All language subtitles for Procolor_C09_L1b_Matching_In_Resolve

In this lesson.

We're going to take a look
at some of the ways

we can match shots in a timeline
using the color page.

And I'm going to start with our color
transform

on Shot 65, and I'll go ahead and select
everything kind of in this little scene.

I just select this first shot,
hold down shift and select the last shot,

and then I can middle button mouse
click on Shot 65

to load that color, transform
on all of our shots.

And generally
what we're trying to do is two things.

One, when you switch back and forth
between the shots,

they should feel like
they're in the same world.

There
shouldn't be a huge difference in exposure

or in color cast
or in contrast or in saturation.

It should just feel natural.

The other thing
we need to look for are common elements.

So if you see a lamp in one shot,

it should pretty much
look the same in another shot.

Here are common elements.

Is just the carpet here between 68 and 70.

We have the couch here
and then the couch in the wide shot.

And so ideally, the couch in this close

up is going to look exactly
the same as the couch in the wide shot.

And they should certainly feel similar.

When I switch back and forth, I should
feel like these are in the same world.

The first thing that pops out
is this shot 70

feels a little bit
bright compared to shot 68.

It looks really dark now.

This could be for two reasons.

One, this could be that shot

68 is too dark or it could be
that shot 70 is too bright.

Generally, what you want to do
is figure out which shot

you like more right now.

And I think I like shot 68.

In fact, it's a good idea
to kind of work on this shot

and then kind of match
everything else to it.

So we're going to use all the tools
that we learned

in the last chapter to make this shot
exactly how we like.

So let's start by building some notes
here.

I'll change my label to exposure

and I'll ask for a new serial note.

Move our color, transform down.

This next one will be temp and saturation.

I like to put those both in the same note.

Then we'll do contrast and those should be
the major adjustments we need.

In fact, I'm going to take all of these
notes from Shot 68 and I'm going to shift

select our whole scene here and middle
button last click on 68.

So now we have all these empty notes
that are labeled

added to all of our different shots.

So let's start on Shot 68
and I'm going to boost up the exposure.

So let's take the offset up a little bit.

We're just going to boost that up
and we'll go over to our contrast

and maybe

I'll boost the contrast up
a little bit in the pivot down.

Just a touch

move over to our temperature in saturation
and I think

we'll take the temperature down
just a little bit

because I like to have a little bit
of that cool kind of tone in the back.

And let's loop this, turn off the sound

and play it and we can make a bunch
more adjustments here.

But let's say that we like it like this.

I'll switch over to Shot 70
and we'll just start by middle

baton Mass clicking on 68
and seeing if that works.

Now, it definitely doesn't.

This is way brighter than 68.

So what I like to do
is just kind of start this out

by memory, imprint this in your mind
about how it looks.

Switch back over to 70.

Let's go to our exposure note and
we'll take our offset down quite a bit.

We'll just take it way down.

So now if we switch back over to 68
and then back to 70,

you should start to feel like
they're in at least the same world

when it comes to how bright it is.

Maybe we'll take that down a little more.

And now that's feeling
a lot more reasonable.

One thing is that shot
70 feels like it should be greener.

It feels like it's a little bit too pink.

So we'll go to temperature and saturation

and we'll
take the tint just away from pink.

Just a touch, just a little bit.

Let's switch back and forth.

And now we're really getting closer.

This nice kind of mid green tone

for our sofa

matches with the wide shot.

Because this is such a close up.

We just need to make sure
that her skin looks nice,

her hand looks like it should.

In between these shots
and I think it looks just fine.

So now we've kind of matched
both of those shots.

We have kind of the deep shadows.

Here are the deep shadows here.

It's not too bright, not too dark,
not too saturated.

Everything looks about

right now that we have two shots
kind of matching each other.

We can look at shot
69 and see if that makes sense.

A middle button mouse click on 68.

That's a little bit too bright.

Let's try 70.

And that's
probably more like where we want it.

Still a little bit too dark.

So let's grab our exposure node

and push our offset back up a little bit.

And again, we're just going to flip back
through our other shots,

make sure that this feels like
it belongs there

for a shot like this that doesn't
have a lot of common elements.

Like you can't really

you don't see their shoes
in the other shots,

You don't see the carpet in the other
shots.

You're kind of just guessing.

What I like to do is just
look at this image as a whole

and switch back and forth
and see if it feels like it belongs there

but doesn't feel out of place.

It's probably going to play just fine.

Same thing with Shot 67.

In fact, shot
67 feels like it's also under the table

and it will probably take almost
the same grade as 69.

So our middle button mouse click on 69.

It's a little bit dark.

Maybe we'll try 68

and now that feels pretty good.

Maybe we'll try 70 again.

I think we'll try a shot 69

and will boost up the offset a little bit,

maybe a little more.

I'm also looking at the scopes.

See most things in the scopes
peak around 645 12.

I'm also going to aim
for something like that,

even though this is kind of
in the shadows,

it's okay if it's a little darker
since it's in the shadows,

but it should be somewhere around there.

So something like that
that feels like it's working pretty well.

That works well.

Let's try 66

and we can quickly just middle button,
mouse, click all of our shots here.

Shot 69 is about right.

Those seem to work pretty well together.

These match and 65
should be the exact same as 68.

So now when we play through our sequence,

everything should feel really natural.

Shouldn't be anything that sticks out
or feels weird.

I should just play and make sense.

And that's really the basics of shot
matching and resolve.

I think it's a really good idea
to break everything out

into these different nodes
so that you can kind of keep organized

and flipping in between the shots quite
a bit is a really great way to do it.

The other thing that can be helpful
if we go to Shot 68 here and we right

click and say grab still,
we can open up our gallery and double

click on this and that will load
a still image of shot 68

and we can compare this side by side
with whatever shots we have,

and we can use this as a reference.

If I click and

drag back and forth,
I can adjust that split screen.

There's different ways to split it.

I can split it
diagonally vertically, horizontally,

but this lets me see side by side
what the tone of that couch is like.

But a word of caution.

Nobody's ever going to look at your movie
like this.

So even if there are little differences

here, fixing them might not quite
be the very best use of your time.

This is good to get kind of
in the ballpark.

But what's really more important is

if you switch from one shot to the other,
does it work?

And especially if you play, does it work?

If the answer is yes, then your shots
are matched and you've done a good job.