Color Grading: An Absolute Beginner's Crash Course | Fred Trevino | Skillshare

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Color Grading: An Absolute Beginner's Crash Course

teacher avatar Fred Trevino, Colorist & Top Teacher

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

    • 1.



    • 2.

      Lift, Gamma, Gain, Contrast: The Foundation of an Image


    • 3.

      Highlights, Shadows, Saturation: Getting More Detailed


    • 4.

      Color Temperature, Tint and Adjusting the Look


    • 5.

      Secondaries: Finessing the Look


    • 6.

      Matching Your Shots


    • 7.

      A Few Tips


    • 8.

      Final Thoughts


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About This Class

Have you ever wondered what exactly color grading or correction is? Or you know what it is but have always been too intimidated to try to do it yourself? Well this class is for you!

In this class I break down color correction and grading to its most basic steps. The skills learned in this course transfer over to many programs (not just Da Vinci Resolve) so whether you work in Premiere, FCPX or any other program, you will walk away knowing how to make your images look better. 

This class is for any beginner who wants a crash course (just the basics) and wants to get up and running on their first grade. In this lesson I'll even include all the media used so that you can easily follow along. 

In this course we'll go over:

  • Lift, Gamma, Gain
  • Highlights
  • Shadows
  • Contrast
  • Saturation
  • Color Temperature
  • Tint
  • Secondaries
  • And More! 

Watch the first few lessons and I'm sure you'll learn something you'll use on all your projects!

About Your Teacher

Fred Trevino is a colorist with over 12 years experience.  He's graded over 50 feature films and hundreds of projects for high end clients such as HBO, Versace, ESPN, Under Armour and more. His narrative color work has screened at well known film festivals like Sundance, Cannes, and Slamdance. His goal is to use the experience and skills he's developed over his career to accelerate your learning in the field of color.

Meet Your Teacher

Teacher Profile Image

Fred Trevino

Colorist & Top Teacher

Top Teacher

Fred Trevino is a colorist at Beambox Studio and Top Teacher at Skillshare who has been grading projects for small, medium and large corporate clients, as well as filmmakers from all over the globe. He's graded over 50 feature films along with hundreds of music videos, short films, documentaries, commercials, web spots and more.

Some past corporate clients include HBO, ESPN, Shiseido, Under Armour, Sundance Channel, Tru TV, and Pepsi.

He's worked with countless talented DPs and directors and his color work has screened at several highly esteemed festivals such as Sundance, Cannes, and Slamdance. Along with grading he enjoys doing street photography in New York City where he lives.

As a first class he recommends Introduction with a Pro Colorist and then getting a... See full profile

