All language subtitles for Procolor_C09_L1c_Pro_Shot_Matching_Tech

Now that we've looked at some tools
in the color page for matching shots,

I want to show you a really cool workflow
that a lot of pros use really quickly.

I'm going to scroll down to Shot 77
and just middle button mouse click

any of our shots here

and let's go up and just reset
our node grades for our first three notes.

So we have our empty exposure
temperature set, contrast nodes

and our color transform.

That's set with the right settings.

So we have a scene here from Shot
75 to pretty much the end of the movie

where the kids
are trying to hide in the bathroom

and we have a lot of different shots
to match with a lot of different exposures

and settings and all that stuff.

And when you have more than a few shots
all together, you want to make sure

that you have a consistent
look from the beginning to the end.

A way that many colorists like to do.

This is with
what's called a hero shot here.

A shot is usually a wide shot,

but it's really a shot that you like
that looks pretty good

and is representative of what you want
your scene to look like.

So I like to pick a wide shot
because it has the most elements in here

that we can match to
and we can kind of dial in what we want

our scene to look like here,
and then we can match everything to it.

So let's go ahead and boost up
our contrast a little bit

and I'll pump up the exposure

just a touch

and in our temperature and sat node,
maybe we'll cool off the temperature

just a little bit, maybe
take it away from green ever so slightly.

So now here's where we were
and here's where we are now.

Let's say we like this.

Look, what we're going to do is right
click and grab a still

and we're going to reference just
this shot compared to all the other shots.

It's really easy
to make your adjustment to this next shot

and then match the next shot to that
and the next shot to that

and the next shot to that.

But what happens is you get drift
and eventually

your first shot
won't look anything like your last shot.

If you've ever played the game, telephone

where it starts off with,
I want to go to the store and then by shot

it's I want to go to the store, purple
monkey, dishwasher.

That's kind of what happens here.

But if we have one reference image
for our entire scene,

we're always matching directly
to this image, not to the slightly greener

image that was slightly greener
than the one before.

That was slightly
greener than the one before.

So let's go through and match
a couple of shots.

Let's start out with just copying
our great over and seeing if it works.

And I
would say that works pretty darn well.

So that's great. 78 is the same thing

and 80.

Let's copy that.

This one looks a little bit dark

and a little bit green.

So in our exposure node, we're going
to take the offset up a little bit

and we're going to take some of our
some of the green out of here

and maybe even take our saturation down

just a touch to match with our other shot.

Now we're getting a much closer match.

Now we'll paste this to Shot 81.

That looks pretty good.

82 matches with 80.

81 is 8384.

Let's try some of these out,
see if they match.

That looks pretty good.

85 might be a little bright.

So let's take

let's take our temperature down
just a little bit.

Make this a little cooler.

We want this to match
with the inside of the bathroom.

Make sure everything looks good there.

This is going to match with the outside
of the bathroom, which is on this side.

Something like that looks pretty good

and so on.

So now that we've matched this
all to one shot,

we have a pretty good starting point
to look at our hole sequence.

One problem is, like I said, nobody's
going to see this side to side.

So this,
even though it does match with this,

still a lot better,
it still looks too pink.

It kind of looks pink.

So maybe we can take our tint
even a little more green

and match it with this other shot
to get it working in context.

But it's a very small adjustment
and we're right in the ballpark

that we need to be.

So that's a really good workflow,
especially if you have a longer scene

match.

Everything to that master shot, you can
use your still to match things to you,

but always make sure that you play it
back at the end to make sure it

works in context.