WelcomeWelcome| 00:00 | (Music playing)
| | 00:03 | Hi! I am Robbie Carman and welcome to
Apple Color 1.5 Essential Training.
| | 00:08 | Color is a powerful desktop
color correction and grading tool.
| | 00:11 | This makes it a valuable
tool for high-end color grading.
| | 00:14 | In this title, we will explore
almost every facet of working with Color.
| | 00:18 | We will explore workflow topics like
round tripping with Final Cut Pro, and
| | 00:22 | prepping a sequence for Color.
| | 00:23 | We will look at how each one of
rooms in Color works and how they all tie
| | 00:27 | together to make primary, secondary
color effects in geometry corrections.
| | 00:32 | We will learn how to render your
grades and send them back to Final Cut Pro.
| | 00:35 | We will even create file suitable for
film outputs and along the way we will
| | 00:40 | go over best practices for grading footage
as well as learning a little color theory.
| | 00:45 | Whether you are new to Color or have
dabbled in the application, if you want to
| | 00:48 | learn to correct and grade your
footage, then this title is for you.
| | 00:53 | As a working colorist, author, and
trainer I'm glad to have this chance to
| | 00:57 | show you how Color works and share with you my
hard one insights into using the application.
| | 01:02 | So let's jump into Color 1.5 Essential Training.
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| Using the exercise files| 00:00 | If you're a premium member of the lynda.
com Online Trading Library or if you're
| | 00:04 | watching this title on the disk, you
have access to the exercise files used
| | 00:08 | throughout this title.
| | 00:09 | The exercise files used for this
title are slightly different than
| | 00:12 | other lynda.com titles.
| | 00:14 | Let me go ahead and open up
the exercise_files folder.
| | 00:19 | This folder contains two items, a text
file about how to use the exercise files
| | 00:23 | and a disk image called exercise_files.
| | 00:26 | We are using a disk image, because when
I created Color projects on my computer,
| | 00:30 | they linked up to the media that we are
using and everything operated normally.
| | 00:33 | If I were to send you those projects
and you were to open them up on your
| | 00:36 | computer, all of them media would be offline.
| | 00:39 | This is because Color uses absolute
volume file paths, meaning that Color would
| | 00:44 | still be looking to the media on my
computer and you would have to relink media
| | 00:48 | for a ton of Color
projects included in this title.
| | 00:50 | That would be a pain.
| | 00:52 | So by using a disk image and keeping
all the files in a disk image, things
| | 00:56 | should operate normally.
| | 00:57 | If you want to know more about the disk
image, just check out the text file, How
| | 01:01 | To Use Exercise Files.
| | 01:02 | Let me go ahead and open up the
disk image by double-clicking on it.
| | 01:06 | When the disk image opens up, I will
have a new volume here on my desktop
| | 01:10 | called exercise_Files.
| | 01:11 | Let me go ahead and open that up.
| | 01:13 | The disk image contains numbered folders
that correspond to the chapters in this
| | 01:17 | title. Not every chapter has a folder
and not every movie has exercise files.
| | 01:23 | You also see in the disk image right
here a Final Cut Pro Project and this Final
| | 01:27 | Cut Pro project is used in
many of the movies in this title.
| | 01:32 | Finally, in a few movies in this title,
will be accessing footage from a Red
| | 01:36 | camera and due to the massive size of
the Red 4K files we've included it as a
| | 01:40 | separate download, a small collection
of Red 4K media and those files can be
| | 01:45 | found in this folder right
here called exercise_files_red.
| | 01:49 | The downloaded file contains
another disk image, this file right here.
| | 01:54 | To mount the disk image I
simply double-click on it.
| | 01:57 | When the disk image is mounted Final
Cut Pro will recognize it as a memory card
| | 02:01 | from a Red camera. When we need to
access this disk image, I will mention it.
| | 02:05 | If you're a monthly or annual
subscriber to lynda.com, you don't have access to
| | 02:10 | the exercise files, but you can follow
along from scratch with your own assets.
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|
|
1. SetupUnderstanding the technical requirements of Color| 00:00 | You have chosen Color as your software
package of choice to color correcting
| | 00:03 | and grade your footage. Good job.
| | 00:06 | You've made an excellent choice.
| | 00:08 | But as with the other pieces of software,
there are some technical requirements.
| | 00:12 | You probably know that Color is part of
Final Cut Studio and to even be able to
| | 00:16 | install Final Cut Studio on your
machine, you have to meet some requirements.
| | 00:20 | The newest version of Final Cut Studio
requires that you're using a Mac with
| | 00:23 | an Intel processor. Sorry PowerPC users you
can't use the latest version of Final Cut Studio.
| | 00:29 | RAM is always a good thing
and the more of it, the better.
| | 00:32 | At a minimum, you need 1 Gigabyte on
your machine, but the more RAM, the better.
| | 00:37 | I think 4 to 8 Gigabytes
is a good place to start.
| | 00:40 | A lot of Final Cut Studio depends on
your graphics card in your machine.
| | 00:43 | So try to get the fastest card you can
from NVIDIA or ATI and make sure you have
| | 00:48 | at least 120 Megabytes of VRAM, but
card with 512 Megabytes is almost a
| | 00:53 | requirement for best
results in Final Cut Studio.
| | 00:55 | The display that you use on your machine must
be able to display a resolution of 1280x800.
| | 01:02 | Almost every modern Mac including
laptops can support this resolution.
| | 01:06 | Also, if you only have an integrated
graphics card in your machine, like a
| | 01:10 | MacBook, you cannot run Final Cut Studio.
| | 01:13 | Finally, you need to have Mac OS X
10.5.6 and QuickTime 7.6 or later.
| | 01:19 | For this title will be running Mac 10.5.8
and QuickTime 7.6, but the newest
| | 01:25 | version of Final Cut Studio in Color 1.5
will work just fine with 10.6 Snow
| | 01:30 | Leopard in QuickTime 10.
| | 01:31 | So now you know what you need for Final
Cut Studio, and Color 1.5 ups the ante
| | 01:36 | just a touch with some of its requirements.
| | 01:39 | First, Color prefers dual displays, so
you can have the scoops window on its own
| | 01:42 | display, but that's not required and
in fact in this title we will be running
| | 01:46 | Color on a single display.
| | 01:48 | Color also prefers for the application
to be running on display with a minimum
| | 01:52 | resolution of 1680x1050.
| | 01:55 | This doesn't mean you can't run Color,
if you have a resolution that's lower
| | 01:58 | than that like a Mac Portable, but
you will be prompted by Color that the
| | 02:02 | application may be unstable.
| | 02:04 | As I mentioned before, Color is very
dependent on the graphics card in your system.
| | 02:09 | So at a minimum it's recommended you
have a graphics card that has 256 Megabytes
| | 02:14 | of VRAM, but again 512 Megabytes or
greater will give you the best performance.
| | 02:19 | Finally, Apple recommends a three-button
mouse for full functionality over the software.
| | 02:23 | So that's what you need to know what
the technical requirements of Color.
| | 02:27 | Be sure to check out the tech specs on
the Final Cut Studio in Color by visiting
| | 02:31 | apple.com/finalcutstudio/specs.
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| The basics of suite setup| 00:00 | The more you get in to grading shows,
the more you'll depend on your suite, or
| | 00:04 | the room that you work in.
| | 00:05 | Now I don't mean that it's literally
going to give you a pep talk, but the
| | 00:08 | suite you grade your shows in, can, if
not setup properly, hurt the decisions
| | 00:13 | you make in grading shows.
| | 00:14 | The first step in creating a suite
that is suited for color grading is to
| | 00:18 | control ambient lighting and
have proper lighting in the suite.
| | 00:21 | The ideal Color Suite is a windowless room,
but that's pretty hard to do in a lot of cases.
| | 00:25 | If your suite has windows, and really
who doesn't like windows for a bit of
| | 00:29 | sunlight every once in a while, then
the best thing to do is to control ambient
| | 00:32 | light with shades or
ideally, use blackout curtains.
| | 00:37 | Good lighting is also essential on the
Color Suite and I understand that there
| | 00:40 | are compromises, but trust me,
don't skimp on your lighting.
| | 00:44 | Lighting your suite directly influences
how you will view your footage on your
| | 00:47 | video monitor and computer monitors.
| | 00:49 | The goal? Neutrality. And what I mean
is that the lighting you choose in your
| | 00:53 | suite should be color and intensity neutral.
| | 00:56 | So instead of using standard household
lighting, choose D65 or daylight balanced lighting.
| | 01:01 | You can find this kind of lighting by
doing a quick search on Google and finding
| | 01:04 | the specialty lighting retailer.
| | 01:06 | Just keep in mind that in most cases
D65 lighting comes as fluorescent bulbs and
| | 01:11 | that fluorescent wattages are much
lower than their incandescent counterparts.
| | 01:15 | Try a wattage of around six to twelve watts.
| | 01:17 | If your suite is multipurpose and you
don't think that you'll need true D65
| | 01:21 | lighting, choose cool type
regular bulbs rather than warm ones.
| | 01:25 | Also, with lighting in a Color Suite, you
don't want to have lighting that is direct,
| | 01:29 | meaning a desk lamp or overhead.
| | 01:31 | Instead, you want lighting that is not
direct and diffuse, and in the case of
| | 01:35 | near your desk, be used as a back light.
| | 01:37 | You are creative and I get that, but
resist the urge to paint the walls in your
| | 01:41 | suite some funky orange.
| | 01:43 | The walls in your suite should be a
neutral gray or at least a desaturated color.
| | 01:48 | Otherwise, you risk eye fatigue from
saturated wall colors, and worse yet, if
| | 01:52 | the surrounding walls in your viewing
area are really saturated or bright, they
| | 01:56 | can influence the decisions
you make creating your footage.
| | 01:59 | No matter how hard you try though,
something in your environment can
| | 02:02 | influence your viewing.
| | 02:03 | That's why you should have a confidence spot.
| | 02:05 | Think of a confidence spot
as a visual restart button.
| | 02:09 | The confidence spot, which should be in
your field of view, is used to reset or
| | 02:13 | reinforce your vision, so you
can see true black, white and gray.
| | 02:17 | And a confidence spot is simply,
well, a spot that has swatches of true
| | 02:22 | black, white, and gray.
| | 02:24 | You can even use common camera
setup cards for the confidence spot.
| | 02:29 | No other part of Color Suite design is
as highly discussed as monitor selection.
| | 02:33 | The thing to remember is that the
video monitor is a V tool. Okay.
| | 02:37 | Your eyes are really the
most important, but I digress.
| | 02:40 | But the next most important tool to a
colorist is the video monitor to evaluate
| | 02:44 | and make critical decisions about the footage.
| | 02:47 | So get the best monitor you
can and try not to compromise.
| | 02:50 | The qualities you are looking
for in a monitor are monitor that's
| | 02:53 | multi-format, meaning it can do
standard-def, high-def, and various encoding
| | 02:57 | standards like NTSC and PAL.
| | 02:59 | In addition, you want to select the
monitor that's accurate for color and
| | 03:02 | contrast and is adjustable.
| | 03:03 | Features like Blue Only and the ability
to adjust for color space are essential.
| | 03:07 | These types of monitors are often
referred to as reference monitors.
| | 03:11 | You will see a lot of competing
opinions about various display technologies,
| | 03:15 | but choose one that you are most
comfortable with and when possible, test the
| | 03:18 | monitor in your environment, and there
are lots of companies making great monitors.
| | 03:23 | Check out companies like Sony,
Panasonic, FSI and others.
| | 03:26 | All these companies make what are referred to
as Grade 1 monitors, or a reference monitor.
| | 03:31 | While consumer sets are getting better
and better, the fact is most people don't
| | 03:35 | watch TV on a $20,000 calibrated monitor.
| | 03:38 | So it's a good idea to have what I
called the sanity monitor and other is called
| | 03:42 | the client monitor in your suite.