Level: Beginner

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1. Intro: Color grading is a skill that few know, but one that is crucial to making your projects look high-end and truly professional. It is a skill that will make you a better shooter, sharpen your eye for what makes a good image, and will teach you to look at an image completely differently. This course is for anyone who has never graded their own videos or has maybe only fumbled through it and now want a more structured way of doing things. In this course, we're starting at the absolute beginning and I'm going to give you the tools you need to get started grading your own videos. Also, this is not tailored strictly for Resolve, but for any image editing program, which means that what you'll learn in this course you can take anywhere. I'm Fred Trevino, owner and operator at Beambox Studio and a top teacher here at Skillshare. I've graded over 50 feature films, hundreds of short-form projects, and have worked with companies like Prada, Versace, HBO, and Under Armor to name a few. In this course, we're going to take some bad-looking footage, color correct it, simply lay out the steps and give you a system you can use over and over again on all of your projects. I'll provide media for you to download and follow along and if you post it to the Projects page, I'd be happy to give you feedback. We'll cover color correction, grading, and merging your clips together. Now, this course is for beginners and get straight to the point and is a crash course of sorts. It's great if you just want to jump right in and start grading quickly. In this course, we'll go over the basic order of operations, talk about lift, Gamma, gain, contrast, pivot, saturation, color temperature, tint, highlights, shadows, and more. If you're ready, let's jump right in. 2. Lift, Gamma, Gain, Contrast: The Foundation of an Image: Now, in this first lesson, we are going to go over the initial steps in doing a color correction or grade. One thing I'm going to do is break down all the steps very simply per lesson. These may be short lessons, but keep moving and you'll be able to see each step-by-step. By the end, you should have a nice simple-to-follow node tree here, which you will see at the end of the course. Keep moving forward and I think you'll end up with something that you'll find very useful for all of your future projects. Let's get started. The first thing we want to do, we can see that I set up a very, very basic sequence here just so that we can get through all the basics of color correction. That is it. Very simple. We're just going to color correct these three shots. The first thing you typically want to do when you're making a color adjustment and correction is you want to adjust the lift, gamma, and gain, which is what we have down here. Lift, another name for that might be shadows, gamma, midtones, and another name for gain may be highlights. This really just depends on the program that you're using. I'd like to add that everything you're learning in this course isn't necessarily DaVinci Resolve specific. It's really just general guidelines and rules for all images. Whether you're editing something and correcting something in Lightroom or Premiere or any other program, all of these fundamentals you can take with you really to any other program. I will go through and let you know how the terminology might change a little bit, but it's the same thing, for example, in some programs, they might call the shadows, midtones, and highlights. But in Resolve, it's called lift, gamma, and gain. Before we get started with that, I'm just going to do a quick overview of a waveform. There are different scopes. But for this course, which is really just going to be a nice, solid crash course, we're really just going to go over the waveform. The way this work is basically zero is your shadows. That's telling you how black or rich your shadows are. Up here is your highlights or the brighter areas, and then you have everything else in the middle. If you were to take this here and lay it over this image, you will see what I'm talking about. If I just scrub through, you can see how the image is moving and who's moving it. The people here on the right are moving, they're leaning forward. Which is why if you look at the waveform really that's where all the information is moving. Also, another thing we can see is, let me zoom in. You can tell that this image has pretty washed-out shadows by looking at it. Her pants are a little not quite crisp shadow, his hair. This sweater, it's a washed-out pseudo blend image. Then this whiteboard here is a little bit bright. This is a bright areas. If we look here, we can see and confirm that because if the zero line is where your shadows or blacks should be, or what shows you that the image has a true rich black black. We can see that, for example, this guy sweater here and this little area here specifically, it's pretty high up, which means it's not a true black. That should probably be much closer to the line if not touching it. Same thing with her pants. This little spot here is probably her pants. That should also be a bit lower. His hair here is this little bit here. Then I'm going to bet, you can see the streaks here, these lines right here. That is probably these lines here. You can see, again, quick crash course on a waveform, the basics. If you want to go a little bit more in-depth with this before moving forward, however, you can check out in my introduction with a pro colorist course, I do have about an 8-9 minute video on the scopes. So if you are completely unfamiliar with scopes, and