All language subtitles for 12. Layer and parallel Mixer Nodes Color Tab Kolder Creative

So as you start to dive deeper
into the world of node based color

grading, you're going to want to start
using layer and parallel mixture nodes.

Now, I remember when I was first
starting off,

it was a bit hard for me to understand
the difference between the two

and in what situations
should I use one versus the other.

But now looking back at that,

I realized the best way to learn about
how both of these types of nodes

work is to first understand
the problem that they both solve.

So let's jump into DaVinci.

I'll show you guys exactly
what I'm talking about.

All right.

So I have this clip of me walking outside
and let's say

I wanted to change the color of the sky
in the background.

Let's make it a bit of a pink
or orange gradient.

So what I could do
is create a new gradient window here.

Bring it up, extend it down.

And if you're not seeing the highlight,
just shift.

H is the shortcut for that. Right?

And let's bump up
the temperature, let's bump up tint

and that looks pretty good.

Now the only problem with this
is that it doesn't look as realistic

because the gradient that we put on
this is also affecting me, the subject,

which is much closer in the foreground
and it kind of just looks like

we slapped the gradient
overtop of everything.

It is not too bad right now
because it's not that intense.

But if we increase the temperature here,

if we wanted to do something
even more dramatic, then

we can clearly see how much it's affecting
our foreground subject right here.

So that's not good.

So in order for this to look realistic,
what we're going to want to do

is cut out the subject
and put him over top of everything else.

So only the things that are behind me
are going to be affected by this gradient.

So I'm going to undo the intensity of
that.

So it's not as intense.

And let's try to do this with

just using serial node so option
as is to create a new serial node.

So in this second node, let's try to now
isolate me with the qualifiers.

So the qualifiers selected,
let's start selecting

here, shift H to see what we're doing

now. Looks pretty good to me.

And let's play with this luminance slider
to get a better selection here.

That looks pretty good to me.

We're losing a bit of information
on the face, but that's fine.

Shift H to turn that off.

So now in our second layer,
we have a pretty good selection of me

and that second node is sitting on
top of that first node with the gradient.

So we can make changes to the second node.

Obviously this is a bit of an extreme,
but we are now having to bring

that temperature way down
to undo what we did in that first node.

And obviously it's
affecting everything around here as well

because the qualifier didn't select
just me.

It also selected similar tones
within the area as well.

Now, this is not a good way to go
about doing this.

You can see that we had to kind of make up
for the changes that we made

within the first node over here

because the changes from the first node
transferred over to the second node

and then we have to make changes
on top of those changes.

And another thing to keep in
mind is if we make any changes

to this first node over here.

So if I was to bring the temperature
way up,

then we can see that my face is no longer
blue and that's because

we've compromised the qualifier selection
in the second node.

So if I go to the second node here
and I hit shift H, we can see that

before we had a selection of my face here,

the qualifier
was actually selecting the face.

And now because we changed that
first node,

the qualifier
is going to be acting differently.

So we're losing a bunch
of our original selection here.

So this is a perfect example
to demonstrate to us how flawed layer

based color grading is,
because essentially layer

based color grading works
the same way that we're working here.

You make changes with the first layer,
and then in the second layer

you make changes on top of that
first layer.

So essentially what the layer and parallel
mixture nodes allow us to do

is to bypass this
and work in a bit of a different way.

So why don't we reset this and start off
by creating a layer mixture node.

So I'm just going to delete this
second node here.

Let's reset
this first node and let's try to do this

exact same thing that we did,
but with a layer mixture node.

So with our first node selected, let's
right click on it and add a layer node.

Or we can also use

a shortcut option or alt L,
and we could see a few things happen here.

We've added another serial node below
the one that we originally had

and we also added this thing
and this is the actual layer mixture node.

Now parallel mixture nodes
look pretty much the exact same.

They just have a different symbol.

So both of these types of nodes
are doing the same thing.

They're basically taking

the outputs of different nodes
and they're mixing them together.

So in this case we are mixing
both of these nodes together.

Now the way that they are being mixed
between the layer and parallel

mixture nodes is different.

And that's what we're going to be learning
about in this lesson.

So the first thing we want to understand
is that both of these nodes

here, these three nodes,
they're taking the output from the source.

So this is the original file here,

and we're outputting that
into both of these nodes.

So they are taking information
from the input.

Now, it doesn't have to be the input.
It could be another node.

So if I add before Node here control s,

I could just disconnect this
and connect this to here.

So we have

these two
nodes taking the output of this note here.

So this could be like our primaries.

