problems in it to the professional kind of look that you get where is completely bounced and ready for that next step of creative look. If you want to do so, 9. 2.2 Colour Conversion: onto the first step off our color correction workflow. Now the order of this workflow is not an accident. It's been designed like this to better manage the interdependency between the steps that will be taking. So, for example, you might change luminous in one step, and then that will have an impact with saturation. So if you've already changed saturation, then you might need to revisit it. I've thought about this workflow order a lot on. I found that this is what works best for my work. If you want to deviate from this in future office, it's not a rule, but you may need to manage, then certain impacts that the order is making on your work. But there's no doubt that you can go through this a different method. But this is my approach. This is my suggested quote flow, so my first step normally is to apply cooler conversion where this is necessary. For example, if you'd shot in log footage, if you have shortened log or HLG or something like that, then you dealing with a different color space than what you necessarily might be delivering in color space is just a term that describes the range of colors that can be captured in a particular image. Andi log footage, for example, will often contain more color information than is actually displayed in the end, product rec seven or nine is the color space that's most compatible with TVs. Broadcast standards on monitors. If you did want to deliver HDR footage that's high dynamic range, then you need a solid understanding off the medium and the devices that your HDR content will be viewed on because there isn't one standard the yet in the industry for for HDR content, So HDR footage will have more color information and much more brightness. Then you can deliver in rec seven or nine, but you can't deliver it to everybody. Yet they need an HDR monitor or television in order to watch it. So it's not yet ubiquitous in the scene. So that's why I don't use it. Just give you a taste of the mess that is the color space world. If you look at cinema, then they used the P three color space, and that's also the cooler space displayed by the recent I mark monitors. Now P three is actually closer to erect 2020 so there is more color information there, but it's actually smaller than wreck 2020 so cameras will be shooting in wrecked ones. 20 Andi almost losing some of that information in order to output to P three in order to show in this in the cinema displays. So it really is a bit of a murky world, this color space business, especially when it comes to editing some of these bigger color spaces. For example, you might be shooting in HLG footage on Do you want to deliver an HDR? But you don't have an HDR wanted to yourself. Well, in that case, it's like you've recorded an orchestra with the super good microphone, which has all the authority in the world. But then you're monitoring that sound on iPhone, and you've lost loads of quality there just because the tinny speakers I can't convey the extent of the sound that you captured from the orchestra. That's why throughout this course will be great into a wreck seven or nine standard, which we know will be able to be displayed on televisions on any kind of monitors, mobile phones, etcetera. So in the example off this judge five v log footage there is a looked provided by Panasonic in order to convert your footage to wreck seven or nine on a lot is just a preset that will change the values within the footage to conform it to a destination cooler space. So we're converting the V log color space into rec seven or nine. Now, there are two ways you can do that in final cut pro, you can tell Final Cut Pro that this is the log footage and that it requires a cooler space transformation on Do you can do that by going onto the I tub of the Inspector Onda under camera looked, You can pick whichever conversion applies to your coming footage. So in this case, we picked this Panasonic V log. Then it's gonna apply the conversion to the footage straightaway. Andi, there we go. We've got a wreck seven or nine image out off the V log footage And if you can't see the camel option when you've got onto the I tub, if you come down to where it says general, where it might save basic when you first loaded up, if you pick a general, that's where you'll see camera look awfully. Some of these other options are a bit more pared down or they go in different directions. You might not built to see it, but it's there under general, if you need to access Camelot on once you've made this change, that change will apply to this clip no matter which project, use it, no matter how much of the Clipper use etcetera, that will always be there if that's not good news for you, and you actually want a bit more control over how and when that supplied can instead use a standard looked utility. So if I remove the camel look from that, just take us back to the generic view. If you go to color, Andi custom looked. Apply that to the clip on Do we have a section dedicated to look so thistle all be explaining a bit more depth, but if you just want to pick the look from your drop down, um, I've got one here that I made, so this will convert the judge five v log footage to wreck seven or nine. Andi. It's applied as a look, so I can remove it clipped by clipper for one or change looks a zey, a pilot script, different projects. I'm just not tied to the same clip, the same look as you are when you use camera looked. So assuming your camera manufacturer has developed a look that you can use to convert your footage to wreck seven or nine, you're all set and that's how you would do it. But there are some instances, such as when you work with H L G, that that's not actually the case. Now this clip here is, you can see is looking like it's blown out. There's no detail in the sky, and in fact we've lost a lot of detail in the building as well. Now this is HLG footage, which means that it's high dynamic range is actually a bigger dynamic range than can be displayed by my eye mark monitor without an import look from the manufacturer to correct it . I can actually tell Final Cut Pro that this is HLG footage, so I go to the General tab on. I change this to settings. Then we're looking for the option which says cola space override. Now, in theory, you should just be able to hit wrecked 2020 h L G on it will convert this to wreck seven or nine. I don't find that works very well. And I think this might be a booking Final cut pro. So if he has worked for you, then maybe they have addressed the book. But for now, I actually need to pick Rep 2020 on it does it for me. So now the details come back into the sky as well as the building. This looks more like it was shot. So we've squeezed the High Danek high dynamic range image that I shot in H O G down to wreck seven or nine color space where the brightness and all the clothes have been conformed to a version that can be displayed on all monitors and all mobile phones and things like that. 10. 2.3 Noise Reduction: the next step that I would do is Nori's reduction. Now the best noise reduction solution probably isn't in built to final cut pro. I've heard really good things about neat video, although I don't use it myself. Andi, I want to display everything that final cut pro can do for us as far as possible. So without buying anything extra because I don't need video retails for about $100. Final cut pro now has some in built noise reduction. So if you do have noisy footage, which could well be the case in this clip in the skin tones, the really dark areas might have noise where it looks like you've got little pixels of color jumping around. If that's a problem to you, then final cut pro does offer a solution on that is noise reduction. So just by going onto all Andi finding noise, I can see noise reduction, which is the new effect we applied up to the clip we can see that's appeared in the Inspector Andi. The amount that you want is probably gonna be either high or maximum. I really don't find the final cut. Pro is doing much on medium or low. So play around with the clip that you working with, obviously, and keep working that until it looks good. But let's go with high for this example. Chemical options for sharpness now very high and maximum here isn't going to give you a very flattering look. I find it looks really digital and over sharpened. So again this comes down to the clips that use. But I would only really aim for as much as high. But it will come down to your personal tastes on the clips that you're working with and how much softening that the noise reduction has actually done. So let's say you're happy with these two settings. You got a few things left. Consider, first of all, is the order of operations on Daza. Mentioned Follicle Pro will do these things in order, So if in the first stage you did have a color space conversion that you needed to do that was applied via looked, then you got a decision to make their. Whether you put the noise reduction first or second, you could try that out, switching open, see if that makes much of a difference. But either way, let's say I wanted to move it first you just click it on drug it, then my next suggestion would be to turn that off for now. So this will just help you computer with the processing that that's required As you go through the editing, I would actually come back to this step on, reapply the noise reduction at a later stage, maybe just before export. And that way it will run a smooth as possible as we go through editing and call a grating the rest of the project. 11. 2.4 Exposure and Contrast: and this one we're gonna be looking at exposure, which is just the brightness of the image on. We're also gonna look at the contrast, which is just the difference between brightness in the elements in the scene will be considering the black and white point. So the darkest and the brightest parts of the image I will also just be having a look at it to assess where the exposure should be so that we're so on the right track to get out normal looking exposure as a general rule of thumb when it comes to this correction stage, I've been looking to keep detail in the shadows on the highlights, so I won't be pushing highlights above 100 which is where it would be clusters overblown and blown out. Because at that point the highlights will look pure white and there be no detail in them. Likewise, when it comes to the shadows, I won't be pushing stuff below zero that would be under exposing it. On that point. Everything is pure black and you've got no detail in the shadows. So it's rare that something would not be short, overblown, that I would want to make overblown in this step. So I'm not gonna be increasing brightness beyond 100 as a general rule. So how bright should things be in the image? Well, at this stage, if you're not quite sure about that, I think a brilliant starting point is to use the Ansel Adams Zone system. Now this system runs from 0 to 10 so we can translate that to our loom, a range of zero and 100. And, as you can see here in the chart, is given some guidelines as to what would fit in each zone. So, for example, if we have a pale person, as we'll be looking at in our example shortly, that person is likely to appear in his own six or seven according to this system. So it says white skin or in the six, and it says pale white skin in Zone seven. I do tend to leave the top 10 also, I R E for light sources and really strong reflections. So if I have light bulbs in the shop, the sun or really strong reflections from light sources, then I'm gonna tend to want to leave that in that zone, right? So let's get stuck in. So we're gonna be working with this clip here on def. You've got a key and I he'll see already that it's over exposed. You can tell just by looking at it. Everything's really bright. Also, if you look at the way form, everything's quite high up in the wave form on. And this was shot, too, at what lost? Exposing to the right, which means I wanted a bright exposure. But in truth, out of camera, when it's already hitting 100 it's probably a safe assumption that there's some detail lost , Um, looking like this building here. I mean, I expect light sources to block anyway will be close to. But these lights, although they are sources themselves that look pretty dim, so it's not like looking at a bare bulb. So this is over exposed. So my first step incorrect in this will be to bring the exposure down or up. If it was ah, really under Expo shot to have thes shadows, no gene somewhere between zero and five point on my way form. So I'll start off by using the color wheels. Andi, for this, because I'm quite happy for all the exposure to come down. For now, I'm just going to use the master slider and bring that down so that the the bottoms in the 0 to 5 range and I've got a rule here toe to show me. I can see the bottom of the wave form there. I'm also looking into the shadows and the scene on, but for now, I want to try and retain detail where possible. So the shorts are about the darkest thing in the scene. Andi, that's about as much of the shorts that I want to be able to see. Step two, I'm gonna look at the highlights, and for this I'm going to make sure that they occupy a logical place on my way form. Now, we did say that the top 10 or so I re would be reserved for bulbs and light sources on really strong reflections. Andi, we've got light sources, Andi, strong reflections. So for me, this is a bit too dark now, so I'm actually gonna lift the highlights on I would say the brightest things in the scene . I'll be okay with them in the early nineties, especially because technically they were blown out while so a shooting. So something like that, the important thing is to keep this approach throughout any project. So if I wanted to set sort of Ah, white point an extreme high point of 90 Andi Onley have light sources and strong reflections go Both that If I'm going to stick to that policy on one clip, then I'd better do the same for the rest you're serving looks consistent, at least in the color correction stage. So I am going to say non light sources of reflections should stay below 90. Andi, In truth, this looks fairly good. I'm over 90 but I have a lot of reflections going on the scene, so I'm gonna leave my highs at that point. Next. I'm gonna look at my mid tones. Andi, specifically, I'm gonna look at my skin tones now. The answer Adam chart gave us a decent reference for that, Andi, when we split the zones down into i r e. This scale here being equivalent to IRA 0 to 100. In that case, we said the pale skin tones such as our subjects here would lie somewhere between i r E 54 on 72 off see if you're gonna have skin tones towards 70 to 75 you'd expect that to be really bright, sunny day outside kind of exposure. We are indoors here, but as the sentence next to a huge light source, I don't want to keep her a bright, high key. Look on, and that will help with the skin tones. Because if skin tones are quite well exposed, then they're gonna appear more soft offices. If this was indoors and it was not filled with light like is now, then I would have allowed this to go to the bottom end of that range. But where it is now, I'm thinking I want to aim for about 65 or so. So it's quite hard to tell just by looking at the way form. I mean, it