do you want to go a little bit more in-depth into it before moving forward, check that out. But if you know the basics, then I'm going to go ahead and move ahead. But that should give you enough information to see what's going on with the image and how we're making adjustments. You will learn as I'm going through it to show you exactly what I'm doing. With that being said, let's make our first adjustment. As I said, typically the first things that you want to adjust in an image are the shadows, midtones, and highlights. First thing is the lift. I'm going to lower the shadows or the lift, and I'm looking at all this lower end of the waveforms. The first thing you typically want to do with an image is lower that down. You always wanted to look here and your eyes going back and forth between the two. Let me reset that. I'm just going to lower the lift. I'm going to have it just touched the shadows here. If you hit Command D, you can see we were here and now we're here. I'll go full screen. We were here and now we're here. In just that alone, you can see what a difference that makes in the image before, after. That is step one, lift, gamma, gain, and I'm going to right-click here and name this Lift Gamma Gain. That is typically your first step. Option S. I'm going to add an additional node here. Again, a node is simply, for this course, we're simply going to use these as different steps in your grade, which is how you want to use a node. There are lots of different types of nodes, parallel, layer, that kind of thing. But for this course, we're just going to keep to the basic serial node, which, in another program, they might be called something like a layer in Photoshop or an adjustment layer in Premiere. Keep that mindset where the initial adjustment and lift, gamma, gain will go here. The next one is going to be on this second node. We're going to adjust the contrast. There we go. Let me just adjust the contrast here. You always want to find a good frame that's sharp and so I'll say maybe this frame. I'm going to really increase the contrast. Here we go. One of the things that contrast does, it really adds a little depth and pop to your image. A little goes a long way. Here we go, Command D, we were here and now here. You can see the image is taking shape a little bit and then pivot is kind of a bit of a fine-tuning the contrast. Whereas the contrast here, because it's a more aggressive, harder adjustment, the pivot is, you can think of it as a fine tune of the contrast. I won't go too deep into all of the stuff that the pivot actually does and all the color science, and gamma adjustment, and etc. Because in a nutshell, this is just you finessing and fine-tuning your contrast. Again, we were here before the contrast. Now we're here and then with the pivot, I'm just going to drag it left and right to see what it's doing. It's like this level of contrast. Again, make the image look how you want. We were here and with the pivot and contrast, I went here. Even though here, I had also. This is our starting point. Lift, gamma, gain does look better, but then contrast, fine-tuning even more, adding a little depth. See here we go, contrast and pivot. Adding a little depth. The next step here is, and one thing to remember about color is that you're going to be constantly bouncing back and forth as you make one adjustment, it will influence the other adjustments and change them a little bit. A very common thing with color correction is you adjust one thing, and then another, and then that makes you have to go back and tweak the one before it. I am now going to go back to the lift, gamma, and gain. Again, the only thing we'd adjusted was the lift. Now I'm going to raise the highlights a little bit. Again, I don't want this bright spot here, which is probably this whiteboard. I don't want that going too high, but I do just want to raise this a touch. So we have a little bit nicer, brighter image like this. Everyone is a little bit in shadows still, so I'm going to raise the gamma just to touch like that. Nothing too major. Again, we're just seeing a little bit more of the image. I'm going to now add a touch more contrast, like this, and tweak the pivot a little bit. I'm just dragging it to the right. Again, this is all subjective stuff. Don't think of this as a precise formula where I say adjust this to 120, adjust this to 327 because the next shot will be different, your footage might be different. Color is subjective. It's really a matter of what's the look you want, how are you going to get there, and getting that done. You can see that, again, we've just adjusted the lift, gamma, gain, which really the first step was I hit a nice place in the shadows and then I adjust the contrast to find a good spot for the highlights and shadows and adjusted the pivot. Then I jumped back here and made a little bit more of a tweak. That is the first step where we're going, and we were here, and now we're here. Again, go through and whether you downloaded this footage or are working on your own, go through and adjust your lift, gamma, gain and finesse your contrast and pivot. In the next lesson, again, I'm just going to keep things like this. Very simple, little tiny bite-sized steps for you so that we can go through, put them into action on your footage. Then in the next lesson here, we're going to go over highlights, and shadows, and saturation, which will be the next step, the next nodes. I'll actually go ahead and add those here and say highlights, shadows. I will see you there. 