Original subtitles

All right. So we have our creative look set.

And overall, we like the direction that it's going.

Big problems with our shots.

Some of the big problems are some of these are too dark.

Once we put the light and the transform on them, like these shots here,

some of the shots in the bedroom, we have shots

that don't match like we have this monster shot that's a little brighter.

These are a little darker.

We need to get rid of some of the kind of yellowish, ugly tones here

and maybe boost up some of the midtown's here in the nighttime shots.

These shots are pretty underexposed.

So let's go through and fix some of the big problems.

So the big deal here, especially with a bigger project like this

with a bunch of different

shots, is just to keep moving, especially on this first pass.

So I'm going to be using the surface here.

But again, you can do all of these adjustments here

and the primary color wheels for the most part.

We're going to switch over to our clips and I'm going to select exposure first

because

most of the problems are going to be from exposure.

I'm going to switch to offset mode here on my surface

so that when I move this, we'll

it's just like moving this offset wheel right here.

So anytime I do this, you can use this offset wheel.

So this first shot is obviously a big problem.

It's really dark and also the highlight here from

our spaceship is all kind of blown out and it looks bad.

This is unfortunately one of the things

that happens when you use let's is if you have a shot,

like a VFX shot with super bright stuff, there might be some problems.

So what we're going to do to get around this is go to this

first shot, right click and say remove from group.

That's going to bring this

back into our scene space here.

And I'm going to add this to a new group

and we'll call this look. Now,

let so again in our group post clip

for this group,

let's right click and grab a still

and then in our gallery will have this post clip still.

We'll go over to our first shot

with our empty group here

and we'll throw this into the node graph.

So now we have the same exact thing

that we have on our other group, which remember, is breaking this.

So let's just take the lot off of there.

I'll just reset this node grain

and get rid of this label.

So now we have this shot

with our color space transform on it.

But I don't think this color space transform is right either.

And that's because this footage was actually rendered

out in a different color space.

So let's go to our color space, transform here and go to effects.

And instead of Blackmagic design, Jen for five,

this is actually pocket for film Gen4

and the input gamma is pocket six K film Gen4 And that's going to just be

a little bit nicer to our footage here because that's how it was rendered out.

Now we don't have these deep kind of clipping shadows here.

Our highlights look a little better.

So we can kind of go with that.

Now, since we've taken this lot off,

we don't have that kind of filmic grade on there.

So what we need to do is make sure we like this shot

and then we're going to come back

and kind of add that sort of filmic look to this shot manually.

So let's work on this one, make sure we like it.

Switch back over to our clip nodes here and we'll start with exposure

and with my offset

when I push this down just so it's a little bit

darker

and I think I do like that look,

say maybe I'll warm it up just a little bit.

So just push the temperature at just a touch warmer.

So here's before and here's after.

And I don't think this needs any more contrast.

Pretty nice look for now.

So let's take a still of this

and then we're going to go to this other shot

and we're going to wipe the still.

And I'm looking at these kind of trees, foliage,

kind of how that looks,

because that's really our main reference here.

So I'm going to maybe boost up our exposure a little bit.

And I'd say maybe things are just a little touch warm on this shot,

which would make sense as it's kind of getting towards sundown.

But let's let's try it and push the temperatures the little cooler.

And let's add a little bit of contrast here.

And we can kind of control that

those kind of deep shadows

maybe boost up the gamma a little bit

where we still kind of

get that filmic feeling.

In fact, I'll make another note here, actually, maybe I'll switch

to the group post clip, since this is kind of where we're building

our look and let's make these shadows a little cooler.

So to switch over to our log wheels

and push the shadows just a little cooler ever

so slightly,

that's what the range

just so we start to effect those shadows.

Here's before and here's after,

let's say

also adding a little bit of warmth to the highlights would be good.

Stick the highlights and push those just a touch warm.

So here's before

here's after pushing those a little bit warm.

Just so this kind of matches and feels

like those other shots.

Let's make sure our shift going by isn't going to ruin

everything looks fine to me.

All right.

So that's our first shot and our second shot.

So we're going to do is use this shot as kind of our master shot.

And we're going to match the bike stuff to it,

make sure we're in our clip notes here,

Make sure we like this.

I'd say maybe this could actually just go a little bit a little bit brighter.

Let's bring up our scopes, make sure we're hitting stuff here.

I actually think I'll just reset our exposure here.

Now, this looks good.

See if this feels like same world still. Yep.

