Color Correction and Color Grading Basics in Kdenlive | Jonathan Doré | Skillshare

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Color Correction and Color Grading Basics in Kdenlive

teacher avatar Jonathan Doré, Motion Graphic Designer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Class Introduction - Kdenlive


    • 2.

      What You'll Learn - Kdenlive


    • 3.

      Before We Start - Kdenlive


    • 4.

      Vectorscope - Kdenlive


    • 5.

      Waveform - Kdenlive


    • 6.

      RGB Parade - Kdenlive


    • 7.

      Histogram - Kdenlive


    • 8.

      How Effects Work - Kdenlive


    • 9.

      Color Correction - Kdenlive


    • 10.

      Checking Skintones - Kdenlive


    • 11.

      White Balance - Kdenlive


    • 12.

      Color Grade Theory - Kdenlive


    • 13.

      Color Grading - Kdenlive


    • 14.

      Class project - Kdenlive


    • 15.

      Conclusion - Kdenlive


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About This Class

Diving into color correction and grading can feel overwhelming, but it's a game-changer for your film projects. If you're ready to bring more style and personality to your footage, this class is where you start!

In this course, I'll guide you through the fundamentals of color correction and grading in Kdenlive. You'll get hands-on experience and learn the tools designed to help you correct and grade your videos.


This class is perfect for those who are comfortable with Kdenlive's interface and are eager to explore its color capabilities. If you're new to Kdenlive, I recommend starting with a basic Kdenlive course first.

Filmmakers, content creators, or anyone interested in using color to enhance storytelling will find valuable insights here. Join me, and let's transform your projects with the power of color!


We won't be diving into the use of LUTs (Look-Up Tables) just yet.
LUTs are a more advanced aspect of color grading, and while incredibly useful, they require a bit of foundational knowledge first.

There's a possibility that I'll add a lesson on LUTs to this class in the future. However, considering the depth and complexity of advanced color grading techniques, it's more likely that I'll create an entirely new class dedicated to advanced color grading. This way, we can explore these concepts thoroughly and ensure you have a solid understanding of the basics before moving on to more advanced techniques.

Stay tuned for more updates, and in the meantime, let's focus on mastering the fundamentals of color correction and basic grading!

Meet Your Teacher

Teacher Profile Image

Jonathan Doré

Motion Graphic Designer


Hello, I'm Jonathan

I work as a Motion Designer and am the founder of Nuxttux Creative Studio.

Teaching is something I enjoy, it's one way to give back. I make tutorials and explanatory videos to share what I know, and to test my understanding of things.

When it comes to design and animation I've worked in most positions in the creative pipeline, including the administrative and logistic aspects of it all.

I like to read user manuals and open the preferences menu to better understand what I'm dealing with.

I'm here to share the skills, techniques, and experience that I've gathered throughout the years.