does give us some indications off different colors, but I don't really have a great handle on where these skin tones lie. So what I'm gonna do is I'm gonna use a drawer mask on. You can go to the masks menu. Onda applied Draw musk. Andi, I want to make sure that the play head is at the beginning, beginning of the clip so I know that where my mask is, If I draw a mass now and she moves, then the mask will have lost it. So I'm gonna make sure that I'm in the right place and then I'm gonna draw. I have to go back to the filmstrip to activate the pen, and then I'm gonna draw a representative bit of skin. Now she's actually quite uniform and cooler in exposure. So I'm gonna take all this skin on, and I'm gonna try and make this my target exposure. So the moment is 80 which goes above the UN's Adams Zone. I'm aiming for on. As I said, I wanted to be about 65 or so. So what I'm gonna do is I'm gonna bring the mid tones down. If you're doing with skin tones, think mid tones. And if you do it with mid tones, think of the impact that will have on the skin tones. So if I just these mids to peak somewhere in that region, offs have picked up quite a quite a bright hot spot down there. So I'm also looking at this bit here. Technically, that was up to 71 but I think most of the skin is gonna be around 65. Let's have a look at the scene. Take the mask off. Um, and that looks a lot healthier. I bump it up a little bit just because we've lost the softness in the skin tone. Touch somewhere like that. Andi, I'm pretty sure. Well, not me to upset with going a few IRA over in the highlights, but the rest of it it looking healthy. This is the before on That's the after looking much better. Now let's do the same thing again. But this time, using the curves just wasn't as an example. So far. Pile apply a color curves effect. What I want to do is on a first look at the whole exposure, or at least just the shadows. Andi, adjusting this bottom part off the loom a curve will do that for words. So moving up to the right is gonna bring those down on. If you remember, I wanted to the bottom of those to be in the 0 to 5 range. I'm also looking at the detail we can or can't see in the shorts. It's good to me. And then likewise, I'm gonna look at the top. The highlights on I said I was okay with the very top being in the early nineties. So somewhere on that and then we need to look at the mids. So But my mask back on could see skin tones high seventies, with the majority of them about 72. So going back to my curve. I know that because this is split into four. That each one of these is about which one of these squares here is gonna represent about 25 i r e. So this is this being 50 that'd be 75 100. I know if I pull down on the 75 point that's gonna talk this very area so not necessarily wanted to target that, but we'll go close. So the main peak hitting about 68 I was looking looking better. That's the overall exposure we've gone. To contrast, we can definitely say that we've impacted the contrasts at this stage. We've obviously brought down the shadows on we've manipulated the highs. So by playing with those two extremes, we've impacted. Contrast Now, high contrast scene is where you've got really dark blacks on really bright whites. I'm not many tones in between. A medium contrast seen technically speaking means you got deep blacks, bright whites and also a range of tones. In between those two points, this is probably a medium contrast. See, a small difference between the extremes in the highlights and the shadows would indicate a low contrast seen now. Low contrast might be something waiting for in the grade when we come to apply a creative look to to the scene. But for now I'm aiming for medium contrast. Andi. I would go for anything more adventurous. Side is part of the creative look later on. Now, if you weren't planning on doing creative look later, you could have a look. At contrast on my favorite tool. For contrast are the color curves now, rather than during the same adjustments on the same curve. This could get quite messy, so I would actually apply a new color curve. I would play around with contrast just by pulling on the bits of the curve there. That's a simple S curve, and that's the most common form of adding contrast. You're stretching the the image out, especially from the middle point here, everywhere, below this this line I've made darker everywhere above this line. I've made lighter just by pulling on this curve. Another way of doing it would be to add a bunch of spots throughout the line and then maybe make them equal, equal distance on, then manipulating those just opened down and literally playing with each. Until you're happy with what you see, that's not very scientific way to go about it. But I have seen that used in curves and scene by scene, it does make some sense, So that could be something you end up with only a subtle change. But the contrast is helping the floor have some different difference between the highlights and the rest of the four. It's a highly reflective Flora's it ISS, so it's never gonna go really deep cola. But some contrast is gonna help that situation on adding that at this stage could be an option. If you're not planning to do a creative look down the line, a final way that I might consider using the curves for this job is to use the picker on to try and find the darkest point on my subjects skin. So I'm looking for shadow may be in the now that set a point on my curve looking like that's about 35. Andi. I've done that because I want to add contrast to the scene, but I don't want any of the skin tones to be affected. So in theory, I can pull down on this bit now on. It will deepen the areas darker than that, but it shouldn't impact the subject skin, and you can see in the shorts on in the top that that is what's happening as I pulled out on that, those getting darker on losing detail at this point. But the skin tones are largely unaffected, and that's not something I want to go for in this scene. It's not exactly giving me anything moody with the flooring, so I'm gonna leave that just as it is now on Dino that if I'm gonna be using looks or any kind of preset later down the line, they will add a dose of contrasts or don't want to go really heavy on the contrast at this stage. Andi basically leaving it fairly neutral. This point allows me to think about that look later, willing it to the creative stage just before we move on, though, let's just consider what what the mids are doing to an image if you weren't gonna grade much of down the line and you just wanted to dial in a look at this correction stage you really want to consider way amid Sir the midst really control the skin tones, but also they make colors look deeper and richer and more saturated, even if you haven't touched saturation. So, for example, if I pull down on the curve, you'll find off. The exposure is coming down, but it's making all the colors look more saturated, so that blue in the top is now deeper. Andi, you could argue richer. I'm also looking at the red areas on this building in the background just by pulling down on this is making those colors look richer. That might be an obvious point, but it's worth considering at this stage. If you aren't gonna be doing much later on, Do you actually want to try and achieve that kind of look for me? For now, I'm just gonna leave it neutral, and that's on the basis that some some creative look is going to apply down the line, which will do a similar job 12. 2.5 How to Fix White Balance: white vans describes how accurately the whites or the neutral colors are represented in your final image. So good white balance would mean that whites look white rather than including a cast or any other colors off tinting that white or neutral color. You get good white bones in camera by matching the cameras white bound setting to the color temperature off the predominant light source in your seen core temperature describes theory relative coolness or warmth off that light source on. It's measured in Kelvin with really warm or orange light sources being around the 1000 Kelvin mark. So where you might find candles and light sources such as that on it goes, is cool. Is 10,000 kelvin, which you might expect from clear blue sky? If your cameras white bonds is much to the core temperature in the scene, then you'll have good white bonds, which means that the Weitzel that white Andi thes skin tones and all the locals will look natural now humanize used to adjusting to different lighting conditions. So it's something that we completely overlook when we come to digital photography, but it's something that you must remember to get right in camera, if possible. When the White Vance's off, then you'll notice that the all the colors look unnatural on there's a cooler cast invading the whole image and depending on which way you've got it wrong. That could make colors look cooler or bluer than they actually should look. Or it could make them look warm. Earn more orange. We're so used to seeing people the time that a bad white bones Andi incorrect skin tone callers can really put you off when you look at an image. If some months one skin is too green or even to magenta, then it can look sickly. Or you can make them look like they're an alien on It's not a good look. It's always a telltale off amateur work when the white bounces off, so things in room that should be a neutral color look wildly orange or really blue on, especially when it comes to skin tones. And that's part of the curse of being a colorist. You will start to sort of investigate other people's work, and you'll analyze what you're seeing on. You'll make your own judgment on it, so it's important to try and get good white bands in camera videophiles air so compressed that if you're wildly out with the white bonds, when you try and correct it, you might get artifacts or the image might fall apart. So there's only so much pushing you conduce when it comes to the color work in post. If the camera file is not a very good Kodak, if you're shooting raw, obviously you will be able to change the white bonds freely imposed without much of ah detrimental effect. Otherwise, if you shooting 10 bit on the camera, then you'll have more room to push and pull the image around. But if you're not on 10 bigger or you want to get good white bands in camera, I'll make your life much easier. Another good practice while you're shooting, if possible, is to actually film your great card. So you've got that as a reference point when it comes to your post work. So let's have a look of what you would do with that. So this is the shot we're gonna work on Andi, as you can see here I was Good boy on Guy filmed the great card before I started, So first of all, I'll add a draw mask again to the clip on dial Musk out the great card, trying to avoid the shadows, my fingers just like that. And then we're gonna be looking at the vector scope. Now this is going to be our big tool to be able to see what's going on with cooler cast. Now, if this was perfectly white balanced, this would be a neutral gray color on a such that just be a dot right in the middle of the spectroscope, indicating that there was no saturation of any hue in the image as it is. This town was that there's a yellow shift on and it's saturated this much, so I know that there's a white bands correction there I need to make. If you haven't already got a color wheels effect, you don't add another one. Andi. As you might have guessed, we're going to be working with the temperature and 10 sliders here so temperature will have a big impact on saturation. So I would prioritize the tent first if you can, as that will affect the Hughes. So just trying to work this around now to try and get this dot into the middle whilst making a few adjustments as possible so that the image doesn't fall apart. So the Tyneside is not really helping us here, So let's look at the temperature. Well, see, that's bringing us back in the right direction. So I want to start right in the middle, some adjusting temperature and 10 until that is roughly central. And that's about there. Now. If we take the mask off, that's, Ah, better looking, more balanced image. So if I show you the before and after, that's before you could see there was a bit of an orange cast their in. The whiteness in the white hues during that will correct it and make it much more neutral image so you can see how important white bands is. The second method will look at is when you haven't got a shot off the great card in the scene. On dawn this day, I was a bit of a naughty boy, and I didn't shoot my great card as often as I should have. So the light was moving in and out of clouds, so there is a potential that for changing white bones. So for this particular shot, what I want to do is without a great card. I want to find something else, which should be a neutral color on, and that could be a neutral gray, dark gray or white, even if it comes to it. Andi, I'm going to treat this pillar as if it should have been wiped. Now Apple have made a tool for us to do that. Andi. It takes some of the work out, but there's a reason why I don't use it on that tool is the automatic bounds color. Andi. If you change that two white vans on the effects panel, it gives you a picker. And if you just picked out a neutral color, the idea is it should white bonds for you. But what that's done is it's also impacted the exposures you might have noticed. It's even brought down my shadows to below zero on, and therefore I can't recommend this is, ah, method that you should use. It is touching things which are beyond white balance, yet is calling it a white bonds under cola balance effect. So until they just changed this to restrict itself, restricts his own changes to the white bonds. I can't recommend using it, so we'll delete that effect off and do it manually. So to do it again, I'm gonna need a trustee mask. Onda. Apply that to the clip on. Make sure my play head is the beginning again. So I always know where the mosque is relevant. I'll just Moscow the white section off what should be white off my scene Now if you can't see the trace on the vector scope, If you've got an area that's much smaller than this, a good trick is to zoom in on the image. And as you can see, it's giving me more and more points in in that work with. Also, if you want to pump the saturation, then that might also be a way that you can identify a cooler cast. So let's put that a little bit and you can see expands. Whichever here is in there, it will expand the saturation and make it more visible on the vector scope. So as I pump that exposure, I can see it's leaning a bit towards green, so I know that I'm gonna need to make an adjustment to the other side of the color wheel to negate that green. So the two tools I've got off the temperature intent I prefer to use 11th of possible. That just does a huge shift where his temperature impact saturation and in this case, hue shift might just be exactly what the doctor ordered get is closer to that door. This was only a small adjustment off, so it could have been much worse than that. But as it happens, my white Bonds while I was filming this wasn't too bad. So I'm gonna take the saturation off, and then what older is? I want to move this white bands change to the very top of all my changes. I want this to happen first. Really, this would need to go fairly early on in the process, so I don't want to be