All language subtitles for 13 Color Grading

So let's go to a shot that we

find, we call it the hero shot or

where we like really much the colors.

I like this shot.

Let's begin from here.

Let's go to shot.

So, okay,

this too is what I use more.

This is on the left side is the

vector scope.

Do you know something about it?

Nobody know it.

This is, it tells you the information, the

quantity of the color that was inside the

footage.

This line here, it's not there because there's

a mistake on the display or because it's

broken or some or air.

This line here is really, really important.

Can you see everybody?

Yeah.

Can you see it?

This line here, it's really important for the

color grading.

It's the tone, the flesh tone, flesh tone.

It's called flesh tone.

Yes.

Skin tone.

This is, it tells you here must be

the skin.

Here we will see the color of the

skin.

The color of the skin must be here.

The things, what we've got to care is

the white balance, the exposure and the skin

tone now.

The skin tone is really important.

You don't make it too green, too orange,

too orange.

It's important that it's staying in the right

place.

Everything that you see in the cinema, the

skin tone is almost perfect.

It's really important.

Here in this RGB parade, we can see

a little bit how is the white balance.

In this case, because of the reason that

we make every time the white balance on

the thing.

In this case, we're also lucky that it's

almost perfect.

You can see how we can understand that

it's almost perfect because we are all three

almost the same.

If we go for example here, we understand

that there's a little bit more blue.

The blue is a little bit more important

and more present here.

We see that it's going a little bit

more up than the others.

This must be corrected.

But this is almost perfect.

What I use, what I love for plugins

for the color correction, I really love FilmConvert.

FilmConvert, it's an amazing plugin.

I suggest to all of you to take

this plugin if you want to have a

good color grading.

I use it as a base of my

footage.

It's a really complete plugin.

It costs much money.

I think that it costs 150 euro, but

it's worth every cent.

Why I find it so good this plugin?

First of all, because you can put your

camera and your picture profile because every camera

has a different kind of color range.

Here they make a fantastic work with guys

that they recreate lots, lots, basic lots like

Kodak, Fuji, for every kind of picture profile

and every kind of camera.

In this case, I have a Sony Alpha

7S and I'm working in Cine4.

Here I go, and I go to Sony

Alpha 7S and Cine4.

Here I've got already something where I can

work with.

I close this part.

You can play with the color already here,

but I don't care anymore about this thing.

I close this window.

After what I have, the possibility to choose

the exposure.

First of all, he makes already also clean.

If you shoot to over the 100, he

will close it with the broadcast saves.

He makes already this kind of selection.

Guys, you don't have so much to think

about this because nobody will care.

It's only if you go in the cinema.

It could be a problem, but in what

we are doing for showing you to the

couple or to watch it on Vimeo, it

doesn't really matter.

But this is, you are saved.

The first thing what you have here is

exposure.

You can choose to care about the exposure.

It stays safe.

It stays safe.

You see, look, I put it all up

and it stays every time in the 100

and in the zero.

It's limiting.

It's limiting.

If I do it with the things we

have, I don't know, I still didn't try

it.

I'll tell you the truth.

Let's see what happens if I make it

with the, yeah, it go up.

This is with the color of Final Cut.

I'm going under zero and I'm going up.

But yeah, so here, this is the first

thing is the exposure control, the temperature control.

This is you can make it a little

bit warmer, a little bit cooler.

I care about my, I watch, what I

see, what I can see.

I can't tell you.

Sometimes I go really down.

If you see the first footage of Mervyn

Neal's, I went really, really darker and the

image is still good.

For make a really good, good, good product,

the first step would be every time to

denoise the footage.

There's a neat video for Premiere and Final

Cut.

The name is Neat Video.

This is a fantastic plugin, another expensive plugin,

but this is, it makes a fantastic work

of denoising.

But normally, it would be a rule to

denoise every kind.

It doesn't matter if it is 100 ISO,

200 ISO.

It would be nicer to clean the footage.

But it's really for if you want to

make really something perfect, perfect, perfect.

But I do it not so much.

I do it when the footage is really,

really dark and then you see really much

noise, then I denoise it with Neat Video.

And Neat Video, it makes also the footage

with, you can grade it a little bit

better.

You can play a little bit more with

the color.

We have the temperature and here we have

a selection of film stock.

These are all lots of film stock.

What I use as base is Fuji Povia

100.

It makes the image a little bit warmer.

This is what I use.

