IntroductionThe Magic Bullet (MB) Suite| 00:00 | (music playing)
| | 00:04 | Ladies and Gentlemen, welcome to this
training series on the Magic Bullet Suite
| | 00:07 | by Red Giant Software.
My name is Chad Perkins and throughout
| | 00:11 | this training series, I'll be showing you
how to create more stunning video using
| | 00:15 | the massive arsenal of tools in the Magic
Bullet Suite.
| | 00:19 | We live in an era where almost everyone
has a camera, so in order for your
| | 00:22 | footage to stick out, it's got to look
good.
| | 00:25 | And that's exactly what the Magic Bullet
Suite helps you to accomplish.
| | 00:29 | First up we'll look at the power house in
the suite, Magic Bullet Looks.
| | 00:33 | Looks is a huge collection of presets,
color correction tools.
| | 00:38 | And also special effects, that you can
use to beautify and polish your footage.
| | 00:44 | We'll wrap up our look at Looks by
looking at practical applications
| | 00:47 | including how to color correct a clip
from start to finish.
| | 00:51 | Next we'll look at the very powerful
Colorista 2.
| | 00:55 | We'll use Colorista to do basic color
correction as well as more advanced
| | 00:59 | colored grades.
And we'll also be using its powerful
| | 01:03 | keying functionality to turn a beautiful
spring afternoon into a dreary winter morning.
| | 01:09 | After that will take an in-depth look at
how to remove noise with Denoiser.
| | 01:15 | We'll use Cosmo to smooth out skin tones
and make them more beautiful.
| | 01:19 | We'll look at Mojo to quickly add that
cinematic blockbuster look to footage.
| | 01:24 | And we'll wrap up by looking at
transcoding footage with Grinder, using
| | 01:28 | photo looks on still images in PhotoShop,
and more.
| | 01:32 | Note that for this training I'll be
sticking to Adobe After Effects, but you
| | 01:35 | can follow along in your host application
of choice such as Premiere, Final Cut
| | 01:39 | Pro, or for looks you can use Vegas or
Avid, etc, etc.
| | 01:43 | I really love Red Giant software as a
company, and this suite of products is
| | 01:46 | one of the most popular and powerful
plugins out there and you're going to see why.
| | 01:50 | This is going to be a fun one folks.
So let's jump in and learn the ins and
| | 01:55 | outs of the Magic Bullet Suite.
| | 01:57 |
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| Using the exercise files| 00:00 |
If you have access to the exercise files
that accompany this training, then congratulations.
| | 00:05 |
You're making some wonderful life
decisions.
| | 00:07 |
And I want to take just a second here and
explain to you how these exercise files
| | 00:12 |
are set up.
So in the exercise fo, folder you'll find
| | 00:16 |
a folder for each chapter, and they
correspond to the chapters from the training.
| | 00:21 |
And if you are going to go through
chapter four for example, then if you
| | 00:25 |
open up chapter four, you'll find the
project files that go with that training,
| | 00:29 |
that, that chapter.
Now what's really interesting is that
| | 00:34 |
these project files are mostly base of
Aftereffect, that's the host application
| | 00:38 |
that I use for this training although you
could use Final Cut for most of it or
| | 00:41 |
Premiere for most of it.
But the After Effects Project files are
| | 00:45 |
in these different chapters and these
After Effects Project files point to the
| | 00:48 |
media, in the Media folder.
And so if you're looking for extra files
| | 00:52 |
to play with you'll find them here.
I've also included in these folders
| | 00:56 |
specifically the R3D Stills folder and
the Video folder additional videos and
| | 01:01 |
still images for you to play with.
It should also be noted that especially
| | 01:08 |
with the R3D folders here, R3D Stilsl is
in R3D video that these are 4k, 12-bit
| | 01:12 |
raw files for you to play with.
They have tons of latitude, they're great
| | 01:18 |
for playing around for color correction
'cuz you can push them very far.
| | 01:22 |
As we'll see later in the training in one
of the cases we start with.
| | 01:26 |
This woman, this footage and then we
piece by piece clean it up and turn it
| | 01:32 |
into that.
Whereas if you were to take other clips
| | 01:36 |
that started out looking like this, you
wouldn't be able to make such great
| | 01:40 |
changes in it.
So, that's how the exercise files are
| | 01:44 |
laid out for this course.
| | 01:45 |
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|
|
1. Magic Bullet Looks BasicsAbout the Looks host applications| 00:00 |
For most plugins, you get 'em, and they
only work for one application.
| | 00:04 |
But, the Magic Bullet Suite is a little
bit different.
| | 00:08 |
Each application has its own
host-applications, in other words,
| | 00:11 |
applications that those plugins work in,
and they're different for every app.
| | 00:15 |
So, for the big apps, in this suite,
we'll be covering, as we cover them,
| | 00:19 |
we'll cover their host applications.
So, you could go and find this yourself
| | 00:23 |
by going to the Red Giant, software
website and find the part that you're
| | 00:27 |
looking for.
And then, you scroll down a little bit,
| | 00:30 |
and go to Compatibility.
Scroll down a little bit, and you'll find
| | 00:35 |
Host Applications.
In our case, for Magic Bullet Looks, that
| | 00:38 |
we're going to be looking at now, we have
Magic Bullet Looks in After Effects,
| | 00:42 |
which is the client we're going to be
using for this training series.
| | 00:46 |
But also, Premiere Pro, which is great,
because the color tools, in Premiere,
| | 00:50 |
aren't that great.
It's also great for After Effects too,
| | 00:53 |
because even though After Effects has
some cool color tools.
| | 00:56 |
It doesn't have scopes by default, and a
lot of other tools that we have through
| | 00:59 |
looks and the other Magic Bullet
applications.
| | 01:03 |
Final Cut Pro 10, as well as 7 and 6,
Apple Motion, Sony Vegas Pro, and Avid
| | 01:07 |
Media Composer.
So, when you purchase Magic Bullet Looks,
| | 01:12 |
it automatically installs the plugins for
all these applications so you have access
| | 01:16 |
to Looks From all of them.
It's really a great deal.
| | 01:21 |
It also you leverage your learning, so as
you learn this for After Effects, for
| | 01:24 |
example, then as you switch over to
Preimer or Final Cut, you have access to
| | 01:27 |
the same tools and you can use the same
knowledge that you've acquired for both.
| | 01:33 |
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| Understanding the MB Looks workflow| 00:00 |
Magic Bullet Looks is a plugin designed
to improve the look of your footage.
| | 00:05 |
Before we dig in and get into the
specifics, I want to give you here just a
| | 00:09 |
little overview of the general workflow
in Looks, so that as we discuss the
| | 00:12 |
individual parts, you see where they fit.
So, I'm going to apply Looks to my
| | 00:18 |
footage, we're here, in Adobe After
Effects, and I'm going to go over to the
| | 00:22 |
Effect controls panel and click the Edit
button, that's how, in After Effects, we
| | 00:25 |
get to this window.
We see our footage here, and there's a
| | 00:31 |
bunch of stuff going on, around this
screen.
| | 00:34 |
Basically, here's the way that Looks
thinks, we can change some of the basic
| | 00:39 |
components of this shot.
At least that's the, the paradigm that
| | 00:46 |
looks uses.
So, in other words, we can change things
| | 00:49 |
about the subject.
We can go to the tools on the right side.
| | 00:51 |
Just have your mouse over the Tools on
the right side.
| | 00:54 |
If you're skilled with your mouse, you
could even just kind of put it right
| | 00:57 |
there on the edge.
I have a harder time getting that to work.
| | 01:00 |
But we have all of these different little
exposures.
| | 01:02 |
These separate tools.
That we might use to adjust a subject in
| | 01:07 |
real life such as a fill light or a spot
fill.
| | 01:11 |
Next we have matte tools that we might
put on the matte box of a camera.
| | 01:16 |
We also have lense tools that would be
something that the lense would change on
| | 01:19 |
the shot.
Also camera adjustments, and finally post adjustments.
| | 01:25 |
And these are processed in order from
left to right.
| | 01:27 |
So for example, if we go to the Subject
category we go to Tools.
| | 01:32 |
There's saturation.
We can drag and drop this and we can add
| | 01:35 |
the saturation to the subject, put it in
camera, as if it were a camera setting,
| | 01:39 |
or put it in post.
This little, that's not working.
| | 01:44 |
There we go.
So, you put it in post, or we could come
| | 01:46 |
down here, to these segments, and put
these down here, in the subject, the
| | 01:49 |
camera, or post.
Now, the difference, here, is that if we
| | 01:53 |
put it in the subject, that all the other
adjustments, that we changed, are going
| | 01:57 |
to be added to the saturated or
desaturated adjustment.
| | 02:02 |
In many cases, it's preferable to add
saturation in post at the end of the
| | 02:06 |
chain, so that we saturate everything
that we've done.
| | 02:10 |
It all depends on what you want to do and
what the circumstances of your particular
| | 02:14 |
situation are calling for.
Note that you could also just drag and
| | 02:18 |
drop these and put these in different
places as you want, so it's very flexible.
| | 02:23 |
Now, another thing you could do, in
Looks, is go over to the left side, where
| | 02:26 |
we have Preset Looks, in different
categories.
| | 02:29 |
So, we have basic categories, in the
upper left, this is, if we want to just
| | 02:32 |
cool this down a little bit, if we
want to warm it up, or just add some contrast.
| | 02:37 |
Or, we can open up Cinematic, is another
one of those categories, there's actually
| | 02:41 |
many categories here.
But we can get an action movie look, and
| | 02:45 |
indie movie look, we can get a zombie
movie, a romance movie, this blockbuster.
| | 02:51 |
Any one of these settings, and everything
that we do, everything we add here with
| | 02:55 |
the presets, completely replaces
everything else that we had in our tool
| | 02:58 |
chain here.
It's also completely non-destructive, so
| | 03:04 |
we could select one of these adjustments
and we could make changes as we see fit.
| | 03:10 |
So nothing is etched in stone, even with
the presets.
| | 03:13 |
Throughout this training series, I'll
also be showing you how to create your
| | 03:16 |
own custom looks.
Before accepting your look, you might
| | 03:20 |
want to go over to the scopes here or
maybe the skin graph, these charts, and
| | 03:23 |
looking at your footage and examine, make
sure it falls within accepted standards
| | 03:28 |
and when you're all done click Finish,
and there is your new look.
| | 03:35 |
Once you close that up and you're back in
your host application you can open a
| | 03:38 |
power mask.
And minimize where the effect takes place.
| | 03:43 |
So I could create a rectangular or
elliptical mask, and then that effect
| | 03:46 |
only shows up in that area.
Or outside that area, as it were.
| | 03:52 |
And we could also feather that.
So this allows you to create an infinite
| | 03:56 |
range of really great looks for your
footage.
| | 04:00 |
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| Using Looks presets| 00:00 |
Lets look a little bit more closely at
using Looks Presets.
| | 00:03 |
Let me first explain this project here.
I basically have this four k red footage,
| | 00:09 |
it's actually just a single still image.
But it's 4096 by 2160 pixels.
| | 00:17 |
And it's in a two k composition, so it's
scaled down.
| | 00:21 |
The reason why I want to to show that to
you, is because what we're going to see
| | 00:25 |
with Looks is actually pretty great.
It's not going to only apply the effect
| | 00:30 |
to just what we can see in the comp, it's
going to apply it to the whole image
| | 00:34 |
regardless of the scale settings, or
regardless how it's framed in the
| | 00:37 |
composition, which is really great.
So, I applied Looks, now I'll go ahead
| | 00:44 |
and click the Edit> Looks Editor.
And now, we can go over to the left, and
| | 00:48 |
you can see, that there's this huge tree
here, we didn't see any of that tree in
| | 00:51 |
the After Effects window there.
And now, we can see the whole entire
| | 00:56 |
shot, which is, again, really great for
grading, because if you decide, later on,
| | 00:59 |
to move this shot, It will already be
graded and it will already be in a way
| | 01:01 |
that's predictable because you'll know
what it's going to look like.
| | 01:06 |
Now I'm going to go over to the left hand
side here again and we have again these presets.
| | 01:10 |
We have the basic presets which do very
basic things, just cool it, warm it,
| | 01:15 |
Contrast, Sharpen.
And often times you want to go in and
| | 01:19 |
maybe apply this preset.
And then go into lets say for example
| | 01:23 |
Warm and Cool.
I'll click on that adjustment.
| | 01:26 |
That tool.
And then we'll go over to the, over to
| | 01:29 |
the controls in the upper right hand
corner.
| | 01:31 |
And then we can dial that back a little
bit.
| | 01:33 |
We might want to take down the warmth and
increase the coolness a little bit more.
| | 01:40 |
So it's not as warm.
We also might want to take down the tint level.
| | 01:45 |
So each of the tools will have different
parameters that you can use to adjust
| | 01:49 |
your footage.
I often like to think of these presets as
| | 01:53 |
kind of jumping-off the points, ways to
get started.
| | 01:56 |
Remember that as you change another
preset here as we click another look.
| | 02:01 |
It's going to completely replace
everything that was there before it.
| | 02:06 |
So that, when you click on a preset,
let's say Romance for example.
| | 02:10 |
Everything that's here from this Indie
preset is going to be completely gone
| | 02:14 |
when we click the Romance preset.
That could be a rude awakening, of you're
| | 02:18 |
not ready for it, so be aware of that.
Now I'm going to click on one of these
| | 02:22 |
that's kind of hardcore, let's say the
Mexicali Preset, really harsh, really
| | 02:26 |
strong, as its intended to be but, it's
still kind of overkill, as I find a lot
| | 02:29 |
of these looks are.
So what I'm going to do is I'm going to
| | 02:34 |
do something different here, I'm going to
click Finished.
| | 02:37 |
And what I'm going to do is, come down
here to the Composition panel.
| | 02:40 |
I'm going to right click, Choose New
adjustment layer, what I'm going to do
| | 02:45 |
is, I'm going to click on Looks, on the
layer that I applied looks to, I'm going
| | 02:51 |
to press Cmd+x on the Mac or Ctrl+x on
the PC, to cut that.
| | 02:59 |
Select the adjustment layer, press Cmd+v
on the Mac or Ctrl+v to paste that effect
| | 03:04 |
with the adjustment layer selected.
And now that it's on an adjustment layer,
| | 03:10 |
I can do all kinds of cool stuff to it.
I can change the blend mode to let's say
| | 03:15 |
soft light maybe.
Let's take that back to normal.
| | 03:19 |
I can also press the letter t to open up
the opacity for that adjustment layer,
| | 03:23 |
and I can dial it down by taking down the
opacity until I get a better effect.
| | 03:30 |
In some host clients, such as Final Cutt
Pro 7.
| | 03:33 |
There will be a mix slider and you can
actually dial back the look, or the
| | 03:36 |
strength of a look, using the mix slider.
That's an amazing feature that I really
| | 03:41 |
wish were universal through all the host
applications, but it's, it's not unfortunately.
| | 03:46 |
But this little work around with the
adjustment layer does definitely help the
| | 03:51 |
flexibility of looks quite a bit.
Now another thing its kind of cool is if
| | 03:56 |
we go over to the Red Giant website, its
redgiantsofware.com and I'm on the Magic
| | 04:00 |
Bullet Looks page and I'm going to scroll
down little bit because actually a
| | 04:04 |
presets tab here as this explain the
features and all I can stuff, all as
| | 04:08 |
marketing stuff, click on Presets and its
this really nice gallery of what the
| | 04:12 |
presets look like.
And the categories are up here at the top.
| | 04:20 |
So I can click on emulation, and then now
here's all of the emulation presets for example.
| | 04:26 |
And I could mouse over this and actually
see video footage of what this looks like
| | 04:30 |
playing back.
Is a negative, color reversal old style.
| | 04:38 |
As we browse through those presets and
really see what they're doing without
| | 04:42 |
having to manually click and apply all of
them.
| | 04:45 |
The help files that ship with Magic
Bullet Looks also contain a gallery of
| | 04:49 |
the presets.
So again, Looks are a great way to jump
| | 04:53 |
in and get started with Magic Bullet
Looks.
| | 04:56 |
I find them to be a little bit overkill.
But they are great jumping off points and
| | 05:01 |
they really help if if your using an
adjustment layer in after effects or in
| | 05:05 |
premier or if your using that mix slider.
| | 05:09 |
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| Previewing before and after| 00:00 |
In this tutorial, we're going to look at
previewing before and after.
| | 00:04 |
Now, we're going to learn a few little
shortcuts and tricks along the way, it's
| | 00:07 |
pretty cool.
So, I have here this clip, and I've
| | 00:09 |
applied some Magic Bullet Looks, and I've
intentionally ruined the footage and made
| | 00:13 |
it look terrible, so we have to go play
detective and figure out what's going so.
| | 00:17 |
So, let's go ahead and click on Edit,
we'll make sure this layer's selected, we
| | 00:21 |
can see its effect controls here.
Click the Edit button to open up the
| | 00:25 |
Magic Bullet Looks window.
And we have here a series of tools that
| | 00:28 |
we've applied to this footage to get this
look.
| | 00:32 |
And one of these things is messing up our
footage.
| | 00:35 |
Now what we can do, is we could go to the
little power icon for each of the tools,
| | 00:39 |
and turn it off and on.
I'll turn off the vignette and turn on
| | 00:44 |
the vignette.
This is great for previewing, seeing
| | 00:47 |
before and afters, and as we go to
saturation we realize, you know what,
| | 00:51 |
this is the culprit, it looks terrible.
So, what I'm going to do is I'm going to
| | 00:56 |
click and drag on this tool, this
Saturation tool.
| | 01:00 |
And note that it's not Ranged Saturation
in the post section.
| | 01:04 |
It's the regular Saturation in the camera
section, there use to be a little trash
| | 01:07 |
can icon, where you just drag and drop
and drop and throw stuff away there's,
| | 01:10 |
that doesn't I guess anymore.
So, we're going to have to grab the tool
| | 01:15 |
and drag down, as long as you can see a
little cursor there, like in a camera
| | 01:18 |
section and in the post section.
that's not going to work, its not
| | 01:22 |
going to delete, its going to move it
which is actually pretty cool, that you
| | 01:25 |
can move things around like that well we
want to delete this tool.
| | 01:29 |
So, I'm going to drag and drop down to
the bottom of the icon.
| | 01:32 |
There's nothing that tells you you're
throwing it away.
| | 01:34 |
You just kind of have to have faith and
just let go.
| | 01:36 |
So I put this here and then that effect
is deleted.
| | 01:41 |
Now we still have a lot of stuff going on
here.
| | 01:43 |
We still have the Diffusion, the
Vignette, all of these settings over here.
| | 01:46 |
And what if we want to preview this look
before and after.
| | 01:50 |
We could do this, come over here to the
bottom left hand corner to the Tool Chain
| | 01:53 |
area, and click the Power for the whole
entire Tool Chain.
| | 01:56 |
This shows you the original footage, and
then you can see before, and after.
| | 02:02 |
Now another thing you could do is use the
keyboard shortcut.
| | 02:04 |
This is the Backslash key, which is right
above the Return key or the Enter key on
| | 02:08 |
your keyboard.
So, as I press the Backslash key, it's
| | 02:12 |
like it pushes the Tool Chain power on
and off button, note that it's not a toggle.
| | 02:17 |
So, as you're holding the button, it's
going to freak out, and go back and forth
| | 02:20 |
really fast, so you just press it once to
turn it off, push it once again to turn
| | 02:23 |
it back on.
Magic Bullet Looks makes it as easy as
| | 02:28 |
possible to preview before and after,
with individual tools and the entire Tool
| | 02:32 |
Chain itself.
| | 02:34 |
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| Tweaking Looks presets| 00:00 |
Let's look a little bit more closely at
how to customize and tweak, Looks Presets.
| | 00:06 |
I have this footage here, this dude,
looking all serious and angry and stuff
| | 00:10 |
and go over to Looks, click on Edit, open
up that Magic Bullet Looks window.
| | 00:16 |
Let's go over to our looks on the left
hand side.
| | 00:19 |
And in the Diffusion and Light area, go
ahead and click on Halogen.
| | 00:23 |
Now, this preset, wasn't really meant for
this type of footage, as you can tell, it
| | 00:27 |
doesn't really look all that great.
But, we're going to have here, an
| | 00:31 |
introduction into the different tools,
and ways that you can adjust that.
| | 00:36 |
So, we have, here, a Spot Exposure, so
this is just kind of, like a windowed
| | 00:40 |
area, that just kind of makes this bright
streak across the middle.
| | 00:45 |
We also have this Haze/Flare.
Which brightens highlights.
| | 00:50 |
Looks pretty cool.
We also have this Pop, which tightens
| | 00:53 |
things up a little bit.
It's what they call local contrast.
| | 00:56 |
That's kind of like sharpening.
And then we also have Auto Shoulder which
| | 01:00 |
basically, rolls off the highlights, so
that they don't blow out.
| | 01:04 |
So I like the way that Auto Shoulder
looks and this is what I typically do
| | 01:08 |
when I apply a look.
If there's something that's good or not
| | 01:11 |
that great, what I'll do is I'll go
through and I'll just turn on and off,
| | 01:14 |
each of these individual adjustments in
the Tool Chain.
| | 01:18 |
And just kind of adjust it and see what I
want to do differently.
| | 01:21 |
I don't think in this case that Pop is
bringing in anything to the table.
| | 01:25 |
So I'm just go ahead and click on Pop.
Drag it down to the bottom here, to the
| | 01:29 |
imaginary trash can let go to get rid of
it and now we have Spot Exposure,
| | 01:32 |
Haze/Flare and Auto Shoulder.
Auto Shoulder is just great.
| | 01:36 |
I don't want to fiddle with that at all,
so I'm just going to leave that alone.
| | 01:39 |
I do want to play with Spot Exposure and
the Haze/Flare.
| | 01:42 |
So I'm going to click on Spot Exposure,
and we have here the, the area that it's
| | 01:46 |
going to be in, and that's.
That's fine.
| | 01:50 |
And let's go over here to Spot Exposure
on the right where we have our controls.
| | 01:54 |
Once we select one of the tools, we get
the controls in the upper right we can adjust.
| | 01:59 |
So I want to adjust the stops.
The exposure here, it's adding 2.2 stops
| | 02:02 |
of exposure right to the middle.
I, I really don't like that, so I'm
| | 02:06 |
going to click on the number here and
just drag it to the left.
| | 02:10 |
Just like you would do in After Effects
or other programs that you adjust that way.
| | 02:14 |
And I'm going to take this more like to 1
or a little bit around there, maybe 1.1.
| | 02:20 |
Now that does look a little bit to
bright, but it will look better when I go
| | 02:23 |
to Haze/Flare and make some adjustments
here.
| | 02:26 |
Now one of the things I can do.
Is increase maybe the spillage.
| | 02:30 |
Oh, and now we're getting some cool like,
streaky lens flares, I like it.
| | 02:36 |
And then we could also maybe increase the
exposure of those.
| | 02:39 |
That's definitely a really stylized look,
but it kind of looks like there's flares
| | 02:42 |
coming in from some blinds on the side or
maybe something like that.
| | 02:47 |
You could also adjust the Matte Box
Shade.
| | 02:50 |
So if we want that to go all the way at
the edges, we could take Matte Box Shade
| | 02:53 |
down to zero.
As we increase this you'll see that we
| | 02:56 |
get more of a, kind of an outer edge
vignetting effect.
| | 03:00 |
It looks like an old TV there.
Let's just take this down to zero, it
| | 03:03 |
goes all the way to the edges.
You also go over here to the Tint Color,
| | 03:07 |
and maybe make this more of.
a tungsten looking light.
| | 03:12 |
Something like that.
I actually prefer the other way better,
| | 03:16 |
the original blue.
So, I'm just going to hit Cmd+Z on the
| | 03:19 |
Mac, or Ctrl+Z on the PC, to undo that.
Which you can actually undo in Looks, fantastic.
| | 03:25 |
I can make this brighter or darker by
clicking along this.
| | 03:29 |
White to black gradient along the edge
here, so I could make it brighter, or I
| | 03:31 |
could make it darker.
Dial that back in.
| | 03:35 |
And now, I have my own custom look, that
looks very different than what we had
| | 03:39 |
initially, because we were able to go in
and tweak these parameters manually.
| | 03:45 |
Again, I know I've said it before but a
lot of these looks are really overkill
| | 03:50 |
but they do provide you a great starting
place.
| | 03:55 |
Then you can just click on one of these
like we did and really just customize it
| | 03:58 |
to whatever you like.
| | 04:01 |
| | Collapse this transcript |
| Saving custom looks| 00:00 |
In the last tutorial, we spent sometime
setting up this custom preset, the flare
| | 00:04 |
and everything here.
But now I want to save it so in case I
| | 00:08 |
want to re use it, such as this other
clip that's pretty much from the same
| | 00:11 |
scene, or at least from a similar scene,
I can just go ahead and apply that cause
| | 00:14 |
it's already made.
So what I want to do is select the
| | 00:20 |
original shot layer, and edit the looks.
Now this is actually a little bit more
| | 00:26 |
tricky than you think it would be.
If you go to File > Export Look As, it
| | 00:31 |
will create a look file for you.
It will create a .nblook file, and you'll
| | 00:38 |
find this file actually in the chapter 2
folder of the exercise files.
| | 00:43 |
But the problem is, is that it doesn't
really open those files very well.
| | 00:48 |
It doesn't open up the .nblook files.
It kind of saves them.
| | 00:52 |
And it will not allow you to bring them
back in, without going through some crazy steps.
| | 00:57 |
You actually have to go in And on a Mac
you have to put it in this directory
| | 01:00 |
library application support looks builder
looks, on a PC you've to put it in this
| | 01:05 |
directory, program files looks builder
looks and then looks will automatically
| | 01:09 |
read them from that directory.
Now that's if you do it then not super
| | 01:17 |
efficient way.
The easiest way to do this.
| | 01:22 |
Is actually to click at the look name
here, actually double click and I'll call
| | 01:26 |
this Blue Streax.
And then I hit Enter, I'll go into my
| | 01:31 |
Looks and now you see, my blue streaks
looks preset here, that I could use again
| | 01:35 |
at anytime and I don't have to worry
about moving the MB Look file around or
| | 01:40 |
any of that mumbo-jumbo.
I'm just going to close that up, click
| | 01:46 |
Cancel, and I'm going to turn off the
visibility of the original Shot layer,
| | 01:49 |
select the untouched layer, turn on its
visibility.
| | 01:53 |
I've gone ahead and applied looks for
you, but I haven't done anything to it.
| | 01:57 |
So, I'm going to click the Edit button,
here, and I'm going to go over to my Looks.
| | 02:03 |
Turn on Custom, or open up Custom and
then I can click Blue Streaks and then
| | 02:06 |
the same preset with all of our settings
that we created last time are now here.
| | 02:12 |
So again, there's several ways to save
your work in Looks, but going and just
| | 02:17 |
renaming the Look is actually, probably
the most efficient way.
| | 02:22 |
| | Collapse this transcript |
| Creating a power mask| 00:00 |
Sometimes, you won't want looks to apply
to all of your footage.
| | 00:05 |
Now you could mask it out, if the
adjustment was on a separate layer, if
| | 00:08 |
you mask it out now, it's going to mask
out the original content of the layer and
| | 00:12 |
the look, which is probably not what you
want.
| | 00:16 |
So, Looks has this great feature called
Power Masks, which just sounds really
| | 00:20 |
cool, Power Masks.
And what you can do is add a Power Masks
| | 00:25 |
to limit where this adjustment shows up.
So, in this footage we have this really
| | 00:30 |
buttery, romantic look that covers the
whole entire image in Diffusion.
| | 00:36 |
And it's obviously way over, over kill,
highly stylized.
| | 00:40 |
But we can make this a little bit more
believable if we add a Power Masks.
| | 00:44 |
So I'm going to change the masks drop
down in the Power Masks section, from
| | 00:48 |
None to, let's say, Ellipse.
And this will create an elliptical masks.
| | 00:53 |
And that way we can put the masks only
where our actress is and remove the
| | 00:57 |
effect where our actress is.
Now this is the exact opposite.
| | 01:01 |
So, what we need to do is come down to
the bottom of Power Masks, the option
| | 01:03 |
Invert Masks and check that.
So, everything that was blurry is now
| | 01:08 |
clear and vice versa.
