All language subtitles for 3. Node workflow and Serial Nodes Color Tab Kolder Creative

All right.

So real talk nodes sound intimidating
at first when you're coming from a layer

based editing software.

But once you get an idea
of how things work, you start to see

how much more efficient and fun
it is to do collaborating in this way

versus the old methods
we would use in Premiere and Final Cut.

Now that I understand how to use nodes,
there's really no going back for me.

So in this lesson,
let's get a better overall understanding

of how nodes work within Da Vinci's
Color tab.

So first thing I want to mention
is that nodes within the color

tab are very different from nodes
within fusion.

Now, Fusion has a set of
very specific rules

that you have to follow as to how you
composite things within this space.

There's a lot of very specific things
that you need to understand in here before

you can actually start to flow and create
whatever is in your mind.

Whereas in Da Vinci's

Color tab, the node based workflow in
here is a little bit different.

Each node
can do a bunch of different things,

so I can apply a bunch of different
changes to each individual node.

Now, just because I can do that
doesn't mean I will.

But I want to let you guys know
right off the bat that the way we work

within nodes in here
is pretty different from fusion.

In my opinion,
Fusion has a much greater learning curve

because there's more rules
that you need to understand

first before you can start building out
your node space.

Whereas in the culture tab, it's
a lot more straightforward in my opinion.

So this is the node workspace
area over here.

Now, for every clip in our timeline,
by default we're given one node.

So if we press any of these clips,
we can see that there's one node

already in the node graph over here
and any changes that we make to our image

in our viewer over here

with any of the tools down here
will be recorded to the selected node.

Now, of course
we can use any of these tools available

to us down here to make any modifications
that we want to our nodes,

but we're also able to apply open effects
to our nodes as well.

So with our open effects window
open over here, we can go into all of them

and look for things like grain,
for example, film, grain,

and we can apply that to our nodes as well
and play with the parameters over here

so we can see

if we zoom in that we've added film grain
on top of our image.

Film grain is something I usually like
to do at the end of my grading process,

but it's good for you guys to know
that we have a bunch of very powerful

open effects within this window over here
that we can also apply within our node

graph as well.

So nodes are really
just like layers of adjustments

that we're making to our image,

except really instead of calling them
layers, we're just calling them nodes

and we use these nodes to record
the changes that we make to our image.

Now the node will be using

the most is a serial node,
which is just like a standard layer.

Nothing fancy.

Just know that the shortcut for

this is option or alt s because it's one
you'll be using a lot in the color tab.

Now you can see if I press option
s, I've created a new serial node

and I can create as many of these
as I want.

I'm going to undo that.

So what's important to

understand is that the node graph is read
from left to right.

So over here is the input
and this is the output over here.

So this green dot over here to the left
represents our input.

That's our raw image
with no color changes at all.

It's what we do with the nodes

between the input and output
that's going to affect our image.

So we can make a bunch of changes
with nodes in between these two,

but it's important
to feed it back into the output

so that you can actually output
the changes

that you've made back into your timeline.

So if I was to make a change
to this node over here,

let's say I made a change like this
in my curves over here

and I disconnected it from the output,
then nothing would be outputted

back into my timeline.

I need to make sure that the node
structure flows from the endpoint

through all my nodes
and then to the output point for me

to actually output the changes
that I've made within my node graft.

So I'm going to reset this by right
clicking and selecting reset node grade.

So one more shortcut
I want to show you guys in this lesson

that we're going to be using all
the time is Command D, and this basically

allows you to enable or disable
any of your nodes in your timeline.

So let me add another node here

and let me make a correction
to the first one over here.

So let's just bring the temperature up.

Now. If at any point
I wants to disable this node

so I can see how this one is affecting
the whole chain of command over here,

I can just hit Command D and we can see
that it's grayed out so it's disabled it.

So we're basically bypassing that node.

So now the second node
is basically taking the output

of the original media here
and not taking the output of this one.

We're basically disregarding
or bypassing this node right here.

And of course,
if you ever want to turn it back on,

we just select it and hit command again
and it brings it back to life.

Now, unlike the node graph with infusion,
the node graph within the colored tab

allows you to make as many changes
as you want to each node.

So for example,

with this node selected over here,
I can make some temperature adjustments.

So let's say I want to warm this image up.

Let's say
I want to change the tint as well.

And let's say that I also want to add
some contrast with the curves over here.