See full profile

Level: Intermediate

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1. Class Introduction - Kdenlive: Hi and welcome to this Kdenlive class. We'll be showing you how to color, grade and color correct your footage and not in that order. My name is Jonathan. I work as a motion graphic designer. I'm the founder of Nuxttux Creative Studio over on Youtube where I upload animated shorts and tutorials. In this class, I'll be showing you how you can color correct and color grade your footage inside of Kdenlive. And we'll also take a look at secondary color selection. Now to follow along, you can go to the project section of this class where you can download the footage that we'll be using. I've also provided the links to the original footage over on pixels. They're free for download and for use. With that out of the way, head on over download the project files and let's get started. 2. What You'll Learn - Kdenlive: Now that we've gathered our assets, let's get an overall idea of what color correction is before we jump into it. Now this includes understanding what are the three pillars of color correction. That's white balance, exposure and saturation. White balance simply means taking our image from, let's say, if it has a greenish tone or a bluish tone, then white balancing is simply removing this color cast and bringing back the natural looking colors. Next we have the exposure, which is the distribution of light and shadow. So if we had footage like this one over here, a clip like this one, then exposure would be for us to push the bright areas to be brighter and the dark areas to be darker and then the mid tone. So those ranges in between to distribute them accordingly, right, to something that fits the scene. And finally, let's talk about the difference between wreck seven oh nine and log footage. Now if you're not familiar with these two, don't worry, I'm not going to bore you with too many details. Just understand that Rec 709 is the type of footage that you'll get from your phone or certain camera which is already processed and compressed in this sort of format. Rex 709, what you see is what you get now. On the other end we have log footage. And log footage tends to look a little desaturated. The contrast is a little off and it doesn't look very great. But log footage actually contains a lot more information than Rec 709. This is why it is preferred to work with log footage when editing anything such as movies shows even logs log footage will give you a lot more control over the colors, exposure, and the overall of that footage. For this class, we'll be working with Rex 709, but most of the Rex 709 that I've linked down in the project section is Rec 709. That is unprocessed, meaning it still has that dull looking, desaturated look. And this gives us a bit more of a dynamic range, although it is still Rec 709, so we can't push it too far, we can't saturate it too much or recover too much from the white areas, or even recover information from the darker areas. 709 compress log, not compressed. Now that we've gotten this out of the way, let's get started with Kdenlive. 3. Before We Start - Kdenlive: All right, so the first thing we'll do is make sure that we're on the same workspace, or at least a similar workspace, inside of Kdenlive. We have our footage imported. I already have it on the timeline. I'm going to go at the top right over here, and I'm going to click on Color. This will move me over to the color workspace. Now yours might look different from mine. Feel free to move the tabs around. If you're missing any of the scopes or any of these tabs, simply go up to your menu bar, click on View and check whichever of these panels you're missing. If you want to modify the layout, you can always check on show title bars, which makes it easier to move around these tabs and then save your layout when you're done. And you can also manage your layouts. All right, with that out of the way, we're all on the same work space. Let's go ahead and download a couple presets that will help us with the workflow. They're all free, they're available inside of K Live. Let's go ahead and jump and get our assets inside of the effects tab. At the top here we have a down pointing arrow, and this is the download button. Simply left click on it, you'll get a pop up window. And I'll go ahead and expand this a bit. Here we are looking for the LM collection. We want the LM Basic color Correction, LM Basic color grading, and we also want the secondary LM presets. Simply click on Install to install them, and it will add them to this first star over here in the effects panel. This is where we can find customs and templates. Now, customs or effects tabs that you've created yourself and templates are the ones that we download. If you're not seeing it in there, you can click on different tabs and then go back in or close out of Kdenlive and open it up again. We have all of this out of the way. Next let's learn about the tools that can help us with our color correction and then we'll jump right into editing. 4. Vectorscope - Kdenlive: Hi, in this lesson we'll be taking a look at the different scopes and wave forms that we have available to us, which help us with our color correction or color grading. The first one we'll look at is the vector scope. Now remember, if you're not seeing the vectorscope, just go up to view and make sure that vector scope is checked on. Now the vectorscope allows us to monitor the saturation in our video. Saturation is how pronounced or muted colors are. Starting from the very center is where there is no saturation. And then as we move away from the center, we're getting more and more saturation. Now if you're not seeing these guides on your Vector scope, you can activate them by right clicking on it. And then check these boxes. The 75% box, the draw axis, and the draw I and Q lines. 