making color changes further down. Andi, I don't want my exposure changes to interfere with what's happened here on a one. If I don't any kind of color conversion from log or any of the former, I still prefer that the white bonds has done first, So the difference might even be imperceptible if I toggle that on enough. It's an extremely subtle change, but it's one that I want to keep. So for this third method will use this clip off the plane on the runway with a nice sunset in the background on this is the method that might be more useful if you don't have any neutral colors in the scene to work with. Or if you think that might be a different color bonds going on in the shadows compared to the highlights, for example, so in this scene, what I'll do to analyze it, I will change my scopes to RGB parade on for this method. We're not actually gonna be looking at the vector scope very much. We're gonna be looking at this RGB parade down here Now this is telling us a bit of story. We can see that the highlights are dominated by the reds on the green and blues looking a bit more even on in the shadows that dominated by the blues and the greens and then the reds. So if remember, on the white bond sliders, we were changing the temperature which was moving things between blue and yellow. On we're changing tint which moved things between green and magenta. So on a color curve that is represented by the Blue Channel on the Green Channel, so adding more green will bring the cause this way. Just like the tinted. Taking them away will add magenta, just like the tented Onda. Likewise you for using the Blue Channel, we can impact the yellow and the blue, which is what the temperature side it was doing. So let's say in this case the shadows are a bit too blue. The shadows are dominant. Obviously, Andi, that would make me think, Should David blew kisses water, then that would make a lot of sense. But it's tarmac, so it should be a bit more neutral than blue. So what I would do is on my blue curve, I would drag down touch in the shadows just like that. Andi. That's made them even with the greens and a bit more level with the Reds. And that's to me looking a bit more of a neutral color for the runway than it was before. That's fixed quite a lot in terms of the shadows looking. Then in the Green Channel, I can see that the greens air higher slightly in the highlights. Andi theme Midway point as well, they look a bit higher than the blues. The Reds obviously dominant, but it's Ah, sunset. So I'm expecting Reds because of what's going on over here. So, looking at the greens, I'd be tempted to bring those down in the midst ever so slightly on. You can see that's taken some green out over this section here that's looking a little bit healthier. It's just a case of tweaking these curves, as you like on if you want to keep your changes isolated. To read in the shadows of the highlights, you can use the tool on the curves to make a markka, which will set that in place and everything above it. So, looking at the blues, there's still a bit look very low here, actually compared to the greens and the Reds, so I might be tempted to lift a little bit on. That would make it more neutral. But at this point, because there's no skin tones in the scene, it's less critical that is, bang on on. You can look at what's going on the scene and make sure it makes sense, so I can imagine some blues in this scene because the sun looks like house set so approaching blew our I don't want to take out the blues completely. I would imagine there's some blue there, so I will leave it somewhere like that. That's the after. That's the before you see the blue completely dominates the scene on. We took care of that but left some blues in there in this correction. So to recap on the white balance, we looked at three methods. Firstly, we had a great card and we must not out. And we made sure that that area that was mast out was central in the spectroscope by using the color wheels. Then we looked at a scene without a great card shot. We looked for a neutral looking area that we could isolate. We used the mask again to must out and make sure that the colors were again in the middle of the vector scope. And then we looked at a scene with no great card in north skin tones on, and we looked at the RG re parade instead to judge where the greens, blues and reds were in the highlights mids and the shadows. And then we applied a cooler curves effect, nor to change that to bring them more into balance, where we thought that was necessary, taking into account what was going on in the scene. 13. 2.6 Saturation: next stage is saturation on Saturation describes the intensities of the colors, ranging from low saturation such as a black and white or neutral gray shade, too high saturation, where the colors are very full and intense. The vector scope, of course, is showing is which user in the frame by showing us the trace pointing out towards the hue that it relates to but also ensures the saturation in terms of how far that Hugh extends from the centre items in the center, our lows saturation or black and white even on then the further you go out, the more intense that color will be. So at this stage in the color correction process, I'm just going for a neutral amount of saturation. Andi, if I've shot in a flat profile figure, for instance, like have done here, it's quite low saturation. So this this obviously might need a bit more to get it looking natural. But I'm not going to make my creative decision here about whether it's a high saturation or a low saturation seen. I just want to get to ah neutral baseline so I can make that decision later on. Something like this would be okay? I mean, it's going to involve looking by I The key thing really is too much. You're all shots together on if you're matching this shot to this off, See, if could be really careful and think about what's in your scene, because I can't just say, Well, this extends this far out from the middle, and so therefore this one should as well. This one has a range of colors in there, and it's obviously a color card giving me saturated colors so much in clip by clip. You can't just say the distance that expands from the middle should be the same on every shot you've got to take into account what's going into the scene. So be tempted to look at the skin tones on try and match roughly the skin tones saturation across the shops. And in this case, that's still gonna be difficult because I've got red bricks and the skin tones that could be mixed in with the red bricks on here. So I'm not gonna be getting scientific about matching these. I'm just going to make sure that we're in a similar ballpark. So to add saturation, I'm gonna want to use the color wheels. But I want to respect the changes that I've made to white bonds on exposure. So I'm gonna make sure that it comes after those things. So in this case, I'll make a new color wheels correction on I'm simply gonna attack the global saturation and look for something that looks looks quite natural. So this is officer getting too much skin looks really orange. This is a bit under on something like that is gonna look, look a bit better. So as I mentioned, the subject did have quite pale skin. There were no other colors around here which were really helping us. So I'm also looking at the buildings in the background. So, looking at where my saturation falls on here the distance from the centre, I'm gonna look a by their example on That looks fairly close, miserably happy with that. The next thing to check is just that the white bands has not affected. Sometimes when you're playing around with saturation, weirdly, it can affect your white bones. So I'm just gonna look at my white balance musk. Andi, I just want to make sure that was still pretty central with that. I'm happy with that. 14. 2.7 Get Perfect Skin Tones: We discussed how important it is to get natural looking skin tones that humans that, like humans, aren't to make sure we aren't accidentally making people ill. So this stage were white bands in the scene on you might expect them that the skin is perfect looking, but that might not be the case. It could be that you get bounces of color from objects there in the scene or color cast from lights, for example, so it's still worth checking the skin. This can also help if you've had a really hard time white dancing. So if for some reason you weren't able to get a good white bounds, you could do it from the skin on did you could then look at the rest of the scene to see if that's helped. We'll see how to do that shortly, but for now, let's just review our skin tones going back to our clip. The first job I would want to do is to mask the skin tones out, but actually we already did that as part of the exposure step earlier on. So I've got this mask here, so this is our correction so far. So these are the skin tones. Then what we're gonna do is go over to the vector scope. Now the vet scope has what's known as a skin tone line indicator, So this is a really good guide to tell you what a neutral skin tone might look like. It's this particular Hugh here. So if your skin tones lie on this line, then you can make an assumption that they are a neutral skin tone. Although I would say when it comes to the actual grade, you might not end up there after everything's been done. But as a starting point, my goal here is to get neutral. I would aim for this for this line here but on there's a fairly big foot. If you subject is being lit by something like a candle fire or really orange sunset than skin tone lines may well be more red or more orange than this on did. You might not want to adjust them, so at that point you just gotta rely on your eye on what you think looks right. But as a general rule, if you're looking for neutral, then you should aim for roughly this skin tone line. Now, as you can see here, we're actually fall a bit on the yellow side of this skin tone line. That might be a bit of a shock, because we've already white vans have seen. If we hadn't white bands the scene, I would go ahead and use this as a white balance, so I would have just my temperature or you to get us onto that line. And then I would look at what the rest of the scene looked like. But in this case, I'm confident that the scene is quite well, white bonds. It's just the skin that's not looking great. So what I'll do is I'll add a hue saturation curve and to target the set the skin and make changes to just the skin. I'm gonna use this picker on gonna select an area of the skin. Now it's given me a point in the orange in the hubris issue, but it's also given points around it so that the other hues are unaffected when I make this change. So yes, if anything else in the scene is this shade of orange or red, it's gonna be impacted. But I'm absolutely fine with that, So manipulating this point in the middle is going to determine where these skin tones go on . And, as you can see, pulling up puts it towards magenta. Andi, something like that is what I'm gonna look out. So I'll go back to my musk take off. I don't have a good look at all the skin now, so I did only pick a bit of the leg. I could have done a bit of the arm or could have done the face. Now, I try to avoid ladies faces when they're they've got makeup on because I don't want the makeup to skew whatever. I'm looking up in this case, I just want to have a look at an arm, so I'm gonna do another mask. Now, this is just in case. The areas of the skin closer to the lights are picking up more of a green cast, which you can sometimes get from lights. And sure enough, they are a little bit so I'm actually gonna push my change a little bit higher to correct for that. So now if you take the mask off, I will have introduced more red in the areas which I must off originally, but This was a particularly cold day in an empty on heated office, so I know that the skin was naturally going a bit red. So I'm happy with how that looks on, and, you know, this is how you would adjust it. So if you wanted to undo some of that, you could just pull down on their Andi. It's just gonna be a case of finding what looks good to you on what's relatively close to this skin tone line indicator. Let's just do a quick before and after to see what that's done. So there's the skin uncorrected, and that's after can definitely see that we've got a lot more pinky red in the skin. I'm before to me does look a bit too green, verging on the sickly. Now the beauty of the skin tone indicator line is that it works for all ethnicities, is basically saying we're all the same, Hugh, which is kind of call. So on the skin tone line on that's a natural looking color 15. 2.8 Secondary Corrections - Small But Crucial: we're almost at the end off the color correction workflow. By now, you should have the confidence in knowing that you've got a good looking image in terms of saturation exposure. Contrast. White balance on the skin tones look good on you've got the confidence of knowing that that's good, because you know what it looks like in the scopes when it looks right. What we've done up to now are known as primary color changes, because the changes that were making were applied globally to the whole image. What we're gonna look at in this video are secondary color adjustments, which deal with local issues on tackle different areas of the image. Although the stage your image is already looking balanced, the secondary cooler corrections just Sprinkle a little bit more glory on top to just take it a little bit further. Let's jump into final cut pro to look at what we consider to be secondary local corrections on. We'll see how to fix those in final cut pro. Let's take this scene, for example. Let's call this a decently balanced image. There's quite a lot going on in this scene now. The windows were almost blown out so they're bright white. Um, but light bulbs. There's a big reflective surface on the floor on. We can see a lot of detail going on in the brickwork. All that for me is taking attention away from the dancer Andi. I want to do something about that to help the image pop a little bit better on to take it that extra 5%. So in order to direct the viewers attention where I want it, which is on the dancer, I'm gonna make a new color wheel adjustment on. I'm going to apply a shake musk to it so we'll get that mask around our subject. Many point in that with the green dots, the outer ring here will further the difference. So whatever change are making their will gradually roll off to zero changes by this point. So I do want some feather Andi. That's roughly about that. So with inside the mosque checked here, any changes that I made to these wheels will just be applied to the dancer. Likewise, if I click outside, any changes I make here will just be applied to outside the mosque. So I want to bring focus to my dancer so a couple things I could do is dark and the rest of the scene to take the edge off. It could reduce the contrast. I could do the same masking, but apply a blur so that these air a little bit out of focus And this example, all I'm gonna do is make the rest of the scene a little bit darker just to take the attention away from all these shiny surfaces. And to do that, I'm just gonna bring down the exposure in the mid tones. It's just a case at this point of playing with these tools just to get the effect I want could kill contrast. But I don't wanna go too far, Andi. Quite like the contrast being