All language subtitles for Procolor_C02_L1b_Colorworkflows

Now let's talk about the general workflows
of color grading.

Now that we have a basic idea of what
color is, let's take a look at just

kind of the general workflows of kind of
when and how it happens.

So in the general workflow
of post-production, things

generally kind of go
in basically this order.

First of all, you prep all your media,
make sure everything's organized,

and then you start your edit.

After that,

you generally will take the shots
that are going to go for visual effects,

any kind of fancy graphics, things
that are needed like that.

And once the VFX are done,
that's generally when it will go to color

and or mix color is color
grading like we've talked about.

Mix is like audio mixing
and you get the final images from color

and the final audio from mix
and you put them together

in your kind of final edit
and after that you render.

So color kind of happens right here.

You generally want to have everything
pretty much done

before you get into color.

Now, this isn't necessarily always true.

This isn't really as essential
as it used to be

because as we'll take a look
at and resolve,

you can kind of go back and forth
in between these things to a point,

but it's generally a good idea
to have everything pretty much

visually locked in
before you get into color grading.

A movie can be broken up
into several kind of different parts.

When we're talking about color,

we're talking about adjusting
every single shot in a movie.

That means making sure that the exposure
and the white balance

and all the corrections and the feelings
and everything

that we talked about in the first lesson
here is exactly how we want it.

For every single shot in the movie,
which for

some shows might be a thousand 2000 shots.

And if that sounds tedious, well, it's
because it can be.

If you were to go through each shot
and do it from scratch

and do all the adjustments to the shot

and then go to the next shot
and do all the adjustments there

and then to the next shot
and all the adjustments there.

It would take a really long time.

But generally how we'll do it
is kind of start at the macro level.

The biggest grouping of things
that we can get but will often try and do

is make a lot of our corrections and
especially our kind of stylistic decisions

for the whole timeline
so we can actually make a correction

that affects
every single thing in our edit all at once

and then kind of drill it down from there.

Like in scene one,
maybe everything's really bright

and we have to take everything in scene
one down a little bit,

maybe seen to things are cast
a little bit blue and everything

needs to be a little bit warmer, but
we can kind of group these shots together

and make big adjustments
all together to really save time.

So if you do your job,
making sure the adjustments

for the timeline and the scene
level are really good, you actually won't

have to do a whole lot
for every single shot.

This is going to make more sense
as we get into the specifics

and especially working
through our individual grading projects.

But I think it's really good
to kind of understand this

from the very beginning
that even though we are adjusting

every single shot,
we can do a lot of the work as a big group

so we don't have to redo
the same work over and over.

So that's the kind of basics of the color
grading workflow.

Next, we'll get into kind of the
ideal color grading setup.