75% box is this box over here. It is to indicate the limit of colors for broadcast. Old television had a limited amount of colors that they could broadcast, and this box here indicates that limit. You can go outside of it, but if you do plan on broadcasting, it is best not to go outside of it. Next we have the draw axis, which are simply these vertical and horizontal lines breaking down the color wheel. If I go ahead and change this to YUV, you can see the color wheel. It breaks it down into quadrants. Then finally we have the eye in the lines which the eye line is considered or sometimes called, the skin tone line. If you can match the skin tones of a person to this line, no matter the ethnicity. If you can match it to the eye line, then technically the skin tones should be correct. Over here where there footage, if I disable all of the effects, you can see how the saturation has gone down. Check on the effects. Saturation goes up and it also shows you in which direction the saturation is being pronounced. The red. You can see the red here, very pronounced, bit of blue, blue in the genes, bit of green, green in the background a little bit and very, very little bit of magenta. All right, so you can change the look of this. You can also zoom in and out of the vectorscope. Now remember to zoom out when working, because sometimes zooming in you might think it's more saturated than it is really. That's it for the vectorscope. 5. Waveform - Kdenlive: Okay, next on our list, we have the waveform. Now the wave form, unlike the vector scope, is showing us the values of lumininsow. The waveform is a representation of our clip. If I scrub to the clip here, pay attention to our character. See how he goes from the left to the right, right to the left. If you look at the waveform here, we have a dip in value and you'll notice that it moves along with our character. Basically, the waveform is showing us our same image left to right, except that the values are from bottom to top. And all the way at the bottom at zero we have pure black. And all the way at the top, 255 we have pure white. Now right above the bottom we have the shadows, and right under the whites we have the highlights. In between, we have the mid tones. This will come into play later. You don't have to memorize it right now. You can also change the look of the waveform. I find that the green shows the most information, but it really is just an aesthetic choice. But that is it for the waveform. 6. RGB Parade - Kdenlive: Next on our list, we have the RGB parade. The RGB parade is similar to the waveform as it is showing us our image from left to right, except that it is breaking down the information into the red, green and blue channels. But it is still showing us our image, our clip over here. The same way as the waveform, same principles. All the way at the top, we have the whites, all the way at the bottom, we have the blacks in between, we have the mid tones, highlights, and shadows. That is essentially it for the RGB parade. 7. Histogram - Kdenlive: Lastly, on our list of tools to help us with the color grading and color correction is the histogram. And the histogram, similarly to the RTP parade is showing us the information within our clip starting from a value of zero all the way up to the value of 255 at the edge here. Except that it doesn't follow our footage. It is simply showing us the distribution of the information. You can also see the different channels. We have the sum of everything, Y is Luma. Then we have the red and green and blue channels which you can toggle on and off. And you can also go from linear to logoythmic, which still shows you the same information is simply using a different scale of values. But that is about it for the histogram. Well, all right, now we can jump into some practice. 8. How Effects Work - Kdenlive: Now if you want to understand how these affect the values inside of your eclipse. I have a black and white gradient over here with the same effects added to it. Let's move over to the wave form. Let's start with exposure. You'll see that exposure moves the white point all the way at the top it is moving it either back are down, you can see how it's affecting or grading. When we push exposure up and it pushes the white point up, it is simply pushing the value of the white higher. You can try this with all of these for contrast, you'll see that it's only pushing the white in the black at the same time. The same amount for both of them. Next we have the lift gamma gain. With the lift, we're controlling the shadows. Not the black points but the shadows the lower area. You can see how it curves the values. Right click to reset. We have the gamma, which controls the midpoints, if you will. It's curving more in the middle. More gradual transformation. And then we have gain inside of it, which controls the whites. If we push it up, pushes the whites, push it down, pushes down the whites. Okay. You can also add colors with these wheels, and you can reset by right clicking on them. Next we have levels. Levels is mostly for controlling the whites in the blacks and a bit of the midtones. We have a few options up here, you can change the channel. Instead of going for Luma, you can choose the red, green, or blue. We also have this little histogram check box which is quite useful when working on footage here. You can't really tell what it's doing, let's turn it off. The input black levels moves the blacks, input white levels moves the whites, and the gamma moves the middle section. Then we have the black output which pushes the blacks away from the dark areas. And the white output which pushes the white away from the bright areas. Right? Okay, So this should be enough for you to understand how these different effects are affecting the exposure of our image. 