[flow_default] Transcription: 010_-_Color_Pt3_-_Secondaries_And_Tracking.json

transcriptions/010_-_Color_Pt3_-_Secondaries_And_Tracking.json

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+{
+  "audio_file": "010_-_Color_Pt3_-_Secondaries_And_Tracking.wav",
+  "text": "Now we're going to take a look at secondary corrections. This is basically adjusting a part of the image or a range of colors or a range of tones. It's like, it's not the image overall. It's like fixing little pieces of it. I'm just going to reset my shot by right clicking in our node graph and saying reset all grades and nodes. And now I have everything back to normal. I'm going to open up shot three again, reset it, and I'll do our initial grade, which I'll do just by adding some contrast, boosting up the mid tones a little bit, and adding just a little bit of an S-curve. That'll give us a nice little start to our shot. Let's talk about secondary corrections. The first thing I'm going to do is right-click and add a Serial node. You pretty much always add your secondary corrections in a Serial node so that you can keep them in pieces, turn them off and on, and you can apply things after your primary correction before your look or anywhere that you want in this little processing chain. Let's take a look at a couple of tools that we have available, then we'll look at a couple examples of actually doing stuff with them. The first tool for secondaries is our curves, but I'm gonna look at the dots behind this curves palette. The second through sixth dots here are different kinds of curves that we can use to adjust the image. And just like our custom curves, it remaps the way the image looks based on the image that it's fed and there's a few different ones here You can switch them by clicking these dots or using this little menu We have hue versus hue here versus saturation hue versus luminance luminance versus saturation and saturation versus saturation What this does is it's the input versus the output so the hue looks at the colors of the image and it remaps the hue of those colors so Just looking at this little graph we can see we have a lot of green, a lot of yellowish green, quite a bit of blue and this kind of greenish teal. And then a little bit of kind of these warmer skin tones here. This is just a graph of how much of each color exists. So the cool thing is, if I want to change a color, say of her coat, I can find that on this hue versus hue and I can add a control point just by clicking and add a couple other control points. And is where I can remap what the Hughes look like this blue in her jacket is this spike right here so I can add a couple control points and if I leave them in the middle if I leave them at zero I can I can select a control point and adjust this hue just hit zero there to make sure things aren't getting messed with but I can take this control point and move it up and down and what that's gonna do is change the color of her jacket so that's a really nice way to take a specific color and to it won't come out quite as clean most of the time. So I always say if you can do it in curves, try and do it in curves. So yeah, that's hue versus hue. And then we have hue versus saturation, which will take a specific hue. And let's do the same thing. Can bring that down and desaturate just one color. In fact, I'll reset everything just by right clicking on the node that I'm working on and saying reset node grade. And if I go over to hue versus luminance, I can pick a hue. Let's say I want these trees to be darker. Those are probably these green or teal ones right here. In fact, if I want to, I can actually use the eyedropper on my image and I can just click once. And what that'll do is add control points on whatever curves I have selected. So I clicked on the trees and it says, hey, the trees are right here as far as the hue goes. So I can move this up and down and it will adjust the brightness of that hue. It's not affecting the trees so much. So I can widen this out a little bit and it'll affect the trees a little more. So it's just doing things based on the color of the image. This luminance versus saturation, this will desaturate things based on how bright they are. Let's say I have a really warm look, something like this, just a really, really strong look. You can actually go really far with that look in a later node, use this luminance versus saturation and maybe desaturate the highlights, desaturate the shadows. That doesn't look too strong because by desaturating the brightest whites and the darkest darks, you're essentially kind of balancing the lights and the shadows and it looks a little bit more natural to our eye. This is also great if you have problems with white balance and maybe your sky is blown out and it looks really yellow, you can desaturate the sky using this technique. Really useful. We also have saturation versus saturation, which is great if you have something that is really bright like reds or oranges sometimes get oversaturated. You can make a curve something like this just to tame everything down and make sure things don't get too bright. So those are the curves. Those are super helpful. Again, if you can do something in these kind of curves, I recommend that you do it in those curves because it's just a lot. It's a lot easier to adjust and it comes across a lot more naturally. Now sometimes you might want to select a color a different way. For instance, maybe you want to select her skin and apply some kind of softening or a specific kind of curve to the way that her skin looks. Again, I'll do my, do a basic kind of primary grade on here. One thing that you can do is use the qualifier, which is this little eyedropper right here in the second palette right here. There are a few different ways to use this qualifier, but they all work in a somewhat similar way. Basically you have all of your controls here that adjust what colors you're selecting by hue, saturation and luminance. You can turn them off and on, but the quickest way to select a color is just to eyedropper it here in the viewer. I like to grab it and