| | 03:44 | This monitor mimics real world viewing
and it should be used to double-check
| | 03:48 | yourself on your color-critical monitor,
and it can be used as a client viewing
| | 03:52 | monitor as typically the reference
monitor will be placed on your desk or in a
| | 03:55 | narrow viewing area.
| | 03:56 | But the sanity/client monitor will be placed
in a location ideal for the client to view.
| | 04:03 | To be able to connect your Mac to a
high quality video monitor or to output
| | 04:06 | devices like DEX, you need to have
some sort of video I/O on your system.
| | 04:11 | For video output, Color requires you
have a dedicated PCI based video I/O card
| | 04:15 | in your system, for
manufacturers like AJA and Black Magic.
| | 04:19 | These cards offer a ton of connectivity, and in a
lot of cases support up and down conversion.
| | 04:24 | The one thing to point out is that
color does not support FireWire based I/O
| | 04:29 | devices like the AJA I/O. You must
use a PCI based I/O card in your system.
| | 04:36 | Okay, the last essential part of
any Color Suite setup is good storage.
| | 04:40 | As a general rule of thumb, choose
high speed, high capacity storage.
| | 04:45 | Redundancy is also a good choice.
| | 04:47 | You can achieve fast and redundant
storage pretty easily with an eSATA, SAS or
| | 04:52 | Fibre Channel array, and
a PCI based RAID 5 card.
| | 04:55 | Whatever you do, don't rely on
FireWire or USB based storage.
| | 05:00 | Finally, the last part of great a
Color Suite is the control surface.
| | 05:05 | While optional, a color control surface
will give you tactile control over color.
| | 05:09 | New to Color 1.5 are select
control surfaces that support USB.
| | 05:13 | But most control surfaces like the JL
Cooper Eclipse CX, which is the one I use,
| | 05:18 | connect your machine via Ethernet.
| | 05:20 | The cool thing about most control
surfaces is that they ship with a dedicated
| | 05:24 | configuration application to change
what buttons and controls do what in Color.
| | 05:29 | While there's quite a bit more to suite
setup, like choosing a nice desk, fancy
| | 05:33 | chairs for your clients and the all
important decision about what kind of bottled
| | 05:36 | water you'll offer your clients, this
maybe should help you out with some other
| | 05:40 | critical decisions in
setting up your Color Suite.
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| Essential equipment: Three-button mouse| 00:00 | One thing that is unique about Color
is that you'll find it difficult to do
| | 00:03 | everything that you need to do in the
application without a three-button mouse.
| | 00:07 | While there are a lot of great three-
button mice in the market that require a
| | 00:10 | little setup, I am using an Apple
Mighty Mouse for this title, which does
| | 00:14 | require a bit of setup.
| | 00:15 | So, to set up a mighty mouse, I need to
open up System Preferences and then come
| | 00:20 | to the Keyboard & Mouse preference pane.
| | 00:21 | I am using Mac OS 10.5.
| | 00:24 | If you are using Mac OS 10.6 Snow Leopard,
there is a preference pane, just for the mouse.
| | 00:29 | So, to have full functionality in Color,
we need to assign one button of the
| | 00:33 | mighty mouse as the Primary Button, one
button as the Secondary Button and one
| | 00:37 | button as Button #3.
| | 00:39 | So, let me go ahead and do that,
| | 00:40 | I already have my Primary Button set
up here as a left-mouse button, as I am
| | 00:44 | right handed, and Button #2
here is a Secondary Button.
| | 00:48 | But notice that Button #3, the scroll
wheel or the middle-mouse button on my
| | 00:51 | mouse is set to Dashboard.
| | 00:53 | I need to change that from Dashboard
to Button 3, so it operates as Button 3.
| | 00:59 | Also, I think you will find it useful to
disable the side buttons on the mighty mouse.
| | 01:03 | So I will go ahead and turn those off.
| | 01:05 | The Tracking, Scrolling and Double-
clicking preferences are completely up to you.
| | 01:09 | Finally, I would disable this
option right here, zoom using scroll ball
| | 01:14 | while holding Control.
| | 01:17 | So that's all you need to do
to set up an Apple Mighty Mouse.
| | 01:20 | If you are using a third-party mouse,
you might also have a preference pane here
| | 01:24 | in System Preferences, where you can
do additional setup of that mouse.
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|
|
2. Color ConceptsWhat is color grading?| 00:00 |
I am guessing, since you are watching
this title, you'd have some idea of what
| | 00:03 |
color correction and grading is.
| | 00:05 |
But before we get any further in this
title, let's get on the same page about
| | 00:09 |
what we mean about color correction
and grading and some other concepts
| | 00:13 |
related to those subjects.
| | 00:14 |
One of the primary goals of correcting
footage is making contrast corrections.
| | 00:19 |
Contrast corrections
can serve several different purposes.
| | 00:22 |
First, they can be used to
lighten or darken a clip.
| | 00:26 |
They can also refer to expanding or
reducing the contrast ratio of the clip.
| | 00:31 |
Like the clip here on the right. The
top shot is a clip with a low contrast
| | 00:35 |
ratio, but the one at the
bottom has a high contrast ratio.
| | 00:38 |
We will talk about
contrast ratio in a later movie.
| | 00:41 |
One thing to understand about
contrast corrections is that, on a day-to-day
| | 00:45 |
basis, it's what the colors does most
due to the fact that our eyes are more
| | 00:49 |
sensitive to lightness than color.
| | 00:50 |
Of course, it's called
color correction for a reason.
| | 00:54 |
Color balance corrections are the
ones that, in most cases, attempt to make a
| | 00:57 |
clip look correct, or rather a faithful
interpretation of the whether the clip
| | 01:02 |
was meant to be shot.
| | 01:03 |
You can think of this as trying to
create a neutral clip, meaning one that
| | 01:07 |
doesn't have a color cast.
| | 01:09 |
Color balance corrections can also be
used to purposely style a clip by warming
| | 01:13 |
it up, cooling it down or
doing something in between.
| | 01:17 |
By selectively targeting color
balance corrections, you can perform what's
| | 01:20 |
called secondary color correction, and
we'll discuss secondary corrections a bit
| | 01:24 |
later in this movie.
| | 01:26 |
Another type of correction
is a saturation correction.
| | 01:29 |
Desaturated clips are without
color, but most of the time we adjust the
| | 01:33 |
saturation of a clip to make it a
touch more colorful or a touch more flat.
| | 01:37 |
And I would like to think of
saturation corrections as ones that affect the
| | 01:40 |
intensity of a particular color or
range of colors across the entire clip.
| | 01:45 |
A major goal of color correction and
grading is ensuring broadcast legality.
| | 01:50 |
Even if your project is not destined
for broadcast, it's a good idea to try to
| | 01:54 |
stick to broadcast safe standards, as
they'll help your clips look better, and
| | 01:58 |
we'll discuss broadcast safe
standards throughout this title.
| | 02:02 |
The sexy part of working with an
application like Color is to create a look.
| | 02:05 |
This can be super-stylized, for
example, movies like Steven Soderbergh's
| | 02:09 |
Traffic and Pleasantville are both
examples of modern films that leverage the
| | 02:13 |
power of creating a look.
| | 02:15 |
Also, TV shows, like CSI,
use very stylized looks.
| | 02:19 |
The thing to remember is all that a
looks is is just a combination of
| | 02:22 |
different types of corrections.
| | 02:25 |
Have you ever been watching TV and you
have the volume set comfortably, and then
| | 02:29 |
all of a sudden a commercial comes on
and it gets really loud? Annoying, right?
| | 02:33 |
Well, a breaking continuity when
watching or listening to something can
| | 02:37 |
be annoying, and a large part, of what a
colorist does is ensuring visual continuity.
| | 02:42 |
What I mean is that we want clips to
look like they all belong with each other.
| | 02:46 |
This is sometimes referred to as scene-
to-scene color correction, where clips
| | 02:50 |
match across different
scenes as well as within a scene.
| | 02:53 |
So, let's talk about what we mean by
color correction and color grading.
| | 02:56 |
Well, I use these terms pretty
interchangeably, but a lot of people use only
| | 03:00 |
grading because it sounds fancy
and more refined than color correction.
| | 03:05 |
Most of the time, these words are
referring to the same process, but you can
| | 03:08 |
also think of correction as just that,
fixing problems, while grading refers to
| | 03:13 |
more stylistic work.
| | 03:15 |
One important note is that in Color,
corrections refer to what happens in each
| | 03:19 |
individual room, while a grade is the sum
of adjustments or corrections for each room.
| | 03:25 |
So, speaking of corrections, the most
common type of correction, and the one
| | 03:28 |
that the colors will spend the most
time doing on a day-to-day basis is a
| | 03:32 |
primary correction.
| | 03:34 |
A primary correction is one
that affects the entire clip.
| | 03:37 |
So, in other words, you might make a
primary correction that makes the entire
| | 03:40 |
clip lighter or darker.
| | 03:43 |
Primary corrections in Color happen
either in the Primary In or Primary Out rooms.
| | 03:49 |
If primary corrections affect the
entire clip, secondary corrections affect
| | 03:53 |
only part of a clip.
| | 03:55 |
Take a look at this graphic
here with a pink-headed statue.
| | 03:58 |
I used a secondary correction to have only
the head pink and everything else in gray scale.
| | 04:04 |
There are a number of ways to make
secondary corrections in Color, and all
| | 04:08 |
Secondary corrections
happen in the secondary's room.
| | 04:12 |
There are additional ways
to make corrections in Color.
| | 04:14 |
We can use the ColorFX room, it chooses
different nodes, similar to the way Apple
| | 04:18 |
Shake works, to composite different corrections.
| | 04:21 |
We can make geometry corrections in the
Geometry room and we can even make raw
| | 04:25 |
processing corrections
before correcting red raw footage.
| | 04:30 |
So, hopefully you have a better
idea of what color grading is.
| | 04:32 |
In the rest of the movies in this
chapter, we will get a little bit more
| | 04:35 |
technical and take a look at some
Color theory and some technical concepts.
| | 04:40 |
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| Understanding the color wheel and tonal range| 00:00 |
If you are going to have mastery of
correcting and grading your clips, the first
| | 00:04 |
thing that you need to learn
is a bit about Color theory.
| | 00:07 |
Don't get me wrong, this movie is
not the end or be all of instruction on
| | 00:10 |
understanding the basics of the
Color Wheel and The Tonal Range.
| | 00:13 |
But it's a good place to start.
| | 00:15 |
So let's dive in. The first concept we
need to explore is that of the Color Wheel.
| | 00:20 |
The Color Wheel is simply a construct
that is used to be able to visualize Hue
| | 00:23 |
or Color, Saturation and Lightness.
| | 00:26 |
There are other ways of visualizing
these concepts but the Color Wheel is a
| | 00:30 |
common way to do it.
| | 00:31 |
What's more is that you find the Color
Wheel in applications like Color or even
| | 00:35 |
Mac OS X Color Picker.
| | 00:37 |
Understanding how the Wheel works will arm
you with knowledge to make good corrections.
| | 00:42 |
As I mentioned the Color Wheel
lets us see actual Colors, and in the
| | 00:45 |
Additive Color model, that every
video system uses, red and green and blue
| | 00:49 |
are known as Primary Colors.
| | 00:51 |
Any color in the Spectrum is created
by mixing parts of red, green, and blue.
| | 00:56 |
And as you can see in the graphic here
the primary colors split the Color Wheel
| | 00:59 |
into thirds, they are
equidistant from each other.
| | 01:03 |
The Color Wheel can also
show us Secondary Colors.
| | 01:06 |
In the Additive Color model, secondary
colors or yellow, cyan, magenta. Unlike
| | 01:10 |
the primary colors the secondary colors
also split the wheel into thirds and
| | 01:14 |
are equidistant from each other.
| | 01:16 |
The secondary colors are made by
mixing equal parts of two primary colors, so
| | 01:20 |
red+green=yellow, blue+green=
cyan, and red+blue=magenta.
| | 01:27 |
In this graphic, you can see both the primary
and secondary colors maps on the Color Wheel.
| | 01:31 |
Notice how they split the
Color Wheel into six equal parts.