We can click on the edges here to resize
| | 01:14 |
the size of the window here.
We can also use these Effect Control
| | 01:20 |
Points, which control the top, and bottom
of this area here, this Power Masks.
| | 01:29 |
And of course we could increase the
Feather size.
| | 01:31 |
I'm going to take this all the way up to
100, so we have a nice soft feather here.
| | 01:34 |
And then I'll actually take down the
Radius, which I can control with just the
| | 01:38 |
Radius slider here.
And I might want to bring that up, and
| | 01:43 |
just adjust the top there.
And so now we have, just a really soft
| | 01:49 |
feathered masks, let me go ahead and just
click in a blank area here to deselect that.
| | 01:54 |
And now we have a fate masks there, and
we could see her a little bit more clearly.
| | 01:59 |
And so the whole thing seems very flash
backy or very dreamy.
| | 02:04 |
But we still can see our actress a little
bit better.
| | 02:07 |
Let's compare and contrast that the
masks, let's take this to none.
| | 02:10 |
So, this is before and so she's totally
wiped out there we can't see her at all.
| | 02:14 |
She almost doesn't even seem like the
focus.
| | 02:16 |
As we take this back to Ellipse, and we
get our masks back, we can really see
| | 02:20 |
that, we have the space now where we can
see her more clearly.
| | 02:26 |
Now as we'll look at later, in Colorista
II, also in the Magic Bullet Suite, in
| | 02:31 |
the secondary section as you apply
secondary corrections, you can apply a
| | 02:35 |
Power Masks to the secondary color
correction.
| | 02:40 |
We'll talk about what secondary color
corrections are, and why'd you want to
| | 02:43 |
power mask those out.
But that's really helpful, and it's the
| | 02:46 |
same exact controls, as you can see here.
So, just remember that Power Masks are a
| | 02:51 |
great way to limit your corrects in Looks
to a specific area.
| | 02:57 |
| | Collapse this transcript |
| Utilizing the scopes| 00:00 |
I just love using After Effects for color
Work.
| | 00:03 |
The tools here are phenomenal.
But one of the big drawbacks it doesn't
| | 00:06 |
have any scopes.
Doesn't have any chart to let you know
| | 00:09 |
how how your colors are actually doing.
And because monitors can be so different,
| | 00:14 |
especially when they're not calibrated
properly, and it's really hard to get
| | 00:18 |
them calibrated properly, and because our
eyes play such tricks on us sometimes, we
| | 00:22 |
really need absolutes.
We need to know where our colors really are.
| | 00:28 |
Thankfully if we select the Scopes layer
here, go to Looks>Edit to get into the
| | 00:31 |
Looks window, we'll see, that in the
upper left-hand corner, that Looks does
| | 00:35 |
have a collection of Scopes for us to
use, so we can look and see what's going
| | 00:39 |
on with our colors.
So, again, we just want to click that
| | 00:45 |
Scopes button, if it's not showing, in
the upper left-hand corner, get those
| | 00:48 |
Scopes showing.
Let's talk a little bit about the Scopes,
| | 00:51 |
and how they work.
I''m actually going to close up RGB
| | 00:54 |
Parade and open up the Slice graph
momentarily.
| | 00:57 |
The Slice Graph, shows you what's called
a Waveform Monitor, at least a version of
| | 01:02 |
a Waveform Monitor represented in each of
the color channels.
| | 01:06 |
Now the way Waveform Monitor works is it
gives you a read out of the amount of
| | 01:10 |
color in a channel from left to right
across your image.
| | 01:15 |
So in other words as we see this big
bright highlights here on the far left side.
| | 01:19 |
We see a little spike, especially in the
red channel, these are very warm
| | 01:22 |
highlights, so it makes sense that red is
the highest point here, and then we have
| | 01:26 |
her body which is mostly dark, and so we
have a little dip here.
| | 01:31 |
And then we have a brighter light here,
which corresponds to this bright point
| | 01:35 |
here, and so forth.
Now looking at this chart, I realize that
| | 01:39 |
the brightest point in the image is over
here on the far right.
| | 01:43 |
I wouldn't have realized that, but as I
look at the graph, I see that that is
| | 01:46 |
indeed the case.
Now if I close up Slice Graph and open up
| | 01:50 |
RGB Parade, this is actually a little bit
more clear to see because this is
| | 01:54 |
actually showing you all of the color
information, not just kind of a single
| | 01:58 |
line representation and it's, it's
separated into different color channels
| | 02:02 |
so we see the red, the green and the blue
independently.
| | 02:09 |
This zero line is pure black and this 1.0
line where the arrow is is considered to
| | 02:13 |
be pure white, in other words it is the
brightest.
| | 02:18 |
Acceptable range that you should be
having highlights.
| | 02:21 |
As I look at this I see that there is a
crushing of the blacks in the green
| | 02:25 |
channel right here.
Just a little small tip right here.
| | 02:30 |
And then I also see that there are some
blown out red highlights all throughout
| | 02:34 |
the image.
So what we could do is go down to my
| | 02:37 |
Adjustments here.
I can turn them on and off and see where
| | 02:41 |
the problems are.
Now it looks like the Color Ranges tool,
| | 02:46 |
that I have here in my chain, is the
thing that's making these reds blow out
| | 02:51 |
so much.
It is a nice effect.
| | 02:55 |
I like it.
But it does create some, some ugliness.
| | 03:00 |
So what I can do is with Color Ranges
selected, I go down over to Strength
| | 03:04 |
here, and I could just tone that down
maybe, just tone it down a little bit
| | 03:08 |
until those values are about safe.
If they peak a little bit, especially
| | 03:15 |
with these highlights it's going to be
okay.
| | 03:18 |
Now this is going for broadcast, I'd
probably that that's not okay, and that
| | 03:21 |
needs to be fixed.
But because this is just going for the
| | 03:24 |
web, and maybe film, then I think that's
going to be acceptable.
| | 03:28 |
Also, we can see here, that we really
don't have too much shadow details.
| | 03:32 |
I mentioned we have a little bit of
shadows here in the green.
| | 03:35 |
But this really is really washed out here
for the shadows.
| | 03:39 |
This looks cool in this case but, you
might be aware that it might look very
| | 03:41 |
washed out if you were to play this on
the big screen.
| | 03:45 |
If we select Curves for example, go over
the RGB section here and then click on
| | 03:50 |
this lower point.
And drag this down, you could see that
| | 03:55 |
those shadows are now getting closer to
black.
| | 03:59 |
Now I don't like this look as much.
So I might want to dial that back just a
| | 04:04 |
little bit here, and not quite have pure
black.
| | 04:06 |
I kind of like this ethereal look, but
maybe giving a little bit more crunch to
| | 04:10 |
the blacks will work here.
Now, a couple of other interesting graphs here.
| | 04:15 |
We have hue saturation, which kind of
looks like a looks like a vector scale.
| | 04:19 |
So we have a representation of the color
wheel here, and this area right here,
| | 04:23 |
this line, is where human skin tone lie.
And we can see that we have some crushing.
| | 04:30 |
Of those tones here.
And again, as we go back go Color Ranges,
| | 04:35 |
and as we dial this down, you can see the
effect that that has.
| | 04:40 |
So as we increase saturation, these
values you'll notice go farther towards
| | 04:44 |
the edge.
And as they are, kind of, right along the
| | 04:47 |
edge, flat along the edge, you can see
that we've kind of crushed some of our
| | 04:50 |
colors, and we need to dial that back.
So, from a brightest perspective, we were
| | 04:55 |
okay, but from a saturation perspective,
we were still blown out a little bit, so
| | 04:58 |
might want to just turn that effect off
all together.
| | 05:02 |
Now, similar to Hue Saturation, is Hue
Lightness, so this has all the colors on
| | 05:06 |
the color wheel from left to right, and
brightness, from bottom to top.
| | 05:12 |
I honestly don't use this graph, very
often, I prefer the RGB Parade, which has
| | 05:15 |
similar data, just not about color.
So, I probably use Hue Saturation and RGB
| | 05:20 |
Parade, in conjunction with each other.
Rather than Hue Lightness.
| | 05:24 |
Now, this one is interesting, Memory
Colors.
| | 05:26 |
Memory Colors are something in the color
correction world which refer to colors
| | 05:30 |
that the human eye just recognizes, the
blue of a sky, the green of grass or
| | 05:34 |
trees, definitely skin tones, they're
colors that we just kind of recognize,
| | 05:38 |
and instinctively know.
And, we want to make sure then, because
| | 05:43 |
our eye know them, that when we see trees
and water and grass and skin.
| | 05:48 |
That it's all within the acceptable
range.
| | 05:51 |
So the fact that we have some skin tone
here.
| | 05:54 |
And we can't see any skin in this chart
is a bad sign.
| | 05:58 |
We don't have any memory colors.
There's no memory colors for bottles and curtains.
| | 06:03 |
So we don't have to worry about that.
Lets go ahead and click Cancel here.
| | 06:07 |
And then let's go ahead and turn off the
Scopes Layer, turn on the Skin Layer.
| | 06:11 |
We have another example.
I'm going to go ahead and click Edit here.
| | 06:15 |
Now this image looks great to me, I think
it looks pretty good, decently with my eyes.
| | 06:20 |
Maybe where you're from, looking at
doesn't look that great but as I click on
| | 06:24 |
Curves we can adjust this Curve a little
bit more.
| | 06:29 |
And it seems like, if we even just maybe
darken those mid-tones a little bit, it
| | 06:33 |
seems like this is a believable skin
tone, but our memory colors say no, there
| | 06:37 |
is no skin tone that we're seeing.
Also, we can click on this Skin Graph
| | 06:44 |
here, which shows us with a little orange
grid.
| | 06:49 |
Where Skin tones are and right now it's
saying that there aren't any acceptable
| | 06:53 |
Skin tones.
Now let's open up Hue Saturation and see
| | 06:57 |
that they are too kind of maroon a little
bit.
| | 07:02 |
So maybe let's to to the blue channel and
maybe play with the blue.
| | 07:06 |
As we Increase the blue, we're kind of
getting a little bit farther away.
| | 07:11 |
So we might want to take some blue out of
the shot.
| | 07:15 |
So as I click and reduce these points,
we're getting a little bit closer to
| | 07:20 |
having her skin tone be correct.
Let's maybe play with the green channel a
| | 07:26 |
little bit.
As we Increase the green.
| | 07:30 |
Looks like we're getting a little bit
closer here.
| | 07:32 |
Again, I'm keeping track of this little
here.
| | 07:35 |
I want this to be on this line here,
where the skin tones are.
| | 07:39 |
And as I'm playing with this, a little
bit more.
| | 07:43 |
We're starting to see a little patch of
orange here.
| | 07:46 |
That means that that area is kind of
coming into harmony with where skin tones
| | 07:51 |
should be.
And, maybe i should, now, go back and add
| | 07:57 |
some red, here.
And we've almost got it.
| | 08:05 |
And, we're definitely adding in some,
some red, here.
| | 08:08 |
Kind of losing the skin scope here but
we're definitely getting closer so if I
| | 08:13 |
hit the back slash key on the keyboard I
could see the before, which also shows no
| | 08:18 |
skin tone and then to after.
So we're getting there, at least for
| | 08:24 |
certain locals so they we were before.
So we wa/g, want to just go back and keep
| | 08:28 |
doing a little bit more of what we're
doing.
| | 08:31 |
Where we're adding more green and
ironically even though green is not
| | 08:34 |
something that I would think of typically
adding to skin tones, it's green is the
| | 08:39 |
missing component here and now this is
more in line with where her skin should be.
| | 08:46 |
You could also see now in the Memory
Colors that these colors are now showing
| | 08:49 |
up a little more clearly letting us know
that we're getting closer to those tones
| | 08:52 |
there as well.
Even subtract a little bit more blue.
| | 08:58 |
Now we're getting skin tone everywhere.
But you can start to see flesh tones show
| | 09:02 |
up in the memory colors, and it's about
on that line for hue saturation.
| | 09:07 |
And it's showing up in the graph with the
skin.
| | 09:09 |
I'll just turn all that off.
And no we have a much more believable
| | 09:12 |
skin tone than we started out with.
So again the human eye can be deceiving,
| | 09:18 |
what you think looks right might not
actually be right.
| | 09:22 |
So these are kind of the standards that
help you to know if your colors are
| | 09:26 |
actually correct or if your eyes are
playing tricks on you.
| | 09:30 |
| | Collapse this transcript |
|
|
2. A Tour of the Looks ToolsUsing the Subject tools| 00:00 |
All right, let's go ahead and open up
Looks here, the Looks interface.
| | 00:04 |
And as we go over to the tools, we see
that we have these five different
| | 00:07 |
categories and tons of effects.
And for new users, this is often very
| | 00:12 |
overwhelming, it certainly was for me.
To complicate things, when you apply one
| | 00:17 |
of these tools to your footage, there's
tons of controls.
| | 00:20 |
It can be certainly overwhelming.
So what we're going to do in this chapter
| | 00:24 |
is to kind of just browse through these
different tools in these different categories.
| | 00:30 |
And I'm going to show you my favorites
and we're also going to learn a little
| | 00:33 |
bit about the way that these tools kind
of think, some kind of common parameters,
| | 00:36 |
and other things that you'll bump into as
you work.
| | 00:40 |
In this tutorial we're going to focus on
the, oops, we're going to focus on the
| | 00:44 |
Subject tools here.
So in other words, these are things that
| | 00:47 |
might mimic what you would change on a
subject if you were shooting a subject.
| | 00:52 |
Now, one of the cool things about these
five different tools categories is that
| | 00:56 |
if you scroll all the way down, we'll see
presets.
| | 01:00 |
They're kind of like quick tools.
They're quick versions, or settings of
| | 01:04 |
tools in this category.
For example, Exposure is the first tool
| | 01:08 |
in the tools category.
And, as we scroll down, we'll have this
| | 01:11 |
little divider line here.
And then we have minus 1 stop or plus 1
| | 01:15 |
stop, so it's like a custom Exposure
tool.
| | 01:19 |
So, if you know I just want this a little
bit darker, you can drag and drop this
| | 01:22 |
tool, and actually you could just
double-click a tool to apply it in that spot.
| | 01:28 |
So there goes.
It, it just takes away one stop of
| | 01:29 |
exposure automatically we don't have to
think about it.
| | 01:33 |
Now, if we want to delete this, we can
drag it down like we've done or you can
| | 01:35 |
also hit the Delete key on your keyboard
to get rid of it when it's selected.
| | 01:40 |
Another thing that's important to know if
you go back to our tools here is that a
| | 01:43 |
lot of these effects kind of mimic each
other.
| | 01:45 |
They're constantly improving looks and so
they'll add new versions of an old effect.
| | 01:51 |
And so some of them are kind of limiting,
some of them are better than others.
| | 01:53 |
And a lot of them do similar things.
For example, Color use a 3-way and Color
| | 01:57 |
Ranges, you can see here they adjust
shadows, mid-tones and highlights.
| | 02:02 |
It's a great, very informative icon.
And as we apply them, let's just go ahead
| | 02:05 |
and double-click Colorista 3-way and then
go back and double-click Color Ranges.
| | 02:09 |
They do appear to be very similar,
Colorista 3-way and Color Ranges.
| | 02:14 |
But there is a subtle difference here in
Color Ranges.
| | 02:17 |
But, before we get to Color Ranges, I'm
just going to go ahead and delete it for
| | 02:20 |
right now, go back to Colorista 3-way.
Let's talk about this Color Gizmo, we see
| | 02:24 |
this all over the place and there's just
a bunch of stuff going on here, so let's
| | 02:27 |
just talk about what this is.
So, what, this allows you to adjust
| | 02:32 |
everything you can about color from this
interface.
| | 02:36 |
So in other words, let's go to the mid,
the mid tones.
| | 02:38 |
It's a little bit easier to see.
This outer ring on the right side, this
| | 02:41 |
black to white gradient, represents the
brightness of the mid tones for example,
| | 02:44 |
or the highlights, or the shadows
depending on where we are.
| | 02:49 |
So if you click on this line here and we
drag our mouse up, or down, we are
| | 02:53 |
brightening or darkening the mid-tones.
This wheel, in the center here, this
| | 02:59 |
Color icon, controls both the hue, the
color family, and also, the saturation.
| | 03:05 |
By default, it's set to nothing.
So, as we drag it, let's say, for
| | 03:09 |
example, we want to cool this image down,
as I drag it, over to the blues, we start
| | 03:13 |
to see a little bit of a blue tint come
into our mid-tones.
| | 03:18 |
As we drag this little puck around this
wheel, we'll change the color tone.
| | 03:24 |
And, as we drag it into the center more,
we'll desaturate the amount of color added.
| | 03:29 |
And, as we towards the outside, we'll
increase the amount of color added, in
| | 03:32 |
other words, we'll saturate it.
Now, that's one way to adjust hue and saturation.
| | 03:38 |
Another way is to just grab this little
puck that follows around the center white
| | 03:42 |
puck and grab that and just drag it to
whatever color you want.
| | 03:47 |
It's not as sensitive so it's good to
kind of rough out what you want.
| | 03:51 |
So let's say we wanted a warm color tint.
We kind of get in the right neck of the woods.
| | 03:55 |
And then we can go kind of fine tune it
with this little circle here.
| | 04:00 |
We could also control the saturation by
this slider on the left.
| | 04:03 |
Just click and drag up and down.
So, now that we know how to work the
| | 04:07 |
Color Wheel gizmo thing, I'm going to go
ahead and click Reset here, and play with
| | 04:10 |
the shadows, mid-tones and highlights.
I want to warm up the highlights here.
| | 04:16 |
Actually, it's a better idea to start
with the shadows.
| | 04:19 |
So, I'll break from that.
Start with the shadows, I'm going to go
| | 04:23 |
down, and I'm going to cool off these
shadows.
| | 04:27 |
And I'm also going to click and drag on
the right hand side here, and darken this
| | 04:30 |
a little bit.
And maybe cool off the mid tones, just
| | 04:34 |
click and drag.
Just a little bit, cool off the mid tones.
| | 04:39 |
And now, I could go back up to the
highlights.
| | 04:40 |
Oftentimes, when you're doing color
correction, it's kind of what you want to do.
| | 04:43 |
You want to maybe push and pull the
highlights and the shadows away from each
| | 04:46 |
other on the color wheel, so if we have
cool shadows having warm highlights can
| | 04:50 |
be a great contrast.
So it looks pretty good.
| | 04:53 |
We could dial back the whole adjustment
effect if we want, by taking down the
| | 04:56 |
strength slider.
I'll leave that set to 100 for right now.
| | 04:59 |
You could also use the Backslash key as
we talked about before to turn off all
| | 05:02 |
the adjustments, to see the before, and
the after.
| | 05:05 |
It looks pretty cool, there's some other
things I would change but I think that
| | 05:09 |
what's wrong here what I don't like, is
that there's a lot of the dark mid-tones
| | 05:13 |
that are also picking up this blue
adjustment.
| | 05:17 |
And so I wish that It didn't consider so
much stuff to be shadows.
| | 05:22 |
I wish the shadows were a little bit more
limited to just the, the most dark areas.
| | 05:27 |
So what I'm going to do is I'm going to
select Colorista 3-way.
| | 05:30 |
Delete it, and go to tools.
I'm going to apply color ranges.
| | 05:33 |
because it's basically the exact same
thing as Colorista 3-way.
| | 05:36 |
Except that it does allow you to limit
where the colors fall.
| | 05:40 |
So let's try that again.
And if my, explanation doesn't really
| | 05:43 |
make too much sense, we'll see it in
action, and it'll be a little bit more clear.
| | 05:47 |
So, I'm going to adjust the shadows,
darken those up a bit, darken those up alot.
| | 05:54 |
And then, I'll also, maybe cooled off the
mid-tones a little bit, and I'll, also,
| | 05:58 |
warm up the highlights.
Here.
| | 06:03 |
Now it's interesting.
You see we did the exact same adjustment,
| | 06:06 |
and we don't have the same look exactly.
So I might want to darken my shadows a
| | 06:11 |
little bit more and bump up the
saturation of the blue in the shadows.
| | 06:17 |
Might want to move that around a little
bit.
| | 06:20 |
But really where I'm having trouble is
now its the opposite problem.
| | 06:23 |
A lot of these mid tones should be
shadows and its not really picking up.
| | 06:27 |
Well that's where this threshold really
comes in handy.
| | 06:29 |
So if I increase the shadow threshold.
It's going to make more of the mid tones
| | 06:34 |
turn into shadows.
And you see if I keep going too far, even
| | 06:38 |
the highlights get darkened.
So it allows you to control the limits,
| | 06:42 |
of what are highlights, what are mid
tones, and what are shadows.
| | 06:48 |
Now, before going further I just want to
make this look a little bit better, so
| | 06:51 |
I'm going to increase the saturation of
the mid tones, a little bit more blue
| | 06:55 |
there and I can also increase the
saturation of our warm highlights.
| | 07:01 |
Maybe we'll adjust what is defined as a
highlight so we get less of the warm highlight.
| | 07:08 |
We also play with the mid tone threshold
until we get this looking the way that we
| | 07:13 |
want here.
And there we have the before and the after.
| | 07:20 |
I want to brighten those highlights just
a little bit.
| | 07:22 |
Again, it's always good to get your
shadows and highlights done first before
| | 07:26 |
you adjust everything else.
And I didn't do that, so that kind of
| | 07:30 |
through me off a little bit.
So, I'll take down the saturation of this
| | 07:34 |
warm highlight, and now I'm pretty happy
with that.
| | 07:38 |
Now, let's look at a couple other tools
here, in the Subject category.
| | 07:41 |
We have, two effects, here, Spot Fill and
Spot Exposure, and they both have similar
| | 07:46 |
gizmos and seem similar.
But as we apply Spot Fill, we can see
| | 07:52 |
that we are adding a fill light, let me
increase the fill a little bit, in just
| | 07:57 |
this range.
And there's this Feather setting here.
| | 08:02 |
I find that I don't use this as often
because it just basically, it's like
| | 08:06 |
adding a fill light where it's just
basically turning everything to gray and
| | 08:09 |
washing everything out.
I don't find that to be as handy.
| | 08:13 |
But there is Spot Exposure, which seems
similar.
| | 08:18 |
But as we increase the exposure, you see
that it looks a much more natural and organic.
| | 08:23 |
So, what I'm going to do is I'm going to
reset this.
| | 08:25 |
And actually, I want to take down the
stuff.
| | 08:27 |
I actually want to darken this.
I'm going to over-correct intentionally.
| | 08:30 |
So, that as I position this, I can see
what's happening.
| | 08:33 |
I can re-size this.
And I can see also, that my feathered
| | 08:37 |
area is adjusted automatically but I can
control my feathering independently.
| | 08:43 |
Might want to take that down and then
increase the size, would be nice, soft
| | 08:48 |
fall off here.
And now, that I have my area where I want
| | 08:52 |
it to be.
I'm going to be, basically darkening this
| | 08:55 |
background area, so that the tractor pops
a little bit.
| | 08:58 |
I'm going to reset the Stops, and now,
I'll take this down in a much more
| | 09:02 |
controlled way, probably 7 10ths of a
stop, somewhere around there.
| | 09:07 |
And now, as we zoom back in, and click
away from the Spot Exposure and deselect it.
| | 09:12 |
We can see, that we have darkened this
background, here's the before,
| | 09:16 |
everything's kind of wash out and the
after.
| | 09:19 |
Still might go through back to Color
Ranges, maybe brighten just the mid tones
| | 09:23 |
a little bit, just to increase that
contrast.
| | 09:27 |
See the before and the after, okay, much
better.
| | 09:31 |
Now, a couple of these tools, or a few of
them, I should say, throughout these five
| | 09:34 |
categories, do really interesting things.
Sometimes even damage your footage
| | 09:39 |
intentionally, like Chromatic Aberration,
in this Subject category.
| | 09:42 |
I'm going to double-click, to apply that.
And, what this does, is that it creates a
| | 09:46 |
chromatic aberration, it basically
separates the channels, creating this
| | 09:50 |
cool effect.
We can separate green and magenta, and
| | 09:54 |
you can see a little bit of Green and the
magenta, chromatic aberration there.
| | 09:58 |
Just reset that.
There's also, blue and yellow, which in
| | 10:02 |
this case, doesn't look super blue or
yellow, it looks kind of gray.
| | 10:07 |
But, the real thing, here, is red and
cyan, that's probably the most common
| | 10:10 |
look when we're talking about Chromatic
Aberration.
| | 10:14 |
This is what they see, what you get in a
3D movie when you take off your glasses.
| | 10:18 |
You have this look, also old films tends
to have more of a red cyan-ish separation
| | 10:23 |
in its chromatic aberration.
And it just kind of has this vintage,
| | 10:28 |
damaged film look that's pretty awesome.
So this is not really an effect
| | 10:33 |
necessarily we think of, when we think of
looks typically.
| | 10:36 |
We don't, this is not a prettying effect.
It's not making our footage more beautiful.
| | 10:40 |
But it is a really cool effect that might
be challenging to achieve otherwise.
| | 10:44 |
So, there's a lot of effects that we'll
be looking at throughout this chapter
| | 10:47 |
like that, that you might not expect out
of Looks.
| | 10:49 |
| | Collapse this transcript |
| Using the Matte tools| 00:00 | Let's go ahead and open up the Looks
Interface and we have our tractor footage here.
| | 00:06 | In this tutorial, we're going to look at
the Matte Tools in the Matte section.
| | 00:12 | Now, these mimic tools that you might use
on a Matte Box on a camera.
| | 00:17 | On a camera's Matte Box, there's usually
slots on the top, where you could insert
| | 00:21 | Filters that will do things like change
the color of the shot.
| | 00:25 | It will, maybe if you have a Neutral
Density Filter, it will lower the
| | 00:28 | Exposure and sometimes these are
graduated so that they might be bright on
| | 00:31 | top, dark on the bottom or vice versa.
And, there's a lot of different tricks
| | 00:37 | you can do and so these tools here, mimic
those effects.
| | 00:41 | Now, let's start with Grad Exposure.
I'm going to go ahead and Double Click that.
| | 00:45 | That applies Grad Exposure, which by
default does nothing, but it exposes us
| | 00:50 | to this little gizmo here, that's
basically Look's way of having a Gradient.
| | 00:56 | This is a really simple tool for
adjusting a Gradient, very handy.
| | 01:00 | So for example, this sky looks a little
grey and dull, and it's obviously a very
| | 01:03 | sunny day here.
So, what we could do is Increase the
| | 01:07 | Stops to Increase the Grad Exposure.
I'll go crazy here just so you can see
| | 01:11 | what's going on.
And it's actually graduating, or creating
| | 01:15 | a Gradient with the Exposure.
So it's bright on the top and then it
| | 01:19 | fades out.
As we grab this, the bottom of this
| | 01:23 | gizmo, we can control the Gradient.
See that there?
| | 01:27 | Now you'll notice that there's not really
a way, at least that I've seen, in order
| | 01:31 | to keep things constrained, so it's
straight up and down.
| | 01:35 | And if you go off even just a little bit
to the left or right, you create this
| | 01:38 | tilted thing, where it's still a
Gradient, but it's from an angle.
| | 01:43 | You might want that you probably won't
though.
| | 01:46 | I usually typically don't like that.
So another way to do this, is by going up
| | 01:50 | to the Values here, and we could Double
Click so our x value is off from our top
| | 01:53 | into bottom, so we just Type in Zero to
make those x values line up.
| | 01:59 | And then we can adjust the y values by
Clicking and Dragging left and right.
| | 02:05 | I'll leave that set down here at the
bottom.
| | 02:06 | I'll go ahead and Reset just the Stops
Value, and we could increase it to
| | 02:10 | something a little bit more normal, maybe
half a Stop.
| | 02:14 | Just a little bit brighter of a sky.
Again, using the Backslash Key on the
| | 02:17 | keyboard, we could see the before, and
the after.
| | 02:20 | It's a little bit better.
I'm going to turn this Off for now, and
| | 02:23 | go back over to the Matte Tools, and I'm
going to Double Click to Add a Sky Filter.
| | 02:28 | Now, this Filter, it attempts to create
a, kind of a sky tint to the whole image.
| | 02:35 | It could also be used to Add Color to a
blown out white sky, for example.
| | 02:39 | One of the biggest problems that you have
on set is trying to get the weather to do
| | 02:42 | exactly what you want, it often doesn't
quite work out.
| | 02:46 | Maybe you have a blown out ugly sky,
maybe you have a grey sky and you want
| | 02:49 | some color there.