drag around and that sets our little sliders down below to make a good selection of our color. Now that we have that color selected, anything that we do in this node is only going to happen to what we have selected. We can preview that by hitting this little magic wand here. This is called highlight mode. That's just going to show what we have selected in the node, what we're actually working on. And as this moves back and forth, it's just going to pick that blue. But we do have some problems. Looks like there's holes in this selection, any part where it's gray, it's not selecting it. And so we can adjust that selection by messing with these sliders down here. One thing that's usually a good idea to do is just widen this width a little bit and that's going to solve quite a bit of our problems. It could also probably bring the low and the high up a little bit in the saturation, maybe adjust the softness, same thing for the luminance. And as long as you're getting a selection that's just what you want, you really want that as big as you can get as far as these selections here. using for this selection. If we click this little button up here, it says highlight BW. That just looks at the black and white highlight. If I click on the stars, that's kind of the color over gray. So that's a nice way to look and make sure that you have a nice solid white matte because everything that's white is going to be affected. Everything that's black is not going to be affected. So now that we have a pretty good selection, we can switch out of highlight mode and we can do whatever adjustments we want that we would normally do to an image, but it just applies to the coat. So of course, if we went down here to our primary controls, I could grab hue and rotate it around and that would work a lot like it does in the curves. The advantage to making our selection like this would be that we can do a lot more than just basic color transforms. We could even do stuff like go to our custom curves and put a curve just on that selection. If I want to say brighten her coat and kind of add more contrast, it kind of pops out a little more. It gives you a lot of control, but it's harder to make a selection like that. If it were just something where I just wanted to grab the hue and rotate it and make this a different color, I would probably use the curves. So I'm going to go up to my nodes, right click, and I'm going to make a parallel node because I want to do something at the same time as this. Now we're going to qualify her skin. But this time instead of using our HSL qualifier, which we can see is selected right here. I'm going to select this menu and there's a bunch of different ones that you can use. You can play with those yourself, but I like the 3D qualifier. What that does is instead of using a bunch of sliders, it uses a sample color like this and I can just draw a line and it will average that color on that line. And then it will pick things that are similar to that line, this and look, we get a pretty good key on her skin without much work at all. And again, I can clean the black, clean the white. And now I have a pretty good selection. There's some problems up here. If I want to switch to black and white, we can see any place where it's gray, it's not completely selected. So I can grab this and draw a line over her skin there and we'll see a lot more of that is selected. And what it's going to try and do is just kind of average all these little color pickers out. see If these lines are here, you can click on this eyedropper and set it to off. And now we can see the adjustments that we're making on her skin, the adjustments that we're making on the coat. And there's a couple of different ways to select things based on their color or their tone. I'll add another parallel node here. You could also do something like use the qualifier and go back to HSL. And you can turn off the saturation and the hue. And you can even just play with these sliders a little bit. Like I'm just going to select the darkest parts and the luminance and go over to my magic wand here and I can adjust this until I start to see Oh, there's those are the darkest parts of the image if I keep this soft enough I can adjust this to where I like and I can just make some subtle corrections just in the shadows do something like again I could desaturate them again. That might be something that you'd want to do with curves I could do something like tint them a different color you have a lot of control using qualifiers and curves. Now let's take a look at one of my favorite parts of Resolve, which is using Windows. Let's go to a new shot just because a little more interesting, maybe shot two. Again, I'll do a quick correction on this shot. Just give it a nice primary grade here, maybe warm it up just a little. And I'll make a new serial node. I can hit alt S on the keyboard to add one of those. And here we're going to do another secondary, but this time instead of using these two things we're going to use a window, which is this third panel right here. Now a window is just making a selection on the image based on the actual area of the image. It's not looking at color information or brightness or saturation or anything like that. It's just making a shape on the image. So if I were to go down to my windows palette here and click on circle, We have a circle added right here. So this is a lot like a mask in other programs. Again, we can use all of these controls in this node and whatever I do. Let's say I make it really warm. Anything that I do is just going to happen inside of that window and I can adjust the shape of the mask just by dragging and moving things around. I can also move the controls down here. I can adjust the softness by grabbing the controls or I can grab the little red dots here. And this is a great way to do things like darken a part of the shot or add a vignette or brighten just a certain subject. So if we were going to add a vignette, I'll just reset this node. We can add a circle. And what I'll do is just roll down on the gamma on the master wheel just to make it a little