All language subtitles for 29. Watch me color grade (full project) part 1 Color Tab Kolder

All right.

So now that we've colored

rated a handful of clips from our main
timeline in the previous lessons,

we've created a good amount of looks
over here within our gallery that we can

now use to apply to all the individual
clips within our timeline here.

So the first thing I'm going to do
is apply

the grades that we've created
for those individual clips

to the actual clips
within the timeline here.

So this is the one that we saved
from this clip.

So I'm going to apply it to my node
tree here

and I'm going to find the other clips

that I created as well
in that separate timeline.

So this is another one right here.

We can apply this grade to it
because we saved it in the stills.

So I can very quickly
just apply that grade.

Same with this last one over here.

I think this is the grade. Yep.

And we can also apply it to this clip
here to Middle Mouse click.

We've applied it very quickly
and now that we have a couple of different

looks spread out through our timeline,
we can apply those grades to other clips.

So over here next to this actual clip
that we calibrated already,

we can see that we have three other clips
that are in the same environment.

So in theory, these colors should also
look good on those clips as well.

So what we could do is create a new group

with all of the clips
that are shot in this same environment

so that we can make adjustments
to all of those clips in a similar way.

Now, I personally don't like
to create groups in this viewing mode.

I feel like it could be a bit scattered.

So I'll just open up light box
over here in the top, right,

and I'll select all of the clips
that were shot in the same environment

or that looks similar.

So all these arrow clips,
we can just combine all of those.

Maybe there are some other clips
that we can add

into this group,
like this one here of dance surfing.

I feel like it's pretty similar.

We got some greens, we got the blue sky.

It would probably look good,
but we'll leave that separate for now.

So what I'll do is right
click on this selection of clips

that I've made
and add it into a new group.

I'll call this group Acro Click okay,
and let's make some other groups too.

So why don't we make a surfing group to,

uh, surfing ones?

We're pretty similar

underwater.

It's probably going to look a bit
different this above water.

One could go with the surfing,
surfing, surfing.

This could go surfing.

Let's see.

Is there anything else here? Surf.

Surf.

Cool.

And now a lot of these surf

clips, they are in the same environment.

You know, we're in the ocean,
but some of them,

like this one over
here, was a different time of day.

So I know that if we apply one node tree
to all of these selected clips,

they're not all going to look great.

We're still going
to have to make adjustments.

But creating groups
gives you a bit of a head start.

So that's right.

Click over here, Add into a new group,
let's call this one surf

and let's create
one more for the dirt biking,

because I think the dirt biking clips
are actually very similar.

A lot of them,
this one isn't because it wasn't shot log.

It was shot with the original picture
profile that comes with the phone.

It wasn't with a third party app.

This is another dirt bike clip.

Let's see if there's anything else here.

Those clips look very similar,

of course, so I'll just create a new group
with that as well.

Out into new group, we'll call this one

DB four Dirt
Bike and let's close LightBox.

So I've created this ACRO group,

but my node tree is only on the clip
level of one of our clips here.

So what I can do is just disable
this whole node tree by hitting command D

and let's go to group posts clip over here

and apply that same node tree over here.

So now if we go into our other clips,

we have that same look applied.

Now in a lot of situations.

This might be enough.
We might be good to go from here.

But in this case, I would say
these colors don't look perfect.

I don't know what

that is, but it looks like
we're having some issues over here.

So I think really
the only thing that I would want to share

between
all of these clips is the light itself.

But then all the other adjustments

that we've made, like
isolating the grass over here

or the skin tones
in this particular image,

it doesn't make sense to copy
those over to the other clips

because each clip has different subjects,
their position differently.

Those adjustments
just don't make sense to the other clips.

So it's really just the light that we want
to share between all of these clips.

Now, because this is a smaller timeline
and there's only a handful of clips

within each location, It's

not that necessary to work in the group
pre and post node tree areas.

So let's not worry about that
for this group of clips.

So let's just delete this
from the group posts clip over here,

head back to just the clip level.

Let's enable everything

and let's just apply the grade
from this clip to the other ones

by middle Mouse clicking on them
so we can do that.

I applied this to the clip level and now
we can make individual adjustments.

So first of all, I feel like the grass
looks a little bit funky to me.

I think that's in this node right here,
so I could turn that on and off.

We could see how it's affected
my skin tone right here.

So we're going
to want to make some changes to that.

So it's going to reset that node

and let's see if there's anything else
here that needs a bit of work.

I feel like it's mainly just the Greens,
so we're going to want to isolate

those greens and let's also see
what these windows here are doing.