| | 01:35 |
Another important concept to
understand about the Color Wheel is how Hue and
| | 01:39 |
Saturation are represented on it.
| | 01:41 |
Hue refers to an actual color and on
the Color Wheel hue is represented as the
| | 01:46 |
angle around the Color Wheel and
saturation is represented as the distance out
| | 01:50 |
from center on the wheel.
| | 01:53 |
So the Color Wheel is pretty
straightforward, but a concept that may be new
| | 01:56 |
to you is that of the Tonal Range. Put simply the
Tonal Range is black to white or dark to light.
| | 02:02 |
In later chapters, when we start making
corrections in Color, every correction
| | 02:06 |
we make is happening
somewhere on the Tonal Range.
| | 02:09 |
So, in other words, we might make a
color correction to the lightest portions of
| | 02:13 |
the clip or at the top of the Tonal Range.
| | 02:15 |
We might make a contrast correction to
the darkest portions of the clip, meaning
| | 02:19 |
that the correction affects
the bottom of the Tonal Range.
| | 02:23 |
tools like the Color Balance Controls
in Color break down the Tonal Range into
| | 02:26 |
three separate sections, shadows for
the darkest portions of the Tonal Range,
| | 02:30 |
midtones for most of the Tonal
Range, and highlights for the lightest
| | 02:34 |
portions of the Tonal Range.
| | 02:35 |
So, now that we know what's meant by the
Tonal Range and you understand the Color Wheel,
| | 02:39 |
let's combine the two
ideas and talk about lightness.
| | 02:42 |
Lightness refers to how bright a color
is, although the word brightness is not
| | 02:46 |
technically correct, but many people use it.
| | 02:48 |
So we will go ahead and use it as well.
| | 02:50 |
So you pick a hue or color in the
saturation of that color on the Color Wheel.
| | 02:54 |
Well lightness determines where that
combination of hue and saturation exists
| | 02:59 |
on the Tonal Range.
| | 03:01 |
And I think an easy way to see this
concept is with the graphics here showing
| | 03:05 |
the Mac OS X Color Picker. In both
images I have the same hue and the same
| | 03:09 |
saturation but I have adjusted
the lightness of each selection.
| | 03:13 |
So with the graphic in the left the color
seems to be darker than the one on the right.
| | 03:19 |
Here's another graphic to illustrate this point.
| | 03:21 |
So here you have a color that mapped
against the Tonal Range and you can see in
| | 03:24 |
the left the color is darker at the
bottom of the Tonal Range and its lighter at
| | 03:29 |
the top of the Tonal Range.
| | 03:31 |
Finally, let's wrap up this movie with
one last concept that involves the Color
| | 03:35 |
Wheel and the Tonal Range, Color Cast.
| | 03:38 |
A Color Cast can be defined as the
prominence of one color anywhere on the Tonal
| | 03:42 |
Range and the important part is that
Color Cast can be neutralized by adding a
| | 03:47 |
color from the opposite side of the Color Wheel.
| | 03:50 |
So in these graphics I had a yellow
Color Cast in the midtones and the
| | 03:53 |
highlights of the clip.
| | 03:55 |
I neutralized the Color Cast by
adding in blue because blue is opposite
| | 03:59 |
yellow, on the Color Wheel.
| | 04:01 |
I added blue both in the midtones and the
highlights and this neutralized yellow Color Cast.
| | 04:07 |
Understanding the Color Wheel and the
Tonal Range are the two important concepts
| | 04:10 |
that will help in
correcting and grading your clips.
| | 04:14 |
| | Collapse this transcript |
| Decoding technical terminology for color grading| 00:00 | Like other parts of Post-production,
there are several technical concepts
| | 00:03 | involving color grading.
| | 00:05 | The purpose of this movie is to give
you the gist of these concepts, so you
| | 00:09 | can be armed within understanding of the
concepts and explore and discuss them with colleagues.
| | 00:13 | So, let's get started. The first
concept I want to explore is that Luma.
| | 00:18 | You've probably heard someone says were
before, and someone's has probably told
| | 00:21 | you that it was short for luminance.
| | 00:23 | Let's stop that idea right in its tracks.
| | 00:26 | Luma, or the black and white
or grayscale part of footage,
| | 00:29 | is the part of the signal we use to
evaluate contrasts but it's different from luminance.
| | 00:34 | Luminance is a color science term
defined by the CIE, or International
| | 00:39 | Commission on Illumination.
| | 00:41 | And what luminance is is a
measurement of the amount of light off of the
| | 00:44 | surface, like the
brightness of your video monitor.
| | 00:46 | And its a linear measurement. Luma,
meanwhile, is what defines lightness in the
| | 00:51 | clip and its gamma weighted.
| | 00:53 | So, in technical equations, Luma is
denoted as Y' prime, where the prime symbol
| | 00:58 | indicates gamma weighted luminance or Luma.
| | 01:02 | So, if Luma is the grayscale part of
the signal, then chroma is the color part.
| | 01:07 | Chroma can be part of this
having two parts: Hue and Saturation.
| | 01:11 | And because it's the color portion of the
signal, its what we use to evaluate color.
| | 01:15 | We will talk about evaluating both
Luma and Chroma using Color's video scopes
| | 01:19 | in a later chapter.
| | 01:21 | You've probably heard the term Contrasts
Ratio before, but what does it actually mean?
| | 01:25 | I think the easiest way to think of
contrast ratio is the difference between the
| | 01:29 | lightest and darkest portions of a clip.
If you take a look at these graphics I
| | 01:34 | have two Waveforms Scopes in Color.
| | 01:37 | One function of the Waveforms Scope is
to evaluate the Luma part of the clip and
| | 01:41 | the scale that the waveform
scope uses mimics, the Tonal Range.
| | 01:44 | So, the bottom is black or dark and
the top of the scale is white or light.
| | 01:49 | And all this white stuff here in the
middle of these graphics is called the Trace.
| | 01:53 | And here, this actually
represents the Luma part of the clip.
| | 01:57 | So, in the top graphic, the difference
between the lightest and the darkest
| | 02:00 | portions of the clip is small.
| | 02:01 | Meaning that it has a low contrast
ratio, while on the lower graphic the
| | 02:06 | difference between the lightest and
darkest portions of the clip are much
| | 02:09 | greater, indicating a high contrast ratio.
| | 02:12 | We will explore the scopes in much
more detail throughout this title.
| | 02:16 | Most people will agree that low
contrast footage though, tends to look dull and
| | 02:20 | flat, compared to high contrast footage.
| | 02:24 | Well I could do a whole title on
talking about the concept of gamma but for our
| | 02:28 | purposes right now, it means two things.
First is a non-linear adjustment of the
| | 02:33 | luminance and if you remember from a
few slides ago, that's how we get Luma,
| | 02:37 | which is just gamma weighted luminance.
| | 02:40 | Secondly, in color grading, gamma
generally refers to the adjustment of midtones.
| | 02:46 | In color grading you will see media
encoded using two different color-encoding
| | 02:49 | models. Also, different applications
like Color and Final Cut Pro color correct
| | 02:54 | and grade media using two
different color-encoding models.
| | 02:58 | So let's take a look at RGB color encoding.
| | 03:01 | You may or may not see RGB encoding in
documentation denoted with the prime symbols.
| | 03:06 | But just like with Luma it means that
the RGB components are gamma weighted.
| | 03:11 | In RGB color encoding, Luma and Chroma
are linked, adjusting the one affects the
| | 03:16 | other and an easy way to see this is
with this graphic, which is the 3-D color
| | 03:20 | space scoop from Color.
| | 03:22 | RGB color encoding is represented by a
box and anywhere you move in this box,
| | 03:27 | your hue, saturation, and
lightness, all change together.
| | 03:31 | The cool thing about RGB color
encoding is its pretty much how we see the
| | 03:35 | world and new formats like HDCAM SR and codecs
like Apple ProRes 4444, support RGB encoding.
| | 03:43 | Color also grades footage
internally using the RGB model. The other
| | 03:48 | color-encoding model you'll see is Y'CbCr.
| | 03:51 | And this color encoding model is
what most video systems use. Y'
| | 03:56 | is the Luma part of the signal and CbCr
represent the Chroma components of the signal.
| | 04:01 | Applications like Final Cut Pro work
in Y'CbCr color space to grade footage.
| | 04:06 | The thing about this type of encoding
is that Luma and Chroma are separate.
| | 04:10 | If you take a look at this graphic,
which is again the 3D color space scope from
| | 04:14 | Color, set to Y'CbCr.
| | 04:17 | Luma is represented by the pole in
the middle of the scoop, while color is
| | 04:21 | the outside boundary.
| | 04:23 | So, it's possible to keep the same
Hue and Saturation without making the
| | 04:27 | color lighter or darker.
| | 04:30 | So, let's sum up RGB and Y'CbCr, color encoding.
| | 04:34 | In RGB encoding, Chroma and Luma are linked.
| | 04:38 | In Y'CbCr they are separate.
| | 04:41 | Computer design applications like
Photoshop and, in our case Color, think in RGB.
| | 04:46 | Video applications like Final Cut
Pro think in Y'CbCr color space.
| | 04:51 | Neither its right or wrong, just different.
| | 04:54 | Another technical concept that you
see a lot in regards to video formats and
| | 04:58 | color grading is Chroma subsampling.
| | 05:00 | Chroma subsampling can occur with
Y'CbCr encoded video and it's essentially
| | 05:05 | a way to reduce the bandwidth of the signal
by reducing or removing Chroma information.
| | 05:11 | By reducing or removing this
information it's one way modern video systems are
| | 05:15 | able to get such long durations of high-
resolution footage on recording mediums
| | 05:19 | like HDV tape or a Sony SxS card.
| | 05:23 | Chroma subsampling works on the
principle that our eyes are much more sensitive
| | 05:26 | to Luma than they may are to Color.
| | 05:28 | So, reducing color information is not
noticed by most. Chroma subsampling is
| | 05:33 | represented by ratios like 4:2:2 and 4:1:1.
| | 05:36 | Where the first number, which is
almost always four, is the Luma part of the
| | 05:40 | signal, and the other numbers are
the color components of this signal.
| | 05:44 | So in a ratio like 4:2:2, color is
encoded or sampled at only half the amount of
| | 05:50 | Luma and that 4:1:1 color sample
only add a quarter of that amount.
| | 05:54 | A sample ratio of 4:4:4 indicates no
Chroma subsampling and it's the best the
| | 06:00 | signals it's going to get.
| | 06:01 | As a general rule of thumb, try to use
an acquisition format or transcode to a
| | 06:06 | codec that supports a
higher Chroma subsampling ratio.
| | 06:10 | The last technical concept that
affects color grading is Bit Depth.
| | 06:13 | A good way to think about Bit Depth
is the range of color and lightness
| | 06:17 | available in any given color model.
| | 06:19 | Most formats you encounter are 8 or 10 Bit.
| | 06:22 | Some formats like DPX can
even use 16 or 32 Bit, Bit Depth.
| | 06:27 | For 8-10 Bit formats these values
mean that in 8 Bit there are 256 possible
| | 06:32 | values per pixel and in 10 Bit there are 1024.
| | 06:36 | Typically though, because of the way
videos encoded, you actually have less
| | 06:39 | values, but some newer formats like
HDCAM SR actually work in true 10 Bit or
| | 06:44 | what's called Full Range Bit depth.
| | 06:46 | You can see in the graphics on the
right the first image has a very little Bit
| | 06:50 | Depth and seems almost pixilated
because there are not a lot of values to
| | 06:53 | describe color and lightness for each pixel.
| | 06:56 | The other image is 10-bit
file and is much more clear.
| | 07:00 | The basic rule of thumb is to work
with 10 Bit whenever possible as this will
| | 07:03 | give you the most latitude
for correcting your footage.
| | 07:07 | So now you have some of the basics on
technical terminology regarding color correction.
| | 07:11 | In the next chapter, will talk
about some typical color workflows.