bit darker. And then I'm going to go down here to the window palette. And this button right here, it looks like a circle inside of a square. I'm going to click that once. What that's going to do is reverse whether we're selecting the inside or the outside of the window. So now everything outside of this window gets adjusted. So if I make it pink, everything outside gets pink. So I can make this a little bigger and soften it out and turn off my overlay here and boom, we have a vignette. Here's before and here's after. So that's a really easy way to add something like that. And that kind of thing goes really far when you're trying to make an image look nice. As long as you keep it subtle, that can really make a big difference. Now there are other shapes. Turn off our circle. We have a rectangle window. We have a polygon window and you can add points to it. We also have a curve where you can just draw like a Bezier curve. And one of my favorites is the gradient gradient just is full on one side and then fades out along this arrow all the way till the end. So you can adjust the softness and the direction just with one control. This is really great if you want to do something like darken the foreground of an image. I like to put this at the bottom and then have it fading up like that. And that just adds a little bit more depth, especially if you have the ground kind of extending out into the distance. Turn that off and on. And it's subtle. You don't really notice it when it's on, but it is doing a lot to just make that shot a little bit more interesting. Now where this gets really powerful is that you can combine windows with anything else that you do. So let's say I wanted to adjust the color of these trees on the right. I'll reset my node grade. I can do something like go to my curves and I'll grab hue versus hue and I'll click and drag over the trees a little bit and that will show me my control point and I can adjust the color of the trees. Let's say maybe we want it kind of a little bit more blueish teal for whatever reason, but I just want it to apply to the trees over here to the right. There's trees on the left that are kind of the same color. So what I can do is limit even what I'm doing here in the curves to a window. So I'll just click over to the window. I can do this all in the same node. In fact, you should do this all in the same node. And I'll grab my curve and I can draw a curve around the trees like this. And now that just applies to that curve. I'll soften it out. Just grab the inside control, drag that and the outside control and drag that. And we can see on the overlay there that is just being softened out. I can also grab things and just soften them out that way. You generally want your windows to be as soft as you can get. If you can get away with them being super, super soft, it's just a little bit easier. Again, if we were to look at the highlight, we can see this is what is being selected and actually adjusted just inside that white. And so now that adjustment of those trees only happens on the right, just like that. Now it's spilling over to the grass and stuff, so we could adjust this just so it hits the trees trees but you can play with that and make it your own. There's before, there's after, we just have those nice kind of teal trees on the right. So you can combine all of these to do some really really powerful things. You can do just about anything you want. There really isn't much of a limit. One note about using qualifiers and curves and windows and that kind of thing is if you have a key like this skin key where it's just selecting her skin tones. It's usually a good idea if you can to limit it with a window. The reason for that is because sometimes you'll pick things in the background that are the same color and you didn't really mean to. So if we go over to this highlight, we can see we're actually getting some random stuff back here. We're getting this tree and we don't really want that. We just want to look at her skin like this. So what I can do is limit this key with a window, go to my windows palette, and I can either draw a shape or maybe just use a circle, just stretch it out, and we'll do something like that so that we don't get all that noise in the background and adjust more things than we need to. And now it's just adjusting where her skin goes. We've learned a ton of different ways that you can make secondary corrections on your shots, but now let's talk about how we can take it even a level further with tracking. So back on shot three where we have our skin qualified here in this node, we have it limited with a window. It happens to work out that we can kind of just put a big circle on top of this whole shot and her skin stays within the circle. And it's not really affecting this tree or anything like that. But what if we have something a little bit trickier where maybe she goes all the way across the screen, we can actually take this window and motion track it along with her and it's super cool We'll do that on this shot in a second. Let's look at something a little bit easier So this first shot with our nice green trees moves just a little bit back and forth and because our window is so soft You don't really notice that the selection isn't that exact however if we wanted to we could track this and this is so Gosh, it's so easy. It's for I don't even It's not even it's almost not even worth teaching. It's so easy. It's for I don't even It's not even it's almost not even worth teaching. It's so easy whatever window that you want to track just have it selected and then go down to the fourth icon over in the middle the tracker palette this little menu here says window that means that we're going to be tracking the motion of the window that we have selected for the node that we have selected and All I'm gonna do is hit this play button right here and watch what happens It just tracks the motion. I didn't have to do anything. I didn't have to set up a tracker. I didn't have to tell it to use specific motion or anything like that. All I did was just select the window I want to track