3. Highlights, Shadows, Saturation: Getting More Detailed: Now we're going to keep fine-tuning our image. This next node that I created here, I'm going to use that to adjust the highlights in the shadows. This is where you start the first adjustments where you could say pretty easy because you saw what was wrong with the image. It was washed out. They didn't have very rich blacks and we adjusted the shadows and the mid-tones and the highlights just to touch. As we add nodes, it's where more and more of your colorist I comes into play and you start getting pickier and pickier in seeing all the tiny details and make all these small, tiny adjustments that really add up to make a really polished, high-end professional looking image. We did this lift again contrast. Baby steps here, getting to a really solid image. Now we're going to go specifically into the highlights in the shadows. In Resolve, you have highlights here in shadows. What this refers to is only the very brightest brights in an image. I would say definitely the whiteboard here, this piece of paper, the highlights on the laptop here, and then shadows are only the darkest darks. His hair, his sweater, maybe her hair, that thing. That's what you want to adjust. In another program, those might be called whites and blacks. Again, just to keep things universal across different programs and images. But in Resolve, we're going to adjust the highlights in the shadows. My first issue with this clip is that this is maybe a bit too hot. I'm going to adjust the highlights here. I'm going to go full screen so you can see what I'm doing. In case you're curious how to go full screen, It's Command F. There we go. Really I'm just going to bring them down just a touch. We get a little more natural organic image, some of these are lost detail and a little bit about this image or this file codec is, as is common, this was probably shot on a digital SLR. You can see here H.264 codec, which is a very compressed codec. It was also not shot in log and not to go too deep into log and that thing. Again, I do have an entire course on just the differences between long, flat, and different camera profiles. Check that out later if you like to know a little bit more about that. But for now, we can tell that this was not shot in log. It was shot in just a basic camera profile. In other words, this is the look that came straight from the camera or as a log or a flat image would be a lot more washed out, a lot more and less color. It was shot in a compressed codec, which makes things much easier to clip and much easier to lose detail in the shadows, that thing. We are working with a very limited file. But that's okay because I know that that's what a lot of people are working with. Unless you're shooting on something like a black magic and raw, that thing. I wanted to intentionally select footage for you that maybe wasn't perfect, wasn't ideas that we can actually work with footage that has some limitations and you can see how far you can push it and that thing. So far what we've adjusted, It's just the highlights and just brought them down a little bit, the mix looks a little bit more natural and organic. Now we're going to adjust the shadows. I'm just going to slightly raise the shadows. You can see what's happening there because I want to see a little bit more detail. This is also look like a little bit brighter office and not so gritty where we lose detail. Here we go. We were here, and now we're here. This is simply adjusting the shadows and highlights very specifically the darkest darks and the brightest whites. You can see that makes the image look a little bit brighter. You don't necessarily have to do this with every single image. Here we are getting a slight bit picky. Very good use for highlights are usually skies like the clouds that get blown out, reflection to get really blown out. Then of course the shadows are very dark areas, normally hair if something's maybe a little underlit or areas that are maybe at night, that thing. If you just want to slightly raise the darkest areas. Again, we're getting down to the fine-tuning aspect of an image and it's taking shape. Then for the next node here, we're going to jump into saturation. One of the reasons I went this far along to huge saturation is because a rule of color is as you increase the contrast, like we did, just increasing the contrast in an image gives you the illusion that something is getting more vibrant and more saturated. You can see I did not touch the saturation at all. But just by doing this, it adds more color and vibrancy to the image you can see in her shirt, especially. It makes it seem as if I did increase the saturation when I actually did not. Here's the saturation. I'm going to again go to full screen so you can see what I'm doing. I'm just going to give it a little boost to give everyone a little bit of color and that's it. Just a little pop goes a long way. We were here and now we're here. You can see because this image is so heavily made up of just white and gray and black and beige images. The tough thing of grading is you've got to get images like this one that may just be bland right off the bat. You got to make them look good. I think we're on our way there. But because everything is such neutral colors, where you see the biggest impact is in the red. It's basically the only color that's in this image is the red notebook, the red shirt, the red shirt, the green plant, and maybe the table and the skin tones a little bit. There we go. Then while we're here, I actually want to just go over very quickly , color boost here. Color boost is, you could call it a smart saturation or a saturation just increases the vibrancy in all images uniformly across