Okay, so we're going to go through really quickly here,

and I'm just going to

use my offset wheel here and the primaries

as well, right here to make sure everything's roughly the same exposure.

And I mean, to do that and the exposure note for each of these shots

so I can hit up and down on the keyboard to

compare these.

That feels pretty good.

Let's just play through that, make sure it's feeling nice.

Okay, here, this is way underexposed.

So again, we'll take the offset and we'll just push it up.

Now, these are going to be a little bit darker because they're in the shadows,

But we do want this to feel like it's possibly in the same world.

It seems pretty good.

And I'll take shot six and shot seven and match those.

I'd say maybe we could do a little bit of saturation here.

Let's pump that up just a touch.

Compare it with this.

Yeah,

Maybe even our color boost.

Just to give her a little bit of

life in her skin.

Yeah, I think that that works good for all of those.

So that's good.

And shot eight.

Let's take down the exposure Just a touch

and I think this saturation and temperature

now let's take this away from green

so I'm going to push it sort of towards the pinkish

and then maybe push it a little warm

after that.

It's a little too far

and I think it's looking

okay. Again, we're going to

focus on big problems and keep moving.

Okay, This is a big problem. This is really underexposed.

So let's take the exposure up a little bit.

Again, I might even take the lift up a little,

see if we

can bring back some of these some of this detail.

But the more we do, the more this is going to get really grainy.

So because this is supposed to be nighttime, we might just live with it

here,

might boost the mid tones up just a touch

and maybe take away

some of that magenta

so that it's kind of nice feeling.

I think that'll work.

Okay,

so now, because it's nighttime, if this is going to be a thing,

shot tends to be nighttime.

And look, it is

obviously not nighttime.

So big problem here.

Let's take the exposure down a little bit and we're not going to worry

too much about making them too dark because, again, this is night.

So we're going to let them be dark

and we're probably going to do a little bit of work with this flashlight

later.

But for now, a big problem is the front of this is way too bright.

So let's grab the window here

and we'll just grab a gradient window.

Put this on the bottom here.

Maybe we'll just take our gamma down

a touch, take our game down a little bit,

something maybe like that.

And we'll also go to our saturation temperature

and take the temperature down.

So it's cooler.

So now this is looking more nighttime,

but it also makes our flashlight look blue.

And we really want our flashlight to be a little bit more yellow.

But for now, that's really bridge those shots really well.

And we're going to work on this more later.

Again, keep moving.

All right.

So we have these shots of them arriving.

See if we can

find a better master shot here to kind of match this with

here.

They are discovering the ship again, maybe.

Let's take the exposure up just a touch

and let's take the temperature down a little bit.

So maybe push it a little more blue

so that this looks like it's nighttime.

Kind of has that bluish feel.

Those nice kind of pinkish tones

again will probably darken the foreground here

pretty soon, but not worried about it right now.

I'd say that's a pretty nice looking shot.

Let's double check and make sure our style here is not messing everything up.

I got to select both of these and hit control D to disable them.

Here's without any style

and here's with kind of the filmic look and a little bit of warmth.

We're losing a little bit of

black back here in the background,

but I'm not too concerned about it because we don't care what's back here.

We care about the characters and they look just fine.

I really like how it makes this flashlight

glow a little more.

I think that contrast is doing good things.

Switch back to our clip nodes

and I think maybe we'll just push this exposure

just a touch more

and back to even take this contrast up a little,

just go a little bit stronger than we even had it

just to make sure that their faces

are nice and bright.

But it's not brightening everything in the whole world.

This is a good hero shot for this scene.

I'm gonna grab a still let's match that still with these shots here

can right click and say show reference white

and we want the ground to match because that's the big thing we can see.

Plus this is obviously a little bit bright on her shoes so let's take the exposure

down like that.

We can keep going, keep going and maybe somewhere in there

is now that feels like it's in the same world

and also maybe take the saturation down just a touch.

So the next no, let's take the saturation down

just because it's getting a little bit hot on her skin here.

That's pretty good.

And I bet this exact same

grade is going to work for 11.

Why is it so dark up there?

What's that about?

Oh, this is from our VFX.

That's what's going on.

So we added a little bit of fog here,

some subtle fog, and it's kind of messing with it a little bit.

So I would say that constitutes a big problem.

We're just going to fix this with a window.

We could go back and fix the VFX, but you know,

so let's add a nice soft window here

and let's boost the exposure a touch.