there. So drop in the mid to think is helping for go inside the mosque. I might Brian her a touch less is more at this point, subtlety is king here, so we don't want a really obvious difference between our dancer on the rest of the scene. For example, if I went back to this, Andi just brought exposure down. I mean, that would obviously look ridiculous. You don't need me to tell you that so subtlety on the feather really help sell. This is an effect on do it kind of looks like we just did a better job of lighting that the subject has lit up. The rest of the background was was left a bit darker. This is after on. This is before you can see how the dancer really pops on. Although now see before and after the difference is visible on where the edge of the mask is. I don't think if I'd shown you this clip before that you'd necessarily notice that. Or maybe you would. And if you would, you're just these fires, obviously, too, to bring down that difference. Now let's say you're not happy with the fact that there is a circular border around our dancer. You can refine the musk even further by adding a color mask to this effect that we've made . So if I do the color picker on, start dragging out a piece of skin holding shift when I want to add more areas and drug out another area till of goal skin tones Okay, that at that point the mask has got all the skin tones. So by setting this to intersect. If we click view masks, we can see that the mask is now applied to the skin tones in their entirety on bits of the bricks that got similar color to the skin tones, which is fine is taken the edge off the very oval defined shape that we had before. If you see, before we applied that color mask, we had all the changes happening outside this circle, which, if you had a very keen eye, you would have spotted. But this is just help refine that mask a little on the definition in that the outer boundary will now be lost. You definitely want to check the whole clip through to make sure that you're not too upset with what's going on the outside of the mask. Because at this point, obviously subject is outside of the mask. But this happens. Be more like coming down here anyway, so I'm not too upset by that. That does look better, but now you might be able to notice. We've got some kind of funky noise going on in the background, and that's where the cola mask is going in and out for these particular bits of the wall so no happy with that. So I refined my color mask further by adding more softness. I can see what that's doing if we show of you mask. So is adding more to the background. But that should help take care off the pixelated noise that we were getting. So there that's that's looking a bit healthier might go even further. I'm happy at that point that it's gonna be less visible to my viewers. But knowing that YouTube compresses the image, if this was going to go out to YouTube or Facebook, I wouldn't be too worried about little bits of noise like that. I mean, you can refine that further, of course, but I think that's looking decent now. If you really wanted to go to the 10th degree on this clip, you might want to pay some attention to those windows. They are almost stealing a scene with how bright they are, and also because it was a different color temperature. Inside, we were bounced to that cooler temperature. On outside it was daylight, so the outside daylight looks blue because we were bounced to a more orange image. So if you really wanted to go to town on this. You could add another change on, put a shape mask on and just deal with the windows individually. So I'll just fight through this quickly. Use this gray slider here to make it square on and bring in bit closer. Unfortunately, you can't draw your own color shape, shape adjustment. Otherwise, that be really Hyundai. But let's just say progress sake. That's what we wanted. So now inside this mask, I might want to bring down the highlights. A touch being down, all of the exposure might look a bit weird. It looks OK, so it just takes the edge off on, and I'm gonna warm that up a little bit. I'll take the blue out with the color slider. So technically, I'm white dancing again. But just for this little bit of window here so I could put another mask on on. We find that to a perfectly white, neutral color rather than the blue haze that we've got the moment. But let's just let's just say something like that is is fine then the problem is, once we play that clip back, the window moves, obviously, so this point would have to keep for him it. So we click this diamond down here that sets one key frame and then every so often would want to move the mask manipulated So it's still in place. And then that's automatically added a key frame because I'd already added one. And then the final cut pro will automatically animate the mosque between those two key frames. So could take another on that with a cross again again. And then I just go to the end to do one last one script through, just to make sure that's roughly in line. And that's decent. So if you compare the two windows, I think that's a subtle but important upgrade compared to the left on window. You might see it different to me, might want to make another change, but I think that's made that window a lot less dominating in the scene on again. That's directing our attention towards the actress or the subject on. We've got less of a distraction coming back to this scene and thinking about any secondary corrections would like to make. You could make a case for brightening the subject again on darkening the rest. Now we've seen how to do that with a shape mask, but even better if we were able to just make our change in the hue saturation curves for the specific skin tones we're working with that might make our lives much easier. So, for example, if I wanted to darken the rest and make it look like weed, let our subjects really well. You could take the picker to Hugh versus Loomer, grab some skin tones. Andi. Raise those skin tones up, which makes the dance of super bright, but then reduce the global brightness so that the dancer goes back to roughly where she waas. But the rest of the scene has has dropped in exposure, bringing our focus and attention to the subject now registry. Reassess where we are in terms, off exposure, their skin tones still about 67. So I'm happy with that. I don't know that the rest of the scene is darker, which is absolutely fine by me. If you weren't happy that the highlights had now dropped, you could raise those again with a color curve. Now, this is getting pretty, pretty intense of a grade, but as a correction so you could do a placeholder in the brightest part the skin on and lift the exposure above the skin, so we haven't impacted the skin. But we've reacted the brightness to the top of the highlight curve, and that's given us some contrast back to complement the Dark's. So there. We've made a couple adjustments to darken the scene on. Do make it Look like our subjects was better lit. You could also do the same for saturation, for example. So if you wanted to de saturate the image on, just leave our subjects saturated more do the same thing on Go for the skin tones Onda. We could saturate those a bit more and then bring down global saturation to where the skin tones are roughly where they were in the first place on Do we know that we've killed the saturation in the other elements, which is another tool that might help shift the focus or keep the focus of your Ian's where you actually want it? So that's before those changes on that's after because we dropped exposure, we probably made these colors in the background darker on more rich and deep, so dropping the saturation is probably helped kill off that if that is a look that you want on. Also, you've just gotta be careful that you've not ruined anything else in the scene. So anything with the skin tones will also now be brighter. Andi, more saturated than the rest of the scene, which I'm fine with, but you just need to make sure you're on getting weird artifacts on breaking the image, which you could probably see, has happened here on the ceiling. So you it's just a case of tempering those changes. If you are seeing artifacts that that you know happy with. Same concept applies when you're dealing with sky or much larger, wider frames, and you've got areas of the frame which are dark that you want to brighten up, or some which are too bright. The exact same applies. So if I zoom out of this one a little bit, Andi, I say, for example, I want to kill this sky a little bit, because for me it's dominating the scene a bit too much. I don't want to look this blue or that saturated all this bright, so let's add another adjustment in the form of a color wheel, A lot of shape mask to this square this offers? Well, Andi, I'm never gonna get this exact to the horizon, so I do want to feather I'll just so it's angled more towards the horizon level. But then this this feather will be all important. Teoh to really soften difference. So inside this mass, let's say I want to bring down the highlights and just see this is obviously the sky there on the away form that's just bringing down the sky, making a little less dominating, a little less distracting killing. The exposure has obviously made the color a bit more saturated, so I could bring that down a touch. Andi, I could warm or cool down the shop while that bit of the sky, just by adding orange tones, will make it a little warmer. Make it feel like more of summer day. So that subtle. But it just takes the edge off the sky on, and the feather has made it so that we haven't impacted the rest of the scene. 16. 3.1 LUTs Introduction: Welcome back in this section will be looking at grading with looks. So you've got your corrected image on you've got an idea now off. What constitutes a cinematic one of the routes you can go down is by using what's known as a looked in order to begin your creative look for your your image. So what is a lot? Well, look stuns for look up table, and it's essentially a preset that you apply to your footage. It will change things such as your exposure saturation. It could shift Hughes about things like that. I'm sure you were familiar with Instagram, where you've got all these pre built filters that you can apply to your photos before posting. Well, looks exactly the same, except we can use them and final cook our great looks into two categories. First of all, we've got technical lots and those like we saw in the color correction section. Those do call a space transformations to get footage out of a camera to erect 709 position . Secondly, then we've got creative lots, which a pile look, such as a vintage feel or a cinematic film effect on day. Those air intended to be a creative look that you apply to your footage. I think it's a certain stigma attached to using looks in your work, especially from purists who expected to be able to do everything yourself. While I do agree, I think it's really important. People are able to devise their own look and be able to use their software in order to implement that. The fact of the matter is that some pros do use looks on a consistent basis. Andi can be a time saver. Consider your audience as well. Do you think the people watching your work care whether you use a lot or not to get too out of a position invented apart? I don't think so. I think all my clients really care about is whether it looks good or no. So where I think looks do, say, every time is when you know that there's a look that you want to achieve on. Do you also know that is a look out there that you want? There is a trap you can fall into off trolling the Internet full looks on, not really knowing which way you want to go, but then seeing some which look good and then spending money on those lots and then use it on your own footage and they don't look quite as good, so they're definite pitfalls on will. Try and address those in this section, but if you do know what lucky one on, there's a lot out there that you know will get you close to that result then that often is a good place to start a lot, or a preset can often include more fine grain adjustments and what you can actually achieve and final cut pro and some lots could have taken a lot of time and effort to produce to make them look like certain film stock, for example. But we've got to remember that looks are dumb. They have no idea what's going on when the footage that they're about to be applied to, they don't know if it's got any issues. Whether it's high key, look or Loki look already built in their Andi. Likewise, they don't know what is going to spit out all the hours of preset that will change the same values every time you apply it to the footage. Now that could be a problem if you don't know where the lots come from and what it was originally designed for. For example, a lot of lots are designed for flat footage. That's obviously footage that's come out of the camera with very low contrast, low saturation. You know the shadows are officer, or by a fair bit, the highlights might be down from 100% then the look is designed to adul that contrast and saturation back in, and that's all well and good for the people that used in the looks in the way that have been intended. But for example, you might not have shot your footage flat, so you might have a rec seven or nine kind of image to work with your pile outlook on. Then it's expands our even further, really hyping up your contrast All the shadows across stroll with sudden and you've got no detail in the dark areas. The saturation is gone off the charts because he was expecting to be working with flat footage. So that's where we've got to remember that the looks dumb and we need to tailor it to our needs. So I quite like to use looks, at least a starting point. I know that's really common among professionals in the industry, so we shouldn't be too proud about looking at them. Obviously, we've got a section coming up where will do grades completely without looks, but here we'll go through some good free looks that you can download on. We'll start applying that to some footage from Walcott some tweaks that we need to make in order to get it looking good. 17. 