And then let's say that I also wanted to

add a lot to this as well, just for fun,

just for demonstration
purposes, let's add something.

So I've made a bunch of different changes
to one node,

so it's good to know that you can do that.

But just because you can do that
doesn't necessarily mean that you should.

And in a professional workflow,
this is not how you should work.

So the purpose of a node graph is
so that you can get a broad

look at all the different changes
that you're making to your image.

And if you have a bunch of changes
in one node, how am I supposed to know?

Just by looking at the snow graph
what is going on within this one node?

So that's
why it's important to create separate

nodes for separate changes
that you're making to your image.

So in this case,
if I wanted to make all three

of those changes,
what I could do is reset this node.

So what I could do in this first node
is make my temperature adjustment

so I can go to my primaries over here,
make things warmer,

and then once I like that,
I can hit option s, create a new node

which acts as another layer
on top of this node,

and I can make
my contrast adjustment in here.

And then finally I can hit option s again
and then add my left over here.

Now, looking at this, I can get
a better idea of the flow of things.

Now, of course,
the only way that we can tell

what changes are being made in each node
is through this little thumbnail,

and that's not the best way
to go about understanding

what's going on in your node
graph over here.

What you want to do is rename your nodes.

So the shortcut for this is AHS.

So with any node selected, you can hit R,
and in this case we can call this temp

now because we're doing a temperature
change over here

or primaries, it's really up to you
what you want to call it.

And later on in this module,
you guys will see how I create my base

node tree structure
and how I label everything.

But for now we can just label it
whatever we want.

So this one over here would be our curves.

So we're going to hit
our we're going to call it Curves.

And this last one, we can call it look
or you can call it whatever you want.

So now I can get a much better visual
representation

of what's happening to my image
over here in my node graph.

Also, really good to separate
each one of your adjustments like this,

because now I can very quickly
go into any one of these adjustments.

So let's see the temperature and I can
change just the temperature in this node.

And let's say that, you know, I like this,
but I would like to change the

opacity of the node.

So just the overall transparency
of the node, I can go in here

into the key output and change that
and bring it down.

Same with my left or my curves.

I can go into the key output, change it,

change the opacity just like this,
and manipulate

each adjustment
that I'm making with more flexibility

by isolating the adjustments
into their own nodes.

Now obviously the image in this example
does not look good.

We'll be doing some actual color
grading later on, but this was

just a representation to show you guys
how nodes work in the node graph.

So these are all serial nodes.

And what's important to understand
about serial nodes is they take the output

from the previous node and treat
that as though it's the base layers.

So this first clip over here, it's

taking the actual base clip over here
and making adjustments to that.

Now, this second serial node
is taking the output

from this first one
and making adjustments to that.

So I'm going to reset the node graph
so I can give you guys a better example

of what's going on.

So with this first node, let's say
we did some pretty dramatic changes

to our image, So let's say we brought
the saturation down all the way to zero

and then we created a new node afterwards.

Now this second node is taking
whatever this first node is giving us.

So if we want to revive the saturation
in the second node

by bringing the saturation up,
we could bring it all the way up to 100.

And we can't bring back any of those
colors because the colors are gone.

We've eliminated them
from this first node,

so there's nothing to bring back
in this second node.

So this is a really important concept
to understand that when you're working

with serial nodes,
the output of the previous node

is what you're going to be working with
in the current serial node.

So this is always something

that we want to take into consideration
when color grading.

Typically there's an order of operation
that we follow as professionals.

First, you want to start off
with your noise reduction.

If you need any,
then you want to color correct your image

Using primaries to create a neutral,
correctly exposed look.

Then you can add additional contrast
with tools like the curves.

Afterwards you can apply a LUT,
then you can go into things like

cell curves
to manipulate individual colors,

and then only at the end of your node
graph do you want to add things like glow

sharpening or film grain.

So something we'll be doing later on in
this module is creating a base node tree

structure that we can incorporate
this exact order of operations in

and be able to quickly reuse
that node tree for any project

so you won't have to recreate it
every single time.

Now, in this lesson, we really only talked
about the serial node,

and although this is the one
you'll probably be using most of the time,

especially when you're just starting out,

there are six other types of nodes
that we should learn about as well.

But before we dive into any of those,
first I want to go

over the tools we're going to be
using most throughout this module

so that I can better explain
the other types of nodes later on.

I'll see you guys in the next one.