the board. Color boost will increase the saturation only in the darker areas. Usually, that's good to play with. Sometimes you don't want saturation, sometimes you just want color boost. But in this case, I'm going to go to full screen and I'm going to increase the color bushes to touch and you can see what that's doing. It's adding a little bit more to the image there we go. It's again not doing a cranking it uniformly across the board. A little bit more to their skin tone like that. Before, after all of that saturation and color boost. We are building something together here with the Lift Gamma Gain contrast highlights in shadows in our saturation. We started here and now we're here and we're on our way. In the next lesson, we are going to jump into the white balancing. This is pretty well but white balanced but we'll talk about color, temperature, tint, and we'll start doing an overall adjustment of the look. Let's jump to the next lesson. 4. Color Temperature, Tint and Adjusting the Look: Now we are going to get started with the color temperature tint adjustment, or a white balancing, is what we would typically do here. [NOISE] This image is pretty nicely white balance, but we still want to play with it so I'll add another node option S. I'll just call this node here, color, temp and tint. So color, temperature and tint. There we go. This actually looks pretty good to me. [NOISE] Let's go into full screen there. It might be a touch green. Again, I say that because I'm looking at it. But also just looking here, I see that the greens are popping a little bit. But regardless, it's always good to play with it because again, color being a subjective thing, do we want this office to look a little bit more like on the warm yellows, or do we want it to be cooler looking office in the blue direction? Let's take this and maybe just increase the warmth or cool it down. Again, it's just a stylistic choice. Here's the temperature and left this cools it off. I'm going to go into full screen and I'm leaning a little towards the cooler side here. Again, very subtle. Here's the before, here's the after. Now I'm going to add tint. In a nutshell, tint is when you're adjusting. If we look at the color wheel, you have greens here and then the magentas on the opposite spectrum. When you look on this side of the color wheel, you have the warmer colors like the orange and reds, and on the opposite you have the blues. This is color temperature where you're adjusting the cool, blues, and the warm oranges, and yellows, and reds. Tint is the other part where you're adjusting the greens and the magentas. I'm going to maybe add a little magenta to this just to bring a little color to it, and to take some of that green out. There we go. Before, after. Here we go. We were before after before, after. Took a slight green tone to it. There we go. You can see this image is really starting to get pretty polished. That was again, just a very soft minor adjustment of color, temperature, and tint. We're at a pretty good place now. We've come a long way. Step 1, step 2, step 3, step 4, step 5, we're looking pretty good. This is the part where you would add a node here. There we go. We would do maybe what's called the look adjustment, where you could say, you can play with it a little bit. Or if the image is looking too much in one direction or another, you can do with the overall adjustments here and you can just have fun with it. This is where we might adjust the lift, gamma, gain contrast. Everything we've adjusted up to this point, we might do it all in one node. I'm pretty happy with how this looks, but I'll just show you what I mean. Let's say we just want to play with it and maybe I will just make the image a little brighter. That's something like that. The look adjustment might be that it can be a very small, you can name that look adjustment. It's usually just a very small tweak because as I said in the beginning, all these images ripple into each other and as you affect one thing, other things change along with it. Typically by the time you get to the end, you want to do a refresh. After all of these adjustments, for example, maybe the image ended up getting a little darker than you liked, so maybe I'll just give it a little pop of brightness.You see? Like that. Maybe I think it's a little too saturated, so maybe I'll desaturate it just a touch. That's my look adjustment. Again, this is where you can get creative or a look adjustment might be something more extreme. I'm like, "You know what? I want this to be a lower saturation and I want it to be very cool in tone.'' You're going to go in this direction. Totally different adjustment. This is where you can start having fun with it, and creating different looks for your image. You might turn this one off and maybe make another one. Maybe I'll call this look 2. If you're working with clients, this might be the spot where you maybe make multiple looks for them. I'm going to really saturate this a lot like that and maybe also just make it warmer. I'm just doing random things here. You might send the client this look and say, "Do you want this warmer look, where I boosted the saturation and the color temperature?" Again Command D is to turn these on and off, or do you want this more matte, low contrast look to it? That's the look adjustment aspect of it. I'm going to delete these and this, and I'm going to stay the course that we've been doing. I'm just going to make it a little brighter. That's it for our look adjustment. That's all I'm going to do. Mainly because it fits the piece, you can see that this is just a corporate video style clip