Here we have a different kind of grain

from the 8mm that is really, really noisy

till the 35mm full frame that is the

most clean one that you don't see it

so much.

If I put the 8mm, it becomes something

like this.

And it's a little bit too much.

I like the 35 really clean and sometimes

I don't put it at 100%.

I go a little bit down.

Film color, it's the quantity, how much of

this film color you want to have in

this footage.

Normally I hold at 100%.

Sometimes I'm going down, but the 100%, it's

okay.

The picture is already beautiful.

If you see, the picture is already beautiful.

The curve, the curve here at 100%, you

have a good contrast.

If you find that the image is a

little bit too dark and you lost too

much detail in the dark part or something

like this, then you go a little bit

down and it comes out all the details

what you have in the footage.

I sometimes, many times I'm going a little

bit down.

You can control the saturation.

I don't touch it often.

Sometimes I go slightly a little bit down.

You can export lots.

You can export it to use it in

other program after.

If you are maybe working in DaVinci or

in other program, you can export it and

work with the last that you create here.

After if you change everything here, you create

a small last.

This is the first step what I do.

And guys, this is a fantastic plugin.

This is if you still didn't use it,

it will change your way to color grade

because it makes already a fantastic footage.

I feel that as base, I would like

to have something a little bit more.

And for this reason, I add another things

that is my last, my color grading.

I put a little bit more character on

my footage.

So I use Color Finale.

Color Finale is another plugin.

Here on the things you have the 25

% of sale of Color Finale, Color Finale

Pro.

And this is, it's almost a DaVinci Resolve.

DaVinci Resolve is the fantastic program for color

grading.

You have it in Final Cut.

Guys that are working in Premiere, you don't

have to be afraid because you have Lumetri

that is also really, really, really good plugin.

Okay.

Color Finale, it's amazing for controlling your LUTs.

I have thousand million of LUTs.

We are doing every time LUTs.

I have a program to create LUTs.

I have program to export the LUTs from,

which is this one, Look Converter.

This export LUTs from other program like Lightroom

or, I don't know, Photoshop.

You can export LUTs.

Then I use LUT Creator, 3D LUT Creator.

This is where we do most of our

LUTs.

This is a really professional.

It costs almost 300 euro.

I don't know if you needed this really,

but you can play really much with the

color and create really good LUTs.

But I don't know if you need it.

If I am at you, I'm beginning.

I'm doing the same things.

I work like this.

I use Film Converter first and then I

add with Color Finale, I use one of

our LUTs.

I have thousand of LUTs.

Let's take one of what we are going

to do.

With this, you can play with curves.

You can play with vectors.

For example, if your skin tone is a

little bit out, it's not in the right

place.

Now the skin tone is okay.

But if you see, I can play with

it.

This is only the red channel.

I can change it.

But for me, already this kind, it's a

little bit still a little bit too dark,

but I really like it.

And I find it a little bit too

contrasting.

And this is what we've done.

Do you see a little bit?

Can you see it?

Or it's too small?

Do you see it or not?

So this is what we've done.

Okay, now I take it, comment copy, and

I put it, for example, here completely.

Alt, Command, V.

I put everything what we've done there.

And now it's too light.

Let's see, it's too light.

Let's go down with the exposure.

Let's try here.

I can't make Alt, Command, V.

It copied everything.

Everything, every aspect of the clip to the

other one.

If I press Shift, Command, V, I can

select what to copy.

In this case, I want only the color

correction and let everything else out.

Okay, also this is a little bit too

light.

Let's bring it down.

Let's see what happens to this.

Here we try to make for sure it's

a little bit too light.

Yeah, this is absolutely too light.

And I will try to stay in this

part and make the rest a little bit

darker with making a small vignette.

Oh, pardon.

So I correct outside, not inside.

Exposure, the light I put down, return here.

This looks really bluish.

Let's see what happens.

A bit

warmer to fit with the others.

This footage, I find that it needs to

have a little bit of the noise, but

it's okay now.

Okay, let's see how it looks to now.

This is, it's the same, so copy and

paste.

Okay, let's see.

Wait one second, the rendering.

It's okay to now.

Something not good.

Chaos.

Easy.

Boring.

You can't say yes, it's boring.

Okay, let's look.

Taking ourselves too seriously, just fooling around.

With no one else but you, I can

travel the whole world without arguing a single

time, which is having fun with the nature

and the joy.

You touch my heart and soul, but you're

a burden with your children.

