[flow_default] Transcription: 011_-_Color_Pt4_-_Raw_and_Color_Workflow.json

transcriptions/011_-_Color_Pt4_-_Raw_and_Color_Workflow.json

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+{
+  "audio_file": "011_-_Color_Pt4_-_Raw_and_Color_Workflow.wav",
+  "text": "Let's take a step back from our project and take a look at how we might color correct a raw clip. Something that's shot in camera raw, red raw, black magic raw, because you do have a lot more control over a raw image. I've opened one of the original camera files from raw film, which was shot on red in red code raw. These files aren't included with this training because they're just really big and you do need a pretty powerful system to be able to process them. But man, is it nice. And if you're looking for awesome stock footage shot in raw, raw film is the place to be. They're so nice for letting us use this amazing footage. But this is a camera original from the red. And again, I'm just going to go into color. This is just one clip from a new timeline. But this time, since this is original media from the camera, I can go over to this far left icon called camera raw. And here we have a whole palette that actually just changes the way that the image is processed. So if I switch decode using to clip that unlocks all of these things for me and we can see not only how it was shot but we can also change camera settings after the fact. I can change things like color space which has to do with what the colors end up looking like on the screen. That's kind of some advanced stuff. But I also have controls that you would normally set in camera like ISO like color temperature white balance and I can adjust them here with a lot higher quality than I'd be able to if this wasn't raw. So close our clips since we don't need it. Close our gallery since we don't need it. So we can see this just a little bit bigger and crop it a little bit. It's all right. Something like that. Now I can grab this color temperature slider and I can adjust the white balance and kind of do a white balance this way. I can even add contrast and kind of do some basic grading just here in camera raw. If I feel like it's too dark, I can pump up the ISO a little bit and I can do quite a bit of adjustments here even before I get to my color correction tools. This is just how the footage is interpreted. So it's a really nice way to work, especially if you happen to have shot with the wrong white balance or if it's later in the day, like this seems like it was and there's a ton of different controls here. So if you have a camera that shoots raw or if you have access to footage that is raw, this is how you adjust it. Super easy. Now let's take a look at the general color workflow. We've learned a lot about the tools, but it's not just about the tools for a specific shot. It's about how all the shots work together and how the project looks all in sequence. A couple of notes before we dive in too far. A lot of projects that you do are going to have similar shots. So, you know, her walking through the forest here is going to look kind of similar to her walking through the forest here. There's similar tones, similar exposure. And so a lot of the time, the work that you do on one shot, like your primary grade, is going to apply at least roughly to another shot like this that's similar. So you could redo all of that work for each shot, but that's not a smart idea. So what I like to do is just copy this basic grade to another shot. There's a couple of different ways that you can do that. Easiest way is to select the shot that you want to copy the color to and if you have a scroll wheel on your mouse, a three button mouse, you can click down on the scroll wheel, that middle click on the shot that you want to copy from. So here's our ungraded shot. I want to use the color from shot five. I just middle click on shot five and there we have a pretty good start for our color. Again, if you have really similar shots, this can make things go really fast. You can pretty much go through your project and do some really quick color grades. This is great if you are on a really fast timeline. You don't have a lot of time to get super detailed. You can just do a basic grade, make your camera look nice and call it good. If you don't have a middle button on your mouse or you're using a laptop or something like that, you can select the shot you want to copy the color to and then right click on the shot you want to copy from and select apply grade. That's going to do the exact same thing. Another way that you can copy colors from one shot to Select Apply Grade. Select whatever node I want to copy to and hit Ctrl V. That's going to do the exact same thing as I did. But if I have multiple nodes like this shot, I can just grab one node, hit Ctrl C, go to my next shot and hit Ctrl V and just copy that part of the grade without copying all the other nodes. Because if I were to select a shot and then middle click on this shot, that will copy over all of my secondary nodes, which won't make any dang sense at all because we don't have a close up of a lady walking with the blue jacket, she's real far away. That's how science works. You can also reset a shot really easily by middle clicking on a shot that isn't graded. You can tell if you've adjusted a shot or not, if it has a little rainbow selection around the number. If it's gray around the number, you haven't touched it. So I can select shot five, middle click on six, select seven, middle click on six. And the ones that I just copied those colors to show up have that rainbow now. Another way that you can kind of copy looks and things is by using stills. Whatever shot that I have selected, I can save everything that's happening, all the adjustments and everything that I'm making by saving a still. I can do that by right clicking on my viewer and selecting grab still. What that'll do is not only take a screenshot of this frame, but it will also copy everything from all of my nodes and save this here as a little preset. If I want to add that same correction to shot nine, I can just middle click on this shot up here in my gallery. Click on that still. And it works pretty much the same. The reasons why you would save things up here rather than just copying from other shots would be if you have a really big project and you don't want to scroll back to other shots or if you want to save these for later, open them up in different projects, things like that. You can do that by going over here to the upper left hand corner right under where it says gallery. There's this little menu button here. You can open that up and you can save these stills in collections called power grades. Power grades are just collections of stills that live on your system and you can open them in any project. So you can see I have power grade one here. Here's a bunch of stills that I have from other projects that I can open up and use the corrections in this project if I want to. This is great if you do a video series and you always