3.2 Get the Best Free LUTs: this video, we're gonna be looking at some free options for getting some lots that you can get going with Andi. I've reviewed these myself, and I like them some. I'm recommending them not just because they're free, but also because I think they usable. Now, I have not had a discussion or any kind of contact with any of these Look creators. Um, these just ones I've come across the I like quickly before we go on to looking at external looks. Don't forget that Follicle pro comes with some looks already installed on, and these are not necessarily the best. But the best thing about them is that you can audition them just by scrolling over the look in in the effects panel itself that is really good and compared to, ah, the Pfaff of applying a lot on trying to audition it. This is way better. I'll be honest. There aren't many. That I actually like cast is one that sometimes useful not because it gives me a great that I want, But sometimes I might want to apply cooler cast. Andi, Um, you can easily pick what? What you You're not into the whole leverage that can sometimes be useful in creating titles . Andi, um, you know, cut away kite type things where you just want to change call of the whole thing, but I wouldn't necessarily call that a grade. The other interesting one is Taelon orange. Now, teal and orange is a wildly popular look in the scene on to try this one out. You just drug the effects, drones. The clip Andi. Then you've got some sliders to play with, so this is looking a bit intense for me at the moment. Sorrow attempted to bring this down, and you can see what's happening on the way form. It's applying contrast and changing my black and white point. It's also adding saturation to my teal and orange areas, so I would apply, you know, a bit less than what it came in us. You can decide to protect the highlights, so at the moment it's added orange to the highlights. As you can see in the sky, you can choose to protect those, and it brings them back to neutral also brings them down. You can do the same with skin tones. If you didn't want the to an orange to party skin tones, you could isolate those out. That's a really, really interesting feature. Personally, I think a teal orange look should in fact your skin tone. So I would leave that. Leave that where it is on then, just like with the highlights. You've got the shadows. You can just that slider which impacts thesis actuacion on the amount of teal that's going into them and also the exposure. So maybe something like that was a really quick to an orange look Might get you where you want to be on a really quick job, right? So let's have a look at some of the free lots that I'm pointing you towards. This 1st 1 is by a gentleman called Idle You lt b a p, which stands for I would like to buy a pony. So, in order to fund his pony, he has built a lot off looks on their all for sale, of course. And he gives away a few for free. I recommend you download this log to seven or nine looks conversion pack. Now that one is good because it includes all of the other free lots in there as well. Plus it'll half the conversions in case you ever need thes loft conversions in future, I would also recommend you get the grain as well. If you want to be able to get your hands on some free four k grain his a sample off the free looks that you get Now, bear in mind. I've not just supplied the look. I've also made a few adjustments in order to keep my exposure and contrast into a decent range. So this isn't straight out the box. This is with some adjustments. In order to improve it on, I must say no, everyone is a winner, but that might be able to call to in there that you might find useful. Next. We're looking at rocket stock there, currently offering 35 free looks for download on to make it really easy to get your hands on them. There's no registration or anything like that. I don't think here the samples again and the same rules apply. We're gonna look at all those looks because we haven't got three weeks to do it, So just a small taste of what you might get next up. We've got some really interesting ones. Thes air from a gentleman called Juanma Lara on I'm sorry. Five Butchered name on these air. Some film emulation lots If you go to his website, he also gives you an accompanying document, and that goes into some really technical depth about what's going on with these. Look, if you do go with ease, you end up getting three versions of each of the film stock looks on. The documentation, explains what each one of those is during. If you don't really want to get into the technicalities, I think you can get away with just using the constant, luminous clipping one. They are quite heavy handed, so it's really important that you watch the upcoming videos on how to treat them. 18. 3.3 Apply a LUT in FCPX: again, this one. Let's do the simple task of applying a lot to our footage. Now, this is the clip that we call a corrected earlier. But let's assume the position that you're in is you've edited your project ons. You've call a balanced color, corrected everything. So you've gone through that whole workflow, every shot much is on. Then you've maybe made a compound clipped by highlighting the mall, right clicking on a new compound clip. Then you've got one clip, their remaining with your whole edit within it on. Then any single change you make to that compound clip will apply to all the individual clips underneath. It starts your starting position, then you want to apply your creative look on. In this case, we're going to do that by using looks. That's a really easy job these days on Final Cut Pro wasn't too long ago when you had to have 1/3 party plug in in order to do that. But if you just search for looked in the color panel, all the all video panel, you can drug that effect out into the clip, and then we've got a drop down menu to find a looked. So these are all the ones that I have imported already. If you aren't seeing one on your list, maybe because you've just downloaded it. If you click, choose new and then find out wherever it is. Officer, you open them. Final cut will import that into a separate location, where it stores copies of all the locks that you've used. One I want to go through for this example is one of one more Lara's on Let's go with 2393 I'll go with that one there. Remember I said that looks would dumb. Well, destroys proves the case. It had no idea what kind of footage it was being applied to on. We dropped the look on their Some people might think that that's gonna be an easy solution to get good looking footage, but when it comes down to it, this just looks garbage. But let's keep that in the tank for now, and we'll look adjustments in the next video. Just as a quick sidebar. You might have seen that I've also got some film stocks from Adobe in my list. So having had a download and paid for premier pro for period I took the looks from their Onda. Also, resolve comes with looks. If you ever want to take their free looks, that's not what I'm recommending. But that's something that I did while I was working on a project in both resolving and final cut one last thing before we move on. And that's if you're dealing with H l G footage. Now, if you remember, that was HDR footage which were tryingto conform into a wreck. Seven or nine color space. So this is how the footage looks out of camera on. We did mention when it came to the cooler conversion step in the color correction phase that we used the settings tab on the I inspector on. We made a cooler space override Now for using a looked on. Do you haven't already done that? Then you're gonna be seen the same position with the blown out highlights under loss of all the details. But what you come do, darling, from the look panel is change your input to wreck 2020 hlg on that does the color space conversion whilst applying the look. So if you remember, when you're dealing with h l G footage, you've got the color space override on. We set that too. 2020 No h l g for it to look decent, But actually, when it comes to the look, you actually need direct 2020 hlg. As I said, I think that's a book for now. So it may be fixed in future, but go between rectory 20 and h o g and make sure it comes out looking normal. 19. 3.4 Get the Best from Any LUT: so that it looks to your footage on Do you may well be feeling a bit unwell if you've seen the results, and you might be thinking, this looks horrible. So pick yourself up off the floor on Let's see about adjusting them so that it looks good. The name of the game here is to keep the good stuff that the law is doing on tame. The rest on will tailor that to our hero shots. The best shots that we've got in the footage on will make sure that the rest lines up. So let's pretend this is a long project. This one clip here, you want to go through and find the bits that are really important or their best the best representation of the whole piece. And you'll use those moments, too. Judge where your law is that? So let's say this is one of those moments. I'll add a Marca and I would go through the whole piece and do the same thing for a couple of other hero shots. So we've got options at this point on how we can improve this. The first easy on most obvious way, is to adjust the intensity off the look that's being applied on by bringing down the slider on the mix. You can tell Final Cut pro to know, apply the whole lot just key in 50% off it, for example. Now that may well get you where you want to be when it comes to your particular case. But what I want to do is I want to keep all the hue shifts that this law is doing on. I just want to tail the footage that it works well. To do that, I'll be assessing the exposure. The contrast, the saturation on my skin tones is the first question I ask myself is, What was my look done? So I'm gonna be looking at the way form on the spectroscope. If you can't judge by, I already dies on, I can tell just by removing it and putting it back on. Its added a dose of contrast because it's stretched out the mids even more and pushed up the highs. Also, it's added a lot off saturation now taken into account the order of operations. I want to adjust those things, but I'm going to adjust it before the look itself is actually applied. The reason for that is I don't want to make final cut pro, make all these changes to the exposure contrast and the colors for a look. Then, too, put its own stamp on the image of a tough to try and undo all of those things on Get it back to looking decent. I'd rather just feed the look with the kind of image that it's expecting on. Then it's going to be a much better result. So I start by looking at the adjustments that I've made, and I can just go to the color tab on review everything that I've done at this point. This was all for the color correction stage, and I'm gonna use thievery wheels that I used in the color correction stage to dial back some of the changes. So while I'm looking at this saturation, I'm gonna pull that down a bit, and then I want to look at the highlights, so bring them back down to roughly where they were on Also lift the shadows a bit, so that's taken away some of the Contra. It's just a case of tweaking the mids highs on the shadows in order to get into a position that you comfortable with. So something like that is, ah, very contrast in look, but it's got a bit more about it than what it did when we just came from the correction stage. It's a pretty subtle look when you make those adjustments. But let's just take a look at the skin tones, which we should have maxed out in an earlier stage. I think it's this one. So skin tones, uh, quite bright. Still, Andi There, roughly on the skin tone line, I could go back to my adjustment on here that I made in the correction stage or out of correction. If I didn't already have one on, then I could just make some changes to adjust the skin tones accordingly. So there are moved them back towards magenta. On also drops the exposure sightly have a look at what that's done, and at this point it just comes down to your personal taste. It's no rule the skin tones have to be on that line. Um, that's the skin tone line. You are being created at this point, so it all comes down to your personal taste, you creative vision and also the mood that you're trying to convey and all those other things we talked about when it came to color grading. There it is. It's quite a saturated look. Now, um, it's got a lot more contrast. Andi. It's got some huge changes there from the film. Look, here's the before and after. Okay, let's move on to this clip which was already being corrected on the law, has been applied on top on you can see the look was really coming in heavy handed as well with this one. So again, my first port of call would be exposure. So I'll go back to prior to the look being applied on. Look at what changes were made originally. Andi here, I want to assess again what's going on? So we're going right down to zero. Andi, the exposure goes up to quite high up to the eighties. Andi, the midst looked like that really dropped quite far down and that was obviously done. His part of the correction. Now the correction was done, officer before the look was applied. So that's what it looked like with ah, a neutral correction. So we'd already crushed the shadows at that point We'll just take the opportunity at this point now that I'm trying to finish the image to reassess that kind of decision. So I'll go back to the color wheel for the looked on, and I wanna maybe bring up the shadows so they're a bit less aggressive and then highs. Ah, we're outside. But I think this is in the shade. We had no direct sunlight at this point. Sold. Bring this, too. About 70 kind of Ah, moody, little contrast. Look, And then the mids. I wanna wanna pop those up a little bit. I think, Well, I want to keep a rich skin tone. I'm not bothered about retaining the detail back here. Happy to lose that because I wanted the attention to be on the model. So that's a creative decision. Obviously, at that point, I think I'm happy about their officer. We pumped the saturation in the first place, but now that might not be the best decision on bond bringing up down. Actually, it wasn't wasn't too bad. So something like that, it's gonna be decent. So it attacks the exposure, then the saturation and I want to look at the skin tones on we had a musk your own that was probably in line about there, so that skin tone is actually OK, so we're leaning on the right inside off the skin tone line. But I actually think that that's fine. And at this stage, it doesn't need to be on the skin tone line because you can be creative so you can play around with it again if you want. It's a warm look, obviously at the moment, but you could always make adjustments to your looks. Andi, this could go after the look of those. No problem with that. Just maybe taking the edge off the readiness might look good. Um, still for May. A bit too much saturation in parts of the skin tones. So maybe bring that down to something like that. One last step will do with this one. Onda, while I've got my hue saturation curves out that's going at the end Now, after all of the other changes, I want to clean the blacks. So if I pick my loomer versus saturation, um, set, set a placeholder, it's gonna be roughly around here. Hopefully on. Then we can kill the saturation in the very dark parts Andi. That should take care off the slight color cast that the Lord given her hair, which was very dark. So don't want to lose saturation in any of the mids, but the hair I want the deepest parts of the hair toe look neutral, a neutral black so total that on enough you'd be able to see the teal that's being introduced into the hair tones. Andi. Hopefully that's cleaned up the majority of it. I don't mind the highlights of the hair taking on the tone, but I think the very darkest parts should be black on. That really unifies the whole image. I think that looks okay. I mean, that might not be your approach, and you might have a different view on the's saturation and the cause, etcetera. But I just want to show you around the tools that you'll need to use on the thinking that goes into it. Finally, let's consider this clip on. This was just with look applied. I might agree that this looks pretty good already, and the reason for that is that the footage itself waas lock on the law itself, as I mentioned, was designed to be used with log footage. So the look is added all the contrast on all the saturation that it needs and technically, would just make a few adjustments from there. So my point being back when we did the correction stage. We looked in the work floor during conversion, lots for logs, footage and h i G footage. Now, I said, at that point the idea was to convert the first direct seven or nine on that really applies if you are doing a grade yourself and you're not about to use looks, obviously, if you know down the pipeline that you're gonna be using a looked that was designed for log footage, consider using that log footage. Look at that stage. I appreciate that's a bit of an obvious point, but then it's just a case off making the changes to the footage just as you would grade any other footage. So in this case, I can see my shadows are quite high on and the luminess goes all the way 200 on. We do have lights on the scene and the smoke is certainly adding to that on this even really strong reflections on here, so I'm not too upset about that. So it's just a case off deciding what your personal taste is. Whatever direction you've decided to take with your project and apply those changes, you could easily push this down and go for a bit more. For Moody look, adding more contrast like that. Or you could bring the highlights down and go for something a bit more cinematic. Maybe maybe lifting the shadows, fading them a little bit. That's a bit more hipster. You know the regular grading rules will apply at this point. 