You take away all my worries by taking

a close look into your eyes.

Feel this moment and be aware that you

have taken another.

Your laugh is a lovely and magical sparkle

in your eyes, and it is the reason

for your endless happiness.

And?

Her skin tones for her vows, she looked

really pale.

Her skin tone was very pale for her

vows in the church, and then when we

showed the window shot, her skin tone was

a little bit warmer.

See, that one was warmer than the face

on shot.

When she's face on, it's a lot colder.

Not so much there, it's even when the

camera's on her, it's further back.

This one?

Yes, that one there, she's really pale.

Can I ask a quick question in relation

to the LUT?

You know how you're doing on each clip

and then individually adjusting exposure and temperature?

If you had the LUT on an adjustment

layer across the top, and then adjusted each

clip's exposure, if you needed to make a

change to the actual LUT, you could do

it in one click as opposed to having

to do it in a clip at the

end.

Do you know what I mean?

Yeah, I understand it.

I understand.

You mean you have all the projects and

you put LUTs to every one of them?

Yeah, for the initial one, and then they

clip.

Is there a reason?

I'm just wondering if that's just your way.

There's not really a reason, it's only that

I'm working like this.

It's only, I find that it could be

also good to put the rules it would

be to make first all the color correction

of the video and after the color grading.

Color correction, it means to correct every one

of the footage that is correct with the

white balance and exposure, that they are perfect,

that there's continuity from the beginning to the

end.

But at least I don't do it.

No, I don't even mean that, but still,

every clip will be adjusted separately, but I'm

just thinking if you need to change the

LUT of the whole film at the end,

you stick out to every clip.

But if you had an adjustment there.

You're right, you're right.

It's only that till now I never had

to change it, but you are absolutely right.

If you want to play with the colors,

for example, now I'm thinking that I would

like to recolor some of my old films

that were all pastel-ish colors.

Now I would like to have a more

darker mood or something like this.

I have to take every clip and recolor

it.

If I had done like you said, I

could make it with really not so much

steps.

You are absolutely right, but till now I

didn't.

So here there's another BAM.

BAM.

I wanted to put the shooter where they

are with the smoke.

Quick question, what are you doing?

You know when you used to have the

Mark III and the HMS?

If you were using two different cameras, say

C100 or Canon, do you use the Canon

profile from FilmConvert for that camera?

Yes, exactly.

Every camera has its own picture profile and

it fits.

You see it.

For this reason I love it because I

started to make like this when I had

one of my assistants that has a Nikon.

I had a Canon and I began to

shoot with Nikon.

I had three different cameras, the GoPro.

Oh my god, it was really a drama

to fit the color.

Then I found this FilmConverter that it put

me a really base and I can play

with it.

After I learned, okay, let's make the white

balance perfect, white balance perfect.

This one, the color checker.

Now you can make with a color checker.

I'm thinking if I have a footage with

a color checker.

No, I don't have footage here with a

color checker.

Maybe yesterday from the workshop, the guys had

done a shot with a color checker.

I don't have it here.

But with the color checker you can have

in every camera the same base of color

because you will be using color finale pro,

the pro version.

Wait one second, I wanted to only add

the first this shot of the smoke but

I find it cool.

This one, boom.

I wanted only to add this part to

fill this last bit.

Normal speed.

And So

I put a marker where I wanted it

to have this.

This, let's see.

Feel the things, feel the sound, feel the

music.

What we were saying.

Ah yes, yes, the passport, here it is.

If we open color finale, how it is

color finale.

We have this section, this is our, the

color wheels, it's a little bit the same

what we had in the in the other

plugin.

But here there are some really cool features

that one is the white balance.

So if I put here and I go

here, I check, you make the white balance.

You can check the white balance.

You see that it's changed already alone.

Amazing, there's the slider.

If I go here I can see the

channel of the blue, the green and the

red on the highlights.

And we're watching this, guys you can see

or it's too small.

You can see here, for example, I see

that on the highlights the blue is going

a little bit too much up without becoming

crazy.

And look for here you can choose only

the blue channel and pull it a little

bit down that it fits all together.

And I find a really fantastic feature this

one.

Then we have the vector scope but every

channel I can change the hood, the saturation,

the luminosity.

For example, if I want the skin, only

the skin a little bit more brighten.

So I go on the red and the

yellow and I put a little bit of

luminosity or a little bit more darker or

the saturation to put a little bit away

the saturation.

