[flow_default] Transcription: 013_-_Color_Pt6_-_Coloring_The_Project-Secondaries.json

transcriptions/013_-_Color_Pt6_-_Coloring_The_Project-Secondaries.json

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+{
+  "audio_file": "013_-_Color_Pt6_-_Coloring_The_Project-Secondaries.wav",
+  "text": "In this chapter, we're going to be working with the project Yosemite 2C Secondaries. All you have to do is right click, import project and select Yosemite 2C Secondaries and reconnect the media and you should have exactly what I have here. Okay, we have our project looking pretty good from beginning to end. If we wanted to, we could probably render it like this and it would be pretty good. But now, because we have all of these tools and everything in color, it's really awesome to kind of go through and fix things, tweak things, make them a little bit better if we have time. So let's take 10 minutes and go through and see what we can make better. Easiest way to figure out what to do is just to watch your project back. Maybe it's okay, but it just feels like it's a little bit too bright. So we can fix that by making a new serial node. I'm gonna right-click and call this grass just so we stay organized. And I think what I'll do is just use the curves and I'll go with hue versus saturation because I want to pick a specific hue and adjust its saturation, which is going to be this kind of bright green right here. Just click and drag. That's going to add control points here on our curve. And I should just be able to grab this and drag it down a little bit just to kind of make things a little bit tamer. Something like that. Here's before. Here's after. Pretty subtle. It's probably all we need to do as far as the grass. Let's keep playing. So really we're just looking for kind of bigger problems. Anything that's really annoying right now. We can always make each shot better. We're looking for kind of annoying stuff. Things that we don't like. but the real beauty is a little bit more green. This is a little less green. Widen this out a little bit and I'll just boost it up. Yeah, that looks nice. Make sure her hand looks good. Again, if at first glance it seems good, it's probably good. I feel like it's pretty good. So we'll call that good. Now, what I like to do is just go through and see how I could make shots better because we've kind of gotten rid of anything that's really annoying. Let's see if there's parts of the shots that we could enhance. This one's pretty nice. This one's good. I think that we could add, again, that little gradient roll down on the gamma a little bit. Just to darken the foreground a little bit as we're going She's looking out at that waterfall and we want that waterfall to be really cool We could also add a parallel node alt P and I could put a circle window kind of over this stuff right here Maybe I'll track that I control T to track forward I hit alt T to track backwards We'll just track the whole shot and now I can grab my custom curves and I can just adjust the way that that mountain looks and just Bring down those mid tones a little bit. See that's just if I turn this node off and on, you can see it just kind of makes that a little bit stronger and a feather this out a little bit. We'll put it just on that part of the mountain just so it's a little bit clearer, a little bit easy to notice. Looks good. What else can we do to make things look nice? The shot looks pretty good. I feel like we could maybe add some light to her face, but we probably don't need to. It's probably okay. Let's keep looking. I feel like she's maybe a little dark here. So I'll add alt P. It's a parallel node. And again, I can just grab a circle. It's sometimes just easy to grab a circle node and just make it a basic soft shape. If you want to adjust a specific area, just make this really soft. And I'll just maybe boost up the gain a little bit, boost up the gamma a little bit, maybe just saturated to touch. And that's just going to add a little bit of light here where it's kind of dark. because we always want to see our subject and she's our subject and it probably won't even matter if we track it or not because it's such a soft window. This is so soft that you're not going to be able to tell that we put a window here. It's just going to look a little bit lighter there. Sounds great. Shot five. Same thing. We could kind of darken this foreground to make her stand out a little more. Alt S and I'll grab a gradient. Put that on the bottom and roll down on my gamma a little bit. Maybe roll down on my gain too. We'll see. We don't want it to be too dark, but again, this is before and after. You can see it really kind of draws your eye more out here. That's okay for now. And here we have her walking down this path and it really seems like maybe this path should be a little bit brighter because everything's kind of the same brightness and it would be nice to make this path a little bit brighter. Like, oh, this is the way that she's going, you know, kind of a story. So I'll make a new node, serial node, grab a power window and I'll just draw a basic shape here again We're gonna make this really soft. Let's play it back and forth and see if that works Yeah, we don't even need to track it really I'm just gonna make it soft by rolling on the inside and the outside Especially the inside and this time I'll grab my curves again custom curves and I'll just try and boost up the upper midtones and maybe bring down the lower midtones just a touch you'll see it makes a big difference there. And I'll feather this out a little more. Definitely want that to be really soft. I don't want people to think that I added a light there. But yeah, that gives a little bit more light to her path. Maybe I'll boost up the gain a little, just kind of lightening that up. So this is before and this is after. Subtle, but subtle is usually the name of the game when it comes to color correction. Okay, seven looks pretty nice. I don't know if I do a whole lot. Normally I might think about darkening the sky a little bit But there's this there's this flare which that would look really