There we go.

Just kind of bringing everything back to

being the same

nice, big soft window here in the middle.

Really helps a lot, probably.

But the same thing on this one.

A little more towards the top.

Okay, that's looking a little better.

All right.

Now let's take a look at this shot.

This one's maybe a little dark as well.

Boost the exposure.

A touch.

Let's actually see if we can just copy the grade from the other shot.

I think that would work. Great.

Let's go ahead and just copy the grade from shot

13 and the other ones this one's a little

works pretty well, actually,

so it has a little bit more fog,

but for the most part looks pretty good.

And now we're going to skip

ahead a little bit because it gets kind of repetitive.

I'm going to go through the rest of this scene here

and I'm going to start by shift, selecting all the rest of the shots

that are all under the same lighting and everything.

Middle button mass clicking on Shot 13.

I'm going to go through and fix big problems.

So this is maybe a little bright.

Take the exposure down a touch

and so on.

Just making sure all of these feel technically decent

and match together for the most part.

Shot 31 is messed up.

We'll come back to that in a second.

So Shot 36 needs some big work and shot 37.

Let's let's match this real quick.

So one big thing is that this is just a little bit

too desaturated in his face.

I feel like we still need to have a little bit of pink there.

Let's look in just a little bit too harsh.

So I'm going to take the contrast down. Actually,

just a touch in this shot

and I think in the exposure,

let's take the Middleton's down a touch just to make sure it still feels rich.

But it's not just so harsh on the saturation note,

I think let's let's try the color boost just a touch

that's going to keep things

nice and saturated.

Yeah, I think that's a lot better.

So here's

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

I think a lot better.

All right.

I think this one looks pretty good, too.

Maybe it's just a touch saturated, so we'll take saturation down a little bit.

As we do, she becomes

a little bit more harsh.

Maybe we'll take the exposure down just a little.

There we go. Just a little

copy that over here.

This is probably going be the same.

Looks good.

And then this one's going to be the same as this one.

Most likely.

So we could do without that exposure.

Actually, I like it without it a little bit dark.

Yeah, that works fine.

Okay, so that's the end of this first kind of really pink scene.

Couple big problems are 31

where everything is almost black and white for some reason

and 36.

So let's match.

31 I'm just going to show our reference wipe here

and there are a few problems.

One is we might just have the contrast up too much.

Let's take the contrast down now.

Let's take our exposure down

and let's bring our temperature a little warmer.

I think that's going to help a lot.

Now, it

does help on their faces, but it makes everything in the forest

look warm.

So we don't want to do that.

Let's actually keep our temperature a little bit cooler.

And I think we might need to get a little bit

more selective with our tones here.

So I'm just going to move our nodes around a little bit,

let that contrast kind of feed into our windows.

But let's make this one.

This is going to be a fix

and now let's just use our lift Gammon gain

and I'm going to push the gain

a little bit warmer

and the gamma

just a little bit cooler,

a left, a little cooler,

just so that we have that kind of

bluish tone.

But it's warming them up a little bit.

So here's before here's after a little bit closer.

Let's play through this a little more.

Feel like we could go even further on the gain,

pushing that just a little warm,

pushing our gamma just a little bit cooler.

That's definitely a lot closer than we were.

So let's play this back and see if that works.

And if we buy that, that's probably going to be just fine.

So we'll call that good for a big problem fix and we'll go to 36.

Now, this is a big problem too, because we have this kind

of darker shot, darker shot in the middle.

This was shot during the day.

So how do we fix that?

One is let's take our exposure down.

That's going to help a lot,

take our exposure away down because there's just not much light

that's actually falling on this backpack.

It's going to take that way down.

That's probably a night, man.

That just helps so much. Look at that.

That helps a ton.

We'll also take the contrast up

just a touch,

maybe push the pivot down.

And that really does a lot,

really does a lot to help it

Play this in context here.

Here's our little guy.

Seems like it's going to work just fine.

And again, we can adjust that with secondaries,

but for the most part, that looks pretty good.

All right.

So those are the big problems on that first scene.

Let's look at this next scene.

So because this is a day night conversion,

we're probably going to have to do

a little bit of work here.

So we're going to expose for the House, have a little bit of detail here.

So it's not just crushed out like it was a little bit of detail.

And then we're probably going to use secondaries to tame the rest of this down.

Maybe we'll take the temperature down

and look a little bluer.

That's pretty nice.

All right.

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

All right.