And I can change as I said before

you the hood you change the if I'm

out of the color.

Is there an equivalent of that for Premiere?

Lumetri.

Lumetri is almost the same.

Lumetri is almost the same.

I think you can do the luminance.

Okay, are you sure?

I don't really know but I haven't seen

it yet.

Okay, but Lumetri is really, really, really good

and really accurate.

I love to sometimes I finish my video

with Lumetri but I don't tell you this.

Here we have the curves.

You can add the contrast in every channel,

the red, the green and the blue and

here with all the colors to work with

this.

Here we have the blacks, here we have

the whites and if I go for example,

so here we have the lights and here

we have the blacks.

And if we want to add a little

bit of contrast this image is already, has

a really good contrast.

You add points, points, points and you put

a little bit of S curve to add

a little bit of contrast but this image

it was already good enough.

And you can play with every channel.

If you think that the skin tone is

a little bit too red, you go here

where there's the skin tone, this part and

you put a little bit down, put away

a little bit or to put away or

to put it to put inside a little

bit of contrast in the red channel.

And then there's the last part that there's

the possibility also to see a gallery, to

see all your lights and apply and to

select which one you would like to choose.

But it's almost the same like Lumetri.

And how would I do it then from

the camera so I have Sony and Canon?

With that, the color checker you saw it

yesterday, here he has it.

If you make, you make first the white

balance with the camera.

You make the white balance of the camera

with the with the page of the of

the white, the white page, that is that

one.

But I can?

Yes you can.

Yes, sure.

The 5D Mark III, there's the, there's a

symbol, it is you have first to make

a picture of a white source, in this

case about bad things, bad things.

And then there's a symbol that I think

that it looks something like this on the,

on the, I don't know, something like this

it looks.

Yeah and it's the custom white balance.

You click on it, he asks you to

select the picture, in this case that one,

you press okay and you have the white

balance with bad things.

And the oil.

Yeah, yeah, yeah.

After that you've done the white balance, you

turn the, the color check and you, you

have this, this color things and there are

all, there are three types of white, there

are three types of blacks, there are all

the gray, the skin tone and the color.

You see four lines, in these four lines

we have this information.

You bring on, on color finale and I

think that you can make it also in

Premiere but I don't know how.

You bring your, this first footage what you've

done on, on your program, you open color

finale, you go here and there's right display

chart grid.

You click here and you will have here

the square with the color checker.

Here you will have your color checker that

you've done the video before and you click

from the yellow to the green to the

other one and you have, you select all

your color checker like this and you press

match and it will look all the information

that was there and it calibrate your image

in base of, of that information.

There's the right green, the right yellow, the

right red and you have really a base,

basic color correction for every kind of your

camera and it looks all the same.

You can use the GoPro, you can use

the GoPro but you've got to put the

white balance manual, not automatic because it's not

to change every time the white balance and

for the Sony, the Canon, you can make

it to all of your cameras.

I have another tip, an amazing tip to

make your life a little bit easier to,

to match the colors.

So this is a way.

I found recently an amazing plugin that the

name is Hawaiiki Automatch, Hawaiiki Automatch.

I didn't wrote it there, you can write

it.

I don't know if there's something like this

for Premiere, for sure there is.

This is so cool, you can really match

really easily some footage.

Let's see if I've got an example.

Let's see, let's see, let's see.

I want to fit this one with this

one.

I've already fit really good.

I try to change it a little bit.

I change the temperature maybe like this.

Let's see, maybe now it doesn't work because

I've done something like this.

Let's try.

I found it really recently.

It isn't so long, I think two or

three months and I find it cool.

In this moment, I have the white balance

that is completely out and it works also

for colors, not only for the white balance,

for all the colors.

I want to match it with this shot.

What I've got to do is to go

here, reference, reference.

I select the reference that is this white

and I want to match it here and

enable.

Enable.

It matches and I change the white balance

so that the image is already really dirty.

It's really dirty.

When you have a clean image, it works

better.

But look, and you can make a second

if you think that I'm not so happy,

then you can add a second match to

be a little bit more accurate.

I take his skin tone, for example.

Reference is take his skin tone here and

here.

It would help you to have two sources

to match the color.

OK, guys, how is it going?

Yeah.

OK, so we put away this one.

And here we go back to this one.

Another thing that I could add here, it's

a little bit of dust.

What do you think?

It looks like a dust that comes a

little bit through the camera.

Let's see if we find it.