So we're brightening up the sky
here, darkening the bottom.

That's all fine.

That's pretty minor skin tones.

Let's turn that on and off.

See what that looks like.

Shift A allows us to see our skin tones,
vectors, scope shows

the skin tones are looking pretty good,
so I feel good about that.

But let's refine that selection.

So it's just on the skin tones
and not on everything else.

I could probably track

that as well if I wanted to,

but so far

skin tones don't look that bad,
so that's not really an issue.

I think the only issue in this clip
is the Greens here.

So let's head over to our parallel
mixture nodes here.

Let's go to this first one.

Let's create
a selection of the grass shift or shift.

H And I do not want my jacket in this,

so I'll hit that minus

too much.

I'm just going to restart that.

Let's try this again.

Just selecting the grass area over here

and I'm probably
just going to have to use a window to just

select the grass.

So first of all,

I'll make a window for this bottom area
over here

because this stays in the frame
the entire time it's closed the gallery

and it's okay to

also include the greens that are in the

in the blanket as well.

So let's feather

that a little bit and the outside

command see to track it.

Let's go to our tracker track backwards.

Cool.

Shift A to show us what's going on here.

And we're also going to want to effect
these greens over here as well.

So we'll create another window
for those as well.

But for now,
let's see what we can do to these Greens.

So let's change the tint a little bit.

That's usually how I like to do it.

You can also use the curves as well.

Modify the colors in there too.

That's a bit too much.

I really only want
to be affecting the greens.

So in this case, yes, I think
let's use the curves for this actually.

So we'll go to hue versus hue.

Let's select this color range here.

So it's about that area.

I'll expand this a tiny bit.

Let's move this down.

That looks good to me.

Let's turn that on and off.

Command D Okay, My
might be even a little bit too green now.

We want it to be minimal.

We don't want to push things too much.

That looks way better to me.

So this is before. This is after.

We're just fixing those greens,
making them look a bit more realistic.

Now we're going want to do the same thing
to the background over here.

Shift A

and let's apply another window here.

You probably use a circle

and I want to just focus in

on that green area over there.

But of course

I do not want to get that jacket in there
at all.

I so that looks good.

But we've only affected the grass here.

We can see that the grass back here
is still not looking too good.

So what I'll do is grab another
one of these nodes here in the parallel

mixture area and let's use this to select
just that range over there.

So I'll grab the qualifier.

Let's try to make that selection
right there.

I do not want to select my jacket.

Perfect. Much better.

That's a much better selection.

So now I can use a window to refine

that selection. Now

enable it.

And I'm going to want
to select this area over here

and I do not want to select the rocks.

Let's feather this out a bit.

That should do the trick
and we can track it if we need to.

But this is a stationary shot,

so just scrubbing through, there's
no need to track it.

I can see that we are affecting
just the range that we want

and things aren't moving that much.

So now what I can do is change the tint.

Nice.

So much better command d turn that on off
Looks way better in my opinion.

Looks like both of these grass layers
turn them on and off.

Cool.

We've managed to select just the grass
to make it look a lot more realistic.

Skin tones.
Everything else looks good in this.

I'm not too fussed about the skin tones.

Let's zoom in here.

Looks like we might be losing
a bit of color in the forehead right here.

Just for a second.

I'm not worried about that, though.

That looks good.

Cool.

So I would say
that this clip is pretty much complete.

I feel good about it.

What we could do is compare
both of these clips here.

Now, select selected clips over here.

So now we're looking
at both of these clips side by side.

And I would say that
they look pretty good.

I think the sky in this clip
is a little bit brighter than this one.

So I can very easily go over here,
select the sky,

maybe increase the exposure on the sky
as well a little bit more.

If I wanted to,
we could see it's affecting my knees here.

So if I wanted to, I can cut myself out.

But it's minor.

I'm down to just leave it.

Yeah, I think those those two clips side
by side, they look pretty good together.

Now we can move on to the next clip
next to this one over here.

So we have this third one
and let's just apply

what we got over here by Middle
Mouse clicking right away.

That looks pretty good.

We can see that the window that we created
up here looks a bit too dark.

Let's turn that on and off.

I'll just reset this window node here

and this top one over here, bottom one.

Let's reset that one as well.

And I think this whole scene

could probably be brightened up a bit.

And I think the sky might be a bit too
dark, maybe a bit too saturated, too.

So let's see what this node here is doing.

Doesn't look like it's doing much,
so I'm going to reset it.