| | Collapse this transcript |
|
|
3. Color WorkflowsOverview of Color workflows| 00:00 |
When I teach in the classroom or speak
at industry conferences, someone always
| | 00:04 |
comes up to me and asks,
"Where should I create my project?
| | 00:07 |
"In Final Cut Pro or Color?"
| | 00:08 |
It's a very good question and
one that we should talk about.
| | 00:11 |
After all, the choice you're making in
what application you used to grade your
| | 00:14 |
program influences what
type of Workflow you'll choose.
| | 00:17 |
And we'll cover several different types
of Workflows in this movie and then in
| | 00:20 |
the rest of this chapter, we'll put
most of those workflows into action.
| | 00:24 |
The first step in choosing where you
should grade your program is to simply
| | 00:27 |
evaluate your needs.
| | 00:28 |
There are a lot of variations on these
questions, but these are good place to start.
| | 00:32 |
Is the goal in grading your project
just a temporary fix, so you can show a
| | 00:36 |
client for example, without them saying
"Why are these shots so dark?" or is it
| | 00:40 |
to perform final grading?
| | 00:41 |
If the answer is an initial pass,
then do it in Final Cut Pro.
| | 00:45 |
If it's final grading there after, choose Color.
| | 00:47 |
Often, to get your footage just
right you'll need multiple tools.
| | 00:51 |
If you think that you are doing a lot
of different primary, secondary and other
| | 00:54 |
types of corrections, choose Color.
| | 00:56 |
Otherwise, if it's just simple primary
and secondary corrections, then you might
| | 00:59 |
want to think about staying in Final Cut
Pro and using the Color Corrector 3-Way.
| | 01:03 |
If you need to work at 4K resolution
with red footage, the only way to do that
| | 01:07 |
is by using Color. Likewise, if you need
to output DPX or Cineon files which are
| | 01:11 |
suitable for printing back to film,
you'll also need to use Color.
| | 01:15 |
Final Cut Pro is obviously a
powerful, feature-rich application.
| | 01:18 |
It has some advantages for grading your footage.
| | 01:21 |
First, you don't have to leave
Final Cut Pro to grade your project.
| | 01:24 |
You simply apply color correction
filters to your clips inside of Final Cut Pro.
| | 01:28 |
Because you're staying in one place,
another advantage a Final Cut Pro has,
| | 01:31 |
compared to Color is that you can
actually start color correcting and grading
| | 01:34 |
your project while you are still editing it.
| | 01:36 |
Then in most cases to use Color
your project should be picture locked.
| | 01:39 |
Another advantage of Final Cut Pro for
color correcting and grading footage is
| | 01:42 |
that because you're staying inside
the application, there is no special
| | 01:46 |
sequence prep necessary.
| | 01:47 |
In a later chapter, we'll explore
prepping a Final Cut Pro project for Color.
| | 01:51 |
Finally, instead of having to learn and
then implement multiple toolsets as you
| | 01:55 |
do in Color to correct and grade your footage,
| | 01:57 |
in Final Cut Pro, you really just need to
learn one, the Color Corrector 3-way filter.
| | 02:02 |
This single tool allows you to perform
both primary and secondary correction.
| | 02:06 |
Well, obviously this title is about
Color and choosing Color to grade your
| | 02:11 |
project is an excellent choice.
| | 02:13 |
Color has several advantages over Final Cut Pro.
| | 02:15 |
First, the application is task
specific, meaning color correction grading is
| | 02:20 |
all the application does, as opposed to
Final Cut Pro, which has a lot of hats to wear.
| | 02:24 |
Because the application is a
dedicated grading program it provides the
| | 02:27 |
multiple toolsets for performing
primary, secondary, and other types of
| | 02:31 |
corrections such as tracking
and color effects corrections.
| | 02:34 |
Color, unlike Final Cut Pro, has the ability to
work the DPX and Red files at true 4K resolution.
| | 02:41 |
And with red footage you can leverage
Color's ability to perform while processing.
| | 02:45 |
So let's get an overview
of several Color Workflows.
| | 02:48 |
The most basic workflow with Color
is called the Roundtrip Workflow.
| | 02:51 |
You start in Final Cut Pro
where you're Ingest media.
| | 02:54 |
Edit your show and when you reach picture lock.
| | 02:56 |
You send your Final Cut Pro sequence to Color
via the Send to Color command in Final Cut Pro.
| | 03:01 |
What this does is behind the
scenes it sends an XML file to Color.
| | 03:05 |
That XML file simply points Color to
where the Original Media is on disk and
| | 03:09 |
contains instructions in
the layout of your sequence.
| | 03:12 |
Once in Color, you grade your show
and when you're done you rendered a new
| | 03:16 |
QuickTime files that have your
corrections baked in and then you send your
| | 03:20 |
Color project back to Final Cut Pro via
the Send to Final Cut Pro command in Color.
| | 03:25 |
This also sends an XML file,
but this time to Final Cut Pro.
| | 03:29 |
Your color corrected sequence arrives
back in Final Cut where you can apply any
| | 03:33 |
Tweaks and Output your show.
| | 03:35 |
Traditionally, most Color Grading has
happened Tape to Tape meaning the Master
| | 03:39 |
Tape was placed in one deck and as it
was plain, the footage was graded and then
| | 03:43 |
recorded back to another tape.
| | 03:45 |
Well we can emulate this Workflow in
Color and this Workflow is really the way
| | 03:49 |
to go when you have a project
that didn't start in Final Cut Pro.
| | 03:52 |
How it works is you ingest the Master
Tape or get a Master QuickTime file, you
| | 03:56 |
have an EDL from the original edited
sequence and you take that EDL and open it
| | 04:01 |
in Color, which creates a new Color project.
| | 04:04 |
You then use the EDL to notch or cut up
the Master QuickTime into separate clips.
| | 04:09 |
Next, you grade the project and
then render the project, which creates a
| | 04:12 |
new QuickTime Media.
| | 04:13 |
Once you done grading, you use the
Send to Final Cut Pro command inside of
| | 04:17 |
Color to send the Color project back to Final
Cut Pro where you can tweak and output the show.
| | 04:23 |
The red camera has grown immensely in
popularity over the past few years and
| | 04:26 |
Color supports several
workflows for the Red footage.
| | 04:29 |
The most basic Workflow is to ingest
Red footage into Final Cut Pro using
| | 04:33 |
an Apple ProRes codec.
| | 04:34 |
By doing this you can work with 2K footage.
| | 04:37 |
Any 4K red footage is scaled down
to 2K resolution in this workflow.
| | 04:41 |
The rest of the workflow is exactly
the same as the Roundtrip Workflow.
| | 04:46 |
An alternate and exciting workflow of
red footage is ingesting the red footage
| | 04:49 |
as needed or what is referred to as Red
QuickTime's. While the workflow is almost
| | 04:54 |
identical to our regular Roundtrip,
| | 04:56 |
when footage is ingested as Red
QuickTime's, when the project gets to Color,
| | 05:00 |
you've access to the red
tab in the primary in room.
| | 05:03 |
And here you can essentially perform raw
processing like with the digital still file.
| | 05:08 |
Additionally, Red QuickTime's contain
4K resolution data, so it's possible to
| | 05:12 |
work at true 4K resolution.
| | 05:16 |
If you're lucky enough to work on a
project shot on film, a cool workflow with
| | 05:19 |
Color is to do a First Light or an
initial color grading pass on films scan via
| | 05:23 |
DataCine to DPX or Cineon image Sequences.
| | 05:27 |
The Idea behind our First Light color
pass is to get all your footage in the
| | 05:30 |
same Ballpark and with a similar feel.
| | 05:32 |
After scanning in the files you then
import those DPX or Cineon image sequences
| | 05:36 |
directly into Color.
| | 05:38 |
And there you can perform an
initial or First Light Color pass.
| | 05:41 |
You then Render QuickTime Files, which you
import into Final Cut Pro to edit your show.
| | 05:46 |
For a lot of workflows you can create
HD Files that use a high quality codec
| | 05:49 |
like a Apple ProRes 4x4.
| | 05:51 |
Using Color in this workflow, you can
also create off-line files or files that
| | 05:56 |
use a low data rate codec.
| | 05:57 |
Apple ProRes proxy is a good choice.
| | 06:00 |
So that leads us to the last Workflow.
| | 06:02 |
We won't actually do this workflow in
this title, but it still good to know about.
| | 06:06 |
Everything in this workflow is the same
as the First Light Workflow, but after
| | 06:09 |
editing your project you export an EDL
from Final Cut Pro and then use that EDL
| | 06:13 |
by itself or in conjunction with a
Cineon tool database to conform and reconnect
| | 06:18 |
back to the original Cineon or DPX files.
| | 06:21 |
After the show has been conformed, we
perform Final Color Grading and then
| | 06:25 |
Export the show as DPX or Cineon image
sequences and then hand these files off
| | 06:29 |
to the film house that will
be doing the final print.
| | 06:31 |
Okay, so that's an
overview of some Color Workflows.
| | 06:34 |
Let's put this knowledge into
action over the next several movies.
| | 06:38 |
| | Collapse this transcript |
| Round-tripping with Final Cut Pro and Color| 00:00 | While Color can support workflows
like emulating a tape to tape workflow
| | 00:03 | and complicated digital
intermediate workflows that use DPX and Cineon
| | 00:07 | files and film output,
| | 00:08 | for the vast majority of projects, the
round-trip workflow, that is sending a
| | 00:12 | project to Color from Final Cut Pro and
rendering new QuickTime media and then
| | 00:16 | sending the project back to
Final Cut Pro, is much more common.
| | 00:19 | One thing I want to let you is that
don't worry if every step in this movie is
| | 00:22 | not perfectly clear.
| | 00:23 | I am going to do some things in
Color that we haven't discussed yet.
| | 00:27 | But really the goal of this movie is to
show you the mechanics and the process of
| | 00:30 | round tripping between Final Cut Pro and Color.
| | 00:33 | In the rest of this title we will
explore everything you need to know about
| | 00:35 | Color as well as topics like
properly preparing a Final Cut Pro project.
| | 00:38 | But as I have said, for now I simply
want to show you how a round-trip works.
| | 00:43 | The first step in a round-trip workflow starts
in Final Cut Pro with a Final Cut Pro sequence.
| | 00:47 | So let's go ahead and
actually open up a sequence.
| | 00:49 | I am going to come into my Final Cut Pro
project and into the Ch 3 bin and let's
| | 00:53 | open up the sequence called
03_02_roundtripping with Final Cut Pro and Color.
| | 00:57 | This sequence features footage from
the film Running the Sahara, that's a
| | 01:02 | pretty simple sequence.
| | 01:03 | There's a couple of things you should
know about sequences in Final Cut Pro and
| | 01:06 | their relationship to Color.
| | 01:08 | First, you can only send
sequences to Color from Final Cut Pro.
| | 01:12 | You can't just send a
couple of clips from a sequence.
| | 01:15 | If you wanted to send just these three
clips, they have to be on their own sequence.
| | 01:20 | Also, you need to make sure before
you send the project to Color that the
| | 01:23 | sequence that you want is selected.
| | 01:25 | Do this by either selecting the sequence in
your Timeline window or up here in your browser.
| | 01:30 | Okay, so let's actually send this
sequence to Color and what I am going to do is
| | 01:33 | choose the File menu and then
come down to Send To, Color.
| | 01:37 | What happens when I choose this option
is Final Cut Pro will send an XML file to
| | 01:41 | Color that describes the sequence in
terms of its layout, where the source media
| | 01:45 | lives, any Motion tab settings,
Final Cut Pro filters and so on.
| | 01:49 | This XML file is sent behind the scenes.
| | 01:51 | You don't actually have to keep track of it
or worry about where it is on your computer.
| | 01:55 | Okay, so let me choose this option
File>Send To>Color and up next we get a dialog box.
| | 02:01 | Here we can choose to name the Color
project that's going to be created when I
| | 02:04 | send this Final Cut Pro project to Color.
| | 02:06 | We can also get some additional
technical information about the sequence, such
| | 02:10 | as its total duration.
| | 02:11 | And the duration of this
sequence is pretty short.