where you would really go into the deep end as if you were working on a short film, or music video, or a feature film where you would have different looks here and really start playing with it possibly. But this, I'm just going to do that look adjustment. There we go. You can see how much you can change the image over the course of these steps.These first four I would typically do in the first node, and then I would maybe add an extra node for color temperature. But for this course, I intentionally split these up into little steps like this so that you can visually see what we're doing. I broke this up into lift, gamma, gain or shadows, mid tone highlights, contrast highlights, shadows, saturation, color temperature, tint, look adjustment. I broke these up just for your benefit so you can see what we're doing exactly. But as you get more experience and you start grading quicker and doing things, you'll notice that you'll start grouping all of these adjustments here into maybe the first node and then maybe just separating the color, temperature and tint and maybe the look. So typically this would be three nodes, but hopefully this is helpful for you. Another thing you can do too is, save this entire node tree and all of these style of adjustments as a power grade. What a power grade is, it's simply saving a grade like this, which you can then save system-wide across all of your different projects. Let's say for example, if you shoot in a similar space like you shoot in a studio, or you shoot similar projects all the time, rather than having to reinvent the wheel, and do all of these steps every single time, you can simply go to your power grades, right-click, grab still and now, this will be saved so that you can use it across any projects. Six months from now, you shoot in this office again and it's the same lighting environment and everything, and it's the same employees or maybe other employees. Rather than redoing all this, you can simply have this power grade. Let's say I go here and hub row, see how quickly I can then grab it, drag it. Boom. Look how much time I just saved. So power grades are very powerful, and it's something that you definitely want to do and feel free to create one of these now and save it. If anything, it's also great just for you when you're getting started to be able to look at it and say, "Okay, what do I do next? I did this, next is contrast, next is to highlight some shadow saturation,etc." It can be a very helpful learning tool as well. In the next lesson, what I'm going to do is continue fine tuning and we're going to cover secondary window so that we can start focusing the image and shaping it a little bit and make things look even better and better and better. See you soon. 5. Secondaries: Finessing the Look: Now, we are in the secondary windows lesson. Really in most situations, again, this being just a quick getting started, crash course, whatever you want to call it, jumping right in, to color correction. You could technically, for most projects, do this here, and then match your shots together, and then you're good to go. However, something to think about is, just to keep improving, improving, improving your project, is a very powerful tool that we have, are adjustment layers or windows or mats, that kind of thing. To create one of those, again, you simply go "Option S", and then you can see all the different kinds of windows that Resolve has. We have squares, circles, linear boxes like this, pin tools, you can draw your own like that, and go. I'm going to just delete that, or you can have this gradient box like this. These are great for just shaping your image. Let me rename this one, and I'll say [NOISE] Secondary window. Again, this comes down to experience as you create more stuff, and you get the experience, you get pickier with images. A lot of people might look at this image [inaudible] to think it looks amazing and say, wow, it looks amazing, like we don't do anything, we don't need color correction. You get that thing all the time. Then as you get more experience, you do this and say, that looks so much better. Of course, as we are doing, you get to the point where you start seeing all of these things, and you notice, we need to just barely tweak the highlight, and you get more and more experience. That where windows are most people would be happy with this. However, we want it to look great, so I'm just going to show you a few things that we can do with windows. I might do this one here. Position it. I've always felt that this is a little bit hot up here. I'm going to take that, and I want to drop the gain a little bit up here. That's it. Add another window, and I want this to be a little bit brighter, because that's been bugging me as well, and I'm just doing whatever I feel looks good. I'm going to go full screen that you can see, maybe his head, a little too in shadow, I just want to bring him up a touch, like that. Little too awesome detail. I'll add another window here, and something, there we go. I might make a vignette. Shift H shows you what you're reflecting in a window, so right now we'll be affecting only the interior. I'm going to take this, invert it, and also this is to soften the window like that. You might guess what I'm doing. I'm going to maybe make a vignette style. There we go. I'm going to get lower the gain, maybe make a slight vignette, because she's the focal point, and you can see three quick windows that I made. Command D. Bring that up like that. Full-screen just brought the bright top of the image down a little, brought more detail out in his head here, and then a slight vignette. I