20. 4.1 Black and White Grading: for me. When it comes to grading for a black and white look, it all comes down to exposure and contrast. It's amazing when you so called the color out of the footage. Just how changing the contrast and lifting the shadows concave, a completely different look and feel. For example, if we take the saturation out of this on and give it a high contrast look, then you'll get something that's a bit more akin to Sin City rarities, super deep blacks and quite high highlights and give it a really eggy, sharp, modern look. Likewise, with same clip. If all we did was to lift the box a little bit all sudden, that's got a much more vintage type feel. So I see so much of the black and white stuff comes down to your personal taste. Playing with the contrast Andi, maybe even the hue saturation curve is really gonna let you dial in the look that you want . So if I reset my call a curve on this one, you could start by making a few points on the curve and literally just play around with these until you get the look that you want. That's given me quite a contrast to look, for example on, of course, you get looks which can give you black and white footage. This is one of the free rockets Doc ones. Clayton. Look on. All it'd here was apply that look on it did of a black and white feel for us. I think another really cool effect worth exploring if you're thinking about black and white , is to take the saturation out of the footage and then apply a different look entirely. That doesn't sound like it should work, but actually, I quite like what you get. So here we've just taken the saturation out on. We've done some exposure adjustments that was to correct the footage in the first place. But the exposures all the way down, and I can't drag it any lower than that. Now let's see what happens when you add the Azrael looked, and this is one of the free ones from the free section. If you add the custom, look to it. You can see how it's got quite a cool blueness about it on a so you can see on the vector scope. It has added some color contrast, and it's quite subtle, but I think makes it, ah, lot cool. Let's do the same again. And this is another rocket stock one which you can get for free as given in the look section on. And we've got some regular black on white here where we've just killed the saturation again in the cooler wheels. Despite in the look, you get this quite stylized look to it, which I think is pretty pretty cool with warm tones that this one's introduced. I've attempted to lift the blacks a bit. Andi. This would make a decent vintage look that may be killed. The highs, too, that softens up a bit on bond, makes it a bit more vintage. Now that you found the black and white look that you like, you can enhance that with some green, and that will just make the black on white pop a little bit better. Just remember, if you are adding green to the footage, there's a risk that Facebook or YouTube might make it look mushy. So advise you do test that out. If you are going with green 21. 4.2 Matching Cameras in FCPX: this video, we're gonna go through how to match two completely different cameras when you want them to work together in the same project on the same principles. My apply If you have any two shots that look different, but you want to bring them into line. So be matching this shot here, which was with a cannon five D to this shot here, which waas Obviously different exposure settings on This was a different camera. This was a Panasonic judge five. So I want my judge five to look like the kind of five D. Let's assume this has gone through the color correction process on. It looks hard when it's a look on. I want this shop to match it, so the approach will be to make global changes to make them roughly similar on. Then we'll dive into the key elements in the scene such a skin tones and will make sure that they look kind of similar on make refinements if no so to make life easier. Switching between the two. I'm gonna introduce the comparison viewer, so go to window showing workspace comparison viewer. Andi, I've got scopes then for for both sides. If I didn't have the scopes off Siocon go to view and apply the video scopes to make sure that I'll have that from a reference shot on my main shop. So I want to be matching to this for him here, but lovely smiling face. So I'll say frame Andi, come to an equivalent point on this one. So, as I said, I'll make my major global changes first before looking in the details. So I'll start with exposure. I want to start with a color wheel. Andi, I'm looking obviously at the but point that we've got on the camera matching to on the highs on the mids, obviously. So this is obviously a bit more exposed in both highs. Mids on also the shadows. So I'm going to start by bringing the muster exposed down. So it's bottoming out that, but for the same area on, then I'm going to bring the midst down, which also brings the highlights down. I'm soldiers tease the highlights in the mids until they're looking roughly similar. Just looking at the way former at this point. Now it goes without saying this. This job is easier when both frames are much like this one other than the individual in the middle, we blessed because the background is the same. So that's going to be key in any shots that you match. You want a similar kind of scene with lighting on the elements in the scene you want them to be similar to. So we'll go with this for now that they are looking pretty close on. Obviously, I'm looking at outside of the individual, Andi. Then I want to look at the cooler bonds now. I could white bones off the board, but obviously we're not always blessed with that, Andi. So what I'll do is I'll go to my RGB parade on both. Then I'll inspect where they are on each case. Andi, I'll make an adjustment in the cooler curves. Now, if you've got a trained eye, you can already tell kind of what's going on. This is a cooler looking average on. This is a warmer looking image, so we know that we're gonna need to either take blew away or out red to this one in order to get close to this one. But Harold analyzed that using the scopes, I'd be looking for specific areas in both images on trying to see where they fall on each side. So again, trying not to get distracted by what's in the middle. I'm a red kind of guy. As it is. I'm gonna be looking at the sides of the image on seeing what's what on that can definitely see here, for example, the mitts in the blues peeking above 50. Whereas there's a lot more going on below SOF 35 39 on the left and not so much around the 50. So I know what I have to bring the blues out, so I'll start there. I just teased down from the middle to my blues, and that's already looking a lot better. Notices. Well, what's going on with the Reds? So we've got a pop really high in the Reds there, and I think that's probably me. But even so, I'm gonna have a play with the red curve because I feel like it might be higher in this one . The Reds might be a bit higher and their than they are in there. So specifically, the shadows, someone a just bring those up a little to their on and just looking at the grey along here . It's still looking to blue on the right. So I'm going to bring that down a touch more in the blue Channel on the right. That's looking a bit better. That makes me want to readjust the red sightly when a less of it. And in general, I can see the mids are still brighter on the side on. I'm just gonna tackle that with the bloom a curve while I'm here. Okay, I think that's a decent stop. The tomorrow they're looking a lot closer, maybe still a bit more blue in this sign, but I don't want to go a t t. Okay, That might not be perfect, but I think that's a big improvement from where we started. Obviously, we've got the benefit here of the color chart if you did really want to dive in. But I'm not really gonna take advantage of that because I think in most cases most people won't have that advantage. But you can see that the yellow is a bit more saturated here than they are here. For example, Andi, definitely down in the green Sayan range. This five deal a lot more saturated on that could easily be fixed with the hue saturation curve. But I'm just gonna make changes as to what else is going on in the scene. My main elements in the scene for me are the bricks, the gray on the sign, the skin tones office. He's the biggest priority. Andi, even the greens that you can see in the windows there. Andi infections. So I think First of all, I want to mask out the skin tones because that's gonna be the most important bit. I want to save the frame on Dhue. That was my reference. So that's the reference one. And this is one of trying to match and you can see if you can't see, then you want to zoom in a bit more, but it looks like they're quite close from the changes I just made. Yep. So we've got more situation on this one, but they are both very close to the skin tone line. This one looks like it might be leaning right? Was read a touch more. This has some has some red elements, but the baseline is slightly to the left. So that's a quick fix, and I'm not gonna go overboard with it. I'm just gonna pull a little bit more red. I'm not saying maybe a touch more. Okay, that'll do me. So I'm fairly happy. The skin tones match. Let's have a look at the rest of the elements. It's the benches. Look good. I know the skin tones of fairly close. Um, actually, they could do with being a bit brighter on the one on the right. That might help the bricks look a bit closer. Andi, the greens are 1,000,000 miles away. If you want to play around the green, obviously you can use the picker on the Hughes saturation, all luminous, depending on what you think is going on. You get the idea, Andi, on that subject, I think we can see slight differences still in the bricks on and in these flowerbed things Here, they're selling brighter on this side. Andi, I don't want to adjust that because I know that those Hughes or forward in skin tones and I got the skin tones pretty close in terms of saturation, luminous on Dhue with skin tones mean so important to the story. Then that's where I'll keep my priority at the expense of perfection elsewhere. If I was blessed with time. I could maybe Adam asked to my changes so that I could isolate the skin tones either with a cooler mask on a shape must together or with just a sit in shape musk on. Then I could adjust the rest freely. But for the persons that this video just want to show you the tools and how would go about approaching it, so that might not be perfect. But that's a pretty big difference from where it started. And if you weren't aware, there is an option within final cut to automatically match a cooler. But honestly, I don't think it would do as good of a job. So just copy this clip. Andi, remove the color changes. I'll make sure on the coach on both cases. So final cut was really smart. It would pick up on that skim to a frame. You want too much on click preview, applying much. So that's what final cut pro thinks is a decent match. Certainly better. I think ours might be even better. Let's do another one on approach that in a slightly different way, just so you've got that tool in your tool kit so again. I've got a cannon. Five d here on I've got a judge. Five shot there from a different angle the same time, Same location, but completely different camera settings. So I want to save my reference shot here again into my comparison viewer. Then our work from the main one. What I'm trying too much on. The first thing I want to do is try and match the exposure. So again I can see the shadows or a bit more crushed on this one. Andi, the highlights are roughly similar. Salt. Bring the shadows down. Andi, bring the midst down to how crushed them. Something like that looks decent. And then let's look at the color. So in the last one, we just used the RGB parade on. We look to find what was going on. The highlights admits in the shadows, and we adjusted thes color curves to suit. This time I've got this surface here that I think should be fairly neutral. So I'm gonna try and do a cooler match based on that and just use the color wheels. The first job was to mask these out on bond. I have already done that. Ondas We can see this looks failing mutual on the vector scope. So it may be, is sitting above right rent right in the middle. But it's certainly not much cooler there. It's a fairly neutral position. So I know that if I go to my other clip and I start playing around with the same area, I should hopefully see improvements. If I try and balance this now, from this angle account, See, I've got some bounds from some house lights, so I'm gonna maybe just the mask in words. I can expect some orange to come from that, but it's a completely different story. I know that there's, ah, color balance that needs to be done. So I'm going to do a cool wheels on. I'm gonna cool this down to bring it to a similar position. A So what? We could see you can still see some of the light. So this area here is gonna be my main focus on D. That probably means is sitting pretty close to that point. So that's gonna be a much better starting position. Take the mask off. These are certainly looking similar to my important elements in this scene. Are obviously the skin tones this shirt on and this drinks label, I would say so. Those are the three areas with a focus on for some refinements, so I'll add a hue saturation curve. Andi, I'll immediately look at the skin tones, so I probably want to must these out on D. C, where we're starting off from first of all, so there's actually some similarities there. I'll zoom in a bit a little bit as well, so we can see also read. But I'm getting some cool magenta tones in there as well, so let's see if we can fiddle around with that. That's probably from this angle in all fairness. So try and tame from the blue side took ing that in a bit more, and that's probably a decent much Take the mask off. Okay, that's already looking better. So I'm still a bit concerned about the saturation, the skin tones, because I've only dealt with the hue. Andi, this label on this shirt now the shirt to my eye is blue looking in here, but not so much at this point. So I want to go back to my color wheels. I don't want to pumps. Um, blue into the shadows to try and make this shirt look blue again. Let's call that enough, then less had some warmth, the midst to counter. Act that So you notice have not handled saturation the skin tones, because this is undoubtedly gonna impact that so hope to still have a blue shirt but also more neutral skin tones. By this countermeasure, looking at the vector scopes, just a center check where we are at the moment. This is certainly looking a lot healthier. If we compared to where we started, we could see it was a really yellow image, completely confirmed by the way form, which is all leaning yellow. But after our white bonds change, we've certainly helped to improve that. Lastly, I just want to take a look at this label here, Andi. That will also impact our skin tones. Let's start by adding a bit of saturation that looks a bit better. Andi, maybe a touch of brightness to I need more saturation then, because I've taken some of the that fact with the cooler. I'm just going by I at this point, that's looking a lot better. So make global changes so that the exposure was in similar kind of position, were able to get a color bonds off a neutral item that was in both scenes. Then we made refinements to the skin tones, the show arm, the bottles well, to get the key elements all in sync. Let's see what the final court inbuilt color match would have done with this one. If I just take off the effects there, that's that's the match that that is, given us not very good. 22. 