| | 02:13 | It's about 34 seconds.
| | 02:15 | So where does a Color project
actually gets saved to when I click OK?
| | 02:19 | Well, we are going to talk more about
the default project directories in chapter 5
| | 02:22 | but assuming default settings, the
default directory that projects are saved in,
| | 02:26 | when sending the project to Color
from Final Cut Pro is your User folder,
| | 02:30 | Documents, Color Documents. All right.
| | 02:33 | Let's go ahead and click OK.
| | 02:34 | In just a second Color will open and I
have previously opened Color on my system.
| | 02:39 | But if this is the first time that Color
has been opened, you might be presented
| | 02:42 | with some Preference
dialog boxes on your system.
| | 02:44 | If this happens, simply
click OK to accept the defaults.
| | 02:47 | We will talk about these preference
boxes in chapter 5 when we talk about
| | 02:51 | essential preferences and project slides.
| | 02:54 | So, my Color project has opened up and
again don't worry if this interface seems
| | 02:58 | kind of intimidating to you.
| | 02:59 | We are going to break down the Color
interface in detail over the course of this title.
| | 03:02 | But a couple of things I want to point out.
| | 03:05 | Our Final Cut Pro project has been
recreated here on the Color Timeline and the
| | 03:09 | Color Timeline is just down here at the
bottom of the Color interface and here
| | 03:13 | you can see all the clips that made up our
Final Cut Pro sequence recreated here in Color.
| | 03:18 | This main window here in Color
contains all of the rooms that I use in Color.
| | 03:23 | That is the Primary room, the Secondary
room, the Color Effects room and so on.
| | 03:26 | We will be coming back to each one of
these rooms in later chapters in this title.
| | 03:31 | For right now though, I simply want to
apply a simple contrast correction to
| | 03:34 | a clip and I am going to do that by using the
Primary In room here at the top of the interface.
| | 03:39 | The Primary In room is where I
perform a primary color correction, that is a
| | 03:43 | correction that affects the entire clip.
| | 03:46 | So all I want to do in this clip, as I
said, is perform simple contrast correction
| | 03:49 | and I am going to do that by using these
tools here at the top of the Primary In
| | 03:52 | room called the Color Balance controls.
| | 03:55 | So, let me spend a second to
make a contrast correction.
| | 03:57 | Again, don't worry if everything I
am doing here in the Primary In room
| | 03:59 | doesn't make sense.
| | 04:00 | We are going to break down making contrast
corrections in details in a later chapter.
| | 04:04 | But for right now, I am going to use
the Contrast sliders on each one of the
| | 04:07 | Color Balance controls to
make the contrast correction.
| | 04:15 | Okay, so we made a simple contrast
correction and now I want to apply this
| | 04:19 | contrast correction to all of my clips.
| | 04:21 | I am going to do this by pressing this
button down here in the lower right-hand
| | 04:25 | corner of the Primary In
room that says Copy To All.
| | 04:28 | This will copy the primary correction
to all of my clips in this Color project.
| | 04:33 | So, when I did that you can see here
on my Color Timeline that the primary
| | 04:36 | correction, which is denoted by this
little bar right here that says Pi, has
| | 04:40 | been applied to all of my clips.
| | 04:43 | Now I have corrected all of my clips
but one thing I want to say is that, I've
| | 04:47 | really just corrected them and I am
saying 'corrected' because I have applied
| | 04:50 | the same corrections to all of the clips.
| | 04:53 | In a real world project, you
correct each clip individually.
| | 04:57 | But for this project, it's okay
that each clip has the same correction.
| | 05:00 | So, we need to get these project back to
Final Cut Pro and this is a two-step process.
| | 05:04 | First, we need to create new QuickTime
media for the corrected clips, or in other
| | 05:07 | words, we need to create new QuickTime
media that has the correction that we just
| | 05:11 | applied to all of our clips baked-in.
| | 05:12 | And we are going to do this in the
Render Queue room here at the top of
| | 05:15 | the Color interface.
| | 05:16 | So, let me click on the Render Queue and
here is where I can add clips to be rendered.
| | 05:20 | And I am going to do that by simply
clicking the Add All button down here at the
| | 05:24 | bottom of the Render Queue room.
| | 05:25 | And all of my clips from the Color
sequence are added to the Render Queue.
| | 05:31 | Next, I am going to go ahead and click
Start Render and a couple of things you
| | 05:35 | should know, with the default
preferences these clips will be rendered to your
| | 05:38 | User folder, Documents and Color Documents.
| | 05:41 | If you have access to the Exercise Files,
feel free to delete these files from
| | 05:45 | that location after watching this movie.
| | 05:47 | Also rendering can take a while
depending on the complexity of the corrections
| | 05:51 | that you have applied to your clips,
the resolution of the clips as well as the
| | 05:54 | robustness of your system,
particularly how good your graphics card is.
| | 05:59 | Okay, now that the clips are done
rendering, we need to do the second step in
| | 06:02 | getting a project back to Final Cut Pro.
| | 06:05 | And what we are going to do is
choose the File menu and then come down to
| | 06:08 | Send To, Final Cut Pro.
| | 06:11 | What this does is it sends an XML file
back to Final Cut Pro to let Final Cut
| | 06:15 | Pro where the newly color corrected
media is located and to have Final Cut Pro
| | 06:20 | rebuild the sequence.
| | 06:21 | The important thing is that we do this
step after our clips have been rendered.
| | 06:26 | So, I am going to choose File>Send To>
Final Cut Pro and when I do that, in just
| | 06:30 | a second, Final Cut Pro will back up
and what I want you to notice here at the
| | 06:34 | top of my browser is I have a new sequence.
| | 06:37 | It's named the same thing as the
sequence that it originally sent to Color but
| | 06:41 | notice here at the end in
parenthesis it says 'from Color'.
| | 06:44 | This denotes that it's the
color corrected sequence.
| | 06:46 | So let me double-click on it to open it up.
| | 06:49 | Okay, in here is my color corrected sequence.
| | 06:51 | Let's take a look at a couple of clips here.
| | 06:53 | Here is a shot with a bunch of kids and
if I switch the original sequence and go
| | 06:57 | to that same shot, you can see the
differences between the two clips.
| | 07:02 | So that's the basics of a
Final Cut Pro to Color round-trip.
| | 07:06 | As I mentioned at the beginning of this
movie, we will break down concepts like
| | 07:09 | primary correction and rendering as well
as exploring the entire Color interface
| | 07:13 | in movies throughout the rest of this title.
| | 07:15 | But now you should have a better idea
of the steps involved in a Final Cut Pro
| | 07:19 | to Color round-trip.
| | Collapse this transcript |
| Emulating a tape-to-tape workflow| 00:00 | Until pretty recently, the idea of
grading a project on a dedicated software
| | 00:03 | system was really kind of unheard of.
| | 00:06 | In the past, the tape-to-tape color
grading workflow was really the most common
| | 00:09 | type of workflow, and in some
cases it's still pretty popular.
| | 00:12 | If you want to know more about the tape
-to-tape workflow, check out the first
| | 00:15 | movie in this chapter.
| | 00:16 | So you might be thinking to
yourself, okay Robbie, who cares about
| | 00:20 | tape-to-tape workflows?
| | 00:21 | We're working in Color now.
| | 00:22 | Well, you're right that a tape-to-
tape workflow is becoming antiquated, but
| | 00:26 | sometimes you will have a project
that didn't originate in Final Cut Pro.
| | 00:29 | And while there are tools you can use to
rebuild a project in Final Cut Pro that
| | 00:32 | comes from another system, for the sake
of simplicity and to show you how we can
| | 00:36 | emulate a tape-to-tape workflow,
we won't discuss those options.
| | 00:39 | Much like other movies in this chapter,
I'm going to do some steps in Color
| | 00:42 | that might not make a whole lot of sense to
you, as we haven't covered those things yet.
| | 00:46 | That's okay.
| | 00:47 | The goal of this movie is to simply
show you the mechanics of how you can
| | 00:50 | emulate a tape-to-tape workflow.
| | 00:52 | Once you've learned more about Color,
you can come back to this movie and use it
| | 00:55 | as a reference for your own projects.
| | 00:57 | So let's go ahead and launch Color.
| | 00:58 | Now I'll do that by coming down to my
dock and clicking on the Color icon.
| | 01:02 | As Color is launching, I'll tell you
that I have a master QuickTime file that
| | 01:04 | needs to be corrected.
| | 01:06 | I also have an EDL formatted in the CMX
3600 format that was exported from the
| | 01:12 | original project that the
master file was also made from.
| | 01:15 | This master file could be given to you
by a client, or another vendor, or it
| | 01:19 | could be created just by digitizing a
file from tape or from adjusting it from
| | 01:22 | a tape-less source.
| | 01:24 | Okay, if this is the first time you've
opened up Color, you might be presented
| | 01:27 | with some Preference dialog boxes.
| | 01:29 | If you are, simple click OK to
accept the defaults for those preferences.
| | 01:32 | We'll talk more about those
preferences in chapter five.
| | 01:35 | I'm going to navigate in the Projects
dialog box to the exercise_files folder
| | 01:38 | and then to the Media folder inside of that.
| | 01:41 | Don't worry if the Projects dialog box
doesn't make a whole lot of sense to you
| | 01:44 | right now. I admit it's a little confusing.
| | 01:45 | We'll talk more about using the Color
Finder Navigation dialogs in chapter five.
| | 01:50 | But let me navigate to my
exercise_files volume very quickly.
| | 01:56 | Then I'm going to choose the Media
folder in the exercise_files volume and then
| | 02:00 | the TAPE TO TAPE folder.
| | 02:01 | And here I want to choose the
file called TAPE TO TAPE.edl.
| | 02:05 | Now I'll click Open.
| | 02:07 | When I choose the EDL, I'm presented
with the EDL Import Settings dialog box.
| | 02:12 | Here I can choose several
options about how to process the EDL.
| | 02:15 | I want to make sure that
I'm using the CMX 3600 format.
| | 02:18 | This is the most common EDL format and I
know it's the format that this EDL is in.
| | 02:23 | Here is the real important part.
| | 02:24 | We want to check this button right
here to use the EDL as a cut list.
| | 02:28 | What this will do is use the EDL as
an instruction set as to where the edit
| | 02:32 | points are on my master file and if
there any transitions on those edit points.
| | 02:37 | One thing to note about transitions
though is EDLs only support very basic
| | 02:41 | transitions like Cross Dissolves and
other transitions will probably be ignored.
| | 02:45 | Okay, so I need to choose the correct Frame
Rate for the EDL as well as for the Source.
| | 02:50 | In both cases, it is 29.97
for this particular file in EDL.
| | 02:54 | Next, I need to choose a project resolution.
| | 02:56 | I know that the master file
that I have is 1920 x1080.
| | 03:01 | So I'm going to choose that
from the Project Resolution pop-up.
| | 03:03 | And then finally, I just need to point
Color to where the master file is located
| | 03:08 | and I'm going to do that by
clicking the Browse button here.
| | 03:11 | I'm going to navigate back to exercise
_files volume and back into the Media
| | 03:16 | folder, and then finally back into the
TAPE TO TAPE folder and I'm going to go
| | 03:21 | ahead and actually select the file
called TAPE TO TAPE.mov and click Choose.
| | 03:26 | Okay, so I got everything setup, all I need
to do now is click the Import button here.
| | 03:31 | Voila!
| | 03:34 | The project is rebuilt here in color.
| | 03:37 | From here, I can grade the program
using the tools and techniques we'll discuss
| | 03:41 | throughout this title.
| | 03:42 | So, well not quite as common as the
round-trip workflow, you still from time to
| | 03:46 | time need to emulate a tape-to-tape
workflow like we did here in this movie.
| | Collapse this transcript |
| The RED workflow: Ingesting as ProRes| 00:00 |
Let's talk about ingesting RED
footage as Apple ProRes files.
| | 00:03 |
If you've planned to color correct in
grayed footage and you're using a video
| | 00:06 |
workflow, or only need to support a 2K
resolution, then I would suggest using the
| | 00:10 |
workflow we'll describe in the movie.