mean, just little things like that, we could keep going, and keep making these adjustments. But you can see how these little adjustments can really transform an image dramatically. That's just a very quick introduction to Windows, which is the getting started part of secondaries, which all of this stuff that we did first technically is what's called a primary adjustment. Like shadows, mid-tones, highlights, contrast, saturation. Those are all just known as the primary adjustments, things you adjust first. Then once you start getting into windows and specifics, those are known as secondary adjustments. When you're fine-turning things to specific things such as a window or maybe adjusting just the reds or maybe adjusting just the greens or just the highlights, maybe could be thought of as a secondary, depending how you use it. Keying an image, so that would be like using an eye dropper tool to only select maybe this guy's hair or her shirt, that kind of thing. DaVinci Resolve is an extremely powerful tool. For this quick course, we're just hitting the tip of the iceberg. Definitely, check out my other courses, if you want to go deeper into it. This is just jump in and get started right away. I could easily spend hours talking about all this stuff. But for this lesson, that's the quick introduction to using secondaries, specifically the windows in DaVinci Resolve. In the next lesson, now that we have all of these adjustments, and we've set our look, we're going to go over, let me reset this, the hard part, which is then matching the other shots to the first shot. Next one, matching. See you there. 6. Matching Your Shots: Here we are, we're approaching the end of this course. We are now going to take this look that we've created and simply apply it here. Very easy way to do this. A lot of different ways, I'll show you a few. One, if you want to save this right-click, grab still, you can save it there, or which it will then let you actually take this and apply over. That's one way to do it or you could also just go to a shot, Select it, Right-click, hit Apply Grade. There we go. Not that this will work every single time. It really depends how well shot something is. In this case, it seems to be working pretty well, but you still have to go through and make some adjustments. Because there's certain things such as these windows which may not be needed in the other shots. But yeah, so saving a still is one way. Again, you could easily drag this over and save it as a power grade or just simply right-clicking and applying the grade over. Apply grade, and then you can do that. Let's see how this looks. I simply applied the first adjustments to the other two. Let's play it through. Go full screen and see how it's looking. I think it's actually, you're working very well. But every shot is different. I think it actually worked very well. If something is not shot too well, then this will be horribly wrong. Now, again, it's just a lot of people would be happy with this. But hopefully, we're not happy with this. We can keep going. My first issue is we cut over to her close-up. Looks good here. This is too bright and then the highlights on her face or too bright, those are the issues I'm having with it. I'll maybe stop it here and let's see what's going on. I actually like this little thing. That's probably why it's too hot. It's simply as deleting that. I like the vignette. Let's see how this is affected. This is the original. You can see because it's all shot, the shadows match the other ones pretty good. The contrast, this might be where the hot forehead is coming in. That's where pivot might come into effect. I'm going to adjust the pivot touch like that. It's not as hot. Then saturation. That looks good. It's nice, vibrant. Here we go. This is the color temperature, tint, the look adjustment made it a little brighter. You can see this work and then the windows and the vignette. Let's watch those. It worked pretty well in this situation. If it doesn't, it's just as simple as like what I did. You go through and you tweak the nodes, you might make new nodes. This close-up works fine. You make new nodes. The only thing I might adjust here, like that, exactly. It was that it seemed a little hot over there. I'm going to delete this. I like this vignette because it focuses the attention on her. Again, option D, to turn everything off. This is where this clip started. First adjustment. Shadows look good. Contrast, good. Highlights and shadows, good. Saturation. The color, temperature, white balance. I like how it affects those skin tones on her hand. Look adjustment. Again, this worked out pretty well because this is pretty well shot. One last little thing that I want to do is we're going to make a new window. Put it on her face here. Shift H and then shrink it down, really shape it, maybe on this side of her face. Rotate it, softened down here. This is what we're getting into the pickier area. This is a little bonus that I'm showing you. I don't like this shadow in her eye right here. Her face, this is ugly office lighting or it's probably fluorescence and it's just dropping down from the top, creating all these shadows all over her face turn out very flattering on anyone. What I'm going to do is I put this window here and I'm going to raise the Gamma. Just to add a little bit more information and see a little bit more in her face. About there and see. But then as I do that, again, it's all a balancing act. I don't have to adjust the contrast because it gets washed out a little bit and then have to, little bit more contrast. It is what it is, that's how it was shot. We can't