9. Color Correction - Kdenlive: Hi there. Welcome to our first practical lesson for this class. We're going to color correct one of these clips. And we can choose either one of these. But before we do, let's first add our effects stack to one of those clips. I'll grab this clip over here. All right, click all, delete all of the effects. We can start off with this fake log clip. Keep in mind this is P four, which is an already compressed format. It simply looks like log footage. With our clip selected, we can go over to our templates in the effect tab and double click on LM basic CC. This will add all of these effects over to our clip. What I'll do is simply collapse all of the effects and next I'll disable the key frames, since we won't really be animating any of these. Okay, so first things first, let's work with white balance. Now, there are several ways to go about white balancing your eclipse. But with this nice to the effect stack, we have at the top two white balance sliders. So let me uncollapse these. The first one controls temperature. How cool or warm our clip is, how blue or red. We have the color picker here. Well, we have the color which we can set manually or we can use the color picker and grab a color here, a neutral gray or white spot inside of our footage. So let's say I grab this and it would do the white balance or the best that it can with the white balance. You can also reset out of this simply by clicking on this menu here. And reset effect, you can use the icon to tago on and off this effect. All right, next we also have the white balance down here, which controls the tint. The tint is how green or how not green your footage is, and the rest of it works pretty much the same. You can reset it just the same as well. You can use the color pickers to set the white balance, or you can do it manually by moving these sliders. Hold down, shift left. Click on a slider and you can drag left and right and move it in smaller increments. Whereas if you don't hold shift, it jumps around. You can also right click on it and reset the value. All right, that's enough about how these work. Let's get started with our white balance. As I mentioned at the end of this clip here, luckily for us, you can see the back of the phone which is supposed to be white. We can already tell that if this becomes white, then we have white balance or clip. You can add a bit of green as well. You can see, again, remember we don't have to work on these in a linear fashion. What does matter is their position. Whichever comes after in this stack of effects is applied afterwards. What makes the difference is not I change saturation before contrast. But instead, if saturation is placed before contrast, with that said or re, sit out of saturation. But I will increase the contrast here just so we can get a better distribution of the values, the exposure. Now that we know how these are affecting our clip, we know that with exposure we're simply pushing the whites. We'd be pushing the brightest information up, not too much. Then with contrast, we know that we are pushing the blacks in the whites equally. If I push contrast too much, I'm going to clip some of the whites or the bright areas here, let's not go too far. And then we have lift gain gamma. I know that if I drag the lift, I'm not going to pull down the blacks. But instead I'm pulling down the shadows. And then with gamma, I can increase a bit of the mid tones and pull down the shadows a bit more. I don't want to touch the highlights then with levels, I can use the gamma here to make the overall, I guess, slightly darker in this case. Or do we want it to be brighter? I'd say ever so slightly darker. Then I can go back to the gamma and push the gamma up a bit. Now we know we're getting something very bright here, which is this light. But I also want push the highlights a bit higher. As such, it's only natural that there is some clipping here because this is a bright light. You might at some point come across this idea that you have to stretch the wave form so that the values touch the bottom and touch the top. That is not always true. It really depends on what you're working on, right? If there's nothing that's meant to be pure black in your clip, then it shouldn't be pure black. Nothing should touch zero. If nothing is actually purely white or bright, you don't have to push the information all the way to the brights. Now, once you get the color grading where you're stylizing it, then yes, of course you can take some liberty. But it has to be intentional. Of course, in this case, bring the blacks down a bit and bring up the mid tones a little bit. There we go. So if we scrub through this, you can see we're getting some nice results. Except here it's a bit over exposed, we could say. Right. To control this, let's move down a bit of the midtones here. For this, we'll just move down the highlights as such and decrease. There you go. We've color corrected and we can now add a bit of saturation. We can add some saturation. Now my personal preference, and I might have added it in the LM basic by now, but I like to add a curve. Let's move over to the video effects. I can add a basi curve above the saturation, and then I'll switch the channel to saturation With this. Now I can use the curve to target the colors that I want to saturate. Now it's going to take a bit of training to learn where these values are on the curve. But essentially this lower area here that I'm using or clicking on controls around where the reds are. Once you learn a bit of how the curve is distributed, or the values are distributed on the curve, it becomes easier. You can also use it to control the U if you wanted the greens to be greener, but it's only one at a time. Feel free to add as many curves as you need. I'll put this one after, switch it to U, and then push it up over here a bit. You can see we're getting greener foliage, right? There we go. In terms of color correction, we've already done a very good job. We've corrected it. We fix the exposure, and we remove a bit of the green cast that we had. And there you go. But that is not all there is to it. You don't always have a white surface to work with. Sometimes all you have to go off of is the skin. So let's go ahead and learn about that. 10. Checking Skintones - Kdenlive: Briefly to check the skin tones. Let's go ahead and add a rotoscope effect rotoscope over here. Add it, then we can simply left click, left click, left click, left click, left click, and then right click to close our selection. And then we can see here on the Vectorscope, the distribution of these values. As you can see, they are pretty much aligned with the skin tones. They're a little bit red, but we know that there is a red light flashing on our subject. It only makes