| | 00:12 |
The RED ProRes workflow is identical to
the standard round-trip workflow, but I
| | 00:16 |
wanted to spend a moment to explain
ingesting RED sources as Apple ProRes so we
| | 00:20 |
can then send that file to Color.
| | 00:21 |
We're going to start here in Final Cut
Pro and go ahead and open up the Log and
| | 00:25 |
Transfer window, by
choosing File>Log and Transfer.
| | 00:29 |
I've already mounted a disk image
that represents a RED Flash card.
| | 00:33 |
The disk image contains a few RED 4K clips.
| | 00:36 |
Now if you have access to the exercise
files, to follow along, you'll need to
| | 00:39 |
download the RED footage disk image
and then mount the disk image to have
| | 00:43 |
access to this footage.
| | 00:44 |
For more information about this, be sure
to check out the movie at the beginning
| | 00:47 |
of this title called Using the Exercise Files.
| | 00:49 |
One more thing about ingesting RED footage.
| | 00:52 |
To be able to access RED footage here
in Final Cut Pro in Log and Transfer
| | 00:54 |
window, as well to have access to the
RED tab in Color, you must first download
| | 00:59 |
and install the RED Final Cut
Studio plug-in from red.com/support.
| | 01:03 |
Okay, so with the Log and Transfer
window open, my RED media appears here in the
| | 01:07 |
browser of the Log and Transfer window.
| | 01:08 |
But what I want to do is come up to the
Action menu and that's just little guy
| | 01:12 |
up here that looks like a cog.
| | 01:13 |
So I'm going to click at that and
I'm going to come down to Preferences.
| | 01:17 |
In the Import Preferences dialog, we
can choose how to treat RED media on
| | 01:21 |
ingest, by clicking in the
Target Format column right here.
| | 01:25 |
I can choose any of the Apple ProRes
codecs as well as this option called Native.
| | 01:29 |
We'll talk about using Native to
import RED footage in the next movie.
| | 01:33 |
As I said, I can choose any of the
Apple ProRes codecs but for the ultimate in
| | 01:37 |
quality, because there is no chroma
subsampling, I'm going to select Apple ProRes
| | 01:41 |
4444, and then let's click OK.
| | 01:45 |
Before I actually select a clip here in
the browser area to transfer, there is
| | 01:48 |
one more thing to consider.
| | 01:50 |
Back in the Action menu, if I come down
to the RED FCP Log and Transfer plug in,
| | 01:54 |
I have the ability to choose the color
temperature of the transformed footage.
| | 01:58 |
These options coming into play
when you transfer footage to ProRes.
| | 02:01 |
Essentially what you're doing
is a first light color correction.
| | 02:06 |
The thing about these options is that it
affects every clip in the Transfer Queue.
| | 02:10 |
There is no way to select a
single clip for processing.
| | 02:13 |
So, I chose Sepia and notice that all of
my clips here in the browser of the Log
| | 02:18 |
and Transfer window now
have the sepia tone to them.
| | 02:21 |
So, I think in most cases your best
choice is to use to the option, As Shot,
| | 02:25 |
unless you're willing to commit
to one of these processing looks.
| | 02:28 |
So, let me change this
back to As Shot. All right.
| | 02:31 |
Let's go ahead and select a clip
to transfer, I'll select this one.
| | 02:34 |
I'm not going to worry about any of the
login information in this movie, but in
| | 02:38 |
your own projects you want to go
ahead and fill in the log-in information,
| | 02:42 |
things like Scene, Shot/Take, Angle and so on.
| | 02:45 |
So, with the clip selected, I'm going to
click the button here, Add Selection to
| | 02:48 |
Queue, to transfer this clip.
| | 02:50 |
Just keep in mind, when you transfer
this clip it'll be transferred to whatever
| | 02:53 |
Final Cut Pro scratch disk you have setup.
| | 02:57 |
Okay, the file is done transferring and
it took a while. That's because the RED
| | 03:01 |
footage has to be transcoded to Apple
ProRes, specifically the Apple ProRes 4444
| | 03:06 |
codec that we chose.
| | 03:07 |
Let's go ahead and close
the Log and Transfer window.
| | 03:10 |
Then here in the browser, let's select
the clip that we just transferred and
| | 03:14 |
right-click on it and then
choose Item Properties>Format.
| | 03:19 |
Okay, and you'll notice that the file
is, in fact, an Apple ProRes 4444 file but
| | 03:24 |
it's frame size is set to 2048 x 1024.
| | 03:28 |
Anytime you transcode a 4K file to
an Apple ProRes codec, Final Cut Pro
| | 03:33 |
makes the file a 2K file.
| | 03:35 |
That's because the 2K resolution is
the maximum resolution that the Final Cut
| | 03:38 |
Pro Realtime playback and
effects engine supports.
| | 03:42 |
So, let's click OK here to
close the Item Properties window.
| | 03:44 |
Next, let's edit this clip onto a sequence.
| | 03:48 |
I'm going to come into the Ch 3 bin
and then choose the sequence called
| | 03:52 |
03_04_the RED workflow - ingesting as Apple
ProRes and double-click on that to open it up.
| | 03:56 |
I'm then going to take the clip that
we just ingested and drag it onto the
| | 04:01 |
sequence and Color will prompt you to
change your sequence settings to match the
| | 04:07 |
clip and we'll go ahead and click Yes.
| | 04:09 |
Now that we've added this clip onto a
sequence, let's go ahead and send it to Color.
| | 04:12 |
But first, you need to make sure that
you have the sequence selected before you
| | 04:16 |
try to send the sequence to Color.
| | 04:18 |
So my sequence is selected, then
I'll come up to File>Send To, and Color.
| | 04:22 |
I'm fine with the default naming of the
Color project, so I'll just go ahead click OK.
| | 04:27 |
Okay, so Color opens up here and
let's go ahead and click on the Setup room
| | 04:34 |
which is the first tab here in the top
of the Color interface, and then let's
| | 04:37 |
go ahead and click on the Project Settings tab
which is down at the bottom of the Setup room.
| | 04:43 |
Here on the Project Settings tab, this
is where I can see technical information
| | 04:46 |
about my project, things like frame
rate and resolution and notice this
| | 04:50 |
project is 2048 x 1024 or a 2K file,
matching the sequence in the clip that we
| | 04:56 |
sent from Final Cut Pro.
| | 04:57 |
All right. Let me go ahead into the Primary In
room, which is just the second tab at the
| | 05:02 |
top of the Color interface.
| | 05:03 |
I want to do a basic primary correction.
| | 05:05 |
Don't worry if you don't know how to
use these controls here in the Primary In
| | 05:08 |
room, that's what the rest of this title is for.
| | 05:10 |
For now, I simply want to show you the
workflow when working with a RED ProRes file.
| | 05:14 |
The one thing I want to mention
though is this tab right over here on the
| | 05:17 |
right-hand side of the Primary In room.
| | 05:19 |
It's called the RED tab.
| | 05:21 |
The RED tab actually only comes into
play when we're working with RED QuickTime
| | 05:25 |
files or RED native files and that's
what we're going to do in the next movie.
| | 05:29 |
We can't actually use this RED tab for
RED files ingested as Apple ProRes.
| | 05:33 |
Let me perform a simple correction on this clip.
| | 05:36 |
I'm going to use the color balance
controls here at the top of the Primary In room.
| | 05:45 |
Okay, now that I've made a correction, let's
go ahead and add the shot to the Render Queue.
| | 05:50 |
Remember, there are two steps in
finishing any project in a Final Cut Pro
| | 05:53 |
to Color round trip.
| | 05:55 |
First, rendering new QuickTime files and
then sending the project back to Final Cut Pro.
| | 06:00 |
So let's go ahead and do the first
step by clicking on the Render Queue and
| | 06:03 |
then pressing the button, Add Selected,
then finally clicking the button, Start Render.
| | 06:08 |
This will render the file.
| | 06:11 |
Okay, the shot is now rendered and to
get this project back to Final Cut Pro,
| | 06:15 |
the next step is to simply to choose
the File menu, down to Send To, and choose
| | 06:19 |
Final Cut Pro, and Final Cut Pro
will open back up in just a second.
| | 06:22 |
And at the top of the browser here,
notice that I have a sequence that has a
| | 06:26 |
suffix, from Color, in parenthesis.
| | 06:29 |
Let's double-click on the sequence and
this is our color corrected sequence.
| | 06:33 |
I'll scrub through it and
everything looks pretty good.
| | 06:35 |
As you can see, this workflow is
very simple and I would recommend it in
| | 06:38 |
probably about 98% of cases, as ProRes
4444 or even ProRes 4222 workflows with
| | 06:44 |
RED footage 4K will be sufficient to
get quality results and files that are
| | 06:48 |
suitable for 2K and HD output.
| | 06:51 |
| | Collapse this transcript |
| The RED workflow: Ingesting as RED QuickTime files| 00:00 | One of the biggest reasons to work with
RED footage is the ability to leverage
| | 00:03 | the power of RAW processing.
| | 00:06 | Maybe you've shot RAW still photos on a
digital still camera. Well, the idea is
| | 00:09 | the same except that the RED camera is
always shooting RAW, but when we ingest
| | 00:13 | the RED footage, we need to be very
careful to maintain the RAW information so
| | 00:17 | that we can perform RAW
processing on the RED footage in Color.
| | 00:20 | Here in Final Cut Pro, let's go ahead
and open up the Log and Transfer window
| | 00:23 | and I'm going to do that by choosing
File, then coming down to Log and Transfer
| | 00:27 | I can also use the keyboard
shortcut, Shift+Command+8.
| | 00:29 | I've already mounted a disk image that
represents a RED Flash card and this disk
| | 00:35 | image contains a few RED 4K clips.
| | 00:37 | If you have access to exercise files
to follow along, you'll need to download
| | 00:41 | the RED footage disk image and then mount
the disk image to have access to this footage.
| | 00:45 | For more information about this, be sure
to check out the movie at the beginning
| | 00:48 | of this title called Using the Exercise Files.
| | 00:50 | So the Log and Transfer window opened
and here in the middle of the window is my
| | 00:54 | browse area and this is where I can
actually see the RED footage, and that's
| | 00:58 | actually an important note.
| | 00:59 | To be able to see RED media that you've
attached to your system, you must first
| | 01:03 | download and install the RED plug-in
for Final Cut Studio and you can get that
| | 01:06 | by going to red.com/support.
| | 01:09 | Once you install the plug-in, you'll
be able to access any RED media you've
| | 01:12 | attached to your system.
| | 01:14 | Okay, so let's go to the Action menu
in the upper right-hand corner of the
| | 01:16 | browse area, this menu right here
that has the cog on it, and then let's
| | 01:20 | choose Preferences.
| | 01:22 | In the Log and Transfer Import
Preferences, let's come down to the RED Log and
| | 01:25 | Transfer plug-in, right here and
then to the Target Format column.
| | 01:30 | Currently, if we were going to ingest
RED footage, we'd ingest it as Apple
| | 01:33 | ProRes 4444, but we actually want to
ingest the clip as a RED QuickTime.
| | 01:38 | So, to do this, let's click on the
Target Format column, and then let's come
| | 01:41 | down to where it says Native.
| | 01:44 | If you want to learn about ingesting
RED 4K footage as Apple ProRes, be sure to
| | 01:48 | check out the previous movie. All right.
| | 01:50 | So when we choose Native, what's
going to happen is that we'll be creating
| | 01:52 | QuickTime files that has the RAW
information from the RED RAW or .R3D file
| | 01:58 | wrapped in the QuickTime and this is
really important for a few reasons.
| | 02:02 | First, the file will transfer a lot faster
since we're not transcoding to a ProRes codec.
| | 02:06 | Next, ingesting a RED footage as Native,
we'll have access to the RAW information
| | 02:11 | of the original RED RAW file.
| | 02:13 | So, in Color, we'll be able to
leverage the RED tab for processing and
| | 02:17 | finally, when we get to Color, we can
choose to leverage, if we want, Color's
| | 02:21 | ability to work in 4K.