Or whatever, and you just kind of want a
| | 02:53 | little bit more color in the image and I
think Sky Filter attempts to do that.
| | 02:56 | And it doesn't look super believable
initially, so we could play with the
| | 02:59 | tint, and we could make this warm if we
want to or push this in different directions.
| | 03:05 | I'm might want to take this down a little
bit more blue there, and then we also
| | 03:08 | have the Strength and we also have
Exposure Compensation, so we can make
| | 03:11 | everything a little bit brighter or a
little bit darker.
| | 03:16 | And there's other ways to get a, a good
sky in Looks.
| | 03:19 | So I actually would say avoid Sky Filter,
but I'm showing it to you because
| | 03:22 | sometime, sometimes, these Looks, these
Tools can be used in, in different ways.
| | 03:28 | So, I'm going to Click Reset, and I'll
take the Tint back to give this more of
| | 03:31 | a, a blueish hue for this particular
footage.
| | 03:34 | I'm, I'm going to take this to about 40
or so.
| | 03:36 | And then, let's go ahead Increase the
Strength a lot and maybe take down the
| | 03:41 | Tint again, so it's even more blue.
Maybe like 25, and then we could use
| | 03:46 | Exposure Compensation to take this down,
and now we have a pretty decent day for
| | 03:50 | night shot, except that our sky is way
too bright.
| | 03:55 | Oh yeah, we have Grad Exposure, so let's
go ahead and Turn On Grad Exposure, which
| | 03:59 | we use to actually brighten the sky.
But, we can actually take this to a
| | 04:04 | negative value, so I'll Click and Drag
Stops down.
| | 04:08 | And then, I will go to the y2 value, or
grab the bottom of this Gradient Tool,
| | 04:12 | and bring it up so the Gradient's
concentrated a little bit more.
| | 04:18 | And then, we have darker night skies with
this kind of environmental haze around
| | 04:23 | the bottom which silhouettes the trees
really nicely.
| | 04:28 | And actually, we might want to take that
down even more.
| | 04:31 | And then, go back over to Sky Filter, and
make that a, a little darker even as our
| | 04:35 | eyes adjust.
Now, this is not the perfect day for
| | 04:38 | night shot because the sun was so bright
that it creates these really hard shadows
| | 04:41 | on the ground.
And the moon never creates really hard
| | 04:44 | shadows on the ground.
So it's never going to be believable, but
| | 04:47 | it's pretty darn close, and it's pretty
easy to do.
| | 04:50 | Now another thing that we haven't really
talked about too much, is that the order
| | 04:53 | in which these effects occur plays a big
roll in the final look of the product.
| | 04:57 | Even within the same category.
So say within the Matte Category, I could
| | 05:01 | take Grad Exposure and Drag it to the
other side of the Sky Filter and you see
| | 05:05 | that it lightens things a little bit.
Because now, now we are performing a Grad
| | 05:11 | Exposure Correction on top of the Sky
Filter instead of vice versa.
| | 05:16 | So, even here there is a subtle change.
So, be aware that the order in which
| | 05:20 | effects Apply in this Tool Chain, from
left to right, makes a big difference in
| | 05:24 | the look of the final piece.
Now, I'm going to turn these Off, for
| | 05:29 | right now.
Let's go back to the Tools, and the Matte
| | 05:31 | Tools here.
One of the things I like to play with, is
| | 05:34 | the Gradient.
I think that this is a great Tool to use
| | 05:36 | for Sky Correction, should be called,
like Sky Gradient, because I find it much
| | 05:38 | more helpful than the Sky Filter.
So that I Double Click on it, the Default
| | 05:43 | Color is, like this gold color.
I think, you might like that.
| | 05:46 | It might be for something stylized, I'm
thinking more orange a little bit.
| | 05:50 | Maybe we'll even take this a little bit
further down, it kind of creates a really
| | 05:54 | stylized world.
What I'm going to do is Reset both of
| | 05:58 | those and I'm going to take the hue, Drag
that little Hue Control around to blue,
| | 06:02 | and I'll Click and Drag, maybe over here
on the left and make this a little bit
| | 06:06 | more saturated.
Oh, oh hello, looks much better there,
| | 06:14 | much more skyish.
And then one, one of the things you'll
| | 06:18 | notice is that a lot of times when you're
Adding color in, it's actually darkening things.
| | 06:24 | So you can go over to this Exposure
Compensation and increase that, which is,
| | 06:27 | which is great.
Probably everything probably would be a
| | 06:30 | little bit brighter.
But the problem is, is that when you're
| | 06:33 | doing Exposure Compensation, it's not
graduated like the rest of the colors are.
| | 06:39 | So in other words, it doesn't just stop,
so this bottom area really is not being
| | 06:42 | effected by the Gradient.
But it is being effected by the Exposure Compensation.
| | 06:47 | So if we wanted to, for example, brighten
the skies or the blue in the skies, then
| | 06:51 | we can actually go over here to the Color
Wheel and Increase, grab on this little
| | 06:55 | black and white Slider here and Drag that
upwards and then brighten the sky, that way.
| | 07:03 | And I could take down the Exposure of the
whole image, and brighten the sky.
| | 07:08 | And I could keep balancing that until it
gets somewhere where I like.
| | 07:11 | And I really like this Gradient.
You could play with that if you want to.
| | 07:13 | We go to y2 and Drag this Up or Down.
We could have it so it's a little bit
| | 07:17 | more adjusted in the sky.
That does make the sky a little bit more
| | 07:20 | believable because as we look closer to
the horizon line, the amount of
| | 07:24 | atmosphere builds up and becomes lighter.
But even though that's more believable
| | 07:31 | for the sky, it doesn't change the fact
that we're not getting the blue on the
| | 07:34 | trees anymore, which actually, you really
like.
| | 07:38 | So what I'm going to do is take this y2
back Down.
| | 07:40 | And you can see that these trees are now
getting covered a little bit, and it's,
| | 07:43 | it's gradual.
It, but it's getting covered a little bit
| | 07:47 | in the blue from the sky, which makes
everything composite better.
| | 07:51 | We might want to even brighten up that a
little bit more.
| | 07:56 | And now we have a much better image.
Here's the before, using the Backslash
| | 08:01 | Arrow, or the Backslash on the keyboard.
There's the original, and there's with
| | 08:05 | our blue sky.
I might just want to Turn Down the
| | 08:08 | Strength of the whole thing a little bit.
because now that I see the before and the
| | 08:12 | after it is a pretty harsh adjustment.
Maybe we could even Desaturate that blue
| | 08:16 | a little bit.
It definitely looks better with the blue.
| | 08:21 | But again, it's a, it's a fine balance
between something that looks better from
| | 08:23 | an aesthetic point of view, and something
that also looks believable, because if it
| | 08:26 | looks artificial it's going to take
people out of the, out of the moment.
| | 08:31 | So even though our skies ideally would be
super blue like that, it just, it's
| | 08:35 | going to be not convincing.
So here's before and after and that looks
| | 08:41 | fantastic thanks to these great Matte
Tools.
| | 08:44 | Also note, that one of the key Tools in
the Matte Area is Diffusion, and this
| | 08:49 | kind of creates a Diffuse Glow in the
image.
| | 08:53 | Here's the before and the after.
It kind of makes all the highlights
| | 08:57 | bright and dreamy.
And, that can be really great if you're
| | 09:00 | having a flashback or something that's a
little bit dreamy or romantic.
| | 09:04 | Again before and after.
And also, in that Matte Section there's,
| | 09:08 | down towards the bottom, there are tons
of these Diffusion Presets that you can
| | 09:12 | use that have a bunch of different
variations.
| | 09:16 | And one of the things I like about Looks
and we alfo, also haven't talked about,
| | 09:19 | is that the Icons here tell you what's
going on with the effect.
| | 09:23 | So in the last movie when we were looking
at Chromatic Aberration, you actually saw
| | 09:26 | the Chromatic Aberration in the Icon.
Same thing here with the Tools Presets,
| | 09:30 | you can see with these Icons what's going
on and you could see here, say for
| | 09:33 | example, for the Color Filter you could
see that this is a cool Color Filter and
| | 09:36 | this is a warm Color Filter because of
these Icons.
| | 09:41 | I think it's brillant.
Next up, we'll look at the Lens Tools.
| | 09:45 |
| | 09:45 |
| | Collapse this transcript |
| Using the Lens tools| 00:00 |
Folks in this tutorial we're going to
look at the Lens tools then I find these
| | 00:05 |
to be the most interesting and kind of
fun creative tools that Looks has.
| | 00:11 |
So I'm going to go to Looks and click on
Edit to open up the little interface here
| | 00:14 |
and I've already applied a Colorista
3-Way here for you.
| | 00:19 |
This is the before you the original
image.
| | 00:21 |
And then after, slightly more creepy.
I'm going to go ahead and turn off the
| | 00:25 |
scope so that we have a little bit more
screen real estate.
| | 00:29 |
Go to my Tools and go to the Lens
section.
| | 00:32 |
Again, we're seeing a lot of unusual
settings here we haven't seen before.
| | 00:37 |
For example, there's this De-flare.
This is a really interesting setting.
| | 00:41 |
And I haven't really had an opportunity
to use this in a real setting, but.
| | 00:45 |
What it does is that it takes, it finds
bright spots and it darkens the area
| | 00:49 |
immediately around them.
So, as we increase the strength, we can
| | 00:54 |
see what that's doing.
It's not just increasing contrast, it's
| | 00:58 |
finding the bright parts of the image
like right here on this little fake Lego
| | 01:03 |
coffin, and it is darkening the area
around that.
| | 01:08 |
So maybe if you did have a shot where
light was pouring into the camera, or
| | 01:10 |
something was flaring up a little bit too
much, you could use De-flare to maybe isolate.
| | 01:15 |
That light.
I'm just going to go ahead and hit the
| | 01:17 |
Delete key with that selected to delete
it.
| | 01:19 |
Let's go back to our Lens Tools.
Another interesting effect here is Lens Distortion.
| | 01:23 |
So double-click on Lens Distortion.
And what this does is adds a pin cushion
| | 01:27 |
type of effect.
The same as you might get when you have a
| | 01:31 |
wide angle lens.
Or maybe even a fish eye lens.
| | 01:35 |
And as we click on this area here, we can
see the amount or the area in which this happens.
| | 01:42 |
We bring it out really big, then we
distort the center, if we bring it in
| | 01:45 |
small, then we start distorting the
edges.
| | 01:48 |
And we could do, of course, increase the
distortion amount here and we could also
| | 01:53 |
flatten it.
So this is basically the the feathering
| | 01:59 |
of that option, but sometimes like if you
wanted to create kind of an interesting
| | 02:02 |
warped look, this looks pretty cool.
I wouldn't think of this as lens correction.
| | 02:09 |
So if you had a wide angle lens you could
of course.
| | 02:12 |
Kind of go the opposite direction to kind
of balance things out as we like, bulge
| | 02:16 |
the center, we're kind of squishing the
inside so, if we did a very subtle
| | 02:19 |
correction, we could maybe compensate for
warped corners if that's not what we wanted.
| | 02:26 |
But there are other tools in After
Effects that are better for that so, and
| | 02:29 |
there's really not too many parameters
here, so this is more of kind of like a
| | 02:32 |
stylized special effect for doing stuff
like that.
| | 02:36 |
Okay, I'm going to go ahead and select
that and hit Delete, go to the Tools> Lens.
| | 02:39 |
Now, one of the big ones here is
vignette, if I double-click that, adds a vignette.
| | 02:46 |
And I can re-size this vignette how I
would like.
| | 02:49 |
I can also use my wheel mouse to zoom out
or zoom in and I could also use it to
| | 02:54 |
maybe flatten this vignette.
This is also good, too, if I put my
| | 02:59 |
cursor here, with the hand, I can
actually move the entire vignette.
| | 03:03 |
And, it doesn't have to, necessarily,
have to be the standard vignette, where
| | 03:06 |
all of the edges are darkened, it could
also be this type of vignette where we're
| | 03:09 |
just kind of focusing, on this area.
And, in this case, we wouldn't, really
| | 03:14 |
want all these areas to be that dark.
So we could do, is go over to the
| | 03:19 |
Strength and take this down a little bit
which brightens the other areas, but it
| | 03:23 |
still does create a nice area of focus.
So, if I turn off the vignette, I turn on
| | 03:30 |
the vignette.
You can see the difference that that makes.
| | 03:32 |
It definitely draws much more attention
to this coffin, in the main area of the scene.
| | 03:38 |
Now I'm actually going to leave the
vignette, I'm going to go back to Tools>
| | 03:42 |
Anamorphic Flare.
This is actually a really, simple effect.
| | 03:47 |
I'm going to drag an drop this, so it
comes before, vignette in the chain.
| | 03:52 |
And now you can see what it does, is that
it looks at the highlights, an it causes, streaks.
| | 03:57 |
Now this is not quite the same thing as,
Knoll Light Factory which is also created
| | 04:01 |
by Red Giant Software, or Optical Flares
by video co-pilot, but those two plugins
| | 04:05 |
are very robust and very complex and they
create lens flares with a lot of complex
| | 04:09 |
elements and they have a pretty steep
learning curve.
| | 04:16 |
This is much more simple, it just looks
at the highlights and streaks them.
| | 04:19 |
So as we can increase the size, it
spreads out a little bit more, we can
| | 04:22 |
also decrease the size, so it's a little
bit more.
| | 04:26 |
Subtle there.
You can see the edges kind of die off by
| | 04:28 |
about this point right here on the edges.
It's also great to see a visual
| | 04:31 |
representation of that on this Anamorphic
Flair icon.
| | 04:35 |
And of course we have Threshold to see
what gets that glow applied as we take
| | 04:38 |
this down, you can see that glow applying
to more objects in our scene.
| | 04:44 |
We could also change the color of that.
But this is, kind of, an unusual
| | 04:48 |
circumstance, and from my experience, it
doesn't exactly always pick up the color
| | 04:53 |
that we want.
For example, as we take this to green, or
| | 04:57 |
yellow, then it just kind of shifts those
color on, colors on the color wheel, so
| | 05:02 |
we're still getting red streaks, here.
But then we get green streaks on the top.
| | 05:09 |
It's a little, a little weird.
So I don't like to fiddle with the hue
| | 05:12 |
that much.
I haven't gotten great results that, that way.
| | 05:15 |
Now the reason why I wanted to put the
Anamorphic Flare before the vignette, is
| | 05:18 |
I want to show you the difference the
order of the effects makes.
| | 05:23 |
This is something that we 've talked
about a little bit.
| | 05:24 |
We'll talk about it more, but I'm
going to drag the Anamorphic Flare to the
| | 05:27 |
right, because right now, what's
happening is, I shall let that go, what's
| | 05:30 |
happening is we have this.
Flare, and then we have the vignette on
| | 05:34 |
top of it.
And so, we're actually, on this edge,
| | 05:37 |
darkening the flare, and in real life,
that's not what happens, when light hits
| | 05:40 |
the lens it's super bright, it doesn't
matter what's in front of it.
| | 05:45 |
So, as I drag this Anamorphic Flare on
top of the vignette, in other words, to
| | 05:49 |
the right of it, then we have a brighter
result than we did before because we're
| | 05:53 |
not having the vignette darken the edges
of the flair.
| | 05:59 |
Now, let's look at one other effect here.
I'll go to tools, lens, and then edge softness.
| | 06:03 |
We'll talk about a few of these, other of
these a little bit later.
| | 06:06 |
I'm going to go ahead and double-click
Edge Softness.
| | 06:09 |
And you could see basically it makes this
kind of feathered blur correction.
| | 06:14 |
So I could put this over here and then we
can return the blur size just a little
| | 06:19 |
bit to turned down an amount of blur.
Now we just kind of soften the outside
| | 06:26 |
edges which creates a really interesting
effect.
| | 06:29 |
Again if we want to put the flair on top
of that if that works better.
| | 06:34 |
We've almost created a more shallow depth
of field.
| | 06:36 |
Now in this case with miniatures, you
want as deep of a depth of field as possible.
| | 06:40 |
So in other words, you want everything in
focus to create the illusion that it's a
| | 06:44 |
bigger area, and you had to use a wider
lens in order to capture.
| | 06:48 |
But if we did want a shallower depth of
field, this is a great way to do it.
| | 06:52 |
Again, we increase the blur and it just
seems like just as one area's in focus
| | 06:56 |
our eye instantly jumps to that one spot.
It might not be bad as in this case but
| | 07:01 |
you can see how cool of an effect that is
and how it might come in handy.
| | 07:06 |
So, if we go down to our little Power
icon, we'll turn off the power for the
| | 07:09 |
flair, the edge softness and the
vignette.
| | 07:12 |
This is the original colored image, and
then we, line by line, piece by piece,
| | 07:17 |
add these extra lens elements.
Really fun, really on a set, are when
| | 07:22 |
you're shooting, lenses make all the
difference in the world and they're so
| | 07:25 |
many cool little.
Weirdnesses that happen with these
| | 07:29 |
lenses, so many tricks with light as the
light comes into these pieces of glass
| | 07:33 |
and bounces around.
It's really a beautiful phenomenon, and
| | 07:37 |
to be able to reproduce that kind of
stuff with Looks is really fun.
| | 07:42 |
| | Collapse this transcript |
| Using the Camera tools| 00:00 |
Now we're going to look at the camera
tools in Looks.
| | 00:03 |
But before we hop into Looks, notice that
in the Looks area here in the Effects
| | 00:07 |
Controls panel, at least in After
Effects, we have a little thumbnail that
| | 00:11 |
shows us the adjustments that we've
already added here.
| | 00:15 |
So if you'll notice, I'll turn off Looks.
Here's the original and here's what I've
| | 00:20 |
done with Looks.
And that you can see here just from these
| | 00:22 |
thumbnails that I've added a Colorista
3-Way.
| | 00:25 |
I've added curves, and I've added a
vignette.
| | 00:28 |
And even the vignette icon is changed
because of the vignette that I added here.
| | 00:34 |
The vignette that I added is actually
making a bright spot right here, so that
| | 00:38 |
attention is draw to the actress' faces
and their dialog, right there.
| | 00:45 |
Set her ration.
And then, there's dark stuff, all the way
| | 00:49 |
around the bottom and the two sides, but
not the top.
| | 00:53 |
And you can see that reflected in the
vignette.
| | 00:55 |
So, it's pretty cool, very handy to be
able to see at a glance, what you got
| | 00:58 |
going on there.
Now, jump into Looks, go ahead and click
| | 01:01 |
the Edit button, here, and we'll go over
to the Camera tool.
| | 01:05 |
Notice, that I've put all the other
corrections.
| | 01:07 |
In previous tool parts of the tool chain
so that we don't have to have anything in
| | 01:11 |
our Camera section for right now.
Now the Camera section's a little unusual actually.
| | 01:18 |
A lot of the adjustments in the camera
section come from the old paradigm of
| | 01:23 |
developing film.
So honestly, a lot of this stuff, really,
| | 01:27 |
doesn't make too much sense to me because
I don't have experience with it.
| | 01:32 |
For example, the Two Strip process, so
this, is something that I wouldn't ever,
| | 01:36 |
really, play with, we could increase that
and decrease that, and it kind of gives
| | 01:40 |
us an interesting balance of red and
cyan, and there's just, no time that I
| | 01:44 |
would ever use that, probably.
Same thing, with Three Strip Process, it
| | 01:51 |
kind of washes everything out, it looks
very, very much like a film color space.
| | 01:58 |
Not not super great there.
But there are some really helpful things.
| | 02:02 |
Color Reversal is another one I was
going to, unusual things.
| | 02:05 |
It basically adds contrast.
But it's one of those things a negative
| | 02:09 |
beach, bleach bypass.
Is really handy, I'm going to double
| | 02:12 |
click on that.
It has a tendency to add a little bit of
| | 02:15 |
contrast, and also desaturate.
I'm going to increase silver retention.
| | 02:19 |
And as we do we see this kind of gritty,
washed out look.
| | 02:24 |
An exaggerated example of this was used
in the move Saving Private Ryan.
| | 02:28 |
I'm going to go ahead and delete that, go
back to tools, scroll all the way down,
| | 02:30 |
you'll notice there's a couple of presets
for you, at least one preset.
| | 02:34 |
For full negative bleach.
So I double click this, and it already
| | 02:38 |
has silver retention up to 100% for me.
So, that's a convenient.
| | 02:43 |
Go ahead and delete that.
Go back to tools.
| | 02:46 |
Now, we've seen a lot of these effects
already.
| | 02:49 |
Or they're very self explanatory, like
contrast, black and white.
| | 02:53 |
And we've played around with exposure,
spot exposure, grad exposure, and a few
| | 02:56 |
others are in this category that we'll
look at in the next movie.
| | 03:00 |
But one of the ones that's really
interesting is shutter streak.
| | 03:03 |
I'm going to go ahead and double click
that to apply it.
| | 03:05 |
And what this does is it causes these
kind of light leaks But that are streaks
| | 03:08 |
and they're, they're vertical, and so
what we could do is we could increase the
| | 03:12 |
size of them, we could decrease the size
of them.
| | 03:17 |
This is basically the vertical size of
them is what that's referring to, and we
| | 03:20 |
could boost, in other words, we could
brighten them up.
| | 03:24 |
Or we can take them down even to negative
if we wanted to.
| | 03:28 |
I'm not sure if you want to do that but
this is a really kind of cool theory of
| | 03:31 |
dreamy look where it's taking the light
of the image an kind of streaking it and
| | 03:35 |
a depending on what your footage is
looking like, sometimes this has just an
| | 03:38 |
amazingly interesting effect.
I love it though, I love that kind of dreamy.
| | 03:46 |
Streaking of light, where light just kind
of bounces around with the lens, or
| | 03:49 |
interacts with the camera in a certain
way, and it creates these weird artifacts.
| | 03:54 |
I love that.
We'll go ahead and hit the delete key,
| | 03:55 |
get rid of that, go back to tools.
One other one I want to show you, pretty
| | 03:58 |
common stuff, but film grain.
Double click to add it.
| | 04:03 |
Fill grain is all over the place there's
After effects a Noise Effect there's also
| | 04:06 |
the Add Grain effect in after effects and
whatever NLE or you know looks host
| | 04:10 |
application that your using your probably
going to have something.
| | 04:15 |
That simulates film grain.
But what's cool about this is that you
| | 04:18 |
have all of the basic controls, plus a
few more, Plus it just looks really good,
| | 04:21 |
and it renders really quickly.
So that's pretty believable film grain.
| | 04:26 |
I usually like to dial this back a little
bit.
| | 04:29 |
Usually 3% is what I like but as we look
at this, it looks more gritty.
| | 04:35 |
So I could turn this off and on.
And you're seeing it like right there.
| | 04:39 |
I'll zoom in so you can see extra close
here.
| | 04:41 |
So there's off, and on.
And it really does look very filmy.
| | 04:47 |
And it comes on and off very quickly, so
that's a cool thing to do if you want to
| | 04:51 |
have a, a gritty tougher seen You could
also click the Color Mode button to turn
| | 04:55 |
that off and make that monochromatic.
I prefer colored noise there.
| | 05:02 |
But again, it's great and it looks really
filmlike.
| | 05:05 |
Next up, we're going to learn about some
sweet tools in the post category.
| | 05:08 |
| | Collapse this transcript |
| Using the Post tools| 00:00 |
Finally this week we're going to look at
the Post tools in looks.
| | 00:04 |
Now here this little pretty kitty cat.
And I've already done some precolor correction.
| | 00:08 |
I've actually overdone some stuff and
we're going to look at that now and how
| | 00:11 |
to fix it.
So I'm going to click on the Edit button
| | 00:14 |
to open up the looks interface.
And you'll notice that I'll just go ahead
| | 00:18 |
and open up the scopes actually, open RGB
parade.
| | 00:21 |
I've done colorista 3-way, here is the
original image, this is what it looks
| | 00:25 |
like and I'm going to press the Backslash
key, put all that back again.
| | 00:30 |
So we've done some pretty good
correction, we've definitely added a lot
| | 00:33 |
of cool green to the background, there
really wasn't much contrast here, very
| | 00:36 |
washed out, which is how I shot it
intentionally.
| | 00:40 |
And so that way we have so much more room
in post to play around.
| | 00:44 |
And then I have a very intense stylized
correction.
| | 00:47 |
But the highlights are way over bright.
It looks really damaged right here under
| | 00:52 |
the cat's eyes.
It's actually a jaguar, so underneath the
| | 00:55 |
jaguar's eyes are really blown out and it
creates these hard edges.
| | 00:59 |
If we zoom in really close, it's not very
pretty.
| | 01:02 |
And again, if we look at this area
there's actually a lot of detail here
| | 01:06 |
that gets blown out by this color
correction.
| | 01:10 |
And if we look at the RGB Parade, we can
see that every single channel has these
| | 01:13 |
overbrights that are just way, way too
bright.
| | 01:18 |
So we could go in and select Colorista
3-way or we could go over to our Tools,
| | 01:22 |
go to the Post Effects, and add something
called Auto Shoulder, which is almost
| | 01:26 |
always a good ideal to add.
As I double click this, it creates what's
| | 01:32 |
called a Shoulder, instead of having the
highlights where they, have this diagonal
| | 01:36 |
line, where they just kind of break and
it's perfectly bright and then it's not
| | 01:40 |
perfectly bright.
It rounds then.
| | 01:44 |
It rolls off the highlights.
So, instead of having this over bright,
| | 01:47 |
blown out effect, where we can see the
heart into the highlight.
| | 01:51 |
Again we have this nice smooth
transition.
| | 01:53 |
It's still a little bit too bright.
I mean it's way, way, way too bright so
| | 01:56 |
that we can talk about it, make it clear
what's going on here.
| | 02:00 |
But this auto shoulder is a great tool.
Now this is actually similar to the
| | 02:05 |
camera category has a shoulder effect if
we double click that to apply it we have
| | 02:09 |
some parameters here.
We can change where the roll off is and
| | 02:13 |
we can change the straight the roll off
the brightest value we'll allow.
| | 02:18 |
And that type of thing so its very
customizable Auto Shoulder just has
| | 02:21 |
strength and its already at 100% you can
just dial it down basically if you want
| | 02:24 |
to get more of those highlights intensity
back.
| | 02:28 |
But I, I prefer Auto Shoulder it kind of
just does it without thinking about if
| | 02:32 |
you need more options there is the
shoulder option there.
| | 02:36 |
Now this actually a really good point
because the Auto Shoulder effect is only
| | 02:41 |
in the post category.
As we click and drag on one of these, we
| | 02:46 |
get these, this cool interface here.
We have the subject, the little person walking.
| | 02:52 |
We have the Mac box.
We have the lens and we also have the
| | 02:56 |
camera and over here we have post.
And we can't really see that because the
| | 03:01 |
overlay kind of gets in the way.
But sometimes say for example with Pop,
| | 03:06 |
which we're going to look at right now.
It can apply to a few different subjects
| | 03:11 |
or a few different catergories.
We can apply it to the subject category,
| | 03:14 |
nothing in the camera and we can also
apply it in post.
| | 03:19 |
Now what can be cool is again we can
reorder this at any time we could put
| | 03:23 |
this before or later in the tool chain
but we might want auto shoulder for
| | 03:26 |
example which is only in the post
category, we might want it to show up
| | 03:30 |
earlier in the chain.
And we can actually force it to do that
| | 03:36 |
by holding the Option key on the Mac or
the alt key on the PC as we're dragging.
| | 03:42 |
So we could actually make Auto Shoulder
go in the Subject category if we want.
| | 03:46 |
So that way if we had a bunch of other
effects here then that would go on top of
| | 03:50 |
the Auto Shoulder.
Auto Shoulder actually we'd probably want
| | 03:53 |
right at the end of the tool chains, a
good place for it.
| | 03:56 |
But sometimes you might want to break the
order and you might want to put stuff
| | 03:59 |
where Looks doesn't want you to put it
and that short cut gives you the
| | 04:01 |
permission to do whatever you want with
it.
| | 04:05 |
And, I'm actually going to drag, pop at
the end of this.
| | 04:08 |
And what Pop does is it does something
called local contrast.
| | 04:12 |
It basically makes things pop a little
bit more.
| | 04:15 |
It makes things more clear, have more
clarity.
| | 04:17 |
I'm going to click the Scopes button to
get rid of those here and we could
| | 04:20 |
actually zoom in quite a bit.