completely make it perfect. But I think going from this to this makes a difference. See little things like that come along way. That's the bonus, but the other bonus, I'll show you this quick little tool here, which is Command T, where as she's moving, obviously we want that window to follow her. I'm going to hit Command T. I'm going into the tracker window. You could also just hit this button here and track forward and reverse. There we go. It's that simple, okay, and not to go too far into the deep end. But you can see that this window moving around. This is where it locks. Again, the adjustments we're making on that window, here's a very easy way to fix that, because we're simply going to start this. For the tracker here, you can see it's a flat line and then all of this information as it's changing, this is telling you what the tracker is doing. You can see it's following her. Here at the beginning, we want to actually put it here and I will track it from that position. Good. Then once we get about here, if we click on Frame, this lets you manually adjust it and I'm going to put it on the left side of her face and then track forward. Here we go. Now that's kind of back up a touch, full screen. This just needs to be softened. Right now you're really getting into the nitty-gritty of what it's like to be a colorist when you start doing all these things. That just needs to be softened. A lot of it is about finessing windows. Here's something we can see because we know it's there, but I think that's one of those things where most people probably wouldn't notice. I want to go to the tracker, go back to frame, and maybe move it back in here. That's the window. I think we're good there. You get the picture. Great. There we go. We went over the matching. Then also you've got the little bonus of adding a window to her face, tracking it, and modifying the tracker. That's great. Here we are approaching the end. In the next lessons, I just have some tips I want to give you that it'll help you on your journey in color correction. I'll see you there. Hopefully, you've learned a ton up to this point. I think you definitely have a lot of great tools. I'll see you in the next lesson. 7. A Few Tips: As we're nearing the end, I just wanted to spend a little bit of time and have a lesson in which I just give you a few tips as a colorist. One thing to remember about color correction grading is that, I know that it can be very overwhelming learning all the terms, colored temperature, shadows, what's lived, what's long, what's flat, all of these different terms. But an important thing to remember is that so much in color is subjective. We all see colors differently. We all think of what a sunset looks like, what sunrise looks like, what gritty, what dark, what romantic. Everyone has a different viewpoint. Everyone has a different way of seeing the world. When you're color correcting, it's important to express that viewpoint. It's very important to trust yourself, trust your taste. I always like to say that half of what you're doing as a colorist is developing good taste. Your first grades aren't going to be perfect. It might be overwhelming, you might get frustrated that shots aren't matching. But really what you're doing is you're just getting better and better every time you work on something new. When I started out I would spend 20,30,40 minutes sometimes on a couple of shots and they would never look right. A tip I have for you is to also learn to walk away from shots, look at things with fresh eyes, study images, look at movies you love, and then try to incorporate those looks into your very own projects, and before you know it, you'll get to the point where you'll look at an image, you'll know exactly how the image will show, you'll know what kind of lighting was to use. You'll know what needs to be done to make it better, you'll know what was done to make that image looks so good and you'll start getting involved in tiny details that matter a ton and it's those tiny details that make people look at your image and say things like, I don't know what you did to this image, but it looks amazing. I can't describe what I'm seeing, but I love everything you did. When I hear that from my client, I know I did the right thing. With that being said, let's move on to the final lesson and just remember that practice makes perfect, so it's important to keep practicing, keep moving forward, and before you know it, you'll be a very good colorist, editor, filmmaker, or whatever you're trying to specialize. Let's jump into the final lesson. 8. Final Thoughts: That's the course. Hopefully, by now you feel you learned a new skill that you can take with you to all of your projects. We covered all the basic steps in color correcting and grading your image. We talked about Lift Gamma Gain, color temperature, power windows, and we even got a little tracking in there. Definitely publish your project to the projects page if you followed along. I would love to see what you did. Also, I'm creating a discussions page in case you have any questions about color correcting or anything else about this course. If you want to learn more and dive deeper into color correction, definitely check out my other courses. I cover everything from what's the difference between flat log images, raw images, how to create a cinematic grade. Introduction to a pro colorist is probably the course I'd suggest to take next. Also, I always loved to hear what you want to learn next so if you have any requests, definitely put those in the discussions page. Again, thank you so much for taking my course and I wish you the best of luck.