4.3 Grade with Colour Wheels: Okay, So you got a piece that you're working on. You've corrected all your clips and you know what kind of grade you're looking for on in our example? Surprise. Surprise. You're gonna be looking at an orange and teal grade that you want to implement onto footage . Now you rationale for that is likely to be because you want something similar to what you've seen. In other words, you like navy of the films on Do you want the skin tones to pop from the background? And that's what the teal and orange is doing. The orange in the skin tones is lifted almost from the background because you've got the opposite color in the background. So you've got that color contrast going. So let's work on this clip here. We've got some skin tones on. We've got a neutral look. This has been color corrected where we've simply just added some contrast on some saturation by lifting the highs, dropping the shadows on the mids to call is a bit deeper and richer on. We also hope to saturation across the whole piece, so that's a neutral look. The moan. All the neutral colors are still neutral off say we've got, ah, lot of colors going on, especially with the smoke bombs. But let's say that we want a subtle teal and orange look to this. Maybe make the skin pop a little bit more and to give a bit more of a character to all this neutral stuff in the background, I would suggest making a nuclear wheels effect so that we've always got our correction. One there on that's untouched. Then we've got another one we can play with and even delete and remove if we need to later . But in this case, all I'm gonna do is I'm gonna push some teal into the shadow areas like that on. I want some orange in the mid tones, mid tones think skin tones. And so I want those to pop. So what More engine there? And because of some overlap between what final cook considers to be mid tones and shadows, it's gonna take some finessing because, adding mids, adding orange to the midsize actually cleaned the shadows so they weren't quite orange enough. Now, if I had a bit more orange on and maybe some orange to the highs to help push the that warmth So there we go. We've got some definite teal tones in there. The orange is really popping on. If that's too much officer, you can deal with that. That's a subtle teal and orange effect, just to give it a bit less of a neutral, boring look on. And the skin tones are nicely popping off the trees in the background. Why would be tempted to do myself is to clean the blacks, so the hat tones here taken on a lot of the teal Andi. Generally speaking, you'll find that in films they d saturate the shadows. So in final cut, we go to the luminous sap curve on will bring down the shadows and then maybe teaser inwards until we're comfortable. We've got some teal in the shadows, but also the very deep. Blacks are looking black, so it's quite subtle. But I think it actually helps her hair tone from looking far too stylized. So here's the before and after. Quite subtle. We've got some teal tones into the shadows and into the trees on the skins, really popping against that. So in this color corrected clip, I'm going to show you how to be really specific and refined in your approach in dealing with this kind of color treatment. So let's say, for example, in this shop, we want to liven it up, give it a bit more for cinematic field, for example, by introducing some cooler tones into the shadows. Now, obviously, we've seen Hogan just push a color into the shadows, but that infects quite a lot off the area on the image, as we saw when we're dealing with exposure, if you're just the lows, you actually get adjustments quite far up in the range. We can work around that in final cut pro by using a loo murkier in order to cut out basically the shadows on a copy of the Clipper. Both on that means weaken. Just deal with shadows in the clip above on. Then we'll leave everything underneath it for the regular callers to shine through. That way, we know we've got no skin tones affected at all, and in fact, this is the kind of thing you'd probably want to do clip by clip, so it's not gonna be a quick turnaround, but once you do it, clip by clip, you've got real control over where your color tones are being shown. So how you do that is you'd hold option on your copy, your clip disabled one below for now and then we'll at the limit here to the clip of off. So I want to show all the shadows. I want to start restricting the highlights so that we're not seeing much, if any, skin tones. Andi. I just want the background on the shutter, the rest of the shadows in the scenes to be picked up. So let's go about. Let's go out there with that. I will soften this little in the battles, and then we'll apply a cooler effect. Fire the cooler curves on less. Lift the blues on the greens for a T. Lea Teeley kind of look for the shadows. So if we re apply the clip below, that's quite subtle. Now, if I toggle this on and off, you can see the house clearly put a cooler into the shadows, and it's just made our clip a bit livelier. Now the other benefit of doing this way, as well as having control over exactly where this is being applied to the benefit, is it's easy to dial it back on do as amateurs, we are really susceptible to leaving strong raids in there that might look a bit too aggressive. The beauty of this is you can make your grade, and then you can just change the opacity of the top layer to really bring it down and make it subtle. So I would, er, on the side of Subtle at the moment. I don't mind if my audience just absorbs this kind of coal change. Subconsciously, I don't want to hit them in the face of it can look a bit amateur sometimes. So if I total this on enough, this is on at the moment and then off and then on the casual eyes, probably not gonna notice that. But knowing where it's come from, we can see that there's a bit more character and there's definitely some cooling of the shadows going on in there. So that, for me, is a subtle look where we've really had control over where it's being applied 23. 4.4 3 Powerful Uses of Curves (5 Looks Including Warm / Cool): to this point, We've already explored curves in how to get better exposure. Get good contrast on also to fix your white bones. But in this video, we're going to explore their power. When it comes to making creative looks, we're gonna be looking at three slightly different variations in how we can use them on in this 1st 1 We're gonna apply the effects straight way to the clip in order to get a strong look. Okay, so here we are with our edited clip on its being cooler corrected using the color correction work for that we went through earlier on What we're gonna do in this first step is to apply the color curve change straight away to the clip that's Azizi is going back up here picking the color, cursed from the drop down. We'll see the RGB channels. So when we were talking color correction, we discussed how we can use these curves to get good white bands on how their extra flexible because you can target specific ranges, you can lock off ranges or you can target ranges just by using the pickers on the curve itself. So to get going with our first Look, we're going to get a simple cinematic effect just by limiting the dynamic range in the Blue Channel. So you can do that by dragging up from the very bottom on down from the very top on already . That's got some style pumped into our image. If you want to be more subtle than this, what you can do is instead of using the extremes, you can just simply limit the dynamic range by adding an inverted S curve. Just like this on doesn't mean a bit more of a subtle effect, but already this is looking like it's got a bit more character, then just plain straight, our of cumber. How easy was that? So in our second look, we're gonna replicate what's called the cross process look that hails from old film techniques on day. We're going to replicate that in the digital world again by using the curve straight onto the clip itself on will do a similar job in terms of limiting the dynamic range of the blues, but we'll invert that with the Reds decrease in the shadows, lifting the reds in the highs on. Then you can manipulate the greens to taste on This is what's known as a cross process. Look, of course, the more that you move the curves around, the stronger the the effect will be on the clip. Now, that first method is really straightforward. I'm quick to do so. Those are the upsides on the down side. You can go a bit too wild with the curves on. It can really ruin your image. In the second step, we're gonna limit the power that the curves have over image so that you're able to get a look with it. But not actually push it too far to make it really over the top Subtleties king. Especially if you're just starting out. So in this method will still look a bit more stylistic. But you also have a professional natural look to it as well. So in this second method, we're gonna go for a warm summer feel I'm going to do it by adding the effect to a duplicate clipper. Both So I've held Ault on dragged out a clip. There are alter option. So I've got a Jew picket layer above on. I'm going to switch this to overlay blend mode now that will immediately at a dose of contrast and crush the shadows. So I'm gonna add a new cooler wheels effect I know of only got one there, but I want a new one and you'll see why I'm going to try and negate the contrast. Just so it's similar to the before short and I can toggle on and off with the Wiki, so that's somewhere similar. So to get our actual look, we're gonna apply the curves effect to this top layer. Now, the benefit of doing it this way is that because it's on the overlay blend mode, even if you get quite aggressive with the curves, it's gonna be a more limited change that's actually visible in the final image. So it helps us stay fairly neutral and to develop a look without being too aggressive about it. So for this warm look, I'm going to obviously play with the Red Channel. I want to increase the Reds in the highs, but I'll bounce that by decreasing in the shadows. Andi, I'm gonna take some green out of the highs. Likewise, our bands in the shadows on our support, the warm look by taking blew out off the highs. But I want to leave the shadows a bit more neutral, so something like that has immediately given us a warmer look. This is the before on. That's the after now. Really helpful tip at this point is actually to save the effect that you've just done to. If you go to file, save video effects preset, we can call this miles summer. Andi. I don't want to save the original color wheels because that was part of my original correction, the effects that we've just done with the second color wheels to neutralize the contrast that we added on. Also, the color curves, obviously, for the warm grade, I want to also keep the compositing menu option because that was the overlay blend mode. So if I has saved this effect, I can actually do this much quicker and future. So let's take this biking clip here. I'll make a copy adjudicate above again on I'll find the effect that I just saved in Miles effects. There's Miles summer. I don't drag the effects on, and then in one click we've got a warm feel to our footage, and that's a much more summer slash sunset type feel than was originally shot. The beauty about saving presets like this, as opposed to working with looks, is that you can actually delve back into the original curves and you can make adjustments. So if this was a bit too much, you could limit the Reds that we've introduced, you can play around with the blues, the greens. You can customize the look, however you like. We'll apply the summer. Look once more on this clip on, we'll take it one step further, so I'll just reply the preset. Then we can see it immediately. Got a much warmer field to the video now. What I'll do is I'm going to apply another curves effect to the bottom layer on, and I want to this time manipulate the Loomer Channel on. I'm gonna fade the blacks a little bit just like that. Now that is a bit hipster, but also you might find that some summer grading is done like this to enhance the feeling of warmth. If you keep playing around with these cool occurs, you can get a multitude of different looks. You could do all your grading in this method. So, for example, here have gone for a green based cinematic look. Third method builds on the second on We're Incorporating Other tools was in final cut pro to get a more developed look. Let's use this method to build a cold winter look. So again I'll be duplicating the bottom layer. But I'm actually gonna duplicate it twice on the middle layer. I'm going to add my summer effect. Just because I know that takes care of the compositing on also adds the correction to the contrast. So I got an overlay layer at this point, with E contrast corrected on the curves effect already applied. It's just this time I'm actually going toe do these changes because we're going for a completely different look. So as I do this, I'm gonna disable the top layer by clicking on that hitting V so I can see the changes that were making on the second layer. Andi, I'll begin by simply raising the greens in the shadows on raising the blues tone, even mawr extent. So this already feels a little cooler now. Where will build on this is with the third layer, which I'll reactivate on. I'm gonna change this to a multiply blend mode. Now that's done. The same thing with the contrast and exposure is crushed the hell out the blacks. But I'm just gonna leave that for now because ultimately what will do with this layer is this will add a bluish tint to the whole scene. But I'll be reducing the A pass ity of the layer down, so the effect will be muted anyway. So for now, let's take care of the bluish tint. So wanton effects called polarise apply that to the top layer on. We're gonna remap the