I'm going to use my wheel mouse to zoom in.
| | 04:24 |
And actually we can go up here to the
zoom area and we can click left and right
| | 04:28 |
on this and scale this up and down or I
can just double click on this and type in
| | 04:32 |
100, if used as a 100%.
It was shot on my Red Scarlet camera.
| | 04:39 |
So this is 4k footage, super huge.
I didn't think that I would be this close
| | 04:43 |
to a jaguar so I really wasn't prepared
and I wasn't focussing.
| | 04:47 |
As good as I could.
I mean, the focus is pretty good all
| | 04:50 |
things considered, but it's not, it's not
great.
| | 04:52 |
And so, there are some areas like his
nose that aren't really super sharp.
| | 04:57 |
And even some of these hairs.
It'd be great to bring out that detail
| | 05:00 |
and that's what Pop is all about.
It's almost like a better form of sharpening.
| | 05:05 |
So, I'm going to increase the Pop value.
I'm just going to double click this and
| | 05:09 |
type in 50.
I want 50 percent for my pop value.
| | 05:12 |
And now we have a little bit more
sharpness and clarity in these little
| | 05:16 |
details here.
So again here is, I'll turn of this effect.
| | 05:20 |
Here's before.
So you see the details of the, the hairs
| | 05:23 |
especially on the nose.
And then I bring this back and everything
| | 05:27 |
is just.
Little bit sharper, little bit clear its
| | 05:30 |
almost like I've focused a little bit
more like my lens does a little bit
| | 05:34 |
sharper and as we zoom back out you could
really see the whole image just looks a
| | 05:37 |
lot more crisp.
So now we can press the Backslash key on
| | 05:42 |
the keyboards again and see the entire
before image, and then after.
| | 05:47 |
These highlights are still killing me
actually, I gotta go back to colorista
| | 05:50 |
3-way just going to click on the
Highlights > Brightness of the highlights
| | 05:54 |
and just darken those.
Auto Shoulder still helps here just to
| | 05:59 |
make sure things don't blow out but, that
was just kind of gross.
| | 06:02 |
And then I'll bump up the mid tones to
compensate and there we have a great
| | 06:06 |
image there.
You might want to bump up the saturation,
| | 06:10 |
play with the colors a bit more, I can
probably fill with this all day but that
| | 06:13 |
looks pretty good and I'm going to go
back to my, my tools here, go back to post.
| | 06:19 |
Another tool that we've not really talked
about here is Cosmo and Cosmo is very
| | 06:22 |
powerful and an important.
But Cosmo actually has broken on become
| | 06:27 |
its own application, its own program.
And so we're going to talk about Cosmo a
| | 06:31 |
little bit later on in this training
series.
| | 06:33 |
Now next up in the next chapter, we're
going to actually get away from just
| | 06:36 |
talking about what the buttons do and
we're just going to look at Magic Bullet
| | 06:39 |
Looks in practice.
And so what we're going to do is we're
| | 06:43 |
going to show you how to create a color
grade like this from scratch on your own.
| | 06:47 |
And its going to be a lot of fun we're
also going to look at tons of other
| | 06:50 |
really practical uses for Looks in the
next chapter.
| | 06:54 |
| | Collapse this transcript |
|
|
3. Magic Bullet Looks in PracticePerforming basic color correction| 00:00 |
First up in this chapter on looking at
how to use Looks in a practical way we're
| | 00:04 |
going to just start from scratch with a
very basic color correction with a very
| | 00:08 |
washed out file using this jaguar clip
from the last movie.
| | 00:14 |
So I'm going to go ahead and click on the
Edit button in the looks interface here
| | 00:18 |
to get to the looks interface.
Now I want to make sure that I click on
| | 00:22 |
Scopes and have my Scopes open.
And RGB Parade is open.
| | 00:27 |
I'm going to show you an interesting way
to grade.
| | 00:28 |
We're going to grade and I am not going
to look at the controls or the image.
| | 00:33 |
I'm just going to look at the wave form
here in the.
| | 00:37 |
The wave forms in the RGB Parade.
I'm going to go to Tools> Subject>
| | 00:42 |
Colorista Three-way.
Now, I want to do that.
| | 00:47 |
Because you should always look at what
you're doing, obviously.
| | 00:49 |
But, I want to do that because, when you
just look at this chart right here, these graphs.
| | 00:56 |
They really can tell you almost
everything you need to know, at least to
| | 00:59 |
get started.
When color correcting an image.
| | 01:02 |
Especially something like this that was
shot with a red scarlet, it's very washed
| | 01:05 |
out and it should be.
It's very flat.
| | 01:08 |
We want to first get the shadows in the
right spot.
| | 01:10 |
Then get the highlights in the correct
spots.
| | 01:12 |
And then we worry about the mid tones and
then the colors.
| | 01:15 |
So I'm going to grab the outside of the
shadow.
| | 01:18 |
The luminescence values of the shadow.
And I'm going to look at the bottom line
| | 01:23 |
here because as I, hey get out of there,
go away.
| | 01:27 |
As I click on this slider here and go up
and down, you can see that we are
| | 01:31 |
adjusting the shadow line here at the
bottom of the RGB Parade.
| | 01:37 |
So I go down about there, and that looks
about right.
| | 01:41 |
I know that we have pretty much pure
black, and we're good.
| | 01:45 |
It's not going to stay good.
I have that prediction, but, for now it's good.
| | 01:51 |
Let's go to the Highlights and we're
going to see the tops of these values
| | 01:53 |
stretch, as we click on this and stretch
upwards, we can see those highlights.
| | 01:58 |
And, we're seeing them rise a little bit.
And we're seeing a little bit of
| | 02:02 |
posterization here, in the eyes, not
much, but we can see that from right
| | 02:06 |
here, on these graphs, we don't even need
to be looking at our image to realize
| | 02:10 |
that we have clipping.
So I can dial that back a little bit.
| | 02:16 |
Now, when we adjust the mid tones, it's
kind of interesting because we are
| | 02:20 |
watching the middle section, move up and
down, but the highlights still move a
| | 02:23 |
little bit and the shadows still move a
little bit.
| | 02:28 |
So here we're kind of crossing the
shadows, even though we're not adjusting
| | 02:31 |
the shadows.
And here, we're kind of flattening out
| | 02:33 |
the highlights even though we're not
adjusting the highlights.
| | 02:36 |
So with the mid tones, you have a little
bit more range, you don't necessarily
| | 02:39 |
need to look at the RGB Parade here, but
again, even with the mid tones, this
| | 02:42 |
can't be helpful because it helps you see
where you're at.
| | 02:47 |
If I look at this image, I can just see.
Even without looking at the actual image
| | 02:51 |
itself, I could tell that it's going to
be too dark, there's really very little,
| | 02:54 |
in the way of midtones, and really not
much in the way of highlights.
| | 02:58 |
So, we could just look at those graphs,
and then balance that out, and then we
| | 03:01 |
could come here, and say, okay, well, now
we need to pull down the shadows a little
| | 03:04 |
bit more.
And we need to maybe tone down the
| | 03:08 |
highlights a little bit more, or whatever
we want to do.
| | 03:11 |
But this is a great indication of what's
happening.
| | 03:15 |
Now I don't need to look at the Scopes as
much except for, just saying seeing how
| | 03:19 |
my, my adjustments are doing to make sure
that I'm on track and not destroying the image.
| | 03:26 |
But now I can just kind of play with the
creative side of it.
| | 03:29 |
One of the things I want to do is
actually add some colors.
| | 03:31 |
And some contrasting colors this image.
So, I want to pull the shadows down to green.
| | 03:36 |
I want to bring the green out in the
shadows, specially in the background here.
| | 03:41 |
So, I'll pull those to be a little bit
green.
| | 03:44 |
Right now the jaguar looks green and
that's not good.
| | 03:47 |
So, I'm going to go to the mid tones and
warm up the mid tones.
| | 03:52 |
This warms up the whole image, including
the, the grass there.
| | 03:56 |
But, it also makes the jaguar look great.
So, when you do color corrections, it's
| | 04:01 |
kind of like this constant push pull.
So, we need a little bit more green now,
| | 04:05 |
in our shadows, and now we need a little
bit more orange, and our mid-tones.
| | 04:10 |
So, we keep going back and forth until we
get to what, something that we like.
| | 04:15 |
Now, visually, I like the way this is
looking.
| | 04:18 |
However, if I look at my RGB Parade,
here, I could see, that, now, my shadows
| | 04:21 |
are totally crushed.
The image doesn't look much darker than
| | 04:26 |
it did originally, but the shadows are,
in fact, being crushed.
| | 04:30 |
Now, in some cases, that may be okay, but
if you're going somewhere, like
| | 04:33 |
broadcast, or somewhere where people have
maybe better monitors, better viewing systems.
| | 04:38 |
You might see hard edges in the shadows
where you're getting posterization, and I
| | 04:42 |
just generally tend to stay away from
that.
| | 04:45 |
But this is a common challenge when
you're adding color to shadows, because
| | 04:49 |
you're actually adding, let's say more
green light here to the shadows, so the
| | 04:53 |
green channel is not really blowing out
the shadows, but the red and blue
| | 04:56 |
channels are.
So if we go over to the Shadows and we
| | 05:01 |
raise this up 'til, until nothing is
clipping anymore, then we have a washed
| | 05:05 |
out image.
So you kind of have to again, play with
| | 05:08 |
this push pull back and forth untill you
get the settings that you're looking for.
| | 05:13 |
So we might need to actually dial back
this setting.
| | 05:16 |
Maybe take the saturation down of this
green so way the red and the blue are a
| | 05:20 |
little bit more in harmony with where the
green is.
| | 05:25 |
See what I'm doing there see kind of
level those out and now we can go back
| | 05:29 |
and darken all the channels maybe crush
the blues a little bit.
| | 05:34 |
And now we have a good, much better
balance we traded in a little bit of our
| | 05:38 |
green in order to get the images dark and
powerful and contrasty as we wanted.
| | 05:45 |
Now we could go back to the highlights.
And some lights to our highlight.
| | 05:49 |
Sometimes if the shadows are where you
want them, I know this sounds crazy, but
| | 05:52 |
you gotta trust me on this one.
When the shadows are where you want them,
| | 05:56 |
if you want the shadows to seem darker,
you actually brighten the highlights,
| | 05:59 |
because our eyes perceive.
The relativity.
| | 06:03 |
The relative distance between the
highlights and the shadows.
| | 06:07 |
So by brightening the highlights, it
actually appears that we darkened the
| | 06:10 |
shadows even though the shadows don't
move at all.
| | 06:14 |
We could also darken the mid-tones and
then we can brighten the shadows or add
| | 06:19 |
some more green to them, as the case may
be.
| | 06:25 |
And we could just keep going back and
forth, where we're lightening the
| | 06:28 |
shadows, adding color, darkening the mid
tones, brightening the highlights.
| | 06:34 |
Play with it until again, all of the
colors and the values line up to
| | 06:37 |
something that makes us happy.
| | 06:40 |
| | Collapse this transcript |
| Shifting specific colors| 00:00 |
When you're doing color correction, one
of the most handy features is to be able
| | 00:03 |
to go in and look at a color and then
change just that specific color.
| | 00:08 |
Say for example I wanted to change just
her hair color, being able to go in and
| | 00:12 |
tweak that and customize it is just a
real asset.
| | 00:16 |
Now we have this in After Effects, and in
other programs you're probably using, you
| | 00:19 |
probably have something similar to this.
I can apply hue saturation for example.
| | 00:23 |
And then the channel control dropped
down, I can change this to, let's say for
| | 00:27 |
example, reds and I can adjust the red
hue and it's really wonky it's not super specific.
| | 00:34 |
I'm getting her hair and her face.
I can go in and tweak it with this little
| | 00:38 |
gizmo here but it's not really intuitive,
it's kind of clunky.
| | 00:43 |
I just don't like it.
I use it frequently when I'm not using
| | 00:46 |
Magic Bullet Looks but, but I don't like
it.
| | 00:49 |
I think Looks offers a much better
solution.
| | 00:51 |
So I'm going to click Edit to open up the
Looks interface.
| | 00:55 |
Now what we want to do is go over to the
tools and go to the post tools and then
| | 00:59 |
apply ranged HSL.
So let's go ahead and double click that
| | 01:03 |
to apply it.
Now ranged HSL, HSL stands for hue
| | 01:06 |
saturation and lightness, this gives you
in several interfaces here, we can use
| | 01:11 |
the numeric interface or we can use the
hue saturation or hue lightness.
| | 01:18 |
And it gives us total control over hue
saturation and lightness.
| | 01:22 |
So say for example I want to adjust the
tone of her face, her, her flesh tone.
| | 01:27 |
We have an orange area here, which by the
way, hue saturation does not give you an
| | 01:31 |
orange control, so it's much easier to
get to flesh tones.
| | 01:36 |
And what I could do is click on, let's
say for example in hue saturation.
| | 01:39 |
If I want these tones, these orange tones
to be more red, I can move them over to red.
| | 01:44 |
If I want there to be more yellow, I can
move them over to yellow.
| | 01:47 |
And when we're working in the hue
saturation area here, if we bring it
| | 01:52 |
towards the center, we will desaturate.
If we bring it outside of the center, we
| | 01:59 |
will saturate it.
Now same is true of hue lightness.
| | 02:03 |
If we want to darken her skin tone, we
could take it towards the center, and if
| | 02:07 |
we'd want to brighten it, we can go
outside of the circle.
| | 02:11 |
So again let's try to practice this and
see if we can get this to do something
| | 02:14 |
useful for us.
If we click the Reset button, get back to
| | 02:17 |
square one.
I'm going to actually desaturate her skin
| | 02:20 |
a little bit and then move it over to the
red.
| | 02:23 |
There's a little bit of the yellow tint
here.
| | 02:26 |
That looks pretty good, maybe a little
bit less saturated.
| | 02:30 |
Her skin is pretty pale in real life.
And I'm going to go ahead and click the
| | 02:34 |
skin graft and make sure that we're in
the right spot.
| | 02:37 |
It looks like we're okay.
We have some highlights and things like
| | 02:39 |
that that are not registering as skin
tone, but it's okay.
| | 02:42 |
Mo, we got most of the skin area
registering as skin tone.
| | 02:45 |
So, click Skin, get rid of that.
And we can preview this by clicking the
| | 02:48 |
Power icon here on range HSL.
We can see the before and the after.
| | 02:53 |
So, Initially, she looks pretty okay.
But as we took this more towards red, we
| | 02:58 |
can see that she was looking a little
orangish, a little yellow, a little bit
| | 03:03 |
of an Oompa Loompa there, and then we
apply this effect and just a nice, skin
| | 03:07 |
tone there without the yellowing.
Now let's play with her hair a little bit.
| | 03:14 |
she has this pink tone here which is
really beautiful but there's a, a blue
| | 03:17 |
light coming from behind her and then we
have kind of like two-tone hair, almost
| | 03:21 |
looks like purple and then pink right
here.
| | 03:25 |
So what we could do is we can go to the
Purple Icon here, the Purple little
| | 03:28 |
widget and we can maybe desaturate that
by bringing that in.
| | 03:32 |
We could also drag it closer to pink, so
that it looks like her hair's all the
| | 03:36 |
same color and that black light isn't
quite as blue.
| | 03:40 |
Notice that when I adjust the color in
one spot as I move the hue over, it does
| | 03:45 |
it in both circles.
So, move that back over to red, and if I
| | 03:49 |
want to I can come over here to
lightness.
| | 03:53 |
And darken that by bringing that in here.
That looks like maybe it's in shadow, or
| | 03:57 |
I could go the opposite direction, maybe
make it bright, probably not desaturated
| | 04:01 |
quite as much, bring this up here.
Note, that you could also go in and
| | 04:06 |
adjust these sliders, right here.
So, if I want to bring the green and the
| | 04:11 |
background is a little bit green, we
could increase the saturation, or
| | 04:15 |
decrease the saturation, we could also
increase the, oops, get outta here.
| | 04:21 |
Go back up to controls, click on Range
HSL.
| | 04:27 |
And, I could go ahead and adjust green,
make that brighter or darker.
| | 04:33 |
And the original shot of this, before I
added the Colorista 3-Way, before we
| | 04:37 |
started this tutorial, push the black,
backslash key to see that.
| | 04:42 |
It was very underexposed, really dark,
really noisy, so I already pushed it
| | 04:45 |
really far with the Colorista 3-Way so we
don't have that much latitude to do too
| | 04:49 |
much to it so they start brightening up
this green.
| | 04:53 |
We see a lot of posterization if we zoom
in.
| | 04:56 |
A lot of noise.
So I think I might just want to
| | 04:59 |
double-click this and take this back down
to zero.
| | 05:02 |
But the controls are here if I want to
click and drag.
| | 05:05 |
I find that these are much less
sensitive, so if you want to fine tune it
| | 05:10 |
you might want to go into the actual
widgets here, but if you want to go crazy
| | 05:14 |
and I want to take her hair in the red
and go like really high, really fast, I
| | 05:18 |
can change these numerical sliders here.
So, they're back down to zero.
| | 05:27 |
So as you could see well before and
after.
| | 05:29 |
We have managed to tone the back of her
hair down so it's not as distracting and
| | 05:32 |
it matches the main area of her hair a
little bit more.
| | 05:35 |
And we've also made her skin much less
yellow.
| | 05:39 |
So we have very specific controls over
what we want to do with different color
| | 05:43 |
tones because of ranged HSL.
| | 05:47 |
| | Collapse this transcript |
| Creating a miniature effect| 00:00 |
One of the unexpected tricks that Looks
can do for you is to create a shot that
| | 00:03 |
looks like it's a miniature.
A little tiny version.
| | 00:07 |
So I'm going to go ahead and open the
Looks interface here.
| | 00:10 |
And I already have a few color correction
items placed here in the Tool Chain.
| | 00:16 |
So I have a color, Color Reset Three-Way,
and then I have some Saturation.
| | 00:22 |
Little Pop, and also a Gradient to give
us a little bit of a blue sky there.
| | 00:26 |
So here's the original, and here's what I
changed it to with Looks.
| | 00:30 |
Now, if we go over to the Tool section
here, go to the Lens area, and what you
| | 00:34 |
want to add the Swing Tilt.
Swing Tilt lenses create a depth of field
| | 00:39 |
from left to right or up and down as
opposed to close to the camera and far
| | 00:44 |
away from the camera.
So as I apply this you'll see that we
| | 00:49 |
have Blur at the bottom and we have the
widget here that we can choose what's in
| | 00:53 |
focus and what's not in focus.
We also have a line of focus here if we
| | 00:58 |
want to just.
Shift that, up and down here.
| | 01:02 |
This, basically, controls the feathering
of the focus, so we could bring these
| | 01:05 |
down, which tends to make things look
even more tiny.
| | 01:09 |
So, this Swing Tilt tool makes things,
obviously, you know, you have a really
| | 01:13 |
sharp area focus here, so it really draws
attention to something.
| | 01:19 |
But, because of these big areas of blur,
it makes things look really tiny.
| | 01:24 |
So, I'll just click over here to
deselect, and now our big area here, our
| | 01:28 |
big reservoir, now looks like a tiny
little miniature, a little model version
| | 01:32 |
of it.
This is because, when you have a lens
| | 01:36 |
with a shallow depth of field, you get
tons of blur in front of and behind
| | 01:39 |
something, and that's kind of what we are
more used to seeing.
| | 01:44 |
So and that's kind of the way that, our
eyes, our eyes work as well.
| | 01:46 |
So when we have something like this where
there's tons of blur on a couple
| | 01:49 |
different sides of the image, could
rotate this if we wanted to, but this is
| | 01:52 |
kind of the axis that we have.
But when we see this kind of blur, our
| | 01:56 |
eyes just think this is a miniature.
Now this might be a little overkill, we
| | 02:00 |
could go over to the blur size.
And take this down maybe to about three
| | 02:04 |
or so.
But you can see that as we do that, the
| | 02:07 |
more we do that, the larger this area
looks.
| | 02:12 |
So if we take this back up to maybe three
or four.
| | 02:16 |
Somewhere in that neck of the woods,
you'd see that we definitely have a very
| | 02:20 |
tiny little reservoir now and it just
looks like it's made for little dolls to
| | 02:24 |
play in.
All the magic of this little Swing Tilt
| | 02:29 |
Effect, again, in the Lens section of the
tools.
| | 02:33 |
| | Collapse this transcript |
|
|
4. Using the MisFire PluginsWhat are the MisFire plugins?| 00:00 |
In this chapter we're going to be looking
at something called the MisFire plugins.
| | 00:03 |
These aren't talked about very much out
in the community and Red Giant doesn't
| | 00:06 |
really talk about them very much on their
website.
| | 00:09 |
But if you install Looks, Magic Bullet
Looks, you will also get the Magic Bullet
| | 00:14 |
MisFire plugins.
This is a little suite of plugins.
| | 00:18 |
Open this up here in After Effects and
its 14 different effects you could use to
| | 00:22 |
damage and kind of play with your footage
a little bit.
| | 00:27 |
For the most part these are meant to
destroy your footage or make it look like
| | 00:30 |
it's vintage footage or what have you
here.
| | 00:34 |
I have the MisFire effect applied you,
you just the basic MisFire effect
| | 00:37 |
actually applies all of these objects in
one handy effect.
| | 00:42 |
I'll turn it on where I have all of these
going.
| | 00:45 |
And as I preview this, you could see that
I've turned my regular footage that I
| | 00:49 |
shot with a nice Red Scarlet camera into
old vintage film.
| | 00:55 |
And its pretty believable and it really
didn't take much work to get there, so
| | 00:58 |
it's really nice and handy to be able to
have this kind of look is, having to
| | 01:02 |
recreate this, these kind of splotches
and lines, and noise, and everything else
| | 01:05 |
from scratch, is a really a pain.
These are, some pretty cool effects,
| | 01:11 |
we're just going to take some time and
look at those in this chapter.
| | 01:14 |
Note, that if you have Vegas or Final Cut
Pro X, or motion, Apple motion, you will
| | 01:19 |
not have these, MisFire plugins in those
host applications.
| | 01:26 |
But in the other host applications, After
Effects, Premiere, Avid, etcetera, you
| | 01:29 |
will have them.
So, let's take a quick look at the
| | 01:33 |
MisFire plugins.
| | 01:35 |
| | Collapse this transcript |
| Creating the look of destroyed film| 00:00 |
Now, let's look a little bit more closely
at Misfire and the various elements and
| | 00:03 |
components of Misfire.
Now, there is actually 13 true effects
| | 00:07 |
here, each one of these is its own
effect.
| | 00:10 |
So if I wanted to add some flicker, I can
just double-click or just apply Flicker.
| | 00:15 |
And if I play this back, you could see
that we now have flicker on our footage.
| | 00:22 |
So it's just easy if you want to apply
one of these things.
| | 00:26 |
Grain or splotches or a vignette or
whatever.
| | 00:29 |
And for each of these we have just a
couple, usually, maybe one or two or
| | 00:32 |
three, options.
Some of them have more, but most of them
| | 00:35 |
are very limited, very simple and easy.
Now, I'm going to go ahead and delete that.
| | 00:39 |
If we apply the 14th effect, this is
Misfire, just called misfire.
| | 00:43 |
It applies all of them, just going to
resize this, so you can see this a little
| | 00:47 |
bit better here.
It applies all of them with the options
| | 00:51 |
as well.
So for example, we just applied Flicker,
| | 00:55 |
but if we apply the Misfire effect, we
can check Apply Flicker.
| | 00:59 |
Open up Flicker and we see we have the
same settings here.
| | 01:02 |
So, I play this back.
And then have that here.
| | 01:05 |
So again I can turn it on and off, super
quick and easy.
| | 01:09 |
Now there really are some great effects
here that do great damage to your, your
| | 01:13 |
footage here.
So, fading, for examples, we're just
| | 01:16 |
going to bring up the shadows and wash
everything out.
| | 01:19 |
Sort of before and after.
There's Funk, which applies kind of just
| | 01:23 |
a little bit of warp, which really adds a
lot of character to your footage.
| | 01:29 |
It's a little hardcore.
a little overkill.
| | 01:32 |
So, you could turn down the Funk or pass
it, if we want to.
| | 01:35 |
Not too much in the way of control
though.
| | 01:37 |
But it does apply just kind of just a
little funky overlay almost like a
| | 01:41 |
fractal noise pattern or something like
that, just kind of makes it look like
| | 01:45 |
it's damaged film.
We also have splotches.
| | 01:50 |
And I'll go ahead and up the number of
splotches so we can see those.
| | 01:53 |
Those are very film like splotches like
so.
| | 01:56 |
But they do flicker, so they're not
always on screen.
| | 01:59 |
This adds a lot to that old, vintage film
look.
| | 02:03 |
Also, this is probably one of the ones
that's more challenging and hard to
| | 02:07 |
replicate on your own.
We could use some fractal noise patterns
| | 02:11 |
to do that, but to get them to flicker
like this, randomly on and off, is a
| | 02:13 |
little bit more of a challenge.
So that's a great tool.
| | 02:17 |
There's also some dust, I'll go ahead and
increase the the black dust amount, the
| | 02:20 |
white dust amount, so you can kind of see
what it's doing there.
| | 02:25 |
that's obviously way too overkill.
But again just a little, little speckles
| | 02:30 |
on your footage.
And, I'll go ahead and turn off dust, and
| | 02:33 |
we've already looked at flicker.
There's also vignette we know what that does.
| | 02:38 |
It's a nice little soft vignette around
the edges.
| | 02:41 |
It's kind of cool because it, it's
already kind of softened for you.
| | 02:44 |
It's not really like a black vignette.
It's just a darkening vignette.
| | 02:47 |
It's blended really nice by default.
we also have displacement, which I'll
| | 02:51 |
turn that up so you could see that a
little bit more clearly.
| | 02:53 |
If I increase the amount here, you could
see what that's doing, just kind of
| | 02:56 |
warping everything.
And so like, as the footage moves here,
| | 03:00 |
it's kind of going through that warped
displacement pattern creating real
| | 03:03 |
interesting stuff here.
again for the warped film look, keeping
| | 03:09 |
it at the default is probably the best.
We just get a little bit of, a little bit
| | 03:14 |
of hints of displacement along these
edges as we see it.
| | 03:17 |
Suddenly we kind of feel more than
directly see what's going on.
| | 03:20 |
I'm going to go ahead and turn that off.
We also have some micro scratches.
| | 03:25 |
There's little tiny vertical scratches
which are really common in old film that,
| | 03:28 |
again, adds a lot.
We, of course, have grain, which is
| | 03:32 |
really heavy by default.
That does add a lot.
| | 03:35 |
So you shouldn't even combine this with
splotches, and maybe a little bit of funk
| | 03:39 |
and fading.
It really does add a lot to that kind of
| | 03:43 |
old bus and film effect.
Turn those back off, go down here.
| | 03:48 |
We also have deep scratches, just really
big vertical lines.
| | 03:51 |
We also have basic scratches, maybe a
little thinner vertical lines.
| | 03:56 |
And, we also have gate weave, which is a
really interesting wiggle effect, it's an
| | 04:00 |
animation thing.
So, as I play this back, you could see
| | 04:03 |
every once in a while, it kind of gets
messed up here.
| | 04:07 |
Almost like film might get in a
projector, an old messed up projector,
| | 04:10 |
where it kind of skips a little bit.
And, finally, we have post contrast which
| | 04:17 |
is a really heavy application of
contrast.
| | 04:21 |
We can control that of course.
But it's a very filmic-looking contrast.
| | 04:26 |
And old movies tended to have this really
strong contrast, especially when played
| | 04:30 |
back in digi-movie theaters with bad
projectors.
| | 04:33 |
So all these tools combined make great
vintage film.
| | 04:37 |
But as you can see, they also do a great
job of damaging your footage in certain ways.
| | 04:43 |
So you might not necessarily be going for
the vintage film look.
| | 04:46 |
But there's a lot of things here, a lot
of tools, that can help you achieve some,
| | 04:49 |
some great effects.
| | 04:51 |
| | Collapse this transcript |
|
|
5. Using Colorista IIAbout Colorista II| 00:00 |
We're now going to switch gears and look
at another app in the Magic Bullet Suite
| | 00:03 |
called Colorista.
