All language subtitles for Procolor_C08_L1a_Concept_Fixing_Problems

Welcome back.

In this chapter, we're going to explore
actually adjusting images

and we're going to focus on what

and how you can use each control
to actually make your images better.

But let's just start with an overview
of what we're actually trying

to accomplish here.

Any time that we reach

for a color grading control,
there needs to be a reason for it.

Not every image needs its contrast
pumped up or its exposure adjusted.

Those are things that you only adjust
if you have a reason to.

Let's take a look at an example or two.

Taking a look at shots six.

I have our color transform on here
and let's just park it on a good frame,

maybe something like that.

And I'll bring this up full screen.

Any time that you look at an image
while color grading,

I think it's really helpful
to ask the question,

What don't I like about
this might sound kind of negative,

but it really goes along with the idea of
if it's not broken, don't fix it.

And what I'd like to do
is just take note of things that maybe

could be better on this image
depending on the story and the feeling.

This might be underexposed, but we are
kind of in the shadowy parts of a forest,

even though we don't have,
you know, a bright orange saturated skin.

This might work
totally fine for our story.

So we always have to kind of think about
things technically as well as in context.

The other thing we might decide is
maybe this is not saturated enough.

That means the colors aren't bright
enough.

And again, that's really dependent
on sort of the tone of the scene,

the tone of the movie,
how you want it to feel.

If we want this
to be kind of a happy scene

and we don't want it to look like it's
almost nighttime,

it might be appropriate to really boost up
the exposure

and the saturation to really give
this more of a normal level.

It really depends on what we're going for.

Another example might be shot 36.

I'll just middle button mouse click
to put our transform on there.

Now again, we have a relatively
well exposed shot.

One thing

just looking at this shot by itself,
it might take a little bit more contrast.

Things just feel a little bit flat.

Maybe this red and this blue
could just be a little bit punchier.

So those are things that we could fix.

But a big major problem,
something that we really do need to fix is

this is actually supposed to go

in between this shot and this shot,
which if we load our color transforms,

you'll see we have these dark
kind of nighttime looking shots.

And then this one looks like
it was shot in the middle of the day.

And that's because it was
this was shot weeks and weeks later.

We needed an insert shot
and we couldn't shoot it at night.

We had to shoot it in the day.

So we tried our best to flag off the light
as much as we could,

but it still kind of
looks like it's in the middle of the day.

So that's something that we're going
to have to fix in color

and a great example of an automatic
to do list once we hit this shot.

But again, it's really important
to look at this in context

because this by itself,
there aren't that many problems with it.

It's just a problem
when it comes to continuity in the story.

Let's go to Shot nine.

I'll put our same color transform on here
and now.

Again, it's a matter of kind of scrubbing

through this and deciding
if there's a problem or not.

One problem might be that these shadows
here are really, really dark.

But again, in the context,

this is supposed

to be just about nighttime,
and so it might be okay that we're losing

some of the detail here in the trees
because we can kind of keep it up here.

And our main problem might be that
this is just kind of too pinkish purple

and maybe we need to push it
more towards the teal side of things

to kind of get that moonlight
sort of vibe.

So really what we're going to be doing
any time that we look at an image

is we're going to look at technically
how the image would look best by itself,

but also
how does it fit into the story as a whole.