All language subtitles for 4. Primaries Color Tab Kolder Creative

All right.

So let's talk about our color
wheels or primaries.

And that's the third tool right here.

If we hover over it,
we can see it says color wheels.

If we click on it, we can see

we have a bunch of different parameters
that we can change about our image.

So primarily your color correction
should be done with the primaries window

because it affects your image
on a broad scale.

That's why it's called your primaries.

You want to do it first
before you go into any kind of secondary

color correcting tools
like your cell curves, for example.

So we can see that
we have some wheels here.

We have left gamma gain in offset.

So these are just different names
for shadows, mid tones and highlights.

So your lift adjusts the darkest parts
of your image, your gamma affects

the midrange and your gain affects
the brightest parts of your image.

Offset is like you're combining
all of these into one.

It basically affects your overall image.

So the color wheel
for each of these changes,

the hue and saturation of the area
that you're focusing on.

So in this case,
if we play with the wheel for the lift,

we can see how it's affecting
the darker parts of our image.

Now it does look like it's
affecting the entire image,

but it is primarily focusing on the darker
parts of your image.

And if you look to the right,
you can see our job parade moving around.

As we make this adjustment,

we can see exactly how it's affecting
the different color changes in our image.

So I'm going to reset that.
Let's play around with the gain.

So this is going be
the brightest parts of our image.

So if we move this over to the blue,
we can see that the brighter parts

of the image
now are clearly just being selected

and we're leaving the mid tones
in the dark parts alone.

So if we crank this up a lot,

we could see that we're primarily
affecting the highlights of our image.

We can also see that there's
some clipping going on in this clip.

Obviously,
there's some brighter parts up here

and we can see that we're
almost losing information over there.

So with this clip,
we're gonna want to be careful

to make sure that our waveform
is not surpassing that 1023 point up here.

So each one of these color wheels

changes the hue and saturation of the area
that you're focusing on.

So I'm just going to reset the gain.

And if we play around at the offset,
we can see that we are changing

the overall color of our entire image
just like this.

So all at once

we're effecting the lift gamma and gain
by moving the offset over here.

So the color wheel
for each of these changes, the hue

and saturation of the area that you're
focusing on, I'm going to reset this now

underneath each one of these color wheels,
we have a master wheel

and this changes the luminance
or brightness of that part of your image.

So if we have the lift selected
and we move this master wheel up and down,

we can see how it is

changing the luminance
or brightness of that part of the image.

So we can see the darks are getting
much darker when we push this down.

And of course
everything else is being affected, but

we are primarily focusing on the darker
parts of our image.

Same thing goes with Gamma.

We just change the mid tones or gamma just
by using that master wheel underneath.

And same thing with the highlights.

So you can use these wheels
to balance out your image to make sure

that your highlights are maybe not too hot
and your shadows are not too dark

and you can balance everything out
by using these wheels down below.

So at any point,

if we want to reset
one of these parameters,

we can just hit that little reset button
in the top right?

Or if you want to reset
one of the color wheels,

you can simply just double click into it

and you'll bring that little dot
back to the center.

Now, in the top left,
we have the ability to

change the temperature
and the tint of our image.

So if we ever feel like our temperature is

maybe too warm or too cold,
we can adjust it over here.

We can also change the tint as well.

And these are adjustments that I make
to my individual clips all the time.

This is pretty standard for me,
even when it comes to like photo editing.

I always play with the temperature

and tint of the image first to make sure
everything looks natural a lot of the time

focusing on skin tones to make sure
that they feel as natural as possible.

And then I'll make adjustments
on top of that.

So if we ever want to reset
these parameters,

we can just double click on the word
next to them.

So in this case,
I do feel like it's a little bit too blue,

so we can bump this
and make it a little bit warmer.

That feels pretty good to me. Now.

Changing the temperature

and tint values is a way
for us to change the white balance.

But we can also change the white balance
by pressing this little button.

Over here.

There's the eyedropper,

and we can select a part of the image
that we know is supposed to be white.

So in this case, we can give this a try.

I'm not sure how well it's going to work,
but we can select this water over here.

And we've basically told DaVinci
what we believe should be white.

And it can make that white
balance adjustment based on that.

But in this case, I do like the warmer
looks, so I'm going to undo that.

Now, let's talk about contrast.

So contrast is the difference between the
brightest and darkest parts of our image.

So let's bump up our contrast,
but let's observe the scopes over here

to the right to see what's happening.

So if we bump this up, we can see
we're stretching everything out.

We're making the highlights go up higher.

So we're making the highlights
even brighter

and we're making the shadows even darker.

We can visibly see that in our scopes.

Now, obviously this looks terrible and
we have a lot of clipping here going on.

That's why it can be important

to keep your scopes handy

when you're making
these kind of adjustments,

especially when you're working
with a monitor

that might not be color calibrated
because, you know, our eyes

and our monitors can be deceiving, but
the scopes are never going to lie to us.

So just for me,
just looking at this image here,

I might think, hey,
there's actually not much clipping,

but if we take a look at the scopes,

we can see that
there is a lot of clipping here

and the highlights are way too high
in some of the areas.

And I'm going to double click on contrast
to reset that

and I'll just bring it up a little bit.

Now the pivot is basically changing
the pivot point of our contrast.

So with our contrast
bumped up a little bit.

Let's move the pivot point.

We can see that we're kind of
moving everything down by bumping it up

and removing everything up
by bringing it down.

So this is something

you might want to do every once in a while
is to actually change the pivot point,

change that center point
really of where your contrast is.