Colorista, like Looks, is a tool for
| | 00:08 |
adjusting colors.
In the Colorista II interface, we'll see
| | 00:12 |
a lot of familiar stuff that we saw when
we were working in looks.
| | 00:15 |
So, we'll see the three circles with the
gizmos, with the brightness and the
| | 00:18 |
saturation and the color.
And that all works the same.
| | 00:22 |
We also have the same Ranged HSL controls
that we saw with Looks also.
| | 00:28 |
Now there are a few extra bells and
whistles in using this as opposed to Looks.
| | 00:33 |
One of them is that we don't have a
specialized interface that we have to load.
| | 00:38 |
With Looks we have the Looks Builder, and
we had to click the Edit button to jump
| | 00:41 |
into that interface to get working.
Here, we're just working in our host application.
| | 00:47 |
That means that we can actually preview
footage, unlike when we're in the Looks
| | 00:51 |
Builder and we didn't have that
capability.
| | 00:55 |
I find it tremendously helpful to be able
to look at what my footage looks like in
| | 01:00 |
motion with the color adjustments.
Being able to take a representative frame
| | 01:06 |
is all well and good, but as people or
the camera start moving, things change
| | 01:10 |
dramatically and having the ability to
play back movement is really important to me.
| | 01:17 |
So Colorista definitely has that
advantage.
| | 01:19 |
One of the disadvantages of staying here
in the host interface is that, in this
| | 01:24 |
case, we don't have scopes.
So when we were in Magic Bullet Looks, we
| | 01:29 |
had all those great RGB parades, and the
waveform monitors, and all that stuff.
| | 01:34 |
And we don't have that in Colorista.
Now, throughout this chapter we're
| | 01:38 |
going to be showing you how to do a lot
of the stuff that we did with Looks, but
| | 01:40 |
how to do it in Colorista.
And, we're also going to be talking a
| | 01:43 |
little bit about the benefits of using
Colorista over Looks.
| | 01:47 |
For example, we have the primary
corrections here.
| | 01:49 |
We also have secondary corrections, with
a lot of control, including Power Masks
| | 01:54 |
and the ability to key out certain
colors, which we didn't really see in Looks.
| | 02:00 |
That's one of the big advantages of
Colorista over Looks.
| | 02:03 |
And we also have a final master control.
So a lot of this stuff can be faked with
| | 02:07 |
Looks, but again, there are some
functionalities like that ability to key
| | 02:11 |
colors, that Colorista has that Looks
doesn't.
| | 02:16 |
Also with Coloristo II, the host
applications are much more limited.
| | 02:20 |
We only can apply this and use Colorista
II in After Effects, Premiere, and in
| | 02:25 |
Final Cuts six and seven.
So for Colorista, no Final Cut Pro 10, no
| | 02:31 |
Motion, no Avid, no Vegas.
Now, another to note is that we're
| | 02:36 |
going to be looking in this chapter at
Colorista 2.
| | 02:40 |
The original version, Colorista 1, was so
different that if you go to the Red Giant
| | 02:44 |
website, you could actually get Colorista
1.0 for free.
| | 02:50 |
So this is not a strings attached.
They're just giving away the whole thing
| | 02:52 |
for free.
It's much slower to render and it was
| | 02:55 |
more clunky, but it did have the same
three wheels and it's available, again,
| | 02:59 |
for free from their website.
You might also remember earlier in this
| | 03:04 |
training series that Colorista was an
effect in Looks that you could put in the
| | 03:08 |
tool chain.
So this is the same thing there.
| | 03:12 |
It's just it's own standalone plugin
available for free.
| | 03:15 |
It should also be noted that the slowness
that I mentioned, that was a problem in
| | 03:19 |
Colorista I, is not a problem in
Colorista II at all.
| | 03:24 |
Here's before.
This is what the original footage and I
| | 03:27 |
could go into my primary stuff here.
I'll turn this back on and I'll make some
| | 03:31 |
little change.
So it gets rid of my ran preview here.
| | 03:35 |
And you can see that it's still going
like a champ.
| | 03:38 |
I have color and luminance corrections to
all of the three-way primary directions here.
| | 03:44 |
For shadows midtones, and highlights,
totally changed and it just renders so quickly.
| | 03:49 |
So a lot of those speed issues that made
Colorista a challenge to work with in
| | 03:53 |
version 1.0 are fixed in version 2.
So let's jump in and learn a little bit
| | 03:57 |
more about Colorista II.
| | 03:59 |
| | Collapse this transcript |
| Making basic corrections| 00:00 |
Before we start getting all adventurous
with Colorista 2, let's just back up and
| | 00:04 |
do a basic color correction, using
Colorista 2.
| | 00:08 |
Now a lot of this is going to be a review
of what we looked at when we did Looks.
| | 00:13 |
But there are some new bells and whistles
here.
| | 00:15 |
So I have Colorista 2, I have this image
that's extremely washed out It was not
| | 00:19 |
only a really gray day this was taken
right in front of a water fall so there's
| | 00:24 |
just tons of mist and everything is just
solid gray almost barely make out the,
| | 00:28 |
the skyline there with trees.
So let's go over here to primary three
| | 00:35 |
ways one of the things that kind of cool
is we can click the little calculator here.
| | 00:39 |
And again, RGB values, if that's our
preference.
| | 00:42 |
And it's actually a lot easier to get to
colors and to adjust them, a little bit
| | 00:47 |
more intensity when we're using these
numbered values and clicking and dragging
| | 00:51 |
on those.
I'm going to go ahead and click the reset
| | 00:55 |
button for now.
So it's an option.
| | 00:58 |
Go ahead and turn off the numbers.
Let's go up to primary exposure.
| | 01:01 |
Now we can increase the exposure or
decrease the exposure here.
| | 01:06 |
Nothing.
New or that different.
| | 01:09 |
But what is kind of different, is this
Density value, this is a really
| | 01:12 |
unconventional, option, here.
Essentially, a, eh, in, in a first
| | 01:16 |
glance, here, it's really very similar to
exposure, we're brightening and darkening things.
| | 01:22 |
But, the way that the Actual values are
affected.
| | 01:27 |
It's very different with exposure and
density.
| | 01:31 |
And I'm not really sure how to explain
this.
| | 01:34 |
It seems like exposure spreads the values
out a little bit more, so in other words,
| | 01:37 |
when you down exposure all the way.
It's almost like you are stopping down on
| | 01:42 |
a camera.
In other words, you're closing the
| | 01:45 |
aperture making everything darker.
Or the opposite, when you increase this.
| | 01:48 |
You drag this to the right.
You are blowing out the values.
| | 01:51 |
Making everything else everything
brighter.
| | 01:53 |
I'm going to click the Reset button.
But notice when I go to, to Density, and
| | 01:57 |
I click and drag left on Density And I
take this down.
| | 02:00 |
We are getting darker for sure.
But we're also still maintaining some of
| | 02:05 |
that contrast.
So, the highlights are staying where they
| | 02:09 |
are a lot more than they do with
exposure.
| | 02:13 |
So, almost like when we take down a
density amount about negative four here.
| | 02:18 |
We almost have created a silhouette.
In order to create a silhouette, you
| | 02:22 |
kind of have to leave some of those mid
terms on the highlights, where they are a
| | 02:25 |
little bit more than we did with exposure
same thing when we make things brighter.
| | 02:31 |
In other words not is as obvious we still
definitely have some darker tree, trees
| | 02:35 |
in the sky line here.
So you will get a more natural result
| | 02:40 |
with using exposure, but be aware that
density is here if you want to just kind
| | 02:44 |
of get situated, get you image kind of in
the right place as far as exposure is
| | 02:48 |
concerned and density helps you.
Now we also have highlight recovery.
| | 02:54 |
This is similar to what we saw when we
looked at Looks where we can recover the
| | 02:58 |
highlights, kind of like the auto
shoulder.
| | 03:01 |
We can increase this and- And roll those
highlights off nicely.
| | 03:04 |
And we also have, of course, our little
three way color director corrector.
| | 03:09 |
So let's actually use that to fix this
image.
| | 03:12 |
First thing we always want to do is go to
the shadows.
| | 03:14 |
This is a little bit, the interface is a
little bit wonky confusing to me, so this
| | 03:18 |
is shadows, mid tones, and highlights
which makes sense, but This, if you're
| | 03:22 |
just kind of looking at it really quick,
it can look like this is shadows.
| | 03:28 |
Or this is highlights, depending on how
you're looking at it.
| | 03:31 |
So, this is shadows on the left.
So, we're going to go to the lumence of
| | 03:34 |
the shadows shadows and bring that down
here along that right edge.
| | 03:39 |
And let's make sure we get some really
dark Blacks in here.
| | 03:43 |
And then let's go to the highlight and
we'll click the luminance of the
| | 03:46 |
highlight and we'll bring that up until
we have a nice good sky.
| | 03:50 |
Yeah, we don't want to blow it out, but
somewhere around there looks pretty good,
| | 03:54 |
and then we can adjust the mid-tones to
taste, the brightness of the mid tones.
| | 03:59 |
I kind of like this crunchy look where we
turn down the mid tones.
| | 04:03 |
Maybe go back to the highlights and then
brighten those highlights as we have a
| | 04:07 |
nice strong contrasting image.
Now, we can play around with the color here.
| | 04:12 |
So, I want to actually make this, since
the trees are all, kind of, the darkest
| | 04:17 |
part of the image, I want to drag the
shadows.
| | 04:21 |
Over to green, and you could actually
increase the saturation of that.
| | 04:26 |
And again color correction is a push pull
thing, so we're going to take from one
| | 04:29 |
side, and then we're going to give it on
the highlights side, then we're going to
| | 04:32 |
have to go back and forth until we kind
of get what we're looking for.
| | 04:36 |
I'm going to Add some blue sky tone in
the highlights.
| | 04:42 |
And actually I want to add some cyan to
the mid tones here, and that will kind of
| | 04:46 |
create a nice balance between the green
shadows and the blue highlights.
| | 04:52 |
It's a little bit too saturated in the
sky for my taste, maybe a little bit Too
| | 04:56 |
saturated in the mid tones, but other
than that we have a pretty decent image.
| | 05:02 |
This is going to always be, kind of like
a stormy, brooding image that's a little
| | 05:05 |
bit washed out because of the fog and the
waterfall mist and stuff like that.
| | 05:10 |
So, it's never going to be completely,
contrast-free, but I don't think it
| | 05:13 |
should be, it looks pretty good as is.
Now just to show you the before and
| | 05:18 |
after, we'll go up to colorista two.
And we could actually turn off the, the
| | 05:22 |
values here with the effects icon here,
or we can come down to primary bypass and
| | 05:26 |
just click this so we're bypassing the
primary color collection we've just added.
| | 05:33 |
So it didn't seem like we did too much,
but there is the original image,
| | 05:36 |
completely washed out almost completely
gray.
| | 05:40 |
And we turned it into that, which is
pretty nice.
| | 05:43 |
Now be aware of a couple other things
here.
| | 05:45 |
We do have a white balance eye dropper,
works the same as any other tool where
| | 05:48 |
you click on the eye dropper, and you
select pure white in your image, or what
| | 05:51 |
should be pure white, and not have a
color tint to it, and then Colorista 2
| | 05:54 |
will automatically balance that out for
you.
| | 05:59 |
We also have a master Primary saturation
control where we could increase
| | 06:03 |
saturation, or decrease the saturation as
the case calls for.
| | 06:08 |
Another cool trick really quick with
Colorista, is this primary exposure.
| | 06:12 |
You could actually play around with this
really quickly by using the arrow keys on
| | 06:15 |
your keyboard.
If you press the up arrow, it goes up a
| | 06:18 |
quarter of a value.
A quarter of one stop, let's say.
| | 06:21 |
And as I Keep pressing up arrow key,
we're brightening it.
| | 06:26 |
Or the down arrow key, we are darkening
it.
| | 06:28 |
So if you want to quickly see what your
image looks like, brighter, or darker,
| | 06:31 |
you can do that with the arrow keys which
is really handy.
| | 06:36 |
Now what we've just done is referred to
as primary color correction.
| | 06:39 |
In other words we've just done the
basics.
| | 06:42 |
We've gotten the shadows, the mid-tones
and the highlights where they should be,
| | 06:45 |
and then we get to get Playful.
And we did a little bit of that with the
| | 06:49 |
color adjustments here with the three-way
color correctors.
| | 06:52 |
But in the next few movies we're going to
look at the secondary controls where we
| | 06:56 |
can take things up a notch with Colorista
2.
| | 07:00 |
| | Collapse this transcript |
| Doing secondary color corrections| 00:00 |
All right, folks.
Here's where it gets fun.
| | 00:01 |
We're going to look at secondary color
correction.
| | 00:04 |
Now we know that there is a Secondary
Color Correction section down here in the
| | 00:09 |
Colorista 2 interface.
But we don't necessarily have to use the
| | 00:13 |
Secondary section for secondary color
correction.
| | 00:17 |
Allow me to explain.
The secondary color correction.
| | 00:20 |
Is done.
Once you've done the primary color
| | 00:23 |
correction, you get your colors where you
want them, then you can go in and
| | 00:26 |
selectively choose colors to enhance or
change.
| | 00:29 |
So for example, we're going to start with
the primary color correction of this
| | 00:33 |
image and get the colors all looking
right and being where they should be.
| | 00:37 |
And then we're going to change the color
of this green purse.
| | 00:39 |
That is secondary color correction.
But we're going to use primary tools to
| | 00:44 |
do that.
And then, since were kind of in bizarro
| | 00:47 |
world anyways at that point, we're
going to actually go to secondary
| | 00:51 |
correction and make a second primary
correction and blend that together.
| | 00:56 |
So there's a lot you can do with these
different sections and I, I don't want
| | 00:59 |
you to feel like you're limited, that you
have to do primary color correction in
| | 01:02 |
the Primary selection.
You have to do secondary in the Secondary
| | 01:07 |
section so, we're going to be all over
the place.
| | 01:09 |
Now one of the cool things about this
about the interface here is that it does
| | 01:12 |
kind of get annoying to open up the
Primary section, see all these controls,
| | 01:15 |
scroll all the way down and open up
Secondary and then you.
| | 01:20 |
Go back up and you close primary, it gets
really annoying.
| | 01:22 |
So one of the cool keyboard shortcuts, is
that if you're on a Mac.
| | 01:26 |
You can do Cmd plus the number 1 on your
keyboard and that shows you the Primary
| | 01:30 |
section and closes all others.
That would be Ctrl+1 on Windows.
| | 01:37 |
Ctrl+2 will Close Primary, Open Secondary
and it will put it right at the top here.
| | 01:43 |
Cmd+3 or Ctrl+3 will do the same thing
with the Master section.
| | 01:49 |
Notice that I didn't close the Primary or
Secondary.
| | 01:51 |
I just used the keyboard shortcut.
And because I used the keyboard shortcut,
| | 01:54 |
they were automatically closed for me.
So I'm going to be using Cmd+1, Cmd+2,
| | 01:59 |
and Cmd+3.
Or again on Windows that's Ctrl+1,
| | 02:03 |
Ctrl+2, Ctrl+3, as we go throughout this
tutorial and the rest of this chapter.
| | 02:07 |
So we're going to go back to Cmd+1,
Ctrl+1, get the Primary section.
| | 02:11 |
And we're actually going to use this auto
balance feature.
| | 02:14 |
This is just amazing how this works.
I'm going to use the Eye Dropper tool.
| | 02:17 |
Just click the eye dropper.
I'm going to go over to her white glove
| | 02:20 |
which again should be white.
So I'll click that.
| | 02:24 |
And boy, what a difference that made,
huh?
| | 02:26 |
There's the original and there's with
just with that one.
| | 02:29 |
Adjustment, now I want to make sure that
our shadows are in the right spot so I'm
| | 02:33 |
going to just eyeball this here since we
don't have any graphs.
| | 02:37 |
I don't want to crush anything but I want
it to look darker.
| | 02:39 |
And I want to brighten the highlights a
little bit and again I want to not blow
| | 02:43 |
anything out here so I got to be careful.
And then I can drag down the midtones to taste.
| | 02:50 |
Just a little bit, so again, we're just
playing with the brightness value here.
| | 02:53 |
And when we do this green purse, which
really is the focus here, really doesn't
| | 02:57 |
pop too much, so this is where secondary
color correction comes in.
| | 03:01 |
So I'm going to go down to Primary HSL.
And I'm going to grab this little green
| | 03:06 |
target here, this little green puck.
And I am going to use, the left wheel
| | 03:11 |
here is a saturation, this controls the
brightness.
| | 03:15 |
And so I'm going to actually come in here
and if I go to the center, I'm going
| | 03:18 |
desaturate green which is the exact
opposite of what I want.
| | 03:22 |
So I'm going to go outside of the circle,
click and drag outside.
| | 03:27 |
And just a little bit because
everything's pretty much black and white
| | 03:30 |
so if we just pop the saturation a little
bit.
| | 03:33 |
It is enough and I actually want to drag
this towards blue a little bit, not too
| | 03:36 |
much here I don't want a blue purse.
I just want a little bit more blue in
| | 03:40 |
that, in that hue there.
And I also want to come over here to the
| | 03:44 |
lightness wheel and drag it outside of
the wheel to brighten that.
| | 03:49 |
And so its a little bit.
A little bit brighter.
| | 03:52 |
Now that purse absolutely pops.
So we could actually go to the top of the
| | 03:56 |
interface, turn off the effect, and just
see what a difference what we made there.
| | 04:01 |
Very cool.
So again we just did secondary color
| | 04:04 |
correction using primary tools.
Now I'm going to press Cmd+2 or Ctrl+2 on
| | 04:09 |
the PC.
To go to the Secondary section.
| | 04:13 |
Now there are some great tools here that
we're going to be talking about,
| | 04:15 |
including this really powerful key
interface as well as power masks.
| | 04:19 |
We'll get to that in just a moment.
But another thing we can do with
| | 04:22 |
secondary correction is apply our
creative grade here in the Secondary section.
| | 04:27 |
So let's say I want maybe like, some cool
blueish tint in the shadows.
| | 04:31 |
So I'll grab the center of that and move
that towards blue.
| | 04:34 |
I'm going to kind of overdo it a little
bit here.
| | 04:37 |
So we got some blue shadows going on, and
maybe even darken those a little bit,
| | 04:41 |
maybe even darken the mid-tones a little
bit, and maybe drag those towards a
| | 04:44 |
little bit more blue as well.
And then let's go ahead and warm up the
| | 04:50 |
highlights for this great contrast here.
Yeah, there we go, that looks cool, maybe
| | 04:54 |
brighten them a little bit too and
increase that contrast.
| | 04:58 |
So it's a little bit overdone, but
because we did our secondary grade, in
| | 05:02 |
other words, our our creative grade,
separate from our primary grade, we can
| | 05:06 |
control and balance and mix them.
So this, technically, isn't secondary
| | 05:11 |
color correction, but this is a creative
grade, it's a separate grade.
| | 05:14 |
So, I'll scroll down a little bit, here,
to the bottom of the Secondary section.
| | 05:18 |
And, we can see, because of this bypass,
we can click this check box and see,
| | 05:21 |
here's the primary grade, here's the
creative grade, it's way too strong.
| | 05:26 |
So, what we can do, is just take the
Secondary Mix value down, a lot, maybe
| | 05:31 |
take that to around 65 or so.
And then now we have a great looking image.
| | 05:37 |
So if we go back to this here we don't
really have too much, in the way of
| | 05:40 |
coolness happening it just kind of looks
like we stuck a camera at stuff and it
| | 05:44 |
was happening.
But with the secondary correction we have
| | 05:49 |
these blues going on we have some more
warmth and the highlights on their skin.
| | 05:54 |
And we have the green purse still which
looks great.
| | 05:56 |
And we can dial that back as much or as
little as we want to.
| | 06:01 |
So again taking that back to 65.
We now have a great image and this not
| | 06:04 |
again secondary color correction.
But we could use these different color
| | 06:08 |
wheels and these different groups of
colors to play with the gray a little bit more.
| | 06:13 |
And have more control and flexibility.
Next, we're going to look at how to use
| | 06:17 |
Power Masks to isolate secondary
corrections.
| | 06:20 |
| | Collapse this transcript |
| Isolating secondary corrections| 00:00 |
Let's now look a little bit deeper into
the world of Secondary Color Correction.
| | 00:05 |
We're going to get a little taste of
keying specific colors, we're just going
| | 00:08 |
to very, just scratch the surface of that
and we'll dig into that in the next movie.
| | 00:14 |
But here what we're going to do is do a
basic color correction on her skin.
| | 00:20 |
And then we're going to isolate it so
that it doesn't apply to both characters
| | 00:23 |
at the same time.
So this is a really handy trick.
| | 00:27 |
So over, over in Colorista 2, I'm
going to use the keyboard shortcut Cmd +
| | 00:31 |
2 on the Mac, Ctrl + 2 on the PC to look
at my secondary section.
| | 00:36 |
You could also just scroll and open it up
if you want to go that way.
| | 00:40 |
Now I've already applied a basic primary
correction here.
| | 00:45 |
There's the before and the after, but
nothing in the secondary section.
| | 00:49 |
So what I want to do actually here, is
make it so that this skin tone of our
| | 00:53 |
main character here on the left pops a
little bit more.
| | 00:57 |
These girls are both pretty equal In,
their footing here.
| | 01:01 |
And actually since she's a little bit
shorter even thoguh she's our main
| | 01:03 |
character, she's a little bit diminished.
So we want to make her pop a little bit.
| | 01:07 |
Make her skin tone a little stronger, a
little bit more saturated.
| | 01:11 |
And we only want to that to the skin
tone.
| | 01:14 |
If we saturated the whole thing then that
applies universally to all the colors and
| | 01:18 |
not what we want.
So I'm going to take back down to 0.
| | 01:21 |
Alright, we're going to open up the
secondary key interface.
| | 01:25 |
Go ahead and go under Secondary Key and
click the Edit button.
| | 01:28 |
Now again, we're going to have a specific
movie on just this interface, in the next movie.
| | 01:33 |
So a little bit more advanced, but just
as a basic level, make sure that this
| | 01:36 |
tool up here is selcted, this well like,
looking thing with the plus icon.
| | 01:41 |
And we're just going to click and drag a
marquee around her cheek there.
| | 01:47 |
Make sure to get none of the background
and get her cheek.
| | 01:51 |
Now what we can do is use the spacebar
tool, hold that down, and then move that
| | 01:56 |
around so that we can see more of our key
here.
| | 02:01 |
Now we're not really getting a lot of the
highlights of her face.
| | 02:04 |
So I'm going to go over to the plus icon
here and I'm just going to kind of paint
| | 02:08 |
over those areas, just hold my mouse
button down and click and drag over those
| | 02:13 |
areas, little bit more on her chin here
and that looks about good there.
| | 02:20 |
Now if I again, hold down the Spacebar
and move this around.
| | 02:24 |
We'll see that the other character's
face, the blond woman, her face is also
| | 02:28 |
get, picking this up, which makes sense
because we're saying look at all of these
| | 02:33 |
color tones and the whole image.
And it's also picking up some of the background.
| | 02:39 |
So what we're going to now is look at how
to limit this.
| | 02:41 |
So I'm going to go ahead and hit the
enter key, or the okay button And you
| | 02:45 |
shouldn't notice any difference in this,
because all we've done is basically told
| | 02:49 |
Colorista that we want to limit all of
the secondary corrections to this stuff
| | 02:52 |
that we just keyed out.
So now as we change the hue, the whole
| | 02:59 |
image will not have a change of hue.
Only the colors that we keyed.
| | 03:04 |
So we see that their faces, not too much
of that background that's changing slightly.
| | 03:09 |
But mostly their skin tones are changing
because that's what we isolated.
| | 03:13 |
So I'm going to take the secondary hue
back down to 0.
| | 03:15 |
I'm going to increase the saturation
quite a bit to about 30.
| | 03:20 |
Which is usually a little bit too strong.
But because this is a very washed out image.
| | 03:25 |
This is looking pretty good.
We could also adjust the secondary hue, a
| | 03:29 |
little bit, maybe ten, maybe like eight,
just a little bit, it's getting a little pinkish.
| | 03:35 |
And, we can even increase this secondary
saturation a little bit more.
| | 03:41 |
Now, let's say that we only want this
color enhancement, I actually like Both
| | 03:44 |
of their flesh tones now.
But let's just say I wanted to isolate to
| | 03:48 |
just this one character.
One of the common problems with secondary
| | 03:52 |
correction, is that you tell the keyer
what color you want to isolate or what
| | 03:55 |
color you want to adjust and you'll find
that color throughout the entire image.
| | 04:00 |
So you want to limit.
The, or isolate the secondary correction.
| | 04:05 |
So, we could do is add a power mask here.
So, for secondary mask let's choose rectangular.
| | 04:11 |
And then we can go ahead and click in the
center control point and move that in place.
| | 04:17 |
And resize the side of that, resize the
top.
| | 04:22 |
And again, shift it into place.
So now, she is the only one getting this
| | 04:26 |
color adjustment.
And if we do a secondary bypass to turn
| | 04:31 |
this off, and turn it back on again, you
can see that, this girl on the right is
| | 04:34 |
unchanged, and our protagonist on the
left gets a little bit more colorized.
| | 04:41 |
I'll just go ahead and bump this up to
ridiculously high levels so you can kind
| | 04:43 |
of see the before and after a little
clearer.
| | 04:45 |
So there's The before and there's the
after.
| | 04:48 |
So we've keyed just the skin tones here,
that's all we're adjusting and now she
| | 04:52 |
looks a little oompa loompaish, let me
take that down back to a normal level and
| | 04:56 |
now she just has a little bit pf a pop in
her skin tone.
| | 05:02 |
Now this technique is also really great
for and bringing out other features as well.
| | 05:06 |
So if I scroll back up to Colorista Two
and close it.
| | 05:10 |
You'll see, I've actually applied another
Colorista Two, another example, another
| | 05:14 |
instance of it and if I enable that to
turn it on, you'll see that it's way
| | 05:17 |
overkill and that's because, I really
like the tattoos on the model on the
| | 05:21 |
right hand side of the frame but they do
get washed out with the lighting that we have.
| | 05:28 |
So I wanted to bring those out.
And I wanted to isolate those using
| | 05:33 |
another secondary pass.
But the thing is there's only one
| | 05:36 |
secondary pass in each instance of
Colorista 2, and there's only one
| | 05:40 |
instance of power masks.
So if I wanted to enhance just the
| | 05:44 |
tattoos, I'd have to use another instance
of Colorista 2.
| | 05:48 |
So I did this in the secondary channel
this color enhancement.
| | 05:52 |
But obviousously it looks terrible in the
rest of the image.
| | 05:55 |
So we need to isolate it so we'll go down
to secondary power mask again on the
| | 05:59 |
second colorista 2 and we'll change the
secondary mask to say ellipse this time
| | 06:03 |
and we can click this on the corners here
these little circles.
| | 06:10 |
To rotate this, an then I could put this,
drag it around her arm, an then let's,
| | 06:15 |
drag the side to make this a little
smaller, a little shorter, and move that over.
| | 06:25 |
An if her, dress gets a little bit
darker, her back gets a little bit
| | 06:27 |
darker, all the better.
Looks great.
| | 06:30 |
So I could, increase the feather size a
little bit more to make sure that that
| | 06:34 |
mask is feathered properly.
And, this is looking really good.
| | 06:39 |
So then I could go in and I could turn
off the secondary, or turn on the
| | 06:42 |
secondary bypass to see what it looks
like before and after.
| | 06:48 |
Before and after.
It does spill out quite a bit around her
| | 06:52 |
neck, so if we wanted to, we could take
the secondary mix down to maybe 80.
| | 06:57 |
But we have a great looking enhancement
to the tattoo, here, great enhancement to
| | 07:01 |
the skin tones.
Let's go ahead and see the final before
| | 07:05 |
and after.