Let's go to our primaries over here
and let's just brighten things up a bit

so I could just grab the offset,
bring it up

a tiny bit now.

Looks much better to me, gives it a bit
more life.

Now let's go ahead and select the sky.

So with the qualifiers selected,

let's go over here,
make sure that split screen is turned off

and we want to make sure

that qualifier down here is selected.

Now shift A to show me what I'm selecting

and if I was to calibrate it
like this, we'd get a lot of artifacting.

Those are all leftover artifacts,

but what we could do
is just go here to clean black,

bring that up a tiny bit and clean white

so we can get a very specific selection

on just the sky.

Yeah, it looks good to me.

Shift eight and turn that off so
now we can make changes to just the sky.

So maybe we bring down the saturation
actually here in our primaries

just a tiny bit

and it is pretty dark.

So why don't we brighten
it up a tiny bit too?

I think it's

because we were using an NDI on the phone,

but we could see that we have a bit
of Artifacting left over here.

Those are the parts of the image
that have not been affected.

So shift aid to turn that back
on, let's go back to our qualifier.

I'll click the plus over there
and just add

that in.

Add this in over here to

just to broaden our selection,
make sure that we're

selecting all of the sky

color range.

So up there, too, we're going to get
a bit of the hair in that,

but that's totally fine. The hair's black.

We're barely even going to notice anything
cool shift

a nice wee refiner selection

so that we're not getting any more
of that Artifacting left now skin tones.

Let's
see what's going on with our skin tones.

So let's head over to the skin tones.

Note over here
Shift A or shift H to isolate them.

Let's take a look at our vector scope.

It looks like we're pretty dialed,

but things do look pretty orange to me,
which is fine.

Which is fine.

I'm just going to refine the selection
a bit more.

Let's add a bit more of the skin,

kind of everything, really.

And let's see what we could do here
to make things look a bit more realistic.

The sun was hitting

the subject here, so it's fine.

I'm going to play around
with these sliders a tiny bit just to see

if we can make things
look a little better.

So we could see we're bringing down
the intensity of the skin tones.

So before if we look at the vector scope,
this is what it was originally.

It was a bit longer just like that.

So that just shows it was more saturated.

And the change that we just made,
we brought those colors

down closer
to the center of the vector scope here,

just making them
a little bit less intense.

But we can see that we've also created
that like little purple edge there too.

So let's see what that looks like
when we turn.

Highlight off

so we could see

we have a bit of that purple
fringing on the edges there.

Another thing that we should do
is actually just blur out the edge

a tiny bit too,

so that our adjustments
don't look as obvious.

Tiny bit there.

I think I brought down
our skin tones way too much.

It's okay for it to be a bit
more on the orange side.

Just I wanted to bring it down a tad,

a slight amount.

If I zoom in, we can see the difference
it makes.

This is original. This is afterwards.

We can see
things are looking a bit pink too.

So why don't we bring the tint down
a tiny bit to

not too much cool.

And that just makes the skin tones
look a bit more realistic.

It's a pretty simple, simple one.

If we

compare it to the previous clip over here,
we've got a split screen.

It's like the clips.

I would say that those are pretty good.

Obviously, the sky in this clip is white,
but that's just because of the angle

of the camera.

With this one,
we're looking straight up at the sky.

I want it to be blue.

I want to show that blue color in.

And I guess one thing
that I'm not liking right now

is I feel like Chelsea's face
and skin is a bit too dark.

So let's go to skin tones.

Just bring it up a tiny bit

and scrape because we've made that skin
tone selection.

We could just very quickly and easily
make any adjustments that we want to.

Just that clip

looks good to me.

Let's turn that on and off.
Yeah, much better.

I like that a lot more.

Gives it a bit more pop,
so I'm stoked with that.

So already we've gone through
three clips over here

and let's apply
that same grade to this clip over here.

Now we need to remember that
this is a fusion clip over here.

So we are working with the transition
here.

So we're going from one environment
to another environment.

Thankfully,
both of these environments are fairly

similar, and I already know that the light
that we have applied

to the previous scene is going to work
well with this next scene as well.

So let's just apply it.

But we can see that this image here,

this clip of Chelsea and me in this grass
field, it's lit differently.

It's like different lighting,
the quality isn't as good.

It's darker.

I would say that this this is like
where the phone wasn't performing as well,

but I still wanted to use this clip
a lot, obviously,

because it was perfect
for this transition.

So I still use it,
but let's see what this looks like

so I can apply any of these to this

Right off the bat.

Looks pretty intense to me.