I have it here.

All the.

I use M dust from MotionVFX.

You can use it in Premiere, like in

Final Cut.

Yes, well, all videos.

They have thousands of things.

They have bouquets, they have dust, rays, sun,

sunlight rises like this.

Water, this is what I use for the

Scotland video.

Let's see some small dust, really small like

this.

What happened here?

OK, let's see this one.

He asked me if you want to copy

this video on another library because he's in

another library.

I said, OK, when we have it here

with pressing N.

I can match easily the end of one

clip to the other.

So it's the.

Yeah, I put it away now.

It's really small.

So for the reason that we are going

inside, I will create a small zooming on

on this, like I've done in the in

the video of Toscana.

So I first of all, I make it

big like the project.

When I press the keyframe, then I go

to the end and I press and I

zoom in.

It's too much.

And then the opacity, I change it from

normal to add or screen.

I put add as I see.

Let's see.

Probably I've got to change also the color

of the of the dust.

But for the moment, let's let it like

this.

It's nice or it looks not bad.

I would make it a little bit not

so 100 percent of opacity.

I would take it at the 50 percent

that I see it only a little, little

bit.

Because the image what I shoot there isn't

so sharp.

So it would be stupid to have the

dust that is sharper than the image.

So let's let's hold it like guys.

How is going too much?

No, it's OK.

It's OK.

I'm OK.

I could go on for two days speaking,

but I'm afraid that it's really boring.

Let's look again this part that there are

some things.

Oh, wait, wait, wait, this shot.

Let's let's put a little bit of something

else.

For example, a lens flare or something like

this.

So something like a

package of effects that you bought.

Is that like a bundle of effects that

you bought?

No, from them you can't buy it by

a bundle.

You don't have a bundle from them.

They are all separate.

You have a packet of leaves, dust, rays.

But there's more than one type of dust.

Yes, yes, there are 40 or 50 every

time.

Ugly.

Got to be careful to don't make the

things cheap.

Must looks every time.

I don't know.

I want to try.

First of all, I get to put away

a little bit of color because this blue,

it match nothing.

So I go to the saturation and I

desaturate it.

And I want to rotate it.

This is a 4K footage.

I hope this one too.

OK, and I add a little bit of

dust.

This one.

Yes.

Yeah, it

isn't fantastic, but I don't find also not

so bad.

With no one else but you, I can

travel the whole world without arguing a single

time.

We just have fun in the nature and

enjoy our moment.

You touch my heart and soul, but you

are flowing into my mind.

You take away all my worries by taking

the worries into your arms.

Feel this moment and be aware that you

have taken your

love.

This is this lovely and magical spot in

your life.

And it's a reason for you and others.

And?

Some questions.

Did you change anything on the sound?

Yes, I change for sure something on the

sound.

For example, the sound of it's really good.

I could let it like this.

But for me, it's a little bit too.

Understand it's a little bit too deep.

So we have here audio.

We have the possibility to play a little

bit with this.

I try to put away a little bit

the bass because it's.

But I don't make so much.

I play only a little bit to try

to fit the sound of the voice with.

But it looks, it sounds good.

I don't make so much.

Feel this moment and be aware that you

are taking another big step on your shared

path with it.

Your love is in this lovely and magical

spot in your life.

And it's a reason for you and others.

OK, I could go on, but it's like

with the film, the building of the film.

It's a it's a I would make everything

like I've done this.

This thing's there are three parts here that

I've got to build.

And it's this one, the beginning, the beginning.

We're starting with with Valery.

Let's try to call over the Valery.

Because of the light here is a little

bit.

But look, this is what makes the dead

or lighter.

It it's interesting or it's it's look, look

what beautiful is this picture.

If if you don't have the data light,

you don't have this kind of picture.

You would have this one.

Yeah, I say sorry if I say that

the light you can you can.

It's because I'm fixed with this light.

But for sure, also with the torch, you

can have a yes.

Let's see the other shot.

Where is now?

Oh, yeah, it

looks with the color.

I had a shot of Valery without the

light.

I will find it.

I think.

Yeah, before the speech started, you took a

shot.

Yeah, that's Valery from the other side.

There's a reaction.

I've done a shot of him.

Oh, yeah, this is

how it looks.

This is against this.

She's always beautiful, but.

But this one, this this this picture, I

find much more interesting.

This one.

Oh, no, this is the data light plus

the torch.

But the torch didn't done so much here.

OK, OK.