So maybe we made some primary adjustments
here.

Now both of these nodes are using the
output from the first node as their input.

Now, the other thing we need to understand
is that this top node here

is actually at the bottom, and this bottom
node here is actually at the top.

So if we were to add a bunch
more of these layer nodes here,

then the one that is at the bottom here
is going to be on top of the other ones.

So I'm going to delete these.
We don't need them right now.

Let's do the same thing that we did
before.

So with this bottom layer selected
here, node number

two, let's create that same gradient.

So let's do that.

Let's extend it, bring it up over here.

Let's bring up the temperature

and the tint

that looks good to me.

Maybe make it a bit more pink
so we can see here.

If I have highlight enabled,
we can see the changes

that we've made with this gradient.

But as soon as I turn it off,
those changes have gone.

Now why is that?

Well, that's because this note here
is underneath this node.

So because we haven't done anything
with this second node, this is really what

we're looking at
because it sits on top of this first one,

which is good in this situation, because
now we can isolate our subject here

and then we know that the subject is going
to be sitting on top of this node here

and not being affected by it.

So let's grab our qualifier.

Let's make a selection

here, shift, aim to get a better idea
of what we're selecting.

That looks pretty good to me.

Let's play with this luminance here.

Nice.

That looks like a good selection shift
to turn off that highlight.

And just like that,
we have managed to make a pretty good

realistic change
to that sky in the background there.

That looks really nice to me.

So we could see why this method
is so much better than the first method,

because we're not taking the output
of this gradient layer here

and feeding it into our next node
and trying to make a selection from that.

Both of these nodes are taking the output
from the original source.

Now, this isn't the original source.
In this case,

we still made a bit of changes to it,
but it doesn't really matter.

We are taking the output of one source,
feeding it into the input of two

other nodes here

and then making our adjustments
or selections from the information

that we're outputting from this
first node.

You can start to understand
now why using a layer mixture node is so

much better to do this kind of stuff.

So if I wanted to go back to the gradient
layer over here

and just push the temperature like crazy,
bring it up, we can do that and it's fine

because it's not affecting
the qualifier selection

in our other node over here
like it was in our first example.

Now we can see that our layer
mixture node over here has four inputs.

Now, if we ever want to remove or add
an input, we can just right click on it

and select one of the options.

So in this case we can remove one.

Let's remove one more.

That's the thing.

We can mix together
as many nodes as we want.

So if I was to select one of these,
I can option L

to create another serial node here
and it will automatically connect to

our layer mixer node

and then
I can make even more changes over here.

So if I wanted to, let's say

make another gradient down here

so maybe something like that,

bring it over here.

And I wanted to make some changes
to just the bottom of this image.

I could totally do that, just like that
if I wanted to.

And you can just keep adding these on
and the way that the layer mixture

node works
is it doesn't blend things together.

It kind of treats everything

as its own layer and stacks
everything on top of each other.

So that's why when I cut myself out here

using the qualifier, I'm
not blending into the background at all.

I'm isolated and it put me on top of that
gradient layer in the background

because this node here
is on top of this node here.

So that is how the layer mixture
node works.

Now the parallel mixture node works
in a very similar way

and we can actually morph this layer
mixture node into a parallel mixture node

just by right clicking on it
and selecting morph into parallel node.

Now I want you to watch the preview
when I make this change.

So by morphing it into a parallel
mixture node, what has happened here?

Well, we can see

that the gradient kind of seeped through
and it is affecting my face here.

If I click Command Z, we can see
this is one of the day before

and if I redo that,
this is what it looks like now.

So the parallel mixture node is treating
both of these nodes a little bit

differently instead of layering them on
top of each other.

It's kind of blending them together.

So this is kind of a similar outcome
to what we did on our first example,

just using the serial nodes,
except both of these nodes

here are still getting the output
of a single node.

We don't have to feed the output of Node
two into Node three.

We're still using the output
of the same source here.

So the original we're taking the output
of that, feeding it into both of these.

We can make our selections,
make our adjustments

based on the information
coming from this first node,

and then we can mix everything together
using the parallel mixer note.

So there we go.

That is the difference between layer
and parallel mixture nodes, both

very incredible tools that demonstrate
the power of node based color grading.

So as always, I recommend

you open up Da Vinci, play around with
both the layer and parallel mixture.

Nodes.

Get familiar
with how they work, experiment with them

because these are definitely

very important tools that you're going
to want to understand how to use.

But that's it for this video
I hope you guys enjoyed.

I'll catch you in the next one.