weird if we did that switch over to this shot This sky is a little bit blown out, but our subject looks nice So we can probably put a window over the sky and bring that down a quick way to check that is just adding a new node and I can roll down on my gain and see if there's more data there and see the data comes back in our parade so that's actually in the original footage and so we can kind of bring that down to where we don't have any more data that we're getting with the parade. Of course, everything looks dark. So again, we can just grab a gradient here and just kind of do something maybe like this again, because it's so soft, you aren't going to need to track it. Nobody cares. Okay. So that fixes that problem. Nine looks pretty good. I feel like, you know, pop this part of the image and make that subject a little bit brighter. So again, I'll just add a really soft circle, bring up the gain a little, bring up the gamma, maybe a little bit. it and roll down in the gamma just a little bit just to darken that tree we don't need that tree to be bright we don't we don't care about that tree it's just to add depth looks good and for 10 pretty similar I think it works out alright 11 same thing it's kind of like blue and bright over here probably doesn't need to be so bright we might try taking this side down again with a gradient and maybe push the gain a little warmer yeah push the gain a little warmer the problem is you don't really get like the shots a little less interesting that way which is maybe not what you want I mean you could kind of really make this shot flatter Which I don't know if you necessarily want to do if you want to keep that blue I guess that'd be up to you one thing we can do if we don't want it quite this strong We could also take this node and we can kind of turn down the strength of this node that happens in this palette down here the key palette Click on that and this is it almost looks like the highlight when we go into highlight mode But this is like the opacity and the mask and everything of the node. There's a number here under key output called gain. This is pretty much your opacity or your strength of the node. And so if you grab this and drag it to the left, drag it to like 0.5. That's about 50% strength. And so now if I grab this all the way to one, that's 100% totally on. And then all the way to zero, that's off. And so I can kind of split the difference. Somebody tells you to split the difference in color. This is how you do it. So you can kind of dial that in and look by eye and see, oh yeah, that's a little better. That's nice. Then maybe I want to Alt P and do that same kind of spotlight thing. Really soft circle window. Put it right on our subject and boost up the mid tones and the gain a little bit, boost up the saturation, maybe warm it just a little bit. It's a little bit more obvious. Yeah, look at that lady. Shot 12, I think works fine. Might be nice to put a little gradient on it or even just kind of a vignette really soft vignette just to get some kind of different tones in the water you don't want to go too crazy but maybe bring it down something like that just so it's a little bit more interesting so this is without it and this is with it just have some different tones across this image just looks a little nicer and here we have her stepping on one thing I don't know if I like is this kind of reddish tone right here that might be the color of that rock but it kind of just feels like there's some weird kind of reddish tone right here. That might be the color of that rock, but it kind of just feels like there's some weird kind of purple undertones there. And so what I might do is just make a new node and I'll draw a little shape around this, make it really soft. Again, if you can get away with making stuff soft, make it as soft as you can. And then we'll just take the pink out of that gamma a little bit. Maybe just take the pink out, maybe move it even towards blue a little bit. See if that works. It kind of makes it really green. I don't know if I like that. Anytime you take pink out, it will look a little bit more green. Maybe we just want to desaturate that kind of color, which we could do in our curves. I'll go to hue versus saturation and I'll drag along that rock and I'll just drag that saturation of that red down. And now here's before, and I don't know if it's doing much. Maybe there we go. It's starting to desaturate a little bit. So we'll take that kind of reddish pinkish orangeish down a little bit. That works pretty well. And I'll track that. And it looks like this needs a little bit more to this shape. Which again, I can just make the shape bigger because it's going to apply throughout the shot. And now if we go back and forth, we have kind of more of a gray rock, which I think is going to look better. Now it is spilling into her shoes a little bit. It's probably something no one's going to notice. But just to be safe, we can kind of pull this back a little bit, feather it out a little more where her shoes are, something like that maybe. As long as it looks natural, it works. Nobody's going to call you on that. Now we have this shot and we can see the back of her and that's pretty good, but we really want to look at the falls, right? So again, we can make a selection with our window and you could probably just use a really soft circle. I'll grab my custom curves and make a little S curve and that kind of just adds a little bit of clarity there, a little bit more definition contrast in those rocks. Looks pretty good. Make sure it's not hitting her too much. You could even really probably put this up here and it would be fine. Something like that. And we'll track it just for fun. Don't probably need to. It's so soft. But there we go. This shot, that works well. We could probably add a vignette, but we probably don't need to. It's fine. And then move on here. This looks nice. We could probably do a vignette on this. You don't really want to add a vignette on everything, but like big landscape shots and everything usually look like if it's a wide shot generally It just looks