All language subtitles for Procolor_C10_L3b_Creating_Color_Con

Let's explore
some of the ways that we can create color.

Contrast in a color page of resolve.

Let's go to nine.

This is just a nice one to start out with

because we have a lot of good skin tones
here, good lighting,

and we have a lot of other stuff
going on in the shot, too.

We're going to go ahead
and leave our creative contrast here

in our group post clip
and I'm going to shift s on the keyboard

to add a serial note
before our contrast note.

Now, you can kind of put these in
whatever order you want.

I generally like to put my color contrast
before my contrast,

just so our contrast kind of like groups,
everything together in one curve.

But if you switched them around, you
might not really notice the difference.

Let's close our clips.

Zoom in here.

One basic way that we can create
just some overall color contrast

is by pushing, contrasting colors
into the various tones of our image.

What do I mean by that?

I'm talking about the brightest parts
of the image.

We can actually push a little bit warmer

and the darkest parts
we could push a little bit cooler.

So to do that,

we can take our gain or maybe our gamma,

and we're just going to push those ever
so slightly a little bit warmer.

Now, it's really easy to overdo this.

You don't want something
that looks like this.

This is too far,
but you can take this just a little warm

and it subtly just gives a little warm
tone across the entire image.

Now we can take our lift

and push that a little bit cooler,

just ever so slightly, barely anything.

And now you can barely even notice it.

But we're already getting

some separation here between the things
that are already a little bit cooler

and the things that are already
a little bit warmer.

Here's before and here's after.

Very subtle.

Now, that's

probably the easiest version
of doing something like this.

But when you adjust things with the left
gamma and gain,

you're moving
kind of really big ranges of color.

The gain actually affects
everything in the shot.

It just affects the brightest things more.

So what we could do is a version of this.

I'll just reset our node grade

where maybe we use the log wheels.

So I'll switch over

to the log wheels
and now we can take our highlights

and we can push those pretty darn far
before we really get into trouble.

In fact, we're probably
not even into the highlights range.

So I can take this down
and adjust this range

to just barely start kissing our image.

And same thing for the shadow.

We can take the shadow
and push that really cool if we want to.

And we're pushing a lot of these cooler
tones into the shadows.

And even now,
I mean, it's it's definitely too much,

but it's not offensive.

Whereas if we did that with the lift,

we would just be in the ocean,

and that's how blue it would be.

And then we can kind of take
this range and drag this down

to zero and then just kind of push it down

until we just start to see those shadows
getting a little bit cooler.

So now here's before and here's after.

And we have a much more refined look.

Just using the log wheels,

this technique of pushing
contrasting colors

into the shadows versus the highlights
is often called split toning

because you're splitting the tones
of the image into warm

and cool or pink and green,
whatever you want.

So we'll right
click on this and we'll call this split

just so we remember
what the heck we're doing.

And now, like always,
we should go to the other shots

and make sure everything works decently
and that we're not breaking things.

So here's before and here's after.

With our split toning,

the shot
needs some work, but the split toning

doesn't seem to be breaking it
and making it terribly worse.

If anything, it's making it better.

So as every shot better with this or not.

And I would say
we're getting some pretty cool results.

This is before and this is after.

Definitely nice.

Kind of takes. This

warmer tones out of the shadows,

puts a little bit more blue
into our overalls here.

It's nice.

Now, there are some things that you can do

when it comes to actually
isolating a subject.

But that stuff that we're going to get
into later when we talk about secondaries

for now, everything we're doing
is being applied to the entire image.

And we're not adding any masks.

We're not selecting certain colors.

We're just kind of putting
a blanket correction over everything

and a lot of the time with creative
looks, less is more.

So this is without our contrast
and are split and this is with it.

It's a

big difference when you turn it off or on,

but when it's on,
you almost don't notice it.