sense that there would be some red in there if we were to check on this scene over here. Let's see, where is our subject there is, put it on the forehead. You can see that it's a little bit green, right? So if we turn this off, we can tell yes, this scene is a bit green. And if we were to do our white balance based off of this part alone, then it might come off different. Once they're no longer standing in this area, we're going to always lower the greens ever so slightly. Let's check again. Okay, a bit more balance, and let's see what happens when we move away. The result is a little bit red, but remember again, there is still a light on our subject. You can usually use the rotoscope to isolate a part of the skin and then just try to align it. You can use the sliders to move the values red, blue, green, not green. All right, that is pretty much it for the skin tones. It's a brief overview. But just keep in mind that you can always isolate the skin tones. And we'll learn a bit more about that once we start targeting specific values in our footage. 11. White Balance - Kdenlive: Hi, for this lesson we're going to do a bit of white balance on this image here. Just so we can really simit down the white balance process. For starters, we have our clip here on the timeline. Let's go to our templates and we can add the LM basic CC and get our effects back as usual or collapse everything and then turn off the key frames. With that done, we can start it balancing this image over here. I'll start with the first white balance, the temperature. And I'll click around here. Although this is not really gray or such, but it feels like this would be part of the neutral colors here. I've seen these parts of trees before. Right here, it looks a little bit bluish. We can move it closer to the reds then for the second color picker, let's see if we grab something closer to these highlights there. A very tiny change. Okay, let's not go too red. We don't want it to be blue either. Let's look at before, after we've introduced a lot of blue to it. Let's see here. If we were to add a bit of green, we are in the woods apparently as well. And finally, that would be it for the white balance already. We can fine tune it to really get a more faithful result, but that would be enough for white balancing. Here, we'd be able to work with saturation and do the rest of our color correction, right, However we see fit. It was that easy for us to white balance this piece of footage here. All right, and that's it for this lesson. 12. Color Grade Theory - Kdenlive: All. Now we're going to get into the color grading section of this glass. We're near the end for the color grading section. I'm going to use this clip over here, which is Rec 709. You can already see this is already processed. What I want to do to this clip is to make it brighter. We're getting into the principle of color grading, which is you want to give a tone to your clip, whether it's a movie, a log, a short documentary. You're trying to give it a mood, a feel over here. When I look at this clip, I find it a bit dark. And I'm picturing something more like Barry Allen and his team at Star Labs and it's a bit brighter. We have a brighter atmosphere. This is already processed. I can't push saturation too far. I I can't recover anything from these dark areas because there's no information to recover. This is Rec 709, but we're going to learn a bit of color grading off of Rec 709 over here. This one is actually a bit color graded already. This is process footage, but what I did is add a glow, the glow really lightens up the room. Then a baser curve that I use to up the saturation. Let me lower it a little bit, actually looking at it. Then I added a color level. The color level is basically the same principle as levels, except that it is broken down into the different channels where level would control the waveform in a uniform manner. Color levels controls these waveform, the red, green, and blue. But individually then I added a basier curve. The basier curve, I left it on RGB just to add a bit more light in around the mid tones, if you will, The bright area midtones. Then now this interesting section here in the middle. This is all one effect or one stack of effects to get one result. And I'll break it down for you. I'll start with the secondary color correction, but before I do, let's go ahead and look at our effects template. This stack over here is what you're going to get with something like LM secondary HSL or LM secondary Luma. We get the secondary color correction, let's turn it on and then we'll add Luma key over here. Luma key is simply selecting content from our clip based off of the luminants value. It's going to make sense in a moment. Alpha operations is simply an effect that allows us to, for example, invert our selection. Luma key was selecting these bright areas and excluding the darker areas here. And with the Alpha operations, I was able to invert that. And now we're selecting these areas that are being shown and the dark areas are being excluded. If you notice, the dark areas are being used to grab the brightest areas in or scene. Which is why I'm using a Luma key, which works off of brightness with these effects together. When we add a mask apply, it applies the mask and everything that goes between mask apply. And the las mask operation if you will. Alpha operation in this case, every effect in between here will only be applied to the selected area. If I turn this off, these parts here that still have color going to be the only areas affected by these changes. And finally, a Bezier curve, just to tweak the saturation a bit more. This over here is not exactly color correction. This was a color grade, if you will, where I took one image, one look that it had, and decided to make it brighter. And add a bit of a bit of orangey yellow look to the gamma. So the mid tones, just to really give it a different tone, a different feel. Okay, that is the principle of color grading. Let's dive into it in the next lesson. 