nice with a subtle vignette on it. Just something subtle like that something subtle This is even maybe a little bit too strong I might even just move it up so that it isn't darkening the sky so much there we go and that's moving along with the motion of this video So it's already moving with the motion that we added in the edit page So that looks pretty good. a little orange for how dark it really should be. So I'm going to hit Alt P and I'm going to grab hue versus saturation and pick her skin and just desaturate her skin just a touch, just a touch. So here's before, here's after. So it just desaturates it a little bit, makes it a little bit more natural because she's not even in focus. She's obviously not the subject. She's just there. So it's okay if she's desaturated a little bit, especially if it's dark. If it's really saturated and dark, it looks kind of weird. I think that works. I think it looks nice. The only thing I might do is darken this part of the sky to just make it a little more dramatic too. Again, Alt P and this time I think I'm going to use a qualifier which is just for the luminance. So if I go to qualifier and I turn off hue and saturation and turn on my highlight, I can grab my low and bring that up until I start to lose the darkest parts of the image and especially start to lose her face and her head and everything here because it's in shadow because I'm just trying to select the sky basically something like that I just want these the sky and clouds and I'm going to clean the black a lot clean the white a lot something like that turn out my low softness maybe boost that up just a little more I just want the brightest parts of this image that's what I'm selecting I'm going to turn off our highlight mode go back to our curves and now I'm just going to add again another little subtle S curve just to bring some definition to those clouds make those look a little bit better I'm going to desaturate them just want to make those look a little bit a little bit more dramatic Which there we go you can see before and after make those clouds a little bit more dramatic now We do have some problems with like her face and kind of it's like the qualifier is kind of messing with the edge of her face here So we can so we can adjust that by going to the qualifier and just messing with stuff. We could take the low down a little bit. We take the softness down. We could not clean the black as much, not clean the white. Gotta figure out kind of what is wrong here. Probably a mixture of a lot of things. I think this luminance threshold just needs to be up a little more and softer so that we aren't really getting in her face. Let's see if that's still... Yeah, it's still doing a little bit. It's still doing a little bit. Okay. So now we just have a little bit more definition there and it works It works out fine So we've gone through and got a little bit more detailed on all of our shots And this is the part where you could completely go through it again You could do 20 different nodes on each shot and make it as good as you can But it's all dependent on how much time you have if you have the time to do that if you have the budget to do that Definitely do it if you don't then you can call it good here So that is a whole bunch on the color page of resolve. Surprisingly, we skipped over a ton of stuff. There are tons of little controls and little tricks and everything that we could be here for 20 hours. But those are the main things that you need to know for adjusting things in the color page. I do want to show you one more trick for doing a look over your entire project, which actually combines things in the edit page as well as the color page. So let's say that we like this, but maybe we want to add a stylistic look over it. Maybe we want everything to look warm. Maybe we want to add a hipster kind of vibe to everything. We could go through and add a node to each of our shots. We could even do something like group all of the shots and add a look to them. But one of the easiest, most visual, amazing ways to do something like this is to go back to the edit page, go to the effects library and under under effects, grab an adjustment clip. I'm gonna hit shift Z so I can see everything in our timeline. Grab the adjustment clip and drag it to our timeline, and I'm gonna put it over everything on our timeline. Again, whatever you do to this adjustment clip is going to happen to the clips under it. That includes things that you do in the edit page, but it also includes things in the color page. So if I click back to the color page, you'll see that we have a new clip here in the timeline, and it says adjustment clip. Whatever we do to this clip, even in the color page is going to happen over everything. So if I were to desaturate this adjustment clip just by dragging down on my saturation, it would affect the entire project and make it black and white. So this is a great way to get a look over everything. So I'll reset my primaries. And again, it's a good idea to go to your hero shot, but make sure that you don't click on your hero shot. You just go to your adjustment clip and scrub through to your hero shot like this. And then you can make a look and it will apply throughout your whole project. So let's say we want it to be a little bit warmer, maybe in the mid tones, maybe we want to add a little bit of an S curve, something like this. Maybe we want our shadows to be a little bit warmer, something like that. That's gonna apply to our entire project. Pretty cool. And because we've matched everything together, we've done a lot of work making sure all the shots look similar. It's gonna come out pretty well. Once you decide on your a I actually really like our project without a look on it, just kind of graded the way that we did. So I'll go back to the edit page and just take this adjustment clip off. But that's a super great way to add a project-wide grade if you want to. Okay, that does it for the color page. Next, we're gonna get into compositing and graphics using Fusion.",
+  "language": "en",
+  "confidence": null,
+  "duration": 1076.31
+}