Let's get into the living room.

And now one of the big problems we're going to look at here

is with exposure, it's going to push up the exposure just a little

and that's going to make everything sit just a lot nicer.

We're also going to take the temperature down

just so it

neutralizes those walls a little better.

So here's where we were on the color temperature.

Here's where we are now.

Makes it just look a little cleaner.

Here's where our exposure was.

Here's where we are now.

I pushed the tint just away from green

a little bit because I feel like it tends to go just a touch screen

that looks pretty good.

So this is going to be our new shot that we match everything

to grab this still

and middle button mouse.

Click here and see if that works.

Maybe a little hot.

So we'll take the exposure down, attach

and bring it back up.

But it is hot on his face.

Maybe I'll just that just with the gain

a little bit boost up the mids,

something like that.

And if those feel like they live together,

I would say I would buy that.

All right, now 46, let's see if 43

or 40 to work on it.

So our reference wipe here

definitely feels like the same world.

I think that works fine.

This one again is probably just a little

somewhere in there.

Take our lift app, attach.

I think that's going to work fine.

Does his skin match?

Say we could maybe do a little bit of saturation here

just to match those

works a little better?

And any of those shots we can match those.

And again, I'm going to go through the rest of this scene

and I'll flag clips that are a problem and we'll talk about them.

All right.

So there are a few different problems here in these last few shots of the scene,

shot 65 and 68 totally work

just by copying the grain from shot 43.

Some of these insert shots are too bright or too dark

like we actually went over earlier in the training.

So we can fix those.

But we also have this interesting thing.

We have shot 62,

which is a VFX

shot and then shot 64, which has some kind of color shift.

And I think it's because we had a pink light practically on the set on this one,

and then this other one was another take and we didn't have the pink light.

And so what we got to do is add a little bit of pink to this

and also have it match with this shot.

So really what we should do is have this match with this shot a little better,

which I think is probably good like that with maybe a little bit

take the exposure down just a touch.

So now these two shots should work pretty well together.

I think that works.

And now we need to add

a little bit of pink to the start of the shot.

So we are in

big problems mode, but let's just do this real quick.

I'm going to grab a circle window,

make a big soft circle window here,

and we're going to push the gain pink

just a little

big soft circle window with the gain pink

like that.

And as they drop,

we're going to turn that window off.

We can do that a bunch of different ways.

Probably the easiest way

is to go to our keyframes here and under corrector

for we're going to click on the keyframe button

and then we're just going to touch whatever we want to animate.

Let's go to our key output gain,

and I'm going to turn this all the way down right here.

And then at the beginning,

when everything's floating, we want that to be all the way on.

So I'll double click that and hit one and now it's going to fade out.

Over time.

I'll make sure to uncheck this automatic key framing.

And now, as time goes on, we can see in our key

that this gets less and less intense.

So we should have a kind of a pink glow here,

which we can even make a little bit stronger.

So it matches with this a little better.

Maybe we even want this a little wider

so it affects more.

And now that pink glow starts beginning of the shot

and then kind of fades out as things drop down

to see kind of the light here on this side

starts out pink and then

goes down.

Nice little way to add that interactive lighting and kind of bridge

those shots a little better.

So that's good.

I take the flag off of this.

Let's show our reference white

just so we can see what everything looks like here

for these little cutaway shots.

Let's take the exposure down a little bit and let's take the saturation

down a little bit, too.

So those are kind of just sitting on the floor.

I think that'll work fine.

This one will maybe boost up a little, just a little too.

So it feels like kind of the same exposure levels.

This one's probably a little bright.

Take that down,

Seventies. A little bright.

We'll take that down.

Do something like that.

And we want to boost up the midterms just a little.

Take down the game.

Just a little,

and we'll get rid of these flags.

And so now as we page through this, everything should feel like

it really lives where it does.

This one is maybe just a little too dark

push up that just a little

booster lift, just a touch to get a little more detail.

No shadows

also, I think I think I do want to make this a little green,

a little bit, just a little bit greener,

so it matches a little better.

Okay.

Her hand comes in.

Seems pretty, pretty reasonable.

The other big problems with this scene are these shots of the monster laughing.

And we want to make sure that this shot and the shot match together.

The only difference is that we should have a pink light on him

during this time, which is I think is why he's brighter.

As we added a light.

And I'm not sure why it's like not looking very pink, but let's just

try and take the exposure down a little.

This and then we can probably just tint this pink.