And a better way to view
this is if we change to a gradient,

if we take a look at a gradient
and see what's going on over here,

if I bump up the contrast, we can see
what's happening with this line over here.

We could see that our highlights
are starting to clip.

Our highlights are getting brighter,
our shadows are getting darker.

By bumping up that contrast.

But if we move that pivot point
left and right, we can see that

that center area is moving left
and right in our scopes.

So that's really all that
we're doing by moving the pivot point.

So I'm going to go back to my main
edit now.

Next to Pivot, we have mid tone details
which sharpens and softens things.

So if we bump this up, we can see
we're adding some sharpening to our image

and if we crank it down, we can see that
we're removing that sharpening.

So pretty basic, but sharpening is
something we're going to want to do.

I do it all the time,
especially on like my GoPro footage

because I shoot super flat.

Al Sharpton it up a little bit,
just a tiny bit.

And I never shoot with the sharpening

on in camera because it's something
you can always do in post.

So we'll double click to reset that.

Now we also have this auto color feature
in the top left.

If we click on it,

we're basically allowing DaVinci
to analyze our image and make the

adjustments that it thinks it's necessary
to make our image look good.

It's not something that I really use,
but it has proven to work really well

in a lot of situations,
so feel free to give it a try.

It could be a good way to get
a starting foundation on your grade,

but personally it's
not something that I've been using.

I'm just going to command Z to undo that.

Now, at the bottom we have color boost,
which allows us to boost up

the colors of our image. Pretty much

if we take a look at our scopes,
we can see what it's doing over there.

It's kind of increasing the range of each
one of the color ranges

within the scopes here.

So reds are normally like this,
a little bit more condense,

but by increasing the color boost,
spreading out all the color values

over a larger surface area,

thus giving them more saturation
so we can double click that to reset it.

Next, we have shadows.

This is controlling the shadows
of our image.

Similar to lift and highlights,
we can change the highlights,

bump them up and down,

and next to that we have saturation,
which is another way to bring in more

colors in.

Our image was spreading out
those color values in the scopes.

I primarily just use my saturation
to add more color into my image

versus color boost.

Next to saturation,

we have hue and we can change this value
to change the hue of our image.

Just like that.

Not something that I used too often.

But if you're trying to go
for a stylized look

and maybe you're trying
to completely change the color

of one of the colors in your image,
you can do this.

But there's also another way that we can
change individual colors in this way

by using our curves, which is something
we'll be learning about later on.

Double click to Reset
now in the top right, we can see

we have three different buttons over here
next to our color wheels.

We have color bars if we press on this
were shown a bunch of different controls.

This area allows me to easily
change the values of my image.

B just stands for red, green and blue.

And that's what all colors are made up of
in the digital world is red,

green and blue.

They're just combinations
of those three colors.

So we could change the red,
green and blue values

for all of our lift
gamma gain, an offset of our image.

So let's take a look at our scopes
over here.

We can see that we have a lot of reds
over here in our overall image.

So what we can do is bring that down

to try to even it out
with the rest of our image.

It was a little bit high
and we could see that

we've kind of evened it out
with the rest of our image.

So if we look at our scopes,

we can see that our reds are clipping
over here in the highlights.

So what we could do is go to our gain,
which is our highlights, and we can bring

down the red values and we can see that
we are bringing that down.

Now, it might not look too great
in this situation like in this case.

I don't think that we can fix that too
well.

So I might want to just leave that alone.

But this is how we can make
individual adjustments

to the red, green
and blue values of the lift gamma in gain.

And notice how the top bar over here
and the bottom one

stay the same as we switch
through these different views.

It's just this middle part
that we're changing over here.

And the third button over here
is our log wheels.

This is the same as normal primary wheels,
except it's more controlled.

For example,
if you're raising the highlights in your

primary wheels, then it'll also raise
your midtown's in shadows quite a bit.

But in log fields,
the highlights would be more isolated.

So you're able to affect the spectrum
more precisely.

So let's go back to our gradient and just
take a look at what's going on over here.

So in the log wheels, let's make
some adjustments to our shadows over here.

So if we change the master wheel
for the shadows over here,

let's take a look
at what the scopes are doing.

We can see that
it's like really isolated on the shadows

down here on the lower
spectrum of the scopes.

Let's reset that and let's take a look
at what happens in our regular wheels.

If we bump up the master wheel,
we could see we're affecting a broader

range of our scopes.

It's not as controlled
when we're using the log wheels.

We can see it's really
just this area over here.

But now
when we're using the normal wheels,

we can see that
we're affecting a much broader spectrum.

So if we go back to our main edit
and we see how this affects our main

clip here, I'm just going to reset it.

And in
our normal wheels, let's bump up the lift.

So we're going to bump up the shadows.

We can see that
it's affecting a lot of our image.

Same with the color wheel here.

Let's let's make it blue.

We can see that we're also affecting a lot
of the mid tones and highlights to now.

We reset that
and we go into our log wheels.

Let's bump this over to the blue area.

We could see that
this is a bit more precise.

We're affecting more of
just the shadows versus the other areas.

It's leaking into the other ranges less.

So I'm going to hit Command Z.

Same goes for the master wheel down here.

If we want to just bump up those shadows,
the darker parts of our image,

we could see in our preview
how much more isolated that is.

So the log wheels are great for making
a more isolated changes like this.

So that's an overview of our primaries
palette over here.

This is something we're going to be
using all the time for color correcting.

So I definitely recommend

you guys open up DaVinci, play around
with all of these settings.

Feel free to push things and experiment
to see exactly

how each of these parameters affects
your image.

I hope you guys enjoyed this
lesson. I'll see you in the next one.