| | 02:23 | So, I'll choose Native and then
let's click OK to close the Import
| | 02:26 | Preferences dialog.
| | 02:27 | Let's actually select this file.
| | 02:29 | In the previous movie, I transferred
this file as an Apple ProRes file, but now
| | 02:33 | let's transfer it as a RED
QuickTime and or as a Native file.
| | 02:36 | So I'll select the file then I'll
come down and press the button, Add
| | 02:40 | Selection to Queue. Okay.
| | 02:42 | That transfer went very quick because
unlike the RED ProRes workflow, we're not
| | 02:46 | transcoding the clip.
| | 02:47 | Let's go ahead and close the Log and
Transfer window and here in the browser,
| | 02:52 | let's select the clip that we've just
transferred and then right-click on it and
| | 02:56 | choose Item Properties and Format.
| | 02:59 | And what I want you to notice is that
the Compressor type is set to REDCODE.
| | 03:03 | This indicates that this
is a RED QuickTime file.
| | 03:06 | Also, notice the Frame Size is 2048x1024.
| | 03:11 | Didn't I say that the one advantage of
ingesting a RED file, using Native, was
| | 03:15 | so I could work at 4K?
| | 03:16 | Well, I did but not in Final Cut Pro.
| | 03:19 | Final Cut Pro's real-time
architecture limits files to 2K.
| | 03:23 | When this file gets to Color it will
still be at 2K resolution, but the thing to
| | 03:27 | know is that the 4K resolution data
is maintained by the RED QuickTime.
| | 03:31 | In the chapter on rendering and
output, we'll talk about updating a RED
| | 03:35 | QuickTime for 4K output.
| | 03:37 | So, let's close this window by clicking OK
and then let's edit this clip onto a sequence.
| | 03:42 | I'm going to come into the Ch 3 bin
here and then open up the sequence called
| | 03:46 | 03_05_the RED workflow -
ingesting as RED QuickTimes.
| | 03:51 | So I'll take this clip here and drag it
onto the sequence and Final Cut Pro is
| | 03:56 | going to prompt me if I want to change my
sequence settings to match the clip. I'll click Yes.
| | 04:02 | And what's going to happen here is that
the sequence will actually change to use
| | 04:06 | the Apple ProRes 4444 codec.
| | 04:08 | Now, this is little confusing.
| | 04:09 | Let me show you what I mean.
| | 04:11 | With a sequence selected, let me
come up to the Sequence menu and choose
| | 04:14 | Settings, and notice that the
codec that the sequence is using is the
| | 04:18 | Apple ProRes 4444 codec. Well, why is this?
| | 04:21 | Well, the reason for this is that
this clip uses the REDCODE codec and the
| | 04:25 | REDCODE codec is a read-only codec.
| | 04:28 | So Final Cut Pro switches your
sequence to Apple ProRes 4444, which is a
| | 04:33 | read-and-write codec.
| | 04:34 | So let's click OK, and then with
the sequence selected, let's choose
| | 04:38 | File>Send To>Color.
| | 04:41 | I'm fine with the default naming of the project.
| | 04:44 | So I'll simply click OK
| | 04:48 | Now, in Color, the clip comes through just fine.
| | 04:50 | The one thing I want you to notice
though is that if I click in the Primary In
| | 04:53 | room, over here on the right-hand side
of room, I have the RED tab and because
| | 04:58 | this is a RED QuickTime or Native file,
the RED tab is enabled and this is where
| | 05:03 | I can essentially perform RAW processing.
| | 05:06 | And in Chapter 6, we'll discuss
correcting a RED QuickTime with this tab and
| | 05:10 | then in Chapter 14, we'll
explore rendering RED media.
| | 05:13 | The last thing I want mention is
that after you correct a RED QuickTime
| | 05:16 | and render it is that the rest of
the workflow is exactly the same as a
| | 05:20 | regular round-trip.
| | 05:22 | So, the most important thing in a RED
Final Cut Pro to Color workflow is that
| | 05:25 | you ingest RED media properly and
ingesting it as Native as we did in this movie
| | 05:29 | is just one way to do that.
| | Collapse this transcript |
| Importing DPX and Cineon files to create offline QuickTime files| 00:00 | One high in workflow that's pretty
exciting is the ability for Color to act as
| | 00:04 | a first-light or initial color-grading
tool for film scanned via a DataCine at
| | 00:08 | 2K or 4K resolution.
| | 00:11 | While previous versions of Color
haves sort of been able to support this
| | 00:13 | workflow, in Color 1.5 you can
now directly import 4K DPX files.
| | 00:18 | Also, Color 1.5 now accurately copies
header information, that is, real name and
| | 00:23 | time code from the original DPX files
into any QuickTimes that you create.
| | 00:27 | So, conforming an offline edit to
the original DPX files is possible.
| | 00:31 | We won't conform or reconnect to any
DPX files in this title, but I want to
| | 00:35 | show you direct import of 4K DPX files
and then creating QuickTimes using the
| | 00:39 | ProRes Proxy codec for an offline edit,
while performing a first-light color correction.
| | 00:44 | As I have mentioned in other movies in
this chapter, don't worry if you don't
| | 00:47 | understand every step that I do.
| | 00:48 | The goal of this movie is to
simply show you the workflow.
| | 00:51 | Once you are more comfortable with the
tools and techniques in Color that we
| | 00:53 | will talk about over the course of this
title, you can come back to this movie
| | 00:57 | and use it as a reference.
| | 00:58 | Finally, before we begin, due to the
size of 4K DPX image sequences, there are
| | 01:03 | no exercise files for this movie.
| | 01:05 | Each frame of a 4K DPX file is 32 megabytes.
| | 01:09 | So, you need a lot of space to store
even a short sequence, but you can still
| | 01:12 | follow along by watching the movie.
| | 01:14 | I have opened Color and I
have a blank project open.
| | 01:16 | I am going to choose the Setup room
here at the top of the Color interface, and
| | 01:20 | in this area on the left,
which is my file browser.
| | 01:22 | I can navigate to different parts of my machine.
| | 01:25 | We'll talk about using the file
browser as well as the color finder dialog
| | 01:29 | boxes in a later movie.
| | 01:31 | But what I am going to do is
navigate to place on my system that I have a
| | 01:34 | bunch of DPX files.
| | 01:35 | So let me go ahead and do that.
| | 01:36 | I am going to go up a few levels and
then finally to my desktop and here is
| | 01:41 | where I have a folder of DPX files.
| | 01:44 | So, what are DPX files?
| | 01:45 | Well simply put, DPX files are uber high
resolution, uncompressed image sequences.
| | 01:51 | And we can import DPX files directly
into Color without having to do a
| | 01:54 | round-trip with Final Cut Pro or
without having to use an EDL, because time
| | 01:58 | code is embedded in the files and Color
can parse or figure out the order that the
| | 02:03 | clips should be in.
| | 02:04 | What's also cool is I don't have to
actually select the actual DPX files or even
| | 02:08 | the sub-directories for each shot.
| | 02:10 | I simply need to point Color to the
main directory or drive that contains the
| | 02:13 | DPX sequences, like this directory right here.
| | 02:16 | One thing to keep in mind though is
that DPX files need to be formatted and named
| | 02:20 | in a very specific way.
| | 02:22 | Okay, if you are interested what a DPX
image sequence actually looks like in
| | 02:25 | Color, let me step into this directory
and then into this Reel 1 directory and,
| | 02:30 | finally, into the Shot 1 directory,
and here is the DPX image sequence.
| | 02:34 | If I click on it, I can get a whole
bunch of technical information about it.
| | 02:39 | These funny numbers here at the top are
just time code translated into frames.
| | 02:43 | Here, I can see the duration of the clip,
the resolution, printing information,
| | 02:47 | that is information about the color space
black and white levels that this clip uses,
| | 02:52 | its Frame Rate and then, finally,
the time code that the clip uses.
| | 02:54 | If this footage looks familiar,
| | 02:56 | it's because this clip was shot on
film alongside a RED camera, and the RED
| | 03:00 | footage I'll feature in this title.
| | 03:02 | So, let's step back up a couple of
levels to the main level of the DPX
| | 03:06 | directory, select that and
then choose Import Directory.
| | 03:11 | What happens is that all my shots,
imported as DPX image sequences, are lined up
| | 03:16 | on the Color timeline.
| | 03:18 | The thing is that they were imported
at 4K resolution into a 4K project.
| | 03:23 | And I know that the project is set up to
4K, because if I look at the Resolution
| | 03:27 | Preset here in the middle of the
Setup room, it says 4096 x 2048, indicating
| | 03:32 | that this is a 4K Color project.
| | 03:34 | 4K files in a lot of cases are
overkill and they are specially overkill for
| | 03:38 | files to be used in an offline
edit, like we are going to create.
| | 03:41 | So, what I am actually going to do is
change my resolution from 4096 X 2048 down
| | 03:47 | to something more usable, like 1920 x 1080 HD.
| | 03:51 | In the dialog that pops up, Color asks me,
"Would you like to scale your clips to
| | 03:55 | "this new resolution?"
| | 03:56 | I am going to choose Yes.
| | 04:00 | What happens is Color automatically
compensates for differences in sizing here
| | 04:04 | in the Geometry room.
| | 04:06 | You can see that it
applied a scale transformation.
| | 04:09 | So now when I render these clips, the
editor can still have high definition
| | 04:13 | clips from the original 4K clips
to work with for the offline edit.
| | 04:17 | Let's go back to the Setup room.
| | 04:19 | Next, we need to make sure that our Render
File Type is set to QuickTime, which it is.
| | 04:24 | If we are running back out to film, I
choose DPX or Cineon image sequences, but
| | 04:28 | QuickTime is what we want to use.
| | 04:30 | And then down here under QuickTime
Export Codecs, let's change this from Apple
| | 04:34 | ProRes 422 (HQ) to Apple ProRes 422 (Proxy).
| | 04:39 | And then lastly, let's choose a
place for this project to render to.
| | 04:42 | I am going to that by clicking the
Render Directory button, here at the top of
| | 04:46 | the Project Settings tab in the Setup room.
| | 04:50 | And I am going to navigate out to my
desktop and create a new folder and we'll
| | 04:56 | call this new folder 'offline
quicktimes', and I'll choose Create.
| | 05:02 | In a real world project, you'd probably
want to choose a high-speed media drive
| | 05:05 | to render your project out to.
| | 05:06 | And we'll talk more about creating a
render directory in the chapter on rendering.
| | 05:11 | Okay, now that I have created that
directory, I simply need to click Choose one
| | 05:14 | more time to select it.
| | 05:16 | Okay, so now that we have dotted all
the I's and crossed the T's, the last
| | 05:19 | step, though optional, is to apply a
correction to all these shots, and I am
| | 05:23 | going to do that by switching to the Primary
In room here at the top of the Color interface.
| | 05:27 | I have previously saved the Primary
correction and you don't have the saved
| | 05:31 | correction, but in a later movie, we
will talk about saving corrections.
| | 05:35 | So, what I am going to do is simply
select all my clips in my Color timeline
| | 05:38 | by selecting the timeline and then
pressing Command+A on the keyboard, and
| | 05:42 | then I'll double-click on the saved
correction, and the saved correction is
| | 05:47 | applied to all of my clips.
| | 05:49 | So now that the correction is applied
to all the clips, we are ready to render,
| | 05:52 | and I do that by selecting the Render
Queue room, here at the top of the Color
| | 05:55 | interface, and then I am
going to choose Add All.
| | 05:58 | And this will add all of my
clips to the Color Render Queue.
| | 06:03 | Remember, what rendering does is that
it creates a new set of media, based on
| | 06:07 | the settings that we chose in the
Project Settings tab in the Setup room.
| | 06:10 | Also, any media that you render has the
corrections that you have applied baked into it.
| | 06:14 | So, let me go ahead and click Start Render.
| | 06:18 | Now the things have done rendering,
| | 06:19 | let's go out to the Finder and take
a look at the files we have created.