blacks to a dark blue on will remap the whites to a light blue. You can see that supplied a heavy bluish tint to the whole thing. Now what I'll do is I'll limit the effect of this by changing the capacity to 30%. So that's really reduced. The contrast that it added, and also the blue effect has been tempered. So if I just trouble this top layer on and off using V, you can see that it has had a subtle effect on shifting the rest of the huge towards the blue cooler turns. Now, if you wanted to isolate this grade away from the skin tones that they remained a bit more natural, you could go back into the original clip on. You can apply a new cool wheels. Onda will isolate the skin tones using a cooler musk. Let's have a look at that. So that's picked some stuff in the background up, but I'm not concerned about that. I just wanted to pick up the skin tones and weaken. Warm those back up by pushing the mids towards orange and red so you can see if I tuggle this effect on enough. We just added a bit more. Call to the skin tones, which helps give the subject some contrast compared to the background colors on makes her look a bit more human again. Again. You could save this effect down by going to file and save video effects precept, but you'd obviously have to this three times once rich layer, so the only change would want to keep in the bottom layer would be the adjustment to the skin tones on. Then you might want to call that winter one. You'd have to do the same with second layer to call that went to on. That is the same with the third layer to call that winter three, So I've done that already. So let's just great this clip with same win to feel. So I'll make two extra Jew picket layers on. Let's find the effects that I've saved in my effects. One thing to check is if you've saved presets, including the original masking, you want to be sure that there must be has picked up your skin tones. In this case, it hasn't. So you could. You just have to redo that stage to mask out of skin tones. That's that job repeated. But honestly, I think that is too aggressive in this case, So I'm going to limit the effect slightly again. You can tweak the grade by playing with the intensity of the top layer on also adjusting the curves that you applied in the second, and that's it. That's all you need to do to apply a cooler feeling. Winter tones to your great 24. Bonus - FCPX Update for 2020: scroll back to October 2019 and I just rendered 50 videos also for this course on. Before my mom could even call down and catch his breath, Apple released an update to final Cut Pro, including a change to the color tools. Typical. That change was to expand on the cooler mask tool to help you refine the cooler that's picked up in that mask. They very much geared this new update to handle newer hardware. But we're gonna focus on this color change specifically, as a quick reminder of column Ask is used to isolate the changes made by an effect, for example, the color change so that the change you want is only applied to areas in the image with the color you specify. So as a quick example of what we used to do with masks, say you wanted to make a change to this image. But leave the purple areas purple so you've still got the smoke. What we could have done was at a cool wheels effect. Andi Rd Coolum us to that, and then try and drag out areas off the mask to just isolate the purple, and you can see what's included in your mask here because it remains in cooler Onda obviously was still quite a lot of smoke. No included there, so we can hold shift to get a plus sign to further out to the mask Aan den, if you want to take anything out, told Ault to remove some of some of the colors that you've picked up. So I noticed there was getting some jeans, so we'll try and remove the genes. But when I'm about to shift and at more of the smoking and you can see it was a very difficult job in this particular instance to separate the genes from the purple smoke So we used to really have was this softness slider here. Andi, if we hit view, must you can see the white areas were picked up by this mask. So I'm gonna want to bring the softness down in this case so that just smoke is white. But as you can see, I've gone too far with the mask and I couldn't get a good a sample of just the purple. In that case, as far as this example goes, what we would have done was gone to the outside of the range de saturated the lot so that we just had the purple saturated on the rest de saturated. And that just shows. How about this blast walls? This was how it's worked for a little while now. That's what they're now calling a three D mask. If he imagined the Hughes depicted in the Cube like this by selecting nickel on the image, we highlight a particular Hugh in this cube. And then, by adjusting the softness, we either get more of the colors around that in a three D space or fruit decreases. Softness obviously restricted that to the specific Hughes that were clicked. So what's new? On first glance, it looks like just this type drop down menu here. But when we changes to H. S L, which stands for hue, saturation and luminous, we can refine that range of the masked by manually adjusting the color hue, the saturation or the brightness of the colors in your mask. This is way more precise on appropriate professional work, so I will take another sample again, just show how it works, and then, instead of using the shift, all keys to try and add and remove from that mask. I'm going to use the hue saturation on Luminant sliders. It's already picked a selection for us because of the little area that I picked. We've got this hue of purple here, this amount of saturation on this level of brightness that's not yet a very good mask, so we'll have to play around with these. So the top of thes controls here defines the range of in this case, Hughes on the bottom triangle here determines the softness, so it will roll off that range smoothly into the coolers around it, holding the option key while you drag it. Adjust the range slower, so this is whilst holding the option key down. This is without holding the option key down. You can move the whole section by grabbing within the range itself, and you can disable the parameters here with the tick boxes to completely ignore either the hue saturation all lou minutes. So let's say, for example, we wanted to pick all of the luminous levels of the purple this saturation that we've picked, we could just on tick this box here on the Maskell, treated as if we're using all of the luminous levels. Let's park the idea for now and will come back to that later. So this is similar to how it works in Premiere Pro for masks, and I personally believe that this has closed the gap almost entirely between the two programs going back to this mosque of the purple here. It's just a case now off playing with these parameters, the ranges that I've picked here to try and isolate this purple cooler. I thought something like this has meant that I can completely exclude the genes now on whilst still probably are missing a few areas of purple. That's a very good key compared to what we got before. Where this is more likely to be usable is to muster skin tones out so that you can make a change to them alone or the rest of the scene are not the skin tones. This is the example shot we looked up to illustrate the short falls off the old style of the mask. We just couldn't isolate this gentleman's skin from the background and treat them differently because of the background. Color was too similar to the subject. We kept picking up parts of the shirt. This background here on parts of the wall as well. You can refine any musk column, ask with a shape mask so we could have added this to further refine the key. But as you can see, this is a round shape on. There's not much you can do contouring around somebody's face like that. You can make it square off. See, that's not gonna help. So in the end, we would still have picked up parts of the wall in the background on bits of the shirt, and this really was a shortfall of how the masks used to work. So let's try this again. I'm going to remove this court will change entirely on gonna add a new one. On this time, we're gonna pick Akula Mask. But this time of type H s l on as I haven't sampled anything, the moment showing was all the hues, all the situations and all the luminous is. But if I just select a bit of the skin, so we've gotta start in place to begin with something like that, by default, we can still see. We've got areas in the background, the wall in the shirt that we don't want. But now if we try and refine this even further on saturation and luminous tends to be the refinements that give me the most joy. Try and tease the range, using the top triangle on, then soften it with the bottom to try and isolate skin tones away from the wall itself. On. This is just going to be a case of trial and ever. I thought, this is looking a lot healthier on Dykan script through the clip to make sure that that key stays fairly consistent. I'm much happier with that now. There were bits of his beard and hair that we didn't include. So whatever changes are make now within here will result in a difference between his face on beauty Harry parts. But I've seen examples in Hollywood where where they've tried to do a different grade to the background to the skin, I'm that background graders leaked into the skin. So even if we're doing that ourselves inadvertently, then we're in good company. So now that I've got that key, let me apply parts of the other grade that I would have wanted to do anyway. We've added a bit of a contrast with the color curve Then I added some saturation through the color wheels just to get a neutral look like this. Then I want my color change that I will be doing with the key to come next on. At this point, I will also add the look that I know I'm gonna want to use, which is just a film look that begins to give us an orangey look in the skin tones. And at that point, let's dive into the cooler mask that I did to make a grade that differs according to whether it's skin tone or background. So we'll go onto outside of the mask on just for reference. This is a mask. So now, dealing with all the areas which are black, and then we'll Jews just to add a bunch of teal. So we're gonna go for a teal and orange Look, if you remember in the tutorial we're looking at trying to match a Hollywood look, I don't speak cliche, but just for purposes of demonstration when I had a bunch of teal to the midst, some to the shadows as well on then to counter act that because the midst is such a big range and final cut pro. I'm gonna actually add some warmth so that the light areas of the background don't look teal as well. Something like that has added some tail to the scene. Then if you go inside, the look that we added has added some orange to the face already. But it might bring the midst down to add a bit more contrast, Maybe the highs up to make the skin populus well, And then I might just play around saturation a little bit. Don't into the two orange. Something like that is a bit more natural, and there we go. The massacres meant that we've been able to make a change to his face on the background independently. Now pumping the teal into the shadows has meant that even the black areas now have some teal. So, as always, I'm going to clean the blacks by de saturating the extreme shadows, and you can see the difference that that's making to this pipe work in the shot in the background. And to finish this off if we just have a quick look at the video scopes, we can see the way form only comes down to about four or five Andi, that's given us a bit of ah, faded. Look, when it comes to the image, the blocks aren't true. Black. Now that's gonna be a personal preference thing, whether you want to fix that or not. But in my case, I did want to just try and bring the shadows down a bit further at the near bottom. Stretch them out so that they did now touch the bottom or close to it, but without making the whole scene too dark going from that slightly faded look which might be something that you want or this to a bit more of. A contrast E moody. Truer black scene. So you've seen how it makes it possible to apply different effects two different calls or than you seen thistles. Also a powerful tool when you want to apply changes to just arrange defined by either the brightness or the saturation. Let's look at this little clip here to show you what I mean. So if we add a cool wheels fact, I'm gonna add a cooler mask in the HSE l type Cola Mosque. We can now de select the hue and the saturation ranges so that we can just make our changes to the scene based on how bright the part of the scene is. So for an example, let's bring the operator of the illuminates down. If I click view masks the white areas, show me which area this mask is picking up, and I can drag the top of the top triangle down to decrease the range so that I can de select parts of the skin on the foreground and background, which are brighter than the rest. So I'll kill this range a little bit more. I'm gonna feather that so that the background is mainly picked up. And now we've got a mask which is targeting thes shadows within the scene. So if I then Sossamon inside the mask by then, add some teal to the shadows, just quite subtly like that. You can see in one really quick way I've outed Thiel to the shadows on I know it hasn't impacted the skin. Tackle this on enough, you can see that's just added a different color hue to the image. This is so good. I used to have to duplicate the clip moving above the other one. Use a lunar care on that one and then making changes on there. But this does it all on the same clip. This also addresses one of the weaknesses off final cut pro compared to something like davinci results. So for me, these color wheels are a little bit too broad. So, for example, if I adjust the shadows on the luminant on the whole clip, you can see that even the values up towards the 75 i r E line have been affected. Even though I'm on Lee adjusting the shadows slider. Now, with these new Coolum asks the h s l one. You can isolate the loom, arrange entirely and then you know exactly which part the shadows you're about to deal with . And in this case, what I'll do is I want de saturate the very dark parts. So I'll de saturate the blocks just like that. Andi, I know that this is the bloom arrange that that's affected. So the very black parts of my image will now be black. But the deal still remained into the darker areas. It's a subtle change, but I can see the very dark areas here were picked up by the mask on. Now I've got the confidence to know that they have bean de saturated And of course, you don't have to just use the saturation with this. You can isolate loom orange on change the colors in that range if you like, this really does open a bunch of possibilities. Okay, that was a round up of the 10.4 point seven change and how you might use it. 10.4 point a is actually also out. But this just addresses books and improves reliability in certain aspects. Don't forget it's good practice to wait to update final cut pro until your current projects are old. Done on Only when you sure that any plug ins that you rely on ive also compatible with the new version. Thanks for watching the video. No doubt Apple are going to make a change to final cut Pro the second I hit Render so you might hear from me again soon