shoot your interviews the same way. You can have one for interviews. If you have a camera that you always shoot time lapses with, you could have like your time lapse grade and it works the same way. Grab a shot, middle click and it'll apply that correction. Of course, this doesn't look that great because it's not actually designed for this camera. Of course, I do have one that's red log, which might look a little better. Yeah, nice. To add your still to a power grade, all you have to do is grab it and drag it into the power grade album just like that and that'll show up here. You can also right click and add still albums, add power grade albums, make new things kind of keep organized, but that's how you do it. That's a really nice way to work and power grades live on your system and can be open on any project and stills just live in this project. So if you have stuff that you're just going to use in this timeline, in this video, stills are a great place to put this export that actual still frame as a picture, but it will also export a DRX file, which is the file format that resolve uses to keep all of this color grading data. So if I wanted to, I could right click and say import and open up any stills that I've exported. Super cool way to work. So I'm going to reset everything on my timeline just by clicking down here in my clips and I'll hit control a that's for select all. I could also shift select everything. And then I'm just going to right click in our node graph and say reset all grades and nodes. That's going to reset all of my shots. Now let's talk about the general color workflow. Really what you're going for when you do color correction is not just to make one shot look nice. Right. We're not just looking to have this shot look nice. We want our entire project to look nice and to feel like it all goes together. Right. Because I could make this shot look amazing and add this nice warm look, add some nice contrast here and just make it really pop, right? I could do that, but it doesn's a trick that people use called the hero shot workflow. I've tried a bunch of different ways to color correct and match shots and make sure everything looks nice together, but this is the best way to do it. Pretty much what you do is you look at all of your shots in thumbnail form and you pick a shot that you think represents the project as a whole very well. Now, if you have multiple scenes, like this is all basically one scene, but if you have multiple scenes, you would want to do that for each scene, each environment. We could probably make the argument that one is kind of in the sunny day and other one is sort of in the evening. We might want to do that. But we generally want a shot that has most of the colors that are in the rest of the project. So something like this where we have skin tones, we have her blue jacket, we have trees, we have mountains, we have sky, we have kind of some sunlight, we have some shadows. This is a great shot to make our hero shot. You could also pick a shot that you really want to turn out super well, like your favorite shot. That's not always the best idea because your favorite shot might not have colors like the rest of the project. But you could at least make sure that a shot like this matches with your favorite shot and kind of go from there. So the first thing we're going to do is do our primary grade on this shot, on our hero shot. In fact, I can right click and go up to clip color and I'll color this lime. That'll add a little dot on shot 10. and that's just a reminder that this is our hero shot So I'll do my grade. I'll just my shadows and my highlights add my saturation Play with my mid tones Maybe do a little s-curve and get this shot looking how I want and I'm gonna spend quite a bit of time making sure that I really like the way the shot looks I think overall it looks pretty good. It's maybe just a little bit too punchy It's also a good idea to play through it on loop and see if it looks nice to Having a still is if you switch to another shot, you can right click on the still and say play still. What that'll do is give a split screen of the still versus the shot that you're on. And so you can really get a good idea of if the shots match just by pulling this split screen back and forth. So what I'll probably do is just copy my grade from shot 10 just by middle clicking and we'll see how it matches with the still. And I'm looking both just at the image and just dragging back and forth. And I'm also looking at the real sky. So if those look like they're in the same world, they look pretty much the same. We've done a good job. Can switch over to shot 11 and I'll do the same thing. Just middle click and copy that grade over and then we can compare this. Now, comparing it with this still does work pretty well, but what really matters is if you play it back. Sometimes things will look good while they're still, but when they play back it looks a little different. I don't know why that is, but it's true. So now if we look at this shot, it could be just because of the leaves, but it looks like this shot is maybe a little bit warmer. So what I'll do is just maybe just grab my gain and pull it a little bit cooler. Again, you can try stuff out, see if it works. I just pull it just a tiny bit cooler. This is where we were. This is where we are now. So it's just a really subtle difference. But now you can kind of believe, believe that these shots live together a little bit easier. If I want to get rid of this split screen, I can right click and hit show reference wipe. That'll get rid of it. And like I said, the down from all the trees to the water. in this has kind of some red midtones, which might be because these trees are more red. It just kind of depends on if it's distracting or not. If it's distracting, maybe we can take this gamma and just pull it away from that pink a little bit, just a little. So we're pretty well together. You always, you also want to make sure that the darkest parts in this shot, like right here, are about the same level as the darkest parts in the other shot, which are right here. And if you look at the scopes, the darkest parts in this shot are down here about halfway between 128 and 0. And the next shot, if I hit down, they're a little bit farther up. So we could probably safely grab our lift and just roll down a little bit looking at our scopes and roll that down just so it's a little bit darker. And now things are feeling a little bit nicer. So that's pretty much how you match shots as you compare them back and forth, fix what's wrong with them. And I like to do this primary grade usually just in one node and make some adjustments all in one node because I want this first node to just be the first step of getting everything matched everything looking nice. Once you have everything matched together then you can work on secondaries you can fix problems you can establish a look and get a little bit more creative.",
+  "language": "en",
+  "confidence": null,
+  "duration": 884.82
+}