Let's see what these selections are here.

We don't need this one over here.

So we're going to reset this.

We're also going to reset this one.

And yeah,
things are looking pretty intense.

So let's go to our light.

Let's bring down the output a lot.

I'm thinking maybe like point two or so,

we can see we're getting a little bit
of artifacting here.

I think that that is from
the care that we used with infusion.

So I would
probably want to go back in there

and refine my key a little bit more
just to make sure

that none of this artifacting
is spilling through.

It wasn't as evident before
because there was no color grade.

That's one thing
that you're going to want to be mindful

of whenever
you're doing Any kind of fusion work

is to

actually apply the grade first,
which we have the ability to do.

So up here, we can actually add grades,
we can add LUTS over

top of our preview over here

so that we can get like a final output
to see what things look like.

But even in this clip, without the grade,

we can see that we are still getting
a bit of artifacting over here.

And adding a color grade to this
just accentuates it even more

and makes that even more obvious.

So the more time that you spend on

your keying, the better of a result
you will get.

So the second clip looks good to me.

I would say things
look a little bit too pink for me,

so why don't we go into our primaries?

Let's try to fix this,
bring that down just a tiny bit.

Literally the smallest amount.

And let's go back

into our first clip.

And over here we can see

the mask wasn't the cleanest.

It was not the cleanest mask.

So I could go back into my fusion clip

and make some fixes
on that transition as well.

Now, this is a perfect example

of where we would want
to keyframe our grade, right?

So I'll open up my keyframe
editor over here

just so I'm ready to make any changes
in case I want to.

And I'll just extend this over here.

So in case I wants to, you know, keyframe

the grade from this area to this area,
I can

I do like the way that things
look in the second scene here,

the first one, things look a bit off.

So what I'll do is I'll set keyframes
at this point in my timeline here.

So just add a dynamic keyframe over here
to all.

So from this point forwards,
I'm happy with those grades, but anything

before this.

So maybe like actually up to here,
I'll add another static keyframe

and I'll add another
dynamic keyframe here.

It's what's going on over here
that I would want changed.

So probably I'll just move this over here.

So everything from about here

to this point here,

so now I can go
ahead, make any of the changes

that I want at this stage in my timeline.

So let's play around
with the primaries first.

I feel like I could probably warm
things up a bit.

Let's go into our primaries here.

I think it's a bit too cool.

I just want things up a tiny bit.

Tiny bit

that looks good to me.

And keep in mind,
this is a very fast clip.

We only see it for about a second.

But of course we want to make sure
that it matches with the other clips.

So I'm going to select
this other clip here before it.

And I just want to split screen.

Take a look at things.

Now, obviously,
the grass is a much different color.

It's a lot yellower.
So let's try to fix that.

I'm not too sure
how well that's going to work.

So I'm going to go over to my parallel
mixture nodes.

I'm going to make a selection of my grass

and I take off split screen view

and enable the qualifier.

Let's select the grass over here, shift a

right to make sure
that I have my picker here selected.

Shift a second.

Select just the grass and I
do not want to get any of the skin tones.

I really want just the grass.

So let's refine the selection.

Let's change the hue.

I do not want any of that.

I really want just the grass.

It's clean, black, a bit

clean, white, nice,

blurring things out a teensy bit cool.

That's that's a good selection
of the grass there.

And shift a to turn that off

Turn off highlight and let me try to

just bring the tint of the grass down
a tiny bit, just a teensy bit.

That looks good already.

That looks better to me.

The check split screen

and select this clip here.

Much better, much better.

So with that note, selected commands,
turn it on and off.

Yeah, way better, Way better.

I'm really liking that and I'm happy
with the tones of everything else.

I know this isn't the most exciting shot,

you know, in terms of composition

and stuff, but the reason I used
it was because she kicked the camera there

and we move into our

next environment over here.

I do not know why it is showing me
the edge over here in split screen view.

I've actually never had that happen
before.

That's interesting. Cool.

But when I'm not in split screen view,
it doesn't show me that so

might be a bit of a glitch or something,

but cool. Yeah.

I feel really good about those greens now.

And yeah,
this shot looks pretty good to me.

I think what I would do
is probably just go back into fusion,

play around with the delta here even more
at this stage and just really pay

attention to the artifacting over here
to make sure that I'm eliminating it.

There's none of that remaining
because obviously

once we have applied the color grade,
it just intensifies.

It makes it very evident.
So playing around with the delta here,

just to remove
any of that last artifacting.

But yeah, that looks good to me.