All language subtitles for 49-ColorGradingCinematicPortraitsInAlienSkin.mp4

I'm going to do a little bit of a color
grade.

I want to use that aliens can expose
your one more time.

So I'm going to stamp visible on a new
layer.

And like, you know, the ones I would
usually go to would be some of these

more common

film grades, things like this.

But because we get to be a little bit
more creative,

I'm going to pop into

to some of these older,

old, their stocks a little bit,

like I've got.

The postcard was really kind of fun,

like it was in

the

lie

anyway.

Once go to codichrome or something like
that.

This is good.

Yeah, something like that, I think
looks nice.

Before, after

I left down a little bit and apply it.

Another easy way to seal all your color
in is to give the entire image a very

slow opacity,

very low opacity color.

So if you want

the image to have a slight, warm tone,
what you do is you add that warm tone,

something like this,

on a color blend mode at a really low
opacity.

And that helps kind of seal all the
color in, together,

helps give everything this very nice

undertone.

And so maybe you don't want this color.

Maybe you want something in that

version,

or here,

or blue.

The blue is kind of nice.

Blue, cyan

kind of, pretty cool.

That looks good, right?

And so just take this and dial the
opacity down a little bit

and it'll help seal that color in
really beautifully.

And it doesn't really have to be

a strong use of the color.

Like 35 percent sometimes is all you
need.

Maybe you want it more, like that's
fine too, which is

whatever you are after

in your image, these tiny little subtle
color grades

can help you get there.

So something like that.

And, you know, just different versions
of it, whatever you like.

So where we began

was,

say,

here,

and it ends

here.

And it's not hugely different,

but it's definitely better.

Because the eye goes

right to the middle right where it
needs to.

There are small little elements of
polish, like, I actually, I think when

you see that, the glare off and on it's
there, like you notice it.

But I think if you just notice, if you
just look at it as is, you don't think

anything of it, you just think

that was environmental.

I don't think it adds a really cool
effect.

I also like how the sides darken in a
little bit.

I feel like it

helps you focus your eye inward to the
subject a little bit more,

and then we've just removed a lot of
the other distractions

in terms of weird background elements

that we're drawing the attention when
they shouldn't be.

And so it's small little tweaks that
all add up

to a very

a much bigger change.

But it's

generally like

a lot of the postwork that I do is

not as much in Photoshop as people
think.

It's actually a lot more in the
development process.

That's actually where the image is
shaped.

For me,

how powerful that is.

It can completely,

completely change the image.

And you're never going to have that
amount of flexibility once you, once

you get it in a Photoshop.

So I'm always a big believer in trying
to get that as close as you can.

And then you just bring it into
Photoshop for those little finishing touches.

All right,

questions, as you like, learn my
checks.

Do you ever go back to your owner work
and me working?

I mean, I do.

I do.

Sometimes I do, sometimes.

Every once in a while, I like to
revisit old work, and just kind of

browse it and say that I miss
something.

And usually the answer is, yes.

Sometimes you'll learn something that
works really well for an image.

That

is how you may be used to shoot, or you
shot something,

but it doesn't really work nowadays

that happens all the time.

Yea, know, it absolutely happens

not that often, cause there's usually
something else I'm working on in the

meantime.

But yeah, nob i'll be bored, no, i'll
thumb through old work and go, yeah,

no, this is

cool and rework something.

And yeah, it's always a good option.

It's also because

sometimes you just,

you didn't know, you miss the shot for
whatever reason, like you missed a

better shot

or a different shot.

And

yeah, you could, just

because you were looking for something
else at the time, or you just weren't

paying attention when you were editing.

Like that happens all the time,

all the time.

Yeah.

Going back to the series,

you're creating a series,

are these effects specific to,

are you thinking about your series when
you're doing this hydebtany?

Am I looking for continuity meat?

Oh, absolutely.

Yeah.

So I wouldn't want to edit any one of
these in a vacuum

that didn't tie into the other ones.

So this one, in particular, I think, is
really quite a bit different from the

panorama that we were putting together.

And I would probably make some changes
to the color grading on this to

try to get it closer.

And that's that it can't be different,
but I would want it to feel closer to it.

So I like this as a standalone, but I
think it needs a little bit of help to fit

in with the other one.

So yeah, I'm always thinking about it.

I'm also thinking about

what I know I can easily fix and post,

or what's going to be very difficult,
and if something's going to be very

difficult, but I can fix it now.