and it pretty much tracks it. Most of the time, no joke, probably like 90% of the time, this works perfectly. It's amazing. Sometimes there are trickier things, which we might get into later, but for the most part you just select the window and track it. There are options here if you know that the shot doesn't zoom it might track a little better if you uncheck zoom or uncheck rotate and there's also this 3d part which will actually figure out motion in 3d like if something is if like a cube is rotating it will rotate along with one side of the cube it's it's insane. But if it's just a basic movement like this, I could probably undo 3D and zoom and maybe even rotate and I could track this and it would probably track just fine. That's something where if you're having trouble with your track moving all around, it's worth trying to uncheck some of these and see if it tracks better. Most of the time, just with default, it'll track pretty fine and it will work great. And the coolest part is that once it's tracked, you can still move this window. Check this out. This window actually isn't really lined up the way that I want it to be. It's kind of off. So if I grab this and move it over, it's still going to move along with the track. It's not going to mess up or like jiggle or do any weird stuff. It's just going to stick where it is, but based on that motion that we tracked, I can even adjust, you know, a lot of the specific stuff and really get more exact with my window if I want to. And again, it just moves it along with the track. In fact, you can even do stuff like track something else that moves similarly and use that motion on a different part of the image. If I wanted to, I could even move this over here and adjust the size and everything to be stuff for this tree. And it's really going to stick about the same because a lot of that motion in this shot is really similar. That's a super useful way to do things. Now, let's say you wanted to adjust the shape as it moves and you did want it to change. You did want it to stick where it was. You can do that too. Like maybe this last shot. Again, I'll do a quick primary correction on it. Adjust the white balance a little bit. Boost up my mid tones. Bring up my saturation. It's a little bit cool. So I'll warm a new node, I'll use my power curve, go to the end of the shot and I'll do a basic little shape around her coat. Now I can go to my tracker and since I'm at the end of the shot, I'll just track it backwards and we'll see it tracks the motion really well, but the edges of this aren't really the way that we want. They're good there, but at the beginning of the shot, it's kind of weird. If we were to move this right now and move these things around, it would stick and be the exact same shape throughout the shot. That's because we're in clip mode in our tracker right here. So what I can do is go from clip mode into frame mode, click that right there. What that's going to do is basically add a keyframe anytime that I adjust this shape and it's going to animate in between the shapes that I make. So at the end of my shot, I want it to be hugging the edges of her jacket roughly. And at the beginning of the shot, I'll move here. I can adjust my edges to be a lot closer to the edges of her jacket. And then when I move in between it pretty much hugs the jacket. That's because it's animating between those two shapes. And again, all I did was just move to a new frame and since I'm in frame mode, it automatically adds a key frame here in our tracker. So that's a great way to get a really precise track. Just make sure that if you're going to adjust something like the softness of the window that you quit, that you go back to clip before you adjust things or else you're messed yourself up if you want it to be applied to the whole clip. So I'll up the inside softness here and then I could do something like add a custom curve and brighten up her jacket a little bit just to add a little bit more light there. And again, if you keep it soft and it's tracked, it'd be hard to notice that you did anything on that jacket, even though it is pretty strong. So how would we track something like her face? Well, because we're using a qualifier, we can have a pretty rough track. If we were going to do something like rotoscope her face out and really, really make it exact, we would have to do something a lot more involved like this kind of animation. But because we're really just limiting our key, we can have a pretty rough track and the qualifier will take the rest of it. So, and I'll go down to my windows palette and I'm going to go to these three dots up in the upper right hand corner and select reset selected window. That should, if I go back to my window overlay, should just have a circle in the center. And now I can do something like maybe I'll just select her face and see how that tracks. I can go to my tracking palette and hit play or I can just hit control T and that's going to stick to the side of her face and it does an insane job. It does a really good job. If I wanted to light that side of her face, that would be a great place to track it. The problem is that she rotates her face and it kind of messes everything up. So we could use the basic motion from this window, from this track, and then adjust this window at the end to kind of expand and make up for this motion, or we could reset our tracking data. And again, I could track something that has basically the same motion, but isn't so tricky, something like maybe her neck, let control T, and we'll see that move around. It's moving with her body, everything pretty much the same as her face. It's just not moving and twisting around like her head is and then since it has that motion I can just grab this and offset it and it's gonna be around her head pretty much I can adjust this Soften it out a little bit just for safety even make it a little bigger and now we have that motion tracked onto our footage pretty neat, right? Look at all these tools that we have to make things awesome",
+  "language": "en",
+  "confidence": null,
+  "duration": 1366.47
+}