Here's without the tattoo enhancement,
| | 07:08 |
with the tattoo enhancement, and there,
is the original image.
| | 07:12 |
And there's with her skin tone, and the
regular stuff.
| | 07:16 |
The overall image increase and then
obviously the tattoo we have right there.
| | 07:20 |
So much improved and we're able to
isolate those improvements, as needed,
| | 07:24 |
because of the Power Master feature
inside of the secondary area in Colorator 2.
| | 07:31 |
Up next, we're going to look a little bit
more closely at how to key colors.
| | 07:35 |
| | Collapse this transcript |
| Keying colors| 00:00 |
In this tutorial we're, going to dig a
little bit deeper and really get to the
| | 00:03 |
heart of secondary color correction.
As we look at this example and figure out
| | 00:07 |
how to isolate colors to work on just
those colors.
| | 00:12 |
Now, this is an actual example from my
own personal life.
| | 00:16 |
I I'm filming this short film.
I filmed this short film at this location.
| | 00:21 |
And when I did the initial locations
scouting, it looked super desolate and it
| | 00:24 |
was, it was great and that's kind of the
tone of the movie.
| | 00:29 |
It's this fantasy world.
It's kind of set where everything's dead
| | 00:31 |
so everything needs to be dead.
Well, in Seattle, I guess spring just
| | 00:34 |
kind of sneaks up on you and one day it's
not spring and the next day it is spring.
| | 00:39 |
So when I went to visit the location just
a few days later, there's greenery everywhere.
| | 00:43 |
And so I took some more sample pictures
at the location like this.
| | 00:47 |
And I wanted to see if I could bring it
back on my computer and color correct it
| | 00:52 |
successfully enough to make it look
believable like this is an actual
| | 00:55 |
desolate dead world.
Now, one of the challenges that we'll see
| | 01:00 |
when you're doing secondary color
correction like with these leaves right
| | 01:03 |
here, is that we don't want to change the
colors too much.
| | 01:06 |
And in order to make these look dead, I
kind of want to make them look more like
| | 01:09 |
these brown leaves here.
And make them look dead in that way, but
| | 01:14 |
that is a pretty big color shift.
So, let's actually jump into Colorista II
| | 01:18 |
and see how I did this.
I'm going to go ahead and apply Colorista
| | 01:22 |
II to more footage here and we could do
some basic color correction here.
| | 01:27 |
Its always a good idea, even though we're
really not about this right now I can
| | 01:31 |
drag this down to make shadows pop a
little bit.
| | 01:35 |
And we could make the highlights maybe a
little bit brighter.
| | 01:39 |
We could also cool these highlights down,
I think that will help this feel
| | 01:42 |
everything's kind of dim.
We want to pull everything away from
| | 01:46 |
warmth and sunlight and all those things
that make things feel like they're alive.
| | 01:50 |
That's already better.
Before, and after.
| | 01:53 |
Looking pretty good.
And let's go ahead and press Cmd+2 on the
| | 01:57 |
Mac, or Ctrl+2 on the PC, to jump to the
secondary section.
| | 02:01 |
And let's go scroll down to the secondary
key, and go ahead and click Edit.
| | 02:05 |
Now, again this opens up the Colorista
Keyer, and we can use our wheel mouse to
| | 02:08 |
zoom in, which is really what we want to
do here.
| | 02:12 |
And let's go ahead and use the marquee
here.
| | 02:17 |
And when we're zoomed in close enough,
and I'll actually hold down the Spacebar,
| | 02:21 |
get that Hand tool, move this into place.
And then I'm going to select a
| | 02:26 |
representative leaf here and just click
and drag a little marquee to select that green.
| | 02:30 |
Well, you can effectively see our masks
right here, this black and white version.
| | 02:36 |
And so, what I'm going to do now, is
click the plus icon.
| | 02:39 |
And just get more of that.
Just click and drag over more of the
| | 02:43 |
green areas.
To add those to the section that we are
| | 02:48 |
keying out.
Now, I'll use my wheel mouse to zoom back out.
| | 02:53 |
And it looks like we're getting a good
representation of green here.
| | 02:57 |
Now, if we wanted to, we could use this
really unique interface here, where we
| | 03:00 |
can adjust the hue, basically this side
and this bar adjust the hue so we could
| | 03:04 |
shift that along the colors, the color
wheel there.
| | 03:09 |
Just moving that back and forth, if we
get it too blue, we lose all of our leaves.
| | 03:14 |
If we get it too yellow we start
selecting the trees.
| | 03:18 |
So, we really want to just kind of get it
there.
| | 03:21 |
We can also adjust the Saturation.
And so, the more we click to the right,
| | 03:25 |
the more we are selecting saturated
versions of our color, the more we drag
| | 03:28 |
it to the left the more we are removing
those and just getting desaturated areas
| | 03:32 |
of our color.
Looks pretty good.
| | 03:36 |
The same thing with lightness here on
this bar, we can click and drag upwards
| | 03:40 |
to select brighter tones, or down to
select darker tones.
| | 03:44 |
Now, one of the things, and maybe this is
just my limitation as a colorist, I don't
| | 03:48 |
really understand as much as what's
happening when I'm just looking at the
| | 03:51 |
black and white mask.
So what I like to do, is get just kind of
| | 03:56 |
like a ball park like this, and then hit
OK or Return, as it were.
| | 04:00 |
And then make a really ugly huge tweak,
like so.
| | 04:07 |
Saturate this.
Something that's not even close to what
| | 04:09 |
I'm doing but really different from the
original color.
| | 04:13 |
Just so I could see my work.
And then I go back Keyer and click Edit again.
| | 04:19 |
And now when I zoom in here I can see
much more clearly where the problem areas are.
| | 04:24 |
So now, I can click the plus icon and
now, I can click these extra areas here.
| | 04:29 |
Ad its much clearer to understand what's
happening.
| | 04:33 |
Now we are getting these really rough
pixels and I don't like that at all.
| | 04:38 |
So one of the things that we can do is
increase the softness value, from here
| | 04:40 |
and just a little bit will do you.
Just a little bit there.
| | 04:45 |
And it's often better for me to have
gradients because of the softness of the
| | 04:49 |
mask rather than having these hard edges.
Now, one of the things that you'll find
| | 04:54 |
with secondary keying is it's almost
never perfect.
| | 04:57 |
You're always going to have little
pockets.
| | 04:59 |
And as much as you go in here and you try
to select very possible pixel you could
| | 05:02 |
ever want to select, you either get too
many or not enough.
| | 05:06 |
It's just the nature of the beast, it's
very challenging to, to keep going back
| | 05:09 |
and forth.
And, when I actually did this color
| | 05:13 |
correction, it took me a very long time,
like a half hour.
| | 05:16 |
So, it's not something that in, in a
single tutorial we can really go over,
| | 05:19 |
it's just a very tedious back and forth
process we're going to do it right.
| | 05:24 |
And I notice that I'm selecting a little
bit too much of these trees.
| | 05:28 |
this is kind of the green that we want to
get with the leaves, but I really don't
| | 05:31 |
want this color changing that much.
So, I'm going to see if I can't select
| | 05:36 |
the Minus tool here and subtract a little
bit.
| | 05:39 |
From the trees, and see if that takes
away too much from our leaves.
| | 05:44 |
My thought is it's probably going to get
rid of too much from the leaves.
| | 05:48 |
But that looks like it's pretty good.
Actually, this is looking pretty decent.
| | 05:54 |
And thankfully the, our subject matter
lends itself to a little bit of forgiveness.
| | 05:59 |
So if there's a little bit of green right
here, we can survive.
| | 06:03 |
And then, so there's a little bit of
green gradient.
| | 06:05 |
It's not perfect.
it's okay, because nature is that way,
| | 06:07 |
where it's just kind of randomness and,
and color, so, it's a little mo-, more forgiving.
| | 06:12 |
I'm going to click OK.
I should also point out, that, this is,
| | 06:15 |
this shot here, that we're working on, is
a JPEG, which is terrible.
| | 06:20 |
And, it's also taken from my iPhone, so
this is not really the best color grade,
| | 06:25 |
but my thought was, is that if I could
color grade this iPhone shot, this iPhone
| | 06:29 |
still photo, good enough to make it look
believable.
| | 06:35 |
Then, when I actually have really high
quality raw footage from a red scarlet
| | 06:39 |
camera, that I could do even better stuff
with it.
| | 06:44 |
So, what I'm going to do now is take down
the saturation and I actually am liking
| | 06:49 |
the way that looks.
We could play with the hue if we want to.
| | 06:55 |
I kind of do like that brown look.
I don't want to get it to the pink range,
| | 07:00 |
start going that direction, but somewhere
yellow, brown.
| | 07:05 |
That's looking pretty good.
Might want a little bit darker, so I can
| | 07:08 |
come over here to the mid tones.
And because again, we've keyed out this
| | 07:12 |
green, then all we're doing is we're
darkening the stuff that we've keys.
| | 07:16 |
So, we're just darkening those leaves and
that's starting to look mighty fine.
| | 07:21 |
That's looking really good.
Yeah, I'm liking that.
| | 07:25 |
So, now we have this great dead fill.
We've taken out those really.
| | 07:30 |
poppy green leaves, and just kind of made
them dead.
| | 07:34 |
So, now what we need to do is, going into
maybe close up our secondary, and open up
| | 07:39 |
our master here.
And, I'll take down the master
| | 07:44 |
saturation, there we go.
I don't want take away too much.
| | 07:48 |
That's kind of the purpose of keying out
the greens.
| | 07:51 |
I still want the color to be solid and
obvious in the moss around and also these
| | 07:55 |
dead leaves around the scene.
So I, if the whole thing looks
| | 07:59 |
desaturated, then it just looks like the
whole thing is desaturated.
| | 08:03 |
I want to look like it's dead, so having
some color there is really important, so
| | 08:07 |
we have some frame of reference.
Also might want to take the Midtones of
| | 08:13 |
the Master section over to a more cool
area as well.
| | 08:18 |
That adds some, some death and desolation
as well.
| | 08:23 |
And there we have it, there's a pretty
decent version of our footage here.
| | 08:30 |
And I'm going to close up Colorista II,
whoa.
| | 08:34 |
Looks like we have another instance of
Colorista II here that I don't need.
| | 08:38 |
So I'm going to select that and hit
Delete.
| | 08:40 |
And then we have the before, the
original, and the after.
| | 08:44 |
What a difference.
Now again you could see because we did
| | 08:47 |
take this pretty far from its original,
that we do have halos, and edges like
| | 08:50 |
that, and that's just the nature of the
beast.
| | 08:54 |
If you're going to take something and
really, really change its color value.
| | 08:58 |
You are going to notice problems around
the edges and there's just no way around that.
| | 09:03 |
You could definitely work with it more
and minimize that but its never going to
| | 09:06 |
be perfect because just switching one
color to another color is really hard to do.
| | 09:11 |
Because there's just so many nuances to
colors with lighting and shadow and everything.
| | 09:16 |
It's just hard to get perfect.
Thankfully, again, we have a forgiving
| | 09:20 |
case because of the leaves and it works,
but, just be aware that, that is,
| | 09:23 |
challenging to do all the time.
Here is the other, if you go to color
| | 09:27 |
keying colors final, here is the final
example that I came up with.
| | 09:31 |
A little bit more dead and a little bit
more desaturated but I think we did some,
| | 09:36 |
some great work here.
We might want to, if you want to, to get
| | 09:40 |
to this level, you might want to even
saturate the blues in the midtones.
| | 09:46 |
Bring those up a little bit.
Oops, that's not going where I want it to go.
| | 09:54 |
Dragged it up to the right.
There we go.
| | 09:58 |
Now, we can take down the master
saturation even more.
| | 10:01 |
And there we have what, what, what once
was a pretty vibrant spring scene, is now
| | 10:06 |
a desolate, dead but still saturated,
still somewhat saturated scene.
| | 10:13 |
So, this is just a little primer on how
to key colors with Colorista II.
| | 10:17 |
| | Collapse this transcript |
| Using the Levels histogram| 00:00 |
I mentioned before that one of the
problems of using Colorista two or any
| | 00:03 |
effect that you work on in the Effect
Controls Panel in After Effects is that
| | 00:07 |
there really aren't any scopes typically,
and so you really don't know where your
| | 00:11 |
levels lie.
You have your eyes of course, but
| | 00:15 |
sometimes those can be deceiving.
So, one of the old tricks is you can
| | 00:19 |
actually use the old levels effect.
I'm just going to apply the levels effect
| | 00:24 |
to our little horsy footage here.
And I actually have processed this and we
| | 00:28 |
have the histogram and it looks pretty
balanced, it looks like we're blowing out
| | 00:31 |
soem highlights, I can actually see that
here.
| | 00:35 |
And it looks like we're maybe, crushing
some shadows, probably over here, on the
| | 00:38 |
right hand side.
But at least now that we can see that we
| | 00:42 |
have a balanced image.
If I deselect Colorista two, or un-heck
| | 00:46 |
it so it turns it off, we could see that
our histogram updates accordingly, and
| | 00:50 |
our original image, which is much more
washed out, is indicated here as well.
| | 00:55 |
We don't have any crushed highlights, and
we also don't have any shadows to speak
| | 00:59 |
of in the original.
So, this is a good indication, of kind
| | 01:03 |
of, what's going on with our image.
One of the problems though, is if we turn
| | 01:07 |
on Colorista 2 again, we'd expect that
our histogram would go back to the way it
| | 01:11 |
was and it does not.
And if we were to open up Colorista two
| | 01:15 |
and make some changes, they would not be
visible in the histogram, so this is not
| | 01:19 |
like a live update type thing.
One of the things that you can do.
| | 01:24 |
Is delete levels and apply it again.
You could also go to Edit> Purge> All
| | 01:29 |
Memory, and you could also Purge Image
Cache Memory, and sometimes that resets
| | 01:34 |
the, the cache for levels.
That did not do it in this case, so
| | 01:40 |
sometimes it's just best, you gotta just
delete it and then apply it all over
| | 01:43 |
again to make sure that that histogram is
updating.
| | 01:48 |
Sometimes you even have to click it and
fiddle with it a little bit.
| | 01:52 |
It's not an exact science.
One of the other things that I've done
| | 01:56 |
before is I'll use Color Finesse which
comes with After Effects.
| | 02:02 |
And you can Apply that.
And you click Full Interface.
| | 02:06 |
And load that up.
And you get tons of scopes and graphs here.
| | 02:11 |
You can get a, Luma Waveform Monitor
here.
| | 02:15 |
You can get a Vector Scope.
You can get a combination of, of all the
| | 02:18 |
different channels and the Vector Scope
and the Waveform Monitor.
| | 02:23 |
but the problem with this is that it only
looks at the original footage, the source
| | 02:27 |
footage so what you could do is
pre-compose your Colorista stuff and then
| | 02:31 |
apply Color Finesse to the pre-composed
version.
| | 02:37 |
But then again you lose the, the power to
make changes in Colorista two without
| | 02:41 |
having to go back to the child comp.
It's the same thing with Magic Bullet
| | 02:45 |
Looks and the Scopes there as well.
Looking at the source material.
| | 02:48 |
So this levels thing even though it's not
a really elegant solution.
| | 02:53 |
It can bail you out of a situation like
this.
| | 02:56 |
Where you might be actually crushing the
shadows or blowing up the highlights and
| | 03:00 |
not really realize it.
It is not as interactive as I liked, but
| | 03:03 |
it is what it is.
| | 03:05 |
| | Collapse this transcript |
| Using the master controls| 00:00 |
Before we wrap up talking about Colorista
two, let's talk about the Master Controls.
| | 00:05 |
So we've talked about Primary and
Secondary, and there is this Master section.
| | 00:09 |
If you have Colorista two selected, you
can press Cmd+3 or Ctrl+3 on the PC.
| | 00:14 |
that's not working for me here, so I'll
just go ahead and open one of those and
| | 00:18 |
you can press Ctrl or Cmd+3 to have
master open up.
| | 00:22 |
Apparently you need one of these open,
and then it works.
| | 00:25 |
So here we have our settings here, and
this is kind of after you've gone though
| | 00:29 |
Primary and after you've gone through
Secondary, if you want to add polish to
| | 00:33 |
the whole ball of wax, that's what Master
is for.
| | 00:38 |
A lot of these controls we've seen in
both Primary and Seconary, is going to be
| | 00:40 |
saying, geeze do we really need another
threeway color corrector?
| | 00:42 |
Do we really need another HSL?
Another saturation control?
| | 00:44 |
The answer is absolutely yes.
A lot of times doing the primary color
| | 00:46 |
correction, you're kind of getting things
where you want them.
| | 00:58 |
And then with Secondary, you kind of
shift individual colors, and after that
| | 01:02 |
you might say, you know I want the whole
thing now to be de-saturated, or the
| | 01:05 |
whole thing to be more warm or more cool,
or whatever it is, or brighter or darker.
| | 01:11 |
It happens all the time, and so this is
kind of just a nice finishing effect on
| | 01:16 |
your color correction also are part of
the Master section, we have Curves.
| | 01:22 |
I love Curves.
I guess kind of, in a way admitting that
| | 01:25 |
I'm a super professional colorist.
It seems like most professional colorisst
| | 01:30 |
prefer to use these, these wheels.
But, I just love curves.
| | 01:34 |
So one of the things we can do.
It works a little bit weird, than you
| | 01:37 |
might expect if you're used to working
with curves.
| | 01:40 |
Usually you click a point on the curve
you kind of move it around.
| | 01:43 |
That's not the way this works.
What we do, is we go down to the
| | 01:46 |
different sections, whether it's RGB, or
red or green or blue, and adjust
| | 01:49 |
different options.
So, if we want to create the s curve,
| | 01:53 |
where we typically, you know, brighten
the highlights a little bit and then
| | 01:56 |
darken the shadows, we just click and
drag on RGB Contrast and increase that,
| | 01:59 |
and it does an s curve.
For us which in the case of this really
| | 02:04 |
washed out landscape is really helpful.
Now I don't want to brighten the
| | 02:09 |
highlights too much more than that
actually.
| | 02:13 |
So I'll go over to the Shadows and drag
those down a little bit, and now we're
| | 02:17 |
getting a lot more richness out of what
we're what's going on here in our image.
| | 02:23 |
And I think I want to fiddle with that a
little bit but before we do that any more
| | 02:27 |
let's go and play with some colors.
I want to go to the green curves and I
| | 02:32 |
want to go to the green mids and I want
to boost that a little bit so we have a
| | 02:36 |
little bit more green here in the.
The mid tones here of the hills.
| | 02:42 |
And actually I'll bump up the, the green
in the shadows a little bit.
| | 02:45 |
There's a bunch of dark green trees here.
That looks pretty good.
| | 02:49 |
Maybe it's a little over-kill with the
green shadow and mids.
| | 02:53 |
Lets take that down just a little bit.
Maybe go over to the blue curves.
| | 02:57 |
We've actually adjust the highs.
I might want to add a little blue to the sky.
| | 03:02 |
And as we increase that, we see a little
bit more blue in the sky.
| | 03:05 |
That's bringing us a little bit more,
contrast in the highs there because the
| | 03:09 |
camera actually recorded these multiple
levels of detail.
| | 03:14 |
These different hills, and these
different again layers of depth.
| | 03:19 |
Because of the fog, it's all kind of
blending together though.
| | 03:22 |
So as a colorist, it's our job or might
be our job to pull those out.
| | 03:26 |
One of the things we can also do is take
down the RGB highs back in the right RGB section.
| | 03:33 |
That's kind of just washing everything
out though.
| | 03:36 |
So maybe I'll click this and just zero it
back out again.
| | 03:39 |
Now this is actually pretty cool.
In this exercise file, I've actually gone
| | 03:42 |
ahead, if you go back to the secondary
section, I can just press Cmd or Ctrl+ 2,
| | 03:46 |
if I'm too lazy to go open it up.
It's currently Bypass, so Un-bypass the
| | 03:51 |
secondary, and I've added this, kind of,
blue wash.
| | 03:56 |
Over the highlights here.
Just added some blue to the highlights,
| | 03:59 |
that's it.
Didn't touch the shadows or mid tones or
| | 04:01 |
anything else.
Just blue to the highlights.
| | 04:04 |
But I want to do is restrict the blue to
the highlights so that it's only in this
| | 04:09 |
section which darkens the highlights,
adds a little bit more sky and also
| | 04:12 |
brings out more detail in our depth field
here, our depth planes.
| | 04:19 |
So one of the things that I'm going to
do, or I could do, is add a mask here.
| | 04:23 |
But we could also go back down to our
Master Section, and there's another Power
| | 04:27 |
Mask in our Master Section which is
really cool and very helpful.
| | 04:31 |
I'll go to the Master Mask> Rectangular,
and I'll go ahead and move this mask up
| | 04:36 |
in the sky, stretch this out and we could
actually go back to the corners here of
| | 04:42 |
the rectangular mask, and that will
rotate it.
| | 04:49 |
So, that looks pretty good right about
there.
| | 04:53 |
Now the problem is, is that the Master
Mask Mode default is Restrict Entire Effect.
| | 04:59 |
So if you want all the color correction
from Primary, Secondary, and Master.
| | 05:03 |
To be masked off.
You can use the master power mask.
| | 05:07 |
I've said before in previous tutorials in
this chapter that you can't mask off the
| | 05:10 |
primaries, for example the primary
controls.
| | 05:14 |
And that's not technically true.
You could create a primary color
| | 05:18 |
correction, and then mask it using this
master power mode, restrict the entire effect.
| | 05:26 |
But that would leave the rest of your
image untouched.
| | 05:29 |
That's not what we want here, so what I'm
actually going to do is, click Add to
| | 05:32 |
Secondary, which is essentially the same
thing as the secondary mask.
| | 05:36 |
We get a little bit too much blue on
these edges, so I'll move that back up,
| | 05:40 |
and we could actually go back to our
secondary color correction here.
| | 05:47 |
Maybe we'll darken that a little bit
Maybe we could make it even more blue and
| | 05:52 |
there you have it.
We have a nice color grade here.
| | 05:57 |
If we want to with our Master again, if
we want to add a little bit more maybe
| | 06:01 |
green to the mid-tones here.
We can move things in that direction.
| | 06:05 |
Again, we want to be a little bit, a
little bit careful.
| | 06:08 |
But now we have what is a much improved
image.
| | 06:12 |
We've massed off the secondary control
from the master controls.
| | 06:17 |
And we have all of this power and
flexibility in the Master Section for
| | 06:20 |
finishing our image.
If we go up all the way to the top.
| | 06:25 |
Turn off Color Restitute.
We can see the before and the much
| | 06:28 |
improved after.
| | 06:30 |
| | Collapse this transcript |
|
|
6. Removing Noise with DenoiserAbout Denoiser| 00:00 |
In this chapter, we're going to look at
another application in the Magic Bullet Suite.
| | 00:04 |
That is Denoiser, specifically Denoiser
II, which is the big improvement and kind
| | 00:08 |
of the big overhaul from the original
Denoiser.
| | 00:11 |
And this is an incredible little tool for
removing noise.
| | 00:16 |
Here we have this clip from this short
film I did called Godlizza, and this is
| | 00:21 |
just an outtake here.
So it's uncorrected, ungraded, and you
| | 00:27 |
could just really see the, the noise
here.
| | 00:31 |
There was tons of it.
It seems like we were shooting in really
| | 00:34 |
low light, but I was experimenting with
miniatures with a kind of big sensor camera.
| | 00:40 |
So in order to get this to look huge, I
had to stop down all the way on my
| | 00:44 |
camera, basically lowering the exposure
as much as it would go.
| | 00:49 |
I think I was shooting here at like an
f22, or some ridiculously high number
| | 00:53 |
like that.
And basically, what that does, is it
| | 00:56 |
makes everything in focus, but it does
close off a lot of the light.
| | 01:00 |
And so, as a result, we have this really
grainy, noisy image.
| | 01:05 |
And, if I zoom in here a little bit more,
you can actually see that noise a little
| | 01:09 |
bit better.
Again, this is what happens when a lot
| | 01:12 |
when you shoot in low light.
very common situation, it's just the
| | 01:16 |
nature of the beast with film or video.
Now, if I just apply Denoiser, I turn
| | 01:21 |
this on.
And look at how much more pristine that
| | 01:25 |
image is.
And it looks so much more smooth.
| | 01:30 |
Now, I'm going to not do Denoiser any
favors.
| | 01:33 |
I'm going to blow this up even more to
400%, so we can see that noise.
| | 01:41 |
This is the original.
And now, when we go back.
| | 01:45 |
Look even on that sleeve there.
Oh, it's atrocious.
| | 01:48 |
And as we turn on Denoiser, look at how
much cleaner that is, even at 400%.
| | 01:54 |
It's a great tool to remove noise.So
we're going to be looking a little bit
| | 01:58 |
more at that in the rest of this chapter.
Be aware that the host applications for
| | 02:04 |
Denoiser are After Effects Premiere and
Final Cut Pro 7 only.
| | 02:10 |
I should also point out that if you have
an old version of Denoiser, even 1.3 of
| | 02:15 |
Denoiser II, I strongly recommend
upgrading to version 1.4 which actually
| | 02:19 |
I've neglected to do.
So do as I say, not as I do.
| | 02:24 |
But version 1.4 has GPU acceleration even
for OpenCL cards.
| | 02:30 |
Which is, most cards are going to either
support OpenGL, OpenCL, and they are now
| | 02:34 |
accelerated so that the Denoising process
goes even faster.
| | 02:39 |
Denoiser II really is one of the absolute
best noise reduction plugins out there
| | 02:44 |
for those hope, host applications.
So, let's dig a little bit deeper into
| | 02:49 |
Denoiser II.
| | 02:51 |
| | Collapse this transcript |
| Customizing noise reduction| 00:00 |
We're now going to dog a little deeper
into the world of noise reduction and I
| | 00:04 |
will give you this disclaimer, that we
will probably be getting more into noise
| | 00:07 |
reduction than most of you want to get.
So, I'm going to go and order,
| | 00:13 |
chronologically, in this tutorial, from
probably the most useful information to
| | 00:18 |
the most esoteric and kind of boring
information.
| | 00:22 |
So that way.
As soon as you are bored, and its stuff
| | 00:25 |
that you don't think is helpful, then you
can just close the movie and move on.
| | 00:28 |
And then you can just come back to it for
reference if you have a noise reduction project.
| | 00:33 |
So what I'm going to to do here, as I'm
starting from scratch, the customizing
| | 00:36 |
noise reduction composition.
I have my Godlizza outtake footage selected.
| | 00:40 |
We're just going to start from scratch
here.
| | 00:42 |
I'm just going to apply De-noiser to,
actually I just want to show you
| | 00:44 |
something real quick.
I'm going to change my resolution to
| | 00:48 |
half, and even though I'm at 100%, I''m
going to change this to half, I apply
| | 00:52 |
De-noiser 2, not De-noiser 1, so I have
some other Red Giant plugins another
| | 00:56 |
suite installed, for example, the Key
Correct suite, the keying suite.
| | 01:02 |
And it has the KC Denoiser, the composite
wizard also has De-noiser.
| | 01:07 |
These are old, you want De-noiser 2 in
Magic Bullet suite.
| | 01:10 |
That's the good one.
Now one of the things that's very
| | 01:12 |
interesting is when you first apply it,
it should work right away.
| | 01:17 |
But if you are not at full resolution
regardless of your magnification, if you
| | 01:22 |
are not at full resolution, then it will
not work.
| | 01:27 |
And as soon as you put this, into Full
Mode, then it will automatically snap
| | 01:32 |
into action, and reduce noise.
But again, as long as you are not in full
| | 01:39 |
resolution that you will not see any
noise reduction whatsoever.
| | 01:43 |
This can be a really big source of
frustration cause I typically don't work
| | 01:46 |
in full resolution.
Now, here's another gotcha.
| | 01:50 |
When you first apply De-noiser 2 whatever
your current frame happens to be, that is
| | 01:55 |
what, that's the frame that De-noiser 2
is going to use as the reference frame
| | 01:59 |
for the noise reduction.
So, that means if you are fading in from
| | 02:05 |
black or something else, you might not be
on the exact right frame for De-noiser 2
| | 02:09 |
to use.
So you want to do then is move to a good
| | 02:14 |
representative frame and then click the
Sample button in the frame sample area.
| | 02:20 |
And then Denoiser 2 will use that frame
as the sample frame.
| | 02:24 |
Now if you are working on footage that
has a production slate.
| | 02:28 |
Like this, little clapper in front of it.
