All language subtitles for Procolor_C08_L1c_Under_A_Transform

A major part of adjusting images nowadays
is adjusting any color managed workflow.

Let's explore doing it this way.

I'm going to switch over to Shot 24
if you want to follow along,

and I'm going to close our gallery
and our clips and our timeline

just to make some room here.

And I want to mention
that it's really important

to pay attention to the order
in which we do things.

We have all of these tools available
to adjust our image.

And at any point on any node,
we can grab these

and start messing with them
like we sort of covered earlier.

We can look at this image and say, Man,
this needs more contrast

and I can take my left down

and push my gain up,

push my
saturation up, maybe add a little S-curve

or contrast and I can get a pretty good
looking result.

But again,
because this isn't color managed.

A couple of things are going to happen.

One is this won't really look exactly
like we intended it when we shot this.

It's going to be sort
of a tweaked version of it.

And two, by doing it this way,
you're pushing the colors around,

and the only colors
that you're going to be able

to see are the ones that are actually
available on your monitor.

And so there can be other colors

that are in the signal
that can kind of go wherever they please.

And depending on what monitor
you look at them

on how you export the video,
all of those things,

they're going to be certain tones
that maybe don't look good or won't pass.

Like video standards
QC for something like broadcast.

And that's true for any adjustment
that you make without color management.

So we want to make sure that we have
some sort of color management on here,

whether it is in the project settings
under color management,

picking this color science
wired to be color managed or ACS CD,

or by adding a color space transform
effect to a node

and picking the right color space settings
and the right output.

I would even recommend
taking this gamut mapping and turning this

into saturation compression
because that's going to give us

our most faithful representation
of what the image looked like

when we actually shot it.

And it's going to make sure
that all of our colors are handled

well just because we have this as a node
in our node graph.

Doesn't mean
that we're all going to be set hunky dory.

This needs to be the last node
in our pipeline

and all of our adjustments
need to go before it.

The reason for that
is because we're working in what's called

a wide color space.

When we selected our input color space,
we selected

Blackmagic design wide gamut,
Gen four or five.

And long story short.

This is like a great big container,

a great big playground
where just about any color is possible

and it will look good
and it will be treated well.

And what we do is

we do all of our adjustments here
and the big wide color playground.

And then we adapt those colors to look
good on whatever monitor we choose.

And that's
really the job of a color space transform.

So any time that we're adjusting
our colors,

that needs to happen
before the color space transform,

We could do something after the color
space, transform if we want to.

But unless you're really careful,
you might get some unpredictable results.

So as a general rule,
unless you have a very specific reason to,

you want to make sure

that your color space transform
is the last node in your pipeline.

You can do this on the eclipse level
or you can put this

as the last node in your timeline,
and that would work fine too.

There are also ways to group shots,
which we're going to get into

in a little bit,
but it's the same basic idea.

You keep the season
as your very last note.

And now any adjustments
that we make in this node before it,

we could certainly make it look bad.

But then everything's going to be tamed
down to work really well on our monitor.

The other aspect of this that we haven't
gone over yet is our timeline color space.

It's a really good idea

to set your timeline, color space
to whatever color space you're working in.

In our case, let's go down to the project
settings under color management.

Under timeline, Color space,
we want our set to Blackmagic design

film Gen five because that is
the type of footage we have.

And now any of the tools and resolve
that are designed to work in a color

space like this will know exactly
what color space they're working in.

One of those tools is the HDR palette,
and you'll notice if we move this around

and do some adjusting here

and then we go back over to our timeline
color space

and switch this back to
something like rec seven or nine

and it save our image changes a little bit
because this tool

acts differently depending on what
our timeline color space is set as.

There are adjustments
that won't be affected by this,

but it's always
just a good idea that your timeline color

space matches the color space
of the majority of your clips.

So Blackmagic Design Film Channel five

that will give you
the very best accurate adjustments

with the tools that actually pay attention
to color space.

And we're going to get into a little bit
more of that later.

But for now, make sure
you have your timeline Color space

set to Blackmagic Design Film Channel
five for the footage we're working with.

If you shot in s log or something

like that, you'd want to make sure
to set that to s log.

Make sure you have your
color space transform. Set up

with the correct input and output

and make sure that color space transform
as the last node of your pipeline.