All language subtitles for Procolor_C10_L4c_Color_Pal_Tech

Here are a couple of

tips and techniques that I've learned
when establishing a color palette.

Using our verses curves down here for
our color palette is a great way to do it.

And there's nothing wrong with it.

But another tool that you might really
enjoy would be this color wiper.

It's going to go up and reset our node
grade here.

This color warmer allows you
to grab a certain hue

and desaturated or saturate it
or change its hue with one adjustment.

And it starts out with six little spokes
here.

But down here
we can adjust to eight or more.

I usually like to have this on eight
because if you get too many spokes,

you kind of start to run into problems
where these adjustments might be too close

to each other and kind of start
to break things in the image.

But with the color warp or up

when we mouse

over something with the eyedropper here,

it will highlight
the closest point on the color wiper.

You can even click and hold on the image
and move this around

just like you were to grab a point
on the color water and move it around,

which makes it really quick

for doing adjustments.

In fact, you don't really even need
to touch the color warmer.

You can actually just kind of
look at it for reference.

I'll make some room here.

So let's say I want to make the backpack
a little brighter.

I can click and drag on the backpack and
drag up and to the right to saturate it.

Let's say
I don't like the saturation of this wall.

I can take this
and bring it into desaturated.

Same thing over here.

Bring this in to desaturated.

Maybe I like this kind of blue,
but I want it more teal.

I can grab this and just kind of push
it towards teal a little more.

And there we have some adjustments
which are very similar to what we made,

but we did it in a little bit
more of a organic way.

Now again,
you want to be careful with this thing

because if you were to say, squish
these together too much

and warp this like a little too much,

what can sometimes happen is if there are
two hues that are really close together,

they can start to get kind of noisy and
you'll see like little speckles and stuff.

And so you want to be really careful
about that.

Generally you want kind of big soft
adjustments even with this color warmer.

And what I like to do
is just kind of look at the image.

Sometimes I'll do something

like grab a piece of the image
and kind of move it up like that.

But a lot of the time what I'll do is grab
the outside of this color warmer

and kind of push things
in because it's going to saturate

the hues
that I think maybe don't need saturation.

So a lot of this
doesn't really have any green.

So we can really take
some of the green out

and it will clean up the image
quite a bit.

We don't have a lot of that kind of royal

blue either,
so I'll take the blue down a little

and maybe will add
a little more saturation to

the teal.

Maybe we'll take things
that are kind of reddish pink

and we'll push them a little bit
more orange

and take things that are kind of purple
and push them a little bit more pink.

Again, pretty subtle.

And as we're doing it,
it's hard to realize.

But before and after,

if you turn this off and on, you can see
it's making a big difference.

And again,

we're going to go through and check
and make sure that's working

for the whole scene,
that nothing crazy's happening.

And yeah, that's looking really nice.

It's popping the skin a little bit.

It's making these teal.

It's taking the kind of green tones

off of the walls,
kind of purifying everything a little bit.

That's a great way to use this.

If you don't really have a color here

that's really prevalent and your scene
just kind of desaturated that hue,

at least a little bit, can make the image
just feel a little bit cleaner.

And again, we're going to check this
for our whole scene,

even though we haven't done
a whole lot of matching or or work

for each of these shots.

And we're just going to look generally
to make sure nothing is broken.

Nothing is just totally awful

with what we're doing here.

And this is

really the essential steps
to building a kind of creative look.

You'll notice that none of this is
super intense generally,

unless you're going for a really specific,
really strong color tone.

Just having this kind of clean look,
I think always looks better

if you can do it subtly, If you can do it
with a big soft adjustment,

you're going to have a lot better time
when it comes to making a look again,

to kind of break this down,
we have just our transform.

Then we have our creative contrast,
which does a lot of work.

We have our split toning,

which makes these kind of cooler shadows,

and then we have the color palette,

which helps kind of clean everything up
and emphasize certain colors,

kind of molds things
into a little style that we like.

So this is a pretty good workflow
for building a custom look in resolve.

And in the next couple of lessons,
we're going to explore some strategies for

using kind of pre-made looks.