I will.

If something's going to be a lot more
difficult to fix now, that it'll be a

very easy fix later.

That's where I weigh my time.

So listen, hey, well, we can change it
now, and it's going to take ten

minutes, or you can spend fifteen
seconds fixing it.

It's fine.

I'll fix it later.

Not a big deal.

Yeah,

it's sort of like a period

This group of photos is,

do you ever go, as you're looking at
these old photos and trying to make em

look like truly old Sonos?

try to

bridge it.

I try to balance it.

So

I don't think this

inherently looks like an old photo
right now.

I think if I were to tweak a few of the
values of it, go to something that's a

little bit more faded.

I think I could get it closer.

So, for example,

maybe you come in here,

you bring this up a little bit.

That goes down,

maybe bring that down, flatten it a
little bit.

I think this is starting to get a
little bit closer,

because you're certain to flatten out.

Those dark tonal values, make it look a
little bit more faded.

Maybe you come in and desaturate it, or
you add

one strong color or the other to the
shadows.

So maybe you come in here and we're in
a little bit of red, maybe

maybe a little bit of yellow.

I think that's probably a lot closer,

right?

And I'm not necessarily always trying
to make it look there.

When I did the panorama, which was the
second one, I definitely wanted to keep

the colors

in that vein, but I still tried to make
it look like a more modern photograph.

So I'm usually somewhere in between.

I'm not

committing

fully to the vintage look, but I
definitely want it to

have a little bit of the feel to it.

You go back to the

board and interest and

maybe come there.

Try to sure, sure.

years ago, yes.

And when I was learning,

when I was learning to control curbs
and color and everything else, I think

I think using source material is a
really good idea.

Once you do this a lot, you'll have a
much better

sense of what colors you would need to
add

to an image to make it look and feel a
certain way.

But

absolutely,

if you do not, do not have a feel for
it, use source material.

It's really good.

It's really,

really helpful.

Yeah,

absolutely.

Yeah.

And another thought, it's also

when to stop,

because there's many, there are many
steps along the way there.

Wow, yes, it's it?

Yeah.

And then, well, another level, and I'm
sure, I mean, this is amazing, but you

probably can't step up even more.

I wouldn't end it here.

No.

Now, they said, there's definitely
still stuff that tell you this

immensely, absolutely,

but there always is.

The truth is, as you stop, whenever you
want.

I have a general workflow that I keep
to when I do a lot of my images it's

the same six or seven steps, like, I'm
going to dodge and burn, and I'm going

to do scan, and I'm going to color,
grade and tone, like that's usually I

have a workflow.

But yeah, you can always

mess with stuff.

Which is why the other image that I
showed you had like a zillion different

adjustment layers on it.

Because I was like, this isn't right?

And I guarantee, like, as I start
clicking through the like, I don't even

see a difference, it's because you get
so involved in it.

And the slightest difference means
something, to get the time.

But you look at it the next day like, I
don't know what I was doing here.

What happens?

It absolutely happens.

So,

you know,

it's always a balance that you have to
keep with yourself, when to stop, when

is too much.

I

constantly

check the original as I'm going through
it.

And the way that I do it is, obviously,
you can go all the way back to the

beginning and hit command z.

The thing that I have run into the
issue of a couple of times as you hit

commandsy, and actually do something
else and lose it.

And that's super frustrating.

if you hold down the ult, the option
key, and you click the eyeball next to

the background layer, it'll toggle
everything but that layer off.

And not just the background layer, like
you can do it on any layer.

If you click option and hold option and
click the eyeball, it'll toggle

everything else but that off.

And so that's kind of how I like to see
my before and after,

so that I never really lose sight

of

where I started.

And I especially use it when I'm
dealing with portraits of people.

I'm always trying to like gauge, have I
gone too far?

Does it not look like the person like
it's?

It's always trying to keep that in
mind.

Whether you're doing skin work or other
stuff, or make up, or whatever the case

may be.

You always wanted to make sure you are

holding on to what is important from
the original photo.

Can still have any final thoughts for us

as for wrapping up?

Well, I hope I hope your brain hurts.

I hope, I hope I hope you're as
exhausted as I am,

but as energetic as well.

And this is a lot of fun.

It's a really great experience.

I hope you

are inspired to go out and

try to shoot at a place you've not done
before.

Try to do something new.

Try to try to work in a way that is new
to you, and really challenge yourself

to

create images that are beyond the scope
of what you may already be doing