This is one the best things you can do
| | 02:33 |
for De-noiser 2, is use this as your
reference frame.
| | 02:36 |
There's a lot of flat areas in the slate
that are great for getting noise.
| | 02:41 |
A lot of times, De-noiser gets confused,
say for example this pattern right here.
| | 02:45 |
She has like this.
Kind of a rough fabric right here.
| | 02:49 |
So, De-noiser might look at that fabric
and see some of the, the texture in that
| | 02:52 |
fabric and get confused and think it's
noise.
| | 02:56 |
So, when you look at a slate, it's just
completely flat.
| | 02:59 |
And it makes a great reference area, a
great reference frame for Denoiser to
| | 03:03 |
look at, and see what the noise actually
looks like.
| | 03:07 |
And that really helps in the removal
process.
| | 03:09 |
Now let's go back to our main comp here.
Now one of the most basic settings is the
| | 03:13 |
noise reduction amount.
We could increase this up to 300% and as
| | 03:17 |
we do we're going to soften details but
we're also going to remove more noise.
| | 03:22 |
So this definitely looks smoother.
Really good actually, but it does start
| | 03:27 |
to make things a little soft.
We could also go the opposite way, if we
| | 03:30 |
want something more gritty, maybe we
could.
| | 03:32 |
Just do like a little like, 30, 40% noise
reduction, in which case, its still going
| | 03:36 |
to be fairly grainy and a little bit more
crisp as well.
| | 03:41 |
Now after you do noise reduction one of
the things its a good idea to do is to do
| | 03:44 |
a little bit of sharpening.
Thankfully there's actually built in
| | 03:49 |
sharpening here in the enhancement value
in De-noiser 2 and we can actually bump
| | 03:53 |
this up a little bit if we want to and
Red Giant recommends that you are careful
| | 03:57 |
with this enhancement.
You could take this all the way up to 100%.
| | 04:02 |
But then you start seeing haloing and
artifacts in most footage.
| | 04:06 |
So you typically don't want to go even
above 50%, usually around 30 will get the
| | 04:11 |
job done.
If you're feeling like your footage is
| | 04:15 |
already a little bit too sharp, and you
don't want this you can of course remove
| | 04:17 |
it, take it down all the way.
But using a setting of about 30 brings
| | 04:22 |
back a lot of that crispness.
See look at the texture in the helmet there.
| | 04:27 |
I'll take this down to zero and it just
gets a little bit softer.
| | 04:31 |
So 30% brings that back and it looks
great.
| | 04:35 |
Now a couple of other things that help.
In the Advanced settings, there is
| | 04:38 |
Footage Source, but it all is set to
Video.
| | 04:41 |
But they recommend, and the other option
is film, but if you're using a cinema
| | 04:45 |
camera like the red camera then checking
this and changing this to Film can
| | 04:49 |
actually improve what you're doing.
I haven't really experimented with this,
| | 04:56 |
with other cinema-like cameras like the
Black Magic Cinema Camera for example,
| | 04:59 |
but you might get better results because
the dynamic ranges are little bit more filmic.
| | 05:05 |
You might get better results by changing
this to Film other than Video.
| | 05:08 |
And actually if I zoom in really close
here, this is 200%.
| | 05:13 |
You can see a difference between Video,
and Film.
| | 05:18 |
It's really subtle.
Maybe if I take this up all the way,
| | 05:20 |
it'll be a little bit more clear.
There's Film and then there's Video.
| | 05:24 |
So a little bit of a difference there.
I want to take this back to film.
| | 05:28 |
Take noise reduction back to 100%.
Another thing that you'll notice if you
| | 05:32 |
have problems with De-noiser or any noise
application.
| | 05:36 |
It really has a hard time, noise
reduction applications, have a hard with motion.
| | 05:40 |
A lot of times there's noise in motion
and it's really hard to take that out and
| | 05:44 |
actually still get motion blur.
Looking like it should look.
| | 05:48 |
So, there is this great Motion Estimation
feature.
| | 05:52 |
You can click this, and it will do a
better job, a more, eh, enhanced job, of
| | 05:55 |
removing the noise from blurred and
moving objects, like this.
| | 06:01 |
Now the downside, of course, is that it
does slow down your render time.
| | 06:03 |
And, if we go down, in the Advanced
settings, to Noise Hint ME, the ME stands
| | 06:08 |
for Motion Estimation.
This is kind of, some extra bells and
| | 06:12 |
whistles to help out the Motion
Estimation.
| | 06:15 |
Medium is a good setting.
High makes things render a little bit
| | 06:19 |
quicker, Low actually is like slow and
low and slows things down but it does do
| | 06:24 |
a more accurate look at the motion in the
shot.
| | 06:29 |
For now, I'm going to take this back to
Medium and take off Motion Estimation.
| | 06:33 |
Another really interesting thing about
this is the ability to fine-tune the
| | 06:37 |
noise reduction.
I'm just going to take this back to video
| | 06:40 |
to make it a little bit easier to
understand.
| | 06:43 |
And what I'm going to do is, I want you
to, to look at the noise reduction
| | 06:46 |
setting here.
It goes from zero to 300%.
| | 06:50 |
This is the scale of noise reduction for
this tool.
| | 06:53 |
Zero to 300%.
Because when we open up Luma Offset and
| | 06:56 |
Chroma Offset.
As well as Highlight Offset and Shadow Offset.
| | 07:01 |
These really are the four main choices
that we have when we're fine tuning the
| | 07:06 |
noise reduction.
And you'll notice that each of these has
| | 07:12 |
a scale of 300%.
And as we increase let's say noise
| | 07:17 |
reduction to 300% Then it means that we
cannot increase these values, the offsets
| | 07:22 |
anymore because the limit of noise
reduction has been achieved.
| | 07:29 |
So while we're at 100%, we still have
200% more to go to fine tune.
| | 07:36 |
So if we want to renew, remove more noise
from the luminance, the brightness.
| | 07:41 |
Then we would increase the luma offset.
If we wanted to remove more noise from
| | 07:46 |
all colors, we could increase the chroma
offset.
| | 07:49 |
Same thing with the shadows.
And it's actually better, and a lot of
| | 07:52 |
times you get noise if you're, you using
dark footage, footage that's shot when in
| | 07:57 |
too low light situation, that often times
you'll want to remove more noise from the shadows.
| | 08:04 |
And so this shadow offset becomes a
really helpful parameter.
| | 08:08 |
Highlight offset, I actually don't notice
noise in the highlights very often, so
| | 08:13 |
you might want to take this down, which
will give you more latitude to take.
| | 08:19 |
Noise, out of the shadows and increase
that even more.
| | 08:22 |
Likewise, if you change your footage
source to film, you have red, green and
| | 08:26 |
blue channels, so, if you know.
Like say, for example, with the red
| | 08:30 |
camera, it tends to under expose than the
blue channel, and it creates more noise
| | 08:33 |
there, in the blue channel, then we could
increase the noise reduction in just the
| | 08:37 |
blue channel.
Now, one last tip.
| | 08:42 |
Sometimes the, Denoiser doesn't know
exactly where to look to get rid of noise.
| | 08:47 |
So, what we can do is click Show Noise
Detection.
| | 08:50 |
And we get these little dots.
And this is where.
| | 08:53 |
De-noiser is looking to remove noise.
If you're finding that increasing the
| | 08:58 |
noise reduction or decreasing the noise
reduction isn't doing too much, it's
| | 09:01 |
possible the denoiser just can't see
where the noise is.
| | 09:05 |
So if we want it to look in more places
for the noise, we could increase the
| | 09:09 |
noise detection level and then we
actually physically seeing where these
| | 09:13 |
dots are and that's forcing the Denoiser
to look in more spots for noise.
| | 09:20 |
In this image for example, I'm seeing
most of the noise.
| | 09:22 |
The most obvious noise to my eyes is,
here where these buildings are.
| | 09:27 |
So I might want to increase the noise
detection level, until I get enough
| | 09:31 |
little dots on these boxes here.
These little mini buildings.
| | 09:36 |
So that I know that denoiser understands
where the noise is.
| | 09:40 |
And of course, while you're seeing noise
detection, there actually is no noise
| | 09:43 |
detection going on, so we need to uncheck
that, to then have De-noiser look at the
| | 09:47 |
image and remove the noise accordingly.
Boy, what a beautiful reduction of noise,
| | 09:53 |
unbelievable, there's the before and
there's the after.
| | 09:57 |
Still these fine, subtle details in the
texture of her clothes, as well as the
| | 10:01 |
roughness of buildings.
It's all being preserved very well, even
| | 10:05 |
through the noise removal, which is
absolutely incredible.
| | 10:10 |
So I hope I didn't overwhelm you in this
tuttorial, with all of the features of
| | 10:13 |
the noise, but sometimes you're doing
noise reduction.
| | 10:17 |
It does kind of create weird glitches
sometimes.
| | 10:19 |
I've never seen that with denoiser.
I've seen that with other noise reduction
| | 10:22 |
plugins but its just good to be aware of
these tools and how to use them.
| | 10:26 |
So in case something does spring up on
you or you're in the middle of a
| | 10:29 |
production or post production you have
deadlines you're not stuck and you know
| | 10:32 |
what to do.
| | 10:34 |
| | Collapse this transcript |
|
|
7. Adjusting Skin Tones with CosmoAbout Cosmo| 00:00 |
In this chapter, we're going to take a
look at Magic Bullet Cosmo, which is a
| | 00:03 |
tool just for working with skin tones,
getting them as they should be in the
| | 00:07 |
right place, as far as color is
concerned, and also looking as beautiful
| | 00:10 |
as possible.
And there's some really great shortcuts
| | 00:16 |
here that make skin tone look fantastic.
I kind of wish that I had Cosmo on my
| | 00:20 |
face all the time in real life,
especially in high school, but I digress.
| | 00:25 |
Anyways, we're going to look at this in
this chapter, and really there's nothing
| | 00:29 |
more important that skin tones.
We recognize so many blemishes right off
| | 00:33 |
the bat.
It's one of the things that make people
| | 00:36 |
look beautiful or sickly or healthy, and
it's really important we get those skin
| | 00:40 |
tones and the look of skin just right.
So I have here this footage, and this is
| | 00:46 |
the raw, ungraded stuff from the camera.
I applied Colorista Two to get it to more
| | 00:50 |
of the way that I saw it when we shot it,
and it's kind of like this film noir look.
| | 00:57 |
And she has beautiful skin and the day
that we were shooting the model had a
| | 01:01 |
bunch of make up on and she was changing
looks constantly.
| | 01:07 |
And so there's a few little bumps on her
skin that I would love to smooth out.
| | 01:12 |
So it, I applied Colorista to, like I
said to get everything back in order,
| | 01:15 |
which is really important for what I'm
about to show you.
| | 01:19 |
You really have to get the skin tones
where they ought to be before applying
| | 01:23 |
Cosmo, at least in the ballpark.
So, if I were to apply Cosmo with this,
| | 01:27 |
nothing would happen.
So, I got it in the ballpark, and then I
| | 01:30 |
applied Cosmo, and watch this.
Boom.
| | 01:33 |
Instantly smooths out the texture in the
skin, and it also evens out the skin tones.
| | 01:40 |
So let's look at that.
Just, just did a full application.
| | 01:42 |
Here's the before and the after.
Before and the after.
| | 01:47 |
So especially with her blush which is
actually really softly applied, and
| | 01:51 |
there's also a shadow underneath her
cheek here.
| | 01:55 |
And, still, all those things, are just
smoothed out a little bit.
| | 01:59 |
It still looks very natural, still looks
very realistic, just smoothed it out a
| | 02:03 |
little bit.
And we have, still have a lot of room to
| | 02:06 |
play around.
So, that's what we're going to be looking
| | 02:08 |
at in the next movie, a little bit more
detail on what these values do, and how
| | 02:12 |
to really customize Cosmo, to get your
skin looking the way it ought to.
| | 02:17 |
Now, a quick word about compatibility
here.
| | 02:20 |
It works in After Effects, Premiere Pro,
and Final Cut 6 and 7, as well as Apple
| | 02:25 |
Motion 3 and 4.
So, those are the host applications that
| | 02:30 |
Cosmo will work in.
I should also point out that if you want
| | 02:33 |
to buy Cosmo as a stand alone, it's only
$99, pretty cheap for a plugin of this caliber.
| | 02:39 |
Anyway, let's go ahead and dig in and
learn a little bit more about Cosmo.
| | 02:43 |
| | Collapse this transcript |
| Customizing Cosmo| 00:00 |
Using this as an example, let's go ahead
and dig a little deeper and see what
| | 00:03 |
Cosmo does.
I'm going to apply Cosmo to my footage here.
| | 00:07 |
And again, I have applied Colorista 2,
here's the original and here's with the
| | 00:11 |
basic color correction.
To kind of gets things where they need to be.
| | 00:15 |
And I can go ahead and check the Show
Skin overlay here in Cosmo.
| | 00:21 |
to make sure that we're on the right
track here.
| | 00:23 |
To make sure that's enabled to see that.
It's the same exact thing that we have in
| | 00:26 |
Colorista in the Options.
We had the show skin overlay here, I
| | 00:29 |
could turn it off here and we could see
it there.
| | 00:32 |
Same thing, same thing as in Magic Bullet
looks as well.
| | 00:35 |
Now the's parameters are actually fairly
simple, but to be honest with you, I've
| | 00:39 |
had to read the documentation word for
word several times.
| | 00:44 |
I guess I'm a little slower than the
average Joe, but I've, I've had to study
| | 00:47 |
up on what these me-, these things mean
because the names of them are not very clear.
| | 00:54 |
So I want to check Show Skin Overlay so I
can see what we're doing.
| | 00:58 |
And I want you to notice the the skin
graph on her face showing us where there
| | 01:02 |
are proper skin tones, and where there
are not.
| | 01:06 |
Notice where she has a little bit of
blush on her face, it's breaking up, and
| | 01:09 |
it's kind of going out of the limitations
of what an acceptable skin tone is.
| | 01:14 |
And that's fine because it's, it's blush,
it's not necessarily a flesh tone.
| | 01:19 |
I should also point out that a lot of the
adjustments we're going to be making here
| | 01:22 |
are very subtle.
I might even want to zoom in to 100% so
| | 01:26 |
we can really see what's going on here.
Because again, a lot of these changes are
| | 01:30 |
subtle as they should be.
Now the first thing that we come up
| | 01:34 |
against here is skin color.
This will help us, actually I'm going to
| | 01:37 |
zoom out it's a little close for comfort
there, the skin color as we take this
| | 01:41 |
down, we're going to be adding a little
bit more maroon to the skin.
| | 01:47 |
So if you're finding that your skin
tone's a little bit cool, or if you've
| | 01:50 |
been in a fluorescent lighting and it's
not white-balanced and there's maybe a
| | 01:54 |
green tint, taking it to a negative value
is great.
| | 01:58 |
Opposite is true if its a little bit on
the warm side, adding a positive value
| | 02:02 |
will add more green and so there is a
great a Star Trek alien for you there but
| | 02:07 |
of course if you take it to too positive
of a value its going to be.
| | 02:14 |
Too greenish.
So usually subtle adjustments are great,
| | 02:17 |
and again I really prefer to do my color
correction before applying Cosmo.
| | 02:23 |
I, I like using Cosmo as kind of like a
fine tuner, but it's not really a great balance.
| | 02:27 |
Again, the skin color is more like a
green magenta control, rather than a real
| | 02:31 |
true skin color adjustment.
And I actually want to take this back
| | 02:36 |
down, probably to about zero, where our
blush is a little bit out of it and our
| | 02:40 |
forehead is looking good.
Now this skin squeeze is very interesting.
| | 02:46 |
What skin squeeze does is that it
squeezes all the different tones on a
| | 02:51 |
face into conformity with what a flesh
tone should be.
| | 02:57 |
So watch this space on her face, and also
notice the little cracks right here,
| | 03:00 |
where we're breaking up and not getting
flesh tones.
| | 03:03 |
As I increase Skin Squeeze, watch those
areas, notice that they all of a sudden
| | 03:07 |
come into conformity and now we have all
these areas which are acceptable areas.
| | 03:13 |
It took that rouge on her face and it
made it more of a flesh tone and made it
| | 03:16 |
again, it conformed everything.
Into a normal flesh tone.
| | 03:21 |
So, if you have somebody with, like a
splotchy face, or a messy complexion, or
| | 03:24 |
if the makeup is too much, then you can
increase Skin Squeeze, all the way up to 100%.
| | 03:30 |
If this was my face, we'd probably
increase to about, , 6 billion percent.
| | 03:36 |
But, for regular people, we can keep this
down to maybe more about 50%.
| | 03:42 |
I really do like the ability to kind of
make these skin tones a little bit more uniform.
| | 03:47 |
But again, I do like the fact that we can
see a little bit of her blush, and we
| | 03:49 |
don't want to take away all the
characteristics of her face.
| | 03:52 |
That's the, the real danger when using
Cosmo, is that you might have a tendency
| | 03:55 |
to over-do everything and make everybody
look like a cartoon character.
| | 03:59 |
And we just don't have perfect skin all
that often.
| | 04:03 |
It just doesn't, doesn't really happen,
and there isn't perfect uniformity so we
| | 04:06 |
want to keep some of these details here.
Now the next parameter is very
| | 04:10 |
interesting, it's skin soften.
And what this does is that it tends to
| | 04:14 |
soften the details in the face, which is
great for beauty makeup and the like.
| | 04:20 |
I'll un-check Show Skin Overlay so we can
see the skin a little bit more clearly here.
| | 04:24 |
And we'll zoom in.
And as I increase skin soften, you notice
| | 04:28 |
these details kind of smooth out a little
bit.
| | 04:31 |
And you'll also notice that it's very
easy to make this look really, really
| | 04:35 |
cheesy, like a 1990's thriller movie
poster or a cheesy movie.
| | 04:41 |
But, it's, it's definately overkill so
I'm going to take this back down to about 30.
| | 04:47 |
Now, one of the things that's very
interesting about this plugin, this is
| | 04:50 |
one of the things that was kind of
confusing to me.
| | 04:52 |
Is that there is this Skin Soften Fine
Tuning.
| | 04:55 |
This basically controls the Skin Soften
parameter and what is affected by the
| | 05:00 |
Skin Soften parameter.
So I'm going to open this up, and before
| | 05:04 |
I adjust Skin Finder and Skin Tolerance,
I'm going to check Show Skin Selection.
| | 05:10 |
I'll go ahead and apply that there.
And basically this is a really creepy
| | 05:14 |
looking mask.
It is actually using technology from
| | 05:17 |
Colorista 2, the keyer that we looked at
earlier.
| | 05:19 |
The same keyer as here in Cosmo but just
for skin tones.
| | 05:23 |
So as we adjust Skin Finder we increase
or decrease what Cosmo is seeing as skin tones.
| | 05:32 |
So we might want to get it kind of close
to here and.
| | 05:36 |
I that eck of the woods and then we could
adjust skin tolerance to get more skin
| | 05:40 |
tones as we increase the value or less as
we drag it down.
| | 05:45 |
Now again this only affects what the skin
softening is going to soften.
| | 05:50 |
If we were going to take this to like a
really.
| | 05:54 |
Really shallow value, that's just maybe
like, just like the edge of her cheek or
| | 05:57 |
what have you.
Maybe even more a little bit than that.
| | 06:00 |
Let's just say her forehead here.
And then we're going to uncheck Show Skin
| | 06:03 |
Selection, and increase, increase the
softening.
| | 06:07 |
Notice that we're not having the
softening on these other areas of her
| | 06:10 |
cheek only up here on her forehead where
the Skin Selection is so there's the Skin
| | 06:15 |
Selection we can take this down to zero
and we get a softening back again just in
| | 06:19 |
her forehead and right in this area right
here.
| | 06:25 |
So I'm going to go check the Show Skin
Selection again and get this back to
| | 06:28 |
where we're kind of getting most of her
face in here.
| | 06:33 |
And that's looking pretty good, and then
now we can take the skin soften back up
| | 06:37 |
to about 30 or so, even that's a little
overkill maybe about 25, and then we
| | 06:41 |
finally have this detail parameter which
will restore more detail that we lose
| | 06:45 |
when we're doing skin softening.
It's basically kind of like sharpening.
| | 06:51 |
As I zoom in a little bit here again on
her cheek this is where the most
| | 06:54 |
noticeable softening is happening.
And if I increase this too much we can go
| | 06:59 |
up to 500% actually.
But as we increase this too much then
| | 07:03 |
you'll notice that we start getting some
kind of sharpening artifacts on her skin
| | 07:06 |
it looks haloed and again really cartoony
and fake.
| | 07:10 |
So I'll take this down maybe to about
100.
| | 07:13 |
And maybe thats still a little bit too
strong even maybe 60 and we get a little
| | 07:17 |
bit more detail back there.
If I take it down to zero you notice that
| | 07:22 |
it definately looks a little bit more
soft.
| | 07:27 |
And there's at 160 and we'll go back down
let's say to about 70 I think that's a safe.
| | 07:34 |
The safe value here so now we can adjust
maybe give a little bit more softening
| | 07:39 |
and we now have a, a beautiful result.
And I can turn off Show Skin Selection
| | 07:46 |
and see the before and the after.
It was by no means a jump from hideous to beautiful.
| | 07:53 |
But it already looked pretty good, and
we're just making it a little bit better.
| | 07:58 |
These are very subtle adjustments, but
they definitely look so much better.
| | 08:02 |
And again because Cosmo is working on, a
certain area of skin tone.
| | 08:08 |
And the selection area the key is very
soft.
| | 08:11 |
You can apply this to motion people
moving and its still only going to affect
| | 08:14 |
the skin tones.
However if you notice that there are
| | 08:18 |
other objects in the shot that are kind
of skin tonish you'll notice that hey
| | 08:22 |
also will be affected so its something
you gotta watch out for.
| | 08:27 |
You might want to apply it maybe to an
adjustment layer that you mask off.
| | 08:30 |
Or some such that you can control just
around her face.
| | 08:33 |
Now as we back out this does look a
little strong as far the detail concern
| | 08:37 |
so let me take this down to 40.
I also might want to make sure that I'm
| | 08:41 |
at full resolution and take this up to
100% to make sure that what we're seeing
| | 08:45 |
here is the actual image and not kind of
in an approximation.
| | 08:51 |
Boy, what what a beautiful effect
now,This is before and after, before and after.
| | 08:56 |
Just a great professional polish for skin
tones.
| | 08:59 |
| | Collapse this transcript |
|
|
8. Using MojoAbout Mojo| 00:00 |
Now we're going to take a quick look at
Magic Bullet Mojo.
| | 00:03 |
I actually love Mojo, it's a really
interesting little effect, and it's
| | 00:07 |
meant, just to give a nice Hollywood
punch, to your footage.
| | 00:12 |
It's not meant to take the place of
Colorista or Looks, where we're kind of
| | 00:16 |
building a color grade from scratch.
It's meant to be kind of like polish, on
| | 00:21 |
top of everything else.
So what it does is that warms the
| | 00:25 |
highlights and it cools down the shadows.
It pulls those apart which is a very
| | 00:31 |
cinematic look.
So here we have the same footage that we
| | 00:35 |
dealt with in the last chapter where we
had it just this plain maroon tinted
| | 00:39 |
footage that didn't look all that great.
And it certainly doesn't look cinematic
| | 00:45 |
or professional.
Color correction gets it back into, where
| | 00:49 |
its looking okay.
Using Colorista 2, I added a vignette and
| | 00:52 |
starting to look a little bit more
cinematic but still not all that great.
| | 00:57 |
Let's zoom in a little bit close to her
face here, we did Cosmo in the last
| | 01:00 |
chapter, that smooths things out
considerably and makes the flesh looks so
| | 01:03 |
perfect and.
just in a great cinematic way.
| | 01:08 |
And then with Mojo, and I enable this,
boom.
| | 01:11 |
Look at that.
We take the face tones, we warm them up,
| | 01:14 |
and we pull the, everything away from the
face tones, so now the shadows get more
| | 01:19 |
blue and green a little bit.
And this absolutely looks like something
| | 01:27 |
out of a movie, again here is the
absolute before with Colorista, Cosmo and Mojo.
| | 01:35 |
So you can see again how all these work
together to create this really great work
| | 01:38 |
of art, so were going to be looking more
at Mojo in the next movie, and I'll show
| | 01:41 |
you what all of the bells and whistles
do.
| | 01:45 |
But really the key thing here is that it
gives our footage almost like an interpretation.
| | 01:51 |
We're actually saying something when we
use Mojo.
| | 01:54 |
Without Mojo, even though the colors are
all in the right spot, blah, blah, blah,
| | 01:59 |
but when I put my cursor over these
whites, they're pretty much just gray.
| | 02:05 |
They're just lifeless whites.
Everything is where it technically should be.
| | 02:10 |
But again, movies need to say something.
Narrative work needs to say something.
| | 02:14 |
Needs to have an opinion.
And so when we apply Mojo, we actually
| | 02:17 |
now have Warmed up these Highlights,
we've cooled down the shadows and it
| | 02:21 |
really does look like we are trying to
say something which is what makes things
| | 02:24 |
look cinematic.
Now, of course, if you're doing
| | 02:29 |
television work or if you're doing, you
know, reality stuff or documentary, you
| | 02:33 |
probably won't want to use Mojo this
heavy-handed.
| | 02:36 |
But just because I went all extreme here
it doesn't mean that you have to, there's
| | 02:40 |
definitely a lot of really subtle dialing
at back you can do within Mojo.
| | 02:45 |
I use Mojo very frequently.
I actually use Mojo a lot on this app The
| | 02:49 |
Princess and The Pink rush that I'm
creating for the iPad.
| | 02:54 |
And just to give it a nice little polish,
all the elements are composite.
| | 02:57 |
It was all shot against a green screen.
So to make things kind of come alive, I
| | 03:00 |
kind of needed Mojo to give it that extra
little bit of polish.
| | 03:05 |
I used it throughout.
There's this big cloud scene where we
| | 03:08 |
kind of fly through the clouds.
And here in this throne room.
| | 03:13 |
And all of these elements are just
composited, none of these people ever met
| | 03:15 |
each other.
It was all shot in my basement green screen.
| | 03:19 |
And so Mojo just added this really nice
polish at the end to kind of tie all the
| | 03:23 |
elements together in a really cinematic
way.
| | 03:26 |
I'm really happy with it, and happy to be
able to share it with you.
| | 03:29 |
Just a word about the host applications
it works in After Effects and Premiere of
| | 03:33 |
course, but it also works in Final Cut
Pro 6 and 7, and the new version, version
| | 03:37 |
10, same thing with Apple Motion.
The old stuff and the new version as well.
| | 03:43 |
And having Mojo in so many host
applications is a fantastic thing,
| | 03:46 |
especially for things like Premier Pro,
which can, needs a little bit of help
| | 03:49 |
when it comes to color correction, it's
really fantastic.
| | 03:54 |
So, let's go on to the next movie where
we're going to look at all of these
| | 03:57 |
settings in Mojo and figure out how this
puppy works.
| | 04:00 |
| | Collapse this transcript |
| Customizing Mojo| 00:00 |
So let's look more at Mojo's, there's
actually more to it than it might seem.
| | 00:04 |
I'm going to go ahead and apply Mojo, to
our bad guys, footage here, just drag and
| | 00:08 |
drop that.
Instantly, we see a great coolness,
| | 00:12 |
applied, literally and figuratively, we
have our shadows, which most of this
| | 00:17 |
image is shadow.
And, I, I use this as our example here,
| | 00:21 |
because it's mostly just skin tone and
shadow.
| | 00:24 |
So it's really easy to see what, what
Mojo is doing.
| | 00:27 |
So again, what Mojo is doing here is it's
warming the highlights and skin tones,
| | 00:31 |
and it's cooling off the shadows which
creates again a very cinematic look.
| | 00:38 |
Now let's talk about some of these
controls over here in the effects
| | 00:41 |
controls panel Now really there are 3
different sections going on here.
| | 00:45 |
There's Mojo, Mojo tint and Mojo balance.
We'll call those the Mojo controls,
| | 00:49 |
because they all have Mojo in the title.
And there's warm it, punch it, and bleach it.
| | 00:54 |
They refer to those as the it Controls.