13. Color Grading - Kdenlive: Now another way to go about the color grading, once you're done with the color correction, is you can write, click on your clip and go to Create Sequence From Selection. And this would create a sequence out of this, and you could apply the color grade directly to the sequence. First things first, I'll go ahead and add the LM Creative color grade, so we can have the color grading effects. Now this might be updated by the time that you are watching this class. Some of these might be in different positions. I simply collapse all of this and turn off the key frames. Now it starts after the saturation appear. Okay, so currently I have the sharpen or unsharp mask and the noiser at the top here of the stack. But for now we can put them at the bottom. They might be at the bottom for you by the time you're seeing this. So the first effect that we have following the saturation is video equalizer. And the video equalizer is essentially a compact version of our contrast brightness, which you could say exposure a saturation or gamma. The red green and blue gamma and the gamma weight. This gives us similar controls to what we had in our color correction. Next, I added a saturation to it. Desaturation, even though we have one inside of the video equalizer, we could later on decide to desaturate or saturate. You can also just delete this. Next, we have the lift gamma gain and we're going to use these wheels here to add a bit of color and set the tone. Then we have the tint which will allow us to add even more of a tone to our footage using the dark in light values. Then we have the option of curves down here. Finally, we have the unsharp in the noiser or sharpen. If we start with the video equalizer. Let's say we want to add a bit more contrast to this. Now we're entering the color grade, so we can push the blacks all the way to the darks. Blow out the highlights, all in the name of reaching a stylized look, right, the brightness a bit. I'll decrease the saturation. Then I'll move the gamma down. Might lower the brightness, make it a bit darker. Next, jumping into the saturation, going to up the saturation again. They should push the reds more than anything. With the lift gain gamma, I'm going to introduce some blue in the gamma and then a tiny bit of green into the shadows. Then for the highlights, a bit of a yellowish tone. I'm going to pull down the gamma, making it darker even more can scrub through the footage. See what we're getting here. We'll push the gamma up a little bit and pull the lift down. Instead you can drag the gain, push up the gamma, okay, can push a bit more blue into the shadows as well, or rather the gamma. Then now with the T, we can add our tone in the blacks. I will add a very desaturated blue. I guess it's maybe greenish. Okay, for the whites, I'll put a blue. Yeah. Around a blue, desaturated blue. Then we can control the amount of the tint with the slider here. Let's see what it looks like before. Okay, I won't do anything with the curves here, but with the basier curve, I will add a bit of contrast, push the highlights up, and drag in the shadows a bit, okay? All right, and then finally we have the sharpening. I can put it to a 0.23 0.23 Let's zoom in here. You can also zoom in holding down control on a PC or command on the Mac. And use your mouse scroll wheel. And then hold down control on the PC or command on the Mac. Left click, and you can move around or pen around. Let's see what the sharpening is doing. Okay, it's giving it a little bit of that sharpness. And then we have the denoiser, removing any unwanted noise in our footage. Simply zoom out until it snaps back into place. You can use the zoom out, but in here too. Finally, to put it all together, I'm going to add a vignette. We could also add a bit of grain noise to this. Now that we've denoised it, we could purposefully add a bit of noise to change the aspect ratio. It's a bit more oval, but horizontally. You can see here in the wave form, the shape of it looks nice. The waves and all anyways, increase the center clear side, making the center clearer. Then I'll increase the border radius, or softness, as they call it. Here. There we have it now, we can always tweak some of these values. We have a few more effects for color correction or color grade. If we were to write color up here, over the effects, the video effects, you can see we have quite a few more options here. We can work on color balance, use the color contrast. We also have the color levels. But in terms of basics, this right here would be enough for you to get a certain look. Of course, with if we move over to our templates, again clear the search with the LM secondary. We can always pick the skin tones are based off of the luminants, the brightness, or even the chroma. Right. We can isolate parts of our footage the same way we did over here. And that is it for the color grade. 14. Class project - Kdenlive: Now this is the end of the class. It is time for your class project. And what I would like for you to do is to grab one of the fake log footage that we've used throughout the class or even some of those that we didn't use. And color corrected, put a screenshot of the original clip, a screenshot of the color corrected, and a screenshot of the color gray that you decided to do with it. That will be your training. Remember, you don't have to push the values all the way to the dark or all the way to the whites when you're color correcting. And once you get to the color grade, remember what tone are you going for. You can use a movie as a reference or a show, whatever helps you solidify a final look that you want to get. So don't be afraid to look for inspiration. And that is it for this class. Thank you for watching and happy editing. 15. Conclusion - Kdenlive: All right, the class is over. You now know how to color correct and color grade, at least the basics of it. I'm looking forward to seeing the work that you have made following along with this. If you have questions, suggestions, doubts, go ahead and leave them in the discussion below. I will get back to you and really it was a pleasure sharing this information with you. Feel free to share with friends and family, anyone that wants to learn t and live or color correction and take care.