Let's see if we can do that. Just tint it pink a little

just so he lives in the little pink light too.

I think that works really well, actually.

Does it match with this?

Roughly.

But it's okay because there's supposed to be a light on him.

Let's go ahead and match those.

That looks good.

I think those live all in the same world.

It's clear our flags

and now we have this scene roughly match together.

Now big problems on 71.

I would say the only problem is that he could maybe

take let's maybe take the exposure down just a little.

That's going to just make it a little more rich.

Maybe let's take the

color boost up

just to give his skin a little pop.

Okay.

That works well.

Yeah, that's better.

72 should be the same.

Great as 6874.

We don't want a grade for this beginning.

We want to grade for when his face comes into frame Here, let's just use 73.

Can we do that?

He still.

He does have this

yellow light on him, which is motivated from the light in the closet.

I think it's just maybe a little too much as all.

So let's take the tint away from green

a little bit,

take the temperature a little bit cooler.

Let's play this back and see what it's like.

So it looks reasonable.

It's maybe just a little bit saturated.

Let's take the saturation down, touch

that I think is a little better.

Okay. 75,

We're probably wanting

to normalize this bathroom just a little bit.

So let's take our temperature

down a little.

I'm just kind of looking at the scopes

and now it's okay if it's not perfectly white.

We just don't want it yellow like this.

So something like that I think is a lot closer.

It's going to make the skin look a lot better,

but still kind of has a little bit of color tone to it.

Okay, that works pretty well.

And let's try 76 with the same grain.

Pretty close. 77.

Let's try these all with the same grade and see how that works.

What about mouse click?

This one's really dark, so that's a problem.

Let's take the exposure up.

We're going to match it with this shot here.

So we're going to have the exposure sort of close,

boost that up like this.

He's looking a little bit green,

so take some of that tint away

from green

as just a little bit too pink.

We're getting closer.

We might want to

do a secondary on his face because we just don't want all of this to look pink.

But we do have kind of this

greenish yellow light on his face that we don't really like.

So let's just start with that

again.

We're going to keep moving.

Everything has kind of this subtle

green undertone, which I think is going to work fine.

This one's maybe a little bit

a little bit green, but it works

so it's okay.

Again, we're doing big problems here.

Anything that will just ruin the movie.

So this one's obviously too dark, too blue, and it needs to match

with the inside of the bathroom,

which this one might be a little bit

too dark and blue to

grab this, grab this, still

like this,

and we'll plant

this is the one that we like

on the right.

We want this to be a little different,

just a little bit too blue.

Let's push the temperature up a little bit on the shot.

We're working on.

Boost the exposure up a little.

That'll help to very close.

Very good. Okay,

so that's a little better.

Let's see if 90 works better now.

Little button mouse.

There we go.

That works.

Now, those match together a little easier.

91 is a little bit dark.

It's a little bit mouse.

Click on 90

and again boost their exposure up, attach

92 is the toilet.

There's not a whole lot of context.

There

seems to work fine and 93 again

I think this might be

let's just try and boost this exposure here.

I think this might be a different

color space because of the composite here.

So one thing that we can do actually

is if we want to keep this in the same group,

we could make a color space transform at the end of our node tree.

That just fixes this a little bit.

This just brings this into the right color space.

So I'm going to take this node here

and load a color space, transform on it like this.

And our

input color space for this one is going to be

pocket 4K film film for

Blackmagic Design Pocket six K film Gen4

and we're going to transform that into our wide gamut.

Gen4 five

Film Gen five

and look at this instantly looks better

because we were in the wrong color space.

So all we're doing is our normal stuff.

We're basically just changing the colors from one format to the other.

Before we add this kind of group correction.

And that just helps it sit where it's supposed to.

This is something that you might not be able to tell.

Normally.

I know this because we've been working on this project for a while

and I just know that these effects shots were rendered with the wrong color space.

But that's something you might get if you're working with other people.

They might give you a different color space and you have to deal with that.

But that is a great way to do it. So maybe this

is changing from

our common space that isn't quite right into the one that it's expecting.

All right.

So we've gone through our whole project here

and done a little bit of work and just balanced everything out

and again, this is the great part about working in passes.

Is, is this perfect?

No. Are there are some problems for sure.

But if we had to render this out and we had to show somebody right now,

it would be a very watchable and it would be like 80% there.

This is a great way

to work on color grades and really anything when it comes to media

and the next few lessons, we're going to refine this even further.