And there's also the skin controls, These
| | 00:58 |
are similar to what was saw in Cosmo,
such as with skin color and skin squeeze,
| | 01:02 |
but there's a new value here called skin
solo, which is different that what we've
| | 01:05 |
seen before, so we'll talk about that.
So lets talk about what the Mojo
| | 01:11 |
parameters do first.
Mojo itself does a couple of things.
| | 01:16 |
Number one, it increases the actual
effects, so it increases the warming of
| | 01:20 |
the highlights and the bluing of the
shadows, if you will.
| | 01:26 |
It also, really increases the intensity
of the effect.
| | 01:29 |
So.
As we take this down to zero, nothign
| | 01:32 |
else really works, even Mojo Tint, Mojo
Balance are just greyed out, You still
| | 01:35 |
can use the It controls, but the basic
finctionality of what Mojo itself is
| | 01:39 |
doing as its warmign the highlights and
cooling the shadows, that goes out the window.
| | 01:46 |
I'm going to go ahead and click reset and
I'm going to increase this quite a bit so
| | 01:49 |
that when we adjust Mojo Tint and Mojo
Balance, its pretty obvious what's happening.
| | 01:54 |
Now, mojo tint actually changes the hue
of the shadows, so as we take this down,
| | 02:00 |
we are making the shadows more blue.
As we go to a negative value, these even
| | 02:07 |
become almost purple.
Let me increase.
| | 02:12 |
Maybe decrease mojo a little bit so we
can see this a little bit more clearly.
| | 02:16 |
A matter of fact I'm going to go back to
colorista 2 and I'm going to increase the
| | 02:20 |
midtones in the primary section and maybe
even brighten up the shadows a little bit
| | 02:23 |
so we can see a little bit more clearly
what's happening.
| | 02:29 |
So there you see we have these purple
shadows, and I will increase mojo tint,
| | 02:35 |
and now they are becoming blue as we go
to smaller values above zero, and then
| | 02:40 |
they become green as we get to a higher
value, even becoming green green, which
| | 02:45 |
you probably wouldn't want, but these are
the ranges of.
| | 02:54 |
Colors that you might want to be opposite
skin tones.
| | 02:58 |
I usually like to go with like a cyan
look in most cases.
| | 03:02 |
Now let me increase mojo again, a little
bit more now that we've brightened the
| | 03:05 |
shadows and the highlights a little bit.
One of the things you'll start to notice
| | 03:09 |
as you crank up mojo, everything tends to
become a little bit more Greenish.
| | 03:15 |
So one of the things that is really
helpful is this mojo balance because it
| | 03:19 |
lets you determine what are shadows and
what are highlights.
| | 03:24 |
So if you take this to a lower value,
it's going to assume that more tones are
| | 03:28 |
highlights and less tones are shadows.
So you'll see Kind of a warming effect
| | 03:34 |
but it's not really a warming effect per
say.
| | 03:38 |
What's it really doing is it's accepting
more tones as highlight and less tones
| | 03:42 |
and shadow.
The opposite is also true.
| | 03:45 |
As we increase this value, we're saying,
okay Mojo, I'll give you the permission
| | 03:49 |
to accept more mid tone as shadows and
even highlight the shadow if we go up to
| | 03:53 |
really high values.
So I don't like to take these to extreme
| | 03:58 |
values in most cases.
So I'm going to leave this set to about
| | 04:02 |
the default here.
So again just to sum up before moving on.
| | 04:06 |
Mojo warms up the highlights and cools
down the shadows.
| | 04:12 |
And also adds some contrast.
Mojo tint refers to the color of the
| | 04:19 |
shadow areas.
Mojo balance refers to the balance
| | 04:23 |
between what is shadows and what is
highlights.
| | 04:26 |
Now the It controls are much easier to
understand, the Warm-it control basically
| | 04:30 |
controls warmth and coolness, so as you
drag to the right we are warming up our
| | 04:34 |
whole scene, as we drag to the left we
are cooling down our whole scene.
| | 04:41 |
You might say well what's the difference
between Warm-it and just using another
| | 04:45 |
Color tool to warm stuff and cool stuff.
The benefit here, is that we also have
| | 04:51 |
Mojo happening, so even if we cool things
off a lot, we still have more details in
| | 04:55 |
the highlights and more oranges in flesh
tones, in the highlights, than we
| | 04:59 |
normally would because Mojo is working.
With the regular color temperature
| | 05:06 |
sliders, as we cool things down we tend
to lose those flesh tones really quick.
| | 05:10 |
Now I'm just going to go ahead and click
reset here because this is looking pretty
| | 05:12 |
ugly to me.
I'm going to increase Mojo and we'll
| | 05:15 |
actually adjust the balance, so we have a
little bit less, then we have highlights
| | 05:19 |
and I actually want to cool this down a
little bit and then punch it, controls
| | 05:23 |
the contrast.
As we drag it to the right, we are
| | 05:27 |
increasing contrast.
And as you drag it to the left, we're
| | 05:30 |
decreasing contrast.
There's a little bit going on with
| | 05:33 |
saturation here, as we increase it, we're
actually losing saturation a little bit
| | 05:38 |
but it's contrast is it's main control.
And then we also have Bleach it, which is
| | 05:42 |
basically saturation.
And so as we drag it to the right, we're
| | 05:45 |
de-saturating, we're bleaching it.
And we drag it to a negative value, we
| | 05:49 |
are saturating it, because we are
removing the bleach essentially.
| | 05:53 |
Now I'm going to go down to the skin
section, and check Show Skin Overlay, so
| | 05:56 |
we can see the skin.
And we have this skin color value just
| | 06:00 |
like we saw in Cosmo, so we can move this
around until we see more skin tone, I'll
| | 06:04 |
just zoom in here.
So see little more closer again, a little
| | 06:09 |
bit of skin tone and so I might want to
increase skin squeeze which conforms more
| | 06:13 |
colors to actually be similar that are
flesh ton related and so I can move this
| | 06:17 |
skin color around really having a hard
time saying skin tone here because our
| | 06:21 |
flesh is so washed out and desaturated.
And we'll get there, we'll get there
| | 06:29 |
eventually, as long as we have a few
little blocks right here, we have some
| | 06:33 |
flesh tones, we know we're on the right
track.
| | 06:37 |
Now, there is another option here called
Skin Solo, which is really interesting.
| | 06:41 |
And again we haven't seen that yet.
What this does, is that it attempts to
| | 06:44 |
make a more unified color palette.
By making the flesh tones pop, and
| | 06:49 |
everything else become less saturated.
Now there's really not too much going on,
| | 06:54 |
color wise, in this scene, so this isn't
good example, so we're going to go back
| | 06:56 |
to our Spy Comp in the same, the same
project here, that we've been working with.
| | 07:01 |
And, notice, as I increase the Skin Solo,
it's actually leaving the flesh the same,
| | 07:05 |
so when I first played around with Mojo,
I didn't read the manual, I was just
| | 07:09 |
kind of playing around with it.
And I noticed that as I increased skin
| | 07:14 |
solo, I didn't really see much of a
difference in the skin tones, and that's
| | 07:17 |
because it changes everything but the
skin tones.
| | 07:21 |
So if I increase skin solo all the way up
to 100%, you notice that we've taken a
| | 07:24 |
lot of saturation out of everything else.
And her skin tone just really puffs, and
| | 07:29 |
that's what's left, is just the skin
tone.
| | 07:32 |
Now, what's interesting about Mojo is
that Mojo actually prox...processes the
| | 07:36 |
skin controls before it processes the
Mojo controls.
| | 07:39 |
So, a lot of times, you can't really see
anything happening Because the changes
| | 07:43 |
that you've added with Mojo will kind of
counteract the changes that you've done
| | 07:46 |
with Skin Cell.
So if I take this down to zero, it will
| | 07:50 |
be really clear in every case what's
happening with skin cell.
| | 07:55 |
It's basically desaturating that dress
which is making her skin tone pop a
| | 07:59 |
little more.
I actually prefer it somewhere.
| | 08:03 |
In the middle, maybe take down the blue
of the dress a little bit.
| | 08:06 |
But I do like that blue and the contrast
that it gives with her skin tone.
| | 08:10 |
Now, one last thing about Mojo.
I'll go over to bad guys, I'm going to
| | 08:13 |
delete Mojo there.
Oops, I didn't mean to do that.
| | 08:18 |
Let me undo really quick.
I'm going to go back to the effects and
| | 08:20 |
presets panel.
And notice that there are a series of
| | 08:23 |
presets that ship with Mojo.
For example, Mojo Optimus.
| | 08:28 |
I can drag and drop that.
That applies Mojo with all these settings
| | 08:31 |
set up and it kind of looks like the
Transformers movie, where we have super
| | 08:34 |
warm highlights and cool off shadows,
very similar to the original Mojo
| | 08:37 |
settings, just kind of a little bit more
intense,, but there's a kind of like a
| | 08:40 |
Resident Evil mojo resident.
And there are a few other presets,
| | 08:45 |
honestly I don't.
Like to use presets generally, especially
| | 08:48 |
when it comes to color correction.
Because, every instance is so wildly different.
| | 08:52 |
This might look like, you know, the
Transformers movie, great and fine.
| | 08:57 |
But, chances are if we were to apply it
to this raw footage, it would not look
| | 09:00 |
anything like the Transformers movie.
So, it, I prefer to just jump in with
| | 09:04 |
Mojo and use the settings, but the
presets are here and available to you.
| | 09:09 |
| | Collapse this transcript |
|
|
9. The Rest of the Magic Bullet SuiteUsing MB Grinder| 00:00 |
In this chapter we are going to look at
some of the, kind of, more auxiliary
| | 00:03 |
tools in the Magic Bullet suite.
One of them's kind of fun, we're going to
| | 00:06 |
look at and this would be called grinder,
Magic Bullet grinder.
| | 00:10 |
This is the only standalone application
in the suite.
| | 00:13 |
The purpose of grinder is to take
footage, primarily DSLR footage, footage
| | 00:16 |
from DSLR cameras, and to transcode it.
And what a transcode means is we take it
| | 00:22 |
from one format like DSLR's typically
shoot with H264 compression, which is
| | 00:26 |
really tough to edit with.
So, often times what you do is stick it
| | 00:31 |
in Magic Bullet Grindor or some other
encoding tool, such as Adobe Media
| | 00:34 |
Encoder and it will convert it to another
format that's easier to work with and edit.
| | 00:41 |
Now, it's super easy to use, and before I
drag and drop a movie here, as it
| | 00:43 |
instructs us to do, I just want to point
out that there's this little note here
| | 00:46 |
that reminds us that, especially with
canon files it creates a thm file when
| | 00:50 |
you're creating your canon so you'll have
a .mov file which is the actually movie.
| | 00:56 |
You'll have a little metadata file that's
this thm file.
| | 00:59 |
And if you bring this in it will use the
time of the day of the shoot in order to
| | 01:03 |
generate time codes.
Its also one of the problems with DSLR
| | 01:07 |
cameras, there's no time code.
So Magic Bullet Grinder attempts to fix this.
| | 01:11 |
And there's several options here.
So what I'm going to do is I'm going to
| | 01:14 |
go to the Video folder that's inside the
Media folder of the exercise files.
| | 01:19 |
I have this shooting basketball footage.
This is an H264 clip from a Canon camera, DSLR.
| | 01:27 |
I'll just drag and drop that, and now
we're ready to go.
| | 01:30 |
So it has some information about this.
And including our frame rate and our
| | 01:34 |
size, our typical dimension.
The cool thing about this is, is that
| | 01:38 |
Grinder can actually create two files for
you.
| | 01:42 |
One is the main format.
So this is kind of like the high quality
| | 01:45 |
conversion of this, and you'll never have
to go back to the H264 version again.
| | 01:50 |
Again and then you could also create a
proxy at the same time.
| | 01:54 |
In other words, you can create an even
lower quality, smaller file size version
| | 01:57 |
if you want, that's easier to use.
You could change the resolution of the proxy.
| | 02:02 |
You could create half HD, 720p.
All these different options here.
| | 02:07 |
And you could also change the proxy
format.
| | 02:09 |
Now you don't have to have a proxy.
You could just click None and it will
| | 02:12 |
just convert this, so transcode it, to
one of the main formats here.
| | 02:16 |
Typically PhotoJPG or a flavor of Apple
ProRes.
| | 02:20 |
Although you could just use the original
and put the time code in, if you want.
| | 02:24 |
Now, we're getting the benefit of this is
that editing systems handle photo jpeg,
| | 02:28 |
and especially Apple Pro Res so much
easier than H264.
| | 02:33 |
It's so funny to me.
I work with 4k Raw files from my red
| | 02:36 |
scarlet camera all the time in my editing
system and premier handle's it like a champ.
| | 02:44 |
But as soon I get even like a 720p tiny
clip, from a A264 camrea from a DSLR it
| | 02:49 |
chokes on it.
It just can't do it.
| | 02:54 |
So, this is just one of the great
benefits of a tool like grinder.
| | 02:58 |
One of the other benefits, say we'll use
this as our main format, if we do choose
| | 03:02 |
to create a proxy and let's see, we'll
make a small proxy, you can also burn in
| | 03:06 |
information like time codes so we'll
create an overlay of the time code.
| | 03:13 |
So you sync it up a little bit easier
with the main format later on.
| | 03:17 |
Also, you can put time code in, you can
put continuous time code, or the time of
| | 03:20 |
day if you want in both the main format
and the proxy format, so again they're
| | 03:23 |
easier to connect later.
Now another side benefit of this is that
| | 03:29 |
we can conform the frame rate.
A lot of times when you have a DSLR
| | 03:32 |
camera, it will allow you to shoot up to
60 frames per second.
| | 03:36 |
And so when you shoot 60 frames per
second, typically what you're doing is
| | 03:39 |
you're creating a slow motion effect.
You could slow it down later.
| | 03:43 |
So if you want, you could right here
conform the frame rate to be 23.976 as
| | 03:47 |
opposed to the same as the original and
that will make your 60 frames per second
| | 03:50 |
footage slow motion.
Now, once you've set up your main output
| | 03:56 |
location, I'll just use the same video
folder, and I'm going to go ahead and
| | 04:00 |
create the proxy.
And let's go ahead and burn in the time code.
| | 04:05 |
And I'll, I don't have the, the, THM
file, so I'll just go ahead and just
| | 04:08 |
leave this set on continuous.
All you have to do is click start.
| | 04:12 |
By the way, you can queue up tons of
these files, and grinder will render one
| | 04:16 |
simultaneous file for each of your cores
up to 8 cores.
| | 04:20 |
So if you have a machine with 8 cores,
you have 8 transcodings processes going
| | 04:23 |
on at the same time.
Go ahead and click start here.
| | 04:28 |
And in just a moment our main file and
our proxy files are done encoding.
| | 04:36 |
It actually goes pretty fast, and then we
have the transcoded version here.
| | 04:42 |
And then we also have the proxy version.
And you can see the time code burned in
| | 04:47 |
right there.
That's really all there is to using Magic
| | 04:51 |
Bullet Grinder.
| | 04:52 |
| | Collapse this transcript |
| Using MB PhotoLooks| 00:01 |
In this tutorial we're actually going to
be in Adobe Photoshop of all places.
| | 00:04 |
We're going to be looking at another
product in the suite called Photo Looks
| | 00:07 |
which is basically Magic Bullet Looks for
photos.
| | 00:11 |
So here in Photoshop, I can go to the
Filter> Magic Bullet Photo Looks.
| | 00:19 |
And now, here we have the familiar Magic
Bullet Looks, interface.
| | 00:24 |
And we have the Scopes and we have the
Skin Charts and everything and we have
| | 00:27 |
the five different tools in our tool
chain, Subject, Matte, Lens, Camera and
| | 00:30 |
Post, the same tools.
Everything here, except it's for photos.
| | 00:35 |
So I can go over here and I can apply
Colorista Three Way to my still image, of
| | 00:39 |
this beautiful model here.
And get shadows where we want, looking at
| | 00:45 |
the, Scope over here, the Waveform
Monitor, the RGB Parade.
| | 00:49 |
And, we can maybe even warm up the
highlights, and warm up the mid-tones,
| | 00:55 |
and then maybe we could cool off the, the
shadows.
| | 01:03 |
And, just kind of play with that a little
bit.
| | 01:06 |
And then we could go back to our Tools.
And maybe on the lens we could add a
| | 01:11 |
Vignette, and I'll move this over so it's
centered on her, stretch this out a
| | 01:16 |
little bit.
And, in post we can do something which we
| | 01:20 |
didn't talk about at the beginning of
this training series, we can actually
| | 01:23 |
apply Cosmo right here inside a Magic
Bullet Look, so I'll double-click and
| | 01:26 |
apply that with the same settings here.
I'll go ahead and turn on our Skin Graph,
| | 01:32 |
and then I can adjust the skin color as I
desire.
| | 01:36 |
I can make it more red, or more yellow.
I kind of like it right about there.
| | 01:43 |
And then we could squeeze the skin a
little bit, maybe soften the skin a
| | 01:46 |
little bit.
I'll turn off the Skin Graph here I can
| | 01:50 |
see what Cosmo has done.
Actually let's take a look less than a
| | 01:54 |
hundred percent, so there's before Cosmo
and after.
| | 01:58 |
So here is you can use that back slash
key again and here's our before.
| | 02:03 |
And here, is our after, with Magic Bullet
Photo Looks.
| | 02:07 |
Now, one of the things, that they will
say on their website, that the host
| | 02:10 |
clients are Photoshop, Light Room, and
Aperture.
| | 02:13 |
It also says, that Photo Looks will not
support Photoshop Elements or other
| | 02:16 |
products that support the Photoshop
plugin specification.
| | 02:20 |
However, when I do a search for Photo
Looks.
| | 02:23 |
I have Magic Bullet Photo Looks here and
I click that.
| | 02:26 |
Actually let me go ahead and cancel this
out.
| | 02:29 |
If I go ahead and launch it from my, my
computer here.
| | 02:34 |
You'll see it launches as a stand alone
and we can open an image from inside of
| | 02:38 |
Photo Looks.
So it stands on its own.
| | 02:42 |
So you can use it that way.
And from here you could actually save out
| | 02:45 |
a file if you need to or what have you.
So basically it's Magic Bullets Looks but
| | 02:50 |
meant for photos.
| | 02:51 |
| | Collapse this transcript |
| Using MB Instant HD| 00:00 |
When high definition video came out and
became like a normal thing, a lot of
| | 00:04 |
video professionals, lots of seasoned
veterans, were a little heart broken and
| | 00:08 |
they were sad because they'd been
shooting SD for so long and now, none of
| | 00:11 |
their stuff really worked.
So, Instant HD was created and is also
| | 00:18 |
part of the Magic Bullet Suite.
And the purpose of Instant HD was to
| | 00:24 |
re-size your footage in a better way.
Now before we get too far, the host
| | 00:30 |
applications here After Effects,
Premiere, and Final Cut 5, 6, and 7 only.
| | 00:36 |
And note that for Premiere CS4 and CS3
it's only for Windows.
| | 00:41 |
Now, back to After Effects here.
I have my footage that I brought into my
| | 00:46 |
composition here, and I'm not doing
Instant HD any favors, because this is
| | 00:51 |
actually a 2k composition, so we are
doubling the size of this footage.
| | 00:57 |
Now, I have this version here, which is
scaled up, and when we zoom in to 100%
| | 01:00 |
here which we really need to do to get a
really good comparison of what's happening.
| | 01:06 |
We see that there are some pixelation
issues here.
| | 01:10 |
This is not super clean footage.
So I'm going to take off the Visibility,
| | 01:14 |
the scaled up layer, and I'm going to
apply Instant HD, not the re-sizer effect
| | 01:18 |
which is in this cat, same category.
Apply Instant HD, to the Instant HD layer.
| | 01:25 |
It instantly tries to resize it, the best
it can, right off the bat.
| | 01:29 |
So we'll go to the Output Size drop down
here at the top and they're tons of options.
| | 01:34 |
And they're even some SD options so in
case you're scaling something up, say,
| | 01:37 |
maybe something like old cell phone
footage or something, you can actually
| | 01:40 |
use one of these presets.
Tons of options here.
| | 01:44 |
As you can see, but I'm just going to to
go ahead and choose Custom.
| | 01:48 |
Because we have a unique aspect ratio
here.
| | 01:51 |
And actually, because of that, I'm going
to uncheck Lock Aspect Ratio.
| | 01:57 |
I'm going to take Custom Width to
actually 2048, 2048 and I'm going to take
| | 02:02 |
the Custom Height to 1080.
So, now, we have our scaled up, doubled
| | 02:09 |
in size version of this file.
Now, just to show you the difference
| | 02:15 |
here, I'm going to change the filter type
from Quick to Best.
| | 02:20 |
And I'm also going to maybe increase
Sharpness to maybe like four and take up
| | 02:24 |
Quality to maybe 15.
Because I really want to show you the
| | 02:27 |
difference here.
I'll zoom back in to 100%.
| | 02:31 |
And now when I toggle on the scaled up
version, here's the original and here it
| | 02:36 |
is with Instant HD.
So it feels really, soft and fuzzy with a
| | 02:40 |
scaled up version, we take that off and
it's much cleaner.
| | 02:45 |
It's no where near perfect, but for the
fact that we doubled in size this already
| | 02:50 |
highly compressed file, this is pretty
impressive results.
| | 02:55 |
Now, there's another great tool in this
little collection here I'm just going to
| | 02:58 |
go ahead and delete Instant HD.
I'm going to apply Resizer.
| | 03:03 |
And that's also, again, in the Magic
Bullet in the HD folder here.
| | 03:07 |
It comes with Instant HD.
Now Resizer was acquisitioned when Magic
| | 03:11 |
Bullet, or rather Red Giant bought out
Digital Anarchy, and the Resizer came
| | 03:17 |
with it.
This is basically like Instant HD, but
| | 03:21 |
the quality isn't as good.
But the options are plentiful so if you
| | 03:26 |
wanted to change the preset to like 200%
we could do that.
| | 03:31 |
We could also change the scale within
height we can change this to 200% there
| | 03:36 |
and now we are double the size and again
the scaling up version here.
| | 03:44 |
Its really not any better or worse before
and after so it doesn't have the same
| | 03:47 |
magic that Instant HD does but you can
change the source aspect ratio.
| | 03:52 |
You can also choose to fill the grame or
stretch it.
| | 03:55 |
You can also choose what to do with the
fields if you are going to interlace it
| | 03:58 |
and there's a lot of other options like
that.
| | 04:02 |
It's an HD, definitely looks better.
Re-sizer gives you more options.
| | 04:06 |
| | Collapse this transcript |
| Using MB Frames| 00:00 |
Last, and for me probably least, we have
Magic Bullet frames.
| | 00:06 |
I think this is actually the original
Magic Bullet effect, and it's meant to
| | 00:10 |
take interlaced footage, and deinterlace
it, and basically conform 30 frames per
| | 00:14 |
second interlaced footage into 24p
footage in an elegant way.
| | 00:20 |
It's actually a collection of effects.
At least here in after effects.
| | 00:24 |
We can apply for example, the Letterbox
or effect to get a Letterbox effect.
| | 00:29 |
And that's what we want.
There's just a lot here that I frankly
| | 00:32 |
don't have to much experience with and
don't find too helpful in this HD and
| | 00:36 |
ultra-HD age that we are living in.
But if I go ahead and apply Frames Plus
| | 00:41 |
for examples.
Click the Auto Setup button.
| | 00:44 |
Click OK.
And you could see that it does do some
| | 00:47 |
great stuff to fix some problems that we
had in the original version of this.
| | 00:52 |
You can see some interlacing artifacts in
the motion of this footage.
| | 00:56 |
And we could turn on Frame Plus and get
rid of some of that.
| | 00:59 |
I want to say I just searched for hours
to find an interlaced 30 frames per
| | 01:02 |
second clip that I could use, 'cuz film
is more in my wheelhouse.
| | 01:07 |
So, there's that.
There's one other cool effect though that
| | 01:11 |
actually is really helpful whether or not
you're doing, broadcast stuff or film.
| | 01:16 |
And that's this effect called Opticals.
It seems like this should go in some
| | 01:20 |
other place other than in Frames because
this effect is actually really cool.
| | 01:26 |
One of the things that we do often when
we're transitioning from one clip to
| | 01:30 |
another let's say we're here in After
Effects is that we'll use opacity to kind
| | 01:34 |
of lower the pacity and blend between two
clips but this looks really not great.
| | 01:41 |
It doesn't look like film it looks like
video.
| | 01:44 |
But one of the cool things about film
dissolves is that they're usually
| | 01:47 |
additive dissolves.
They look great.
| | 01:50 |
So what I'm going to do is apply the
opticals effect to my top layer here.
| | 01:53 |
And it's just a transition effect.
I'm going to change the a layer to my
| | 01:57 |
number one layer, the b layer to my
number two layer.
| | 02:00 |
And then as I increase the dissolve from
a to b, you can see we have more of an
| | 02:04 |
additive dissolve.
So the brights kind of come in first, and
| | 02:08 |
it creates kind of a more pleasing
effect, what we're used to.
| | 02:14 |
And then we can also adjust the fade burn
film response, so we can, let me just
| | 02:18 |
increase fade here, or burn, to get
things darker.
| | 02:23 |
And we can adjust the faint, fade burn
film response.
| | 02:27 |
So in other words we basically are
changing it so it's almost like we're
| | 02:31 |
using the Add mode, or the Multiply mode
in order to blend these clips together
| | 02:34 |
and the result is actually pretty cool.
I'll take fade and burn and that response
| | 02:41 |
back down to zero.
But you can see here that we have a more
| | 02:45 |
pleasing cinematic transition between
these two clips with the Opticals effect.
| | 02:50 |
| | Collapse this transcript |
|
|
ConclusionFollowing Stu Maschwitz| 00:00 |
Now, before we close out the training
series, I want you to be aware of someone
| | 00:03 |
named Stu Maschwitz.
He is a hero of mine and a genius in the
| | 00:07 |
After Effects community, and also the
creator of most if not all of the stuff
| | 00:12 |
that we have in the Magic Bullet suite.
Stu also has a blog, called Prolost, prolost.com.
| | 00:22 |
And, on his blog, he gives tons of
training and tips, and just a lot of
| | 00:26 |
industry insider information.
It's just a really, really great blog,
| | 00:32 |
this is one of the very few blogs that I
actually have in my RSS feed on my phone
| | 00:36 |
that I absolutely have to know when Stu
posts something new.
| | 00:43 |
I think there's only three things that I
follow, and this is one of them.
| | 00:46 |
I highly recommend checking out what Stu
is doing, going through his archives, his
| | 00:50 |
old blogs.
He is so generous with his information
| | 00:54 |
and he knows so much and he has been
involved on so many huge Hollywood
| | 00:58 |
productions, on indie shoots, he's an
amazing photographer, with an amazing
| | 01:02 |
cinematic sense.
He's just really somebody that's great to
| | 01:07 |
follow and be aware of.
| | 01:09 |
| | Collapse this transcript |
| Goodbye| 00:00 |
Well folks, that's it for this training
series on the Magic Bullet Suite.
| | 00:04 |
On behalf of lynda.com, thank you so much
for watching.
| | 00:07 |
And also because I know that not
everybody watches these little goodbye
| | 00:11 |
movies all the time.
I wanted to give you a special bonus for
| | 00:14 |
watching this, and one of the things
that's really cool and important to know
| | 00:18 |
about Red Giant.
Is that they occasionally have these huge
| | 00:23 |
sales, where they give away like 30% off
or 50% off sometimes.
| | 00:27 |
These sales usually coincide with big
holidays or big events like NAB, which is
| | 00:30 |
actually going on, while I'm recording
this right now.
| | 00:34 |
They also have a huge sale around
Christmas time, around the holidays.
| | 00:38 |
And it seems like they have one around
Summer or when they release a new product sometimes.
| | 00:43 |
So, it's a good idea just to check in if
you're on a really tight budget and you
| | 00:46 |
can't afford the latest and greatest.
That you keep your eye out for these huge
| | 00:50 |
sales they have.
Cause you really can get some great deals.
| | 00:54 |
Again, thank you so much for watching
this training.
| | 00:56 |
I hope you enjoyed it.
My name is Chad Perkins, take care.
| | 00:58 |
| | Collapse this transcript |
|
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