All language subtitles for Procolor_C08_L6a_Homework_Revisit

All right.

So we've learned a ton of ways
that we can adjust our image.

And by now,
you should have a lot of knowledge

under your app to actually make an image
look the way that you want it to look.

So why don't we go back to our homework

and use the tools
that we've learned so far?

All right.

So here we are again.

Again, we are in the homework line.

I'm going to go ahead and open up

homework cases, grades
so that you can see what I do here.

But you just stay on the homework timeline

or you can make a duplicate
if you want to.

Whatever.

And I'm going to close our timeline

and close our gallery so we have a little
bit of room to work here.

Let's start with Shot one.

One of the things that we've learned
so far is that this log footage

needs to be color managed.

That's why it looks like that.

Now, again, we could use the primary tools
here to kind of normalize this.

But again, we're
putting a lot of creativity into it here.

If we did want to do that, we could do
something like roll down on our left here,

bringing up the scopes,
looking at our parade and rolling

that down until the bottom of the parade
just touches that zero

and then rolling up on our gain

to where her skin is coming up here

around like 768, somewhere in there.

We could boost up the saturation.

We could maybe take down the gamma

and we'd have a pretty nice looking
shot to start out with.

And because we've learned about notes,
we can hit alt s at a serial node

and we could take this hue wheel
and move that around

to make her a different color.

And we have that split up in our

primary balance

and changing her color. There.

Like I said, that's okay.

But what we really want to do
is do this color managed.

So I'll just reset all grades.

I'll make a new node by hitting alt s,

we can go up to effects,

go down to color space, transform,

and we'll put our input color space
as blackmagic design wide gamut Gen four

five Input Gamma Blackmagic Design
Film Gen five

Output Color Space Rec 709 Output Gamma

rec 709

And we're going to go to gamut mapping
right here and switch

that to saturation compression.

If that's a lot to think about,
don't worry about it.

You only need to do it
like once per project, just about.

And as we set these settings
more and more, it'll become automatic.

So I close our effects,
and now here in our first node,

we have it pretty much normalized
because of the color space transform.

And now I can just switch that hue around
and change her color.

Let's move on to Shot two, because this
was shot on the same kind of camera.

We can actually middle button mouse click
right here and then we'll copy

our grade from shot one onto shot to.

Of course, we have our first node here,
which is doing our hue

shift, which we don't really want.

So I'm going to take this and right
click on it and say reset node grade.

Let's also just label these

64 color space transform on that
second one.

And this one.

Remember, we were going to try and make
this look really harsh.

Now, depending on how you think about

something that looks harsh,
you may have gone any number of ways.

But one thing that we can do to make
something look really harsh is to

boost the contrast out.

So I just grab this contrast slider
and boost it up a lot.

Now it looks really, really harsh.

Maybe
take the saturation down a little bit

and now we have this really, really strong
look, probably stronger than I would

normally go, but that's how we would use
those tools to kind of accomplish that.

And of course, we could adjust our
contrast here with this pivot

and kind of decide where we want
to keep that detail.

Next shot, let's go to shot three again.

Our middle button mouse,

click on either of these shots because I'm
going to get rid of the first node

a little bit.

Mouse, click on the second shot, go up
to this first node reset, node grade,

and now we have a pretty nice
looking shot right here.

But we want this to feel kind of cool,
kind of blue, right?

So one thing we could do
is just take this temperature down

a little bit and push that towards cold.

And I feel like that's
a pretty good option.

And now this feels a lot more cold.

Looks like it might be at night.

And that's really all
we need to do to accomplish those looks.

So now we have her normalized
with a different color.

We have this really, really harsh,
way too strong of a look.

And then we have kind of the cooler
look here on shot three.

I'll just label these nodes

to be a good kid

and now you can go back and open this up

in the Cassie's great timeline
to take a look at what we've done.

So it's my hope
that after going through those chapters,

kind of between these homework lessons,
that you feel a lot more empowered

to actually take a hold of your images
and move them around.

This kind of progress is really fun.

And one of my favorite parts
about learning anything new.