| | 06:21 | I will do that by using the keyboard
shortcut, Command+H, to hide Color, and here
| | 06:26 | on my desktop is that folder that we
created called 'offline quicktimes', and
| | 06:30 | inside of here, I have all of my
QuickTime files that I've rendered out.
| | 06:33 | Let's go ahead and double-click on one of these.
| | 06:37 | That opens up the file into QuickTime
player and if I take a look at it, it is
| | 06:41 | in fact an Apple ProRes 422 (Proxy)
file at 1920 x 1080. Just one note.
| | 06:47 | You will probably want to organize all
these files out of the default render
| | 06:50 | directories into one master directory
and that exact organization is up to you.
| | 06:54 | We will talk more about how Color organizes
files when you render them out in a later chapter.
| | 06:59 | So this is a pretty straightforward
and simple work flow for converting
| | 07:02 | high-resolution DPX files
to offline QuickTime files.
| | 07:05 | Just one more note. I say offline
QuickTimes because there is nothing stopping
| | 07:09 | you from using a much higher quality
codec like Apple ProRes 4444 instead of
| | 07:14 | Apple ProRes Proxy like we did.
| | 07:16 | In some workflows, the QuickTimes that
you create could even serve as master
| | 07:19 | files for HD output.
| | Collapse this transcript |
|
|
4. Preparing a Final Cut Pro Project for ColorEvaluating a Final Cut project| 00:00 | Most Color projects live and die by
how they were prepped in Final Cut Pro.
| | 00:04 | After all, for most workflows, Final
Cut Pro is the hub that projects originate
| | 00:08 | in and then end up at for
final output and tweaking.
| | 00:11 | So, it's very important for our colors
to be able to evaluate and make decisions
| | 00:15 | about a sequence before setting it to Color.
| | 00:17 | So, here in Final Cut Pro, let's go up
to the ch 4 bin, and then open up the
| | 00:21 | sequence called 04_01_evaluating a
project, and here, I have a sequence from the
| | 00:27 | film, Running the Sahara.
| | 00:28 | It's a good sequence to evaluate
several things about prepping a Final Cut Pro
| | 00:32 | project as it has several problem areas.
| | 00:34 | The first thing you need to know is
that you can only send sequences to Color.
| | 00:38 | If you wanted to, say, only send these
three clips, these three clips will have
| | 00:42 | to be on their own sequence
before sending them to Color.
| | 00:46 | You cannot send individual clips to Color.
| | 00:49 | Notice that the sequence has a few
video tracks here and some audio tracks.
| | 00:52 | Color will support and match the
number of tracks that you have in your Final
| | 00:55 | Cut Pro sequence, but Color does not
have the ability to resize the timeline
| | 01:00 | against the rest of the
interface like Final Cut Pro does.
| | 01:03 | So, as a general rule of thumb, you'll
find it easiest to collapse your Final
| | 01:07 | Cut Pro sequence to as few tracks as possible.
| | 01:10 | Let me zoom into the sequence down here,
and you'll notice I have a couple clips
| | 01:14 | that are on Video Track 2
for seemingly no reason.
| | 01:16 | In other words, the clip is on Video
Track 2, but there is nothing underneath.
| | 01:20 | In situations like this, you should
move these clips down to Video Track
| | 01:23 | 1, since in Color you will have a blank
video track underneath the clip if you don't.
| | 01:28 | And an easy way to do this is to
simply select the clips and then use the
| | 01:31 | keyboard shortcut, Option and the
Down Arrow, which will move these clips
| | 01:35 | down to Video Track 1.
| | 01:36 | Let me zoom back out a little bit, and
here towards the end of the sequence you
| | 01:40 | will notice that these couple of clips
are composited together, meaning multiple
| | 01:44 | tracks are interacting with
each other to create a look.
| | 01:47 | Because Color handles multiple tracks,
these clips will come across okay but the
| | 01:51 | composites will not.
| | 01:53 | And we'll talk a more about working with
composites in a movie later in this chapter.
| | 01:56 | As I mentioned, this sequence also
has some audio tracks and Color does not
| | 02:01 | support audio at all.
| | 02:03 | This doesn't mean that your audio
tracks will be deleted, but it does mean that
| | 02:07 | you won't be able to see
them or hear them in Color.
| | 02:10 | However, when you send the project back
to Final Cut Pro from Color your audio
| | 02:14 | tracks will link back up to the
sequence and they'll look just like this.
| | 02:17 | Color also doesn't support any Final
Cut Pro filter with the exception of the
| | 02:21 | Color Corrector 3-way.
| | 02:22 | Well, how do you know what
clips have filters on them?
| | 02:25 | One easy way to figure out the clips
have filters on them is by pressing this
| | 02:29 | button in the lower-left hand corner
of the timeline, the button that has the
| | 02:32 | green and blue lines on it and this
button is called Toggle Clip Keyframes.
| | 02:36 | When you press this button, underneath
the clips, you will see a gray box, and
| | 02:40 | if the clip has a video filter applied
to it, a green line and if the clip has a
| | 02:43 | Motion Tab adjustment
applied to it, a blue line.
| | 02:46 | As I mentioned, Color doesn't support
any filter except for Final Cut Pro's
| | 02:49 | Color Corrector 3-way.
| | 02:51 | So if I were to send this sequence to
Color, any clip that had a filter on
| | 02:54 | it, like this one, which has a
SmoothCam filter on it, the effects of the
| | 02:57 | filter won't show up in Color, but
when it comes back to Final Cut Pro, the
| | 03:01 | filter is reapplied.
| | 03:03 | This is especially important for any
clip that has a filter on it that affects
| | 03:07 | Contrast or Color Balance, like this
clip with two Color Balance filters on it,
| | 03:12 | because when you grade a clipping color
you will be seeing the original clip and
| | 03:15 | not the filtered clip.
| | 03:17 | So, it's possible you will grade the
clip without any respect to these filters,
| | 03:21 | and when the clip comes back to Final
Cut Pro, any filters that the clip had on
| | 03:24 | it, are reapplied, possibly
resulting in an undesired affect.
| | 03:29 | So, in most situations you should either
disable or delete the filters from the clip.
| | 03:36 | As I have mentioned, the only exception
to this rule about filters is the Color
| | 03:39 | Corrector 3-way and this clip has a
Color Corrector 3-way filter on it.
| | 03:43 | The Color Corrector 3-way is
translated into a Primary In correction in Color
| | 03:47 | and the keyword there is translated.
| | 03:50 | Because the effect is translated, you may
end up with a result that you didn't expect.
| | 03:53 | All right.
| | 03:54 | Let me zoom back into the sequence a
little bit and let's go into this clip.
| | 03:59 | Notice that underneath this clip, it
has a blue line underneath it, indicating
| | 04:03 | that the clip has some
sort of Motion Tab adjustment.
| | 04:05 | I'll double-click on it to open it into
the Viewer and then let's click on the
| | 04:08 | Motion Tab, and you can see that
this clip has had a Scale adjustment.
| | 04:13 | The scale of this clip is 150%.
| | 04:15 | The important thing about that is
Motion Tab adjustments that you make, like
| | 04:18 | those here in the Basic Motion
category, are translated into Pan and Scan
| | 04:23 | corrections in the Geometry room of Color.
| | 04:25 | The other thing to understand is that
Motion Tab adjustments are not actually
| | 04:28 | rendered by Color, but are maintained in
a Final Cut Pro to Color round-trip and
| | 04:32 | are reapplied when the
project returns to Final Cut Pro.
| | 04:36 | We'll talk more about the particulars
of this, like Motion Tab settings with
| | 04:39 | keyframes in Chapter 10, when
we talk about the Geometry room.
| | 04:41 | Color 1.5 now supports speed changes
on clips, stills and freeze frames, as
| | 04:47 | well as multi-clips.
| | 04:48 | So, this next clip down here, I
have a speed change on the clip.
| | 04:51 | Let me play it back for you.
| | 04:52 | And you notice, right there in the middle of
the clip, there is a definite speed change.
| | 04:59 | Then the next clip down here, I
have a still file. It's this map.
| | 05:03 | Well, I don't have any
multi-clips on this sequence.
| | 05:05 | They are now also supported.
| | 05:07 | We will talk about all of these
situations in later movies in this chapter.
| | 05:10 | Let me zoom out a little bit of the sequence.
| | 05:14 | Then I am going to press the Toggle
Clip Keyframes button again, here in the
| | 05:16 | lower left-hand corner of the timeline.
| | 05:18 | You will notice that there are a couple
of places on this sequence where there
| | 05:22 | are text generators.
| | 05:24 | Color does not support any Final Cut
Pro Generator including text, shapes or
| | 05:28 | solids and while we don't have any on
this sequence, embedded motion project
| | 05:32 | files are also not supported.
| | 05:34 | If you need to grade these items, your
best bet is to create a self-contained
| | 05:38 | QuickTime, and we'll do that in the next movie.
| | 05:40 | If you don't need to grade these items,
your best bet is to first duplicate the
| | 05:43 | sequence and then remove the text
generators, by selecting them and then
| | 05:47 | pressing the Delete key on the keyboard,
and of course, you would also want to
| | 05:50 | remove any other generator.
| | 05:52 | Then send this project to Color and
when it comes back to Final Cut Pro from
| | 05:55 | Color, simply go to the original
sequence and then copy and paste those text
| | 06:00 | generators back into your
Color corrected sequence.
| | 06:03 | And scattered throughout the sequence,
you will notice several places where
| | 06:06 | there are transitions.
| | 06:08 | Color does not display transitions
but it does maintain them, and in Color
| | 06:12 | you'll see where they have been placed.
| | 06:13 | You just won't actually see the transition.
| | 06:15 | When rendering clips that have
transitions on them, Color will also render
| | 06:19 | the appropriate amount of handles to
make the transition still work without
| | 06:22 | you having to manually add handles in Color, and
we'll touch on handles a bit more in Chapter 9.
| | 06:27 | Finally, I know that the sequence uses
clips that are of a different frame rate.
| | 06:31 | While one of Final Cut Studio's
biggest strengths is the ability to handle
| | 06:34 | multi-format clips, it is not
recommended to send a Final Cut Pro sequence to
| | 06:38 | Color that uses multiple frame rates.
| | 06:40 | Instead, you should convert the
clips to self-contained QuickTimes or use
| | 06:44 | Compressor, which does a great
job at frame rate conversion.
| | 06:47 | So, over the course of the next few
movies, we'll break down most of these
| | 06:50 | situations to understand
them a little bit better.
| | Collapse this transcript |
| Creating self-contained clips| 00:00 |
While Color 1.5 is much more friendly
in support of previously unsupported
| | 00:04 |
file types and workflows, like
using in stills and freeze frames, using
| | 00:08 |
multi-clips and working with different
types of compression schemes, there are
| | 00:11 |
still quite a few situations
where Color doesn't support something.
| | 00:14 |
So what do we do in these situations?
| | 00:16 |
Well, we create a self-contained QuickTime file.
| | 00:18 |
Let's go ahead and open up a sequence.
| | 00:20 |
I am going to open up the Chapter 04 bin,
and then double-click on the sequence
| | 00:23 |
called 04_02 creating self-contained clips.
| | 00:25 |
In this sequence, I have a few
different situations where creating a
| | 00:30 |
self-contained QuickTime is
necessary or desired. Let's take a look.
| | 00:34 |
These first two clips on the
sequence look fine, but let's get some more
| | 00:37 |
information about them.
| | 00:38 |
I am going to do that by selecting the
first clip, then right clicking on it,
| | 00:41 |
and choosing Item Properties and then Format.
| | 00:44 |
I can see that the clip is 1920x1080 at
29.97 frames per second, and it uses the
| | 00:49 |
Apple ProRes 422 Proxy Codec.
| | 00:52 |
Let's go down to the next clip,
I'll right-click on it, and choose Item
| | 00:56 |
Properties and Format, and you
can see that this clip is different.
| | 01:00 |
It's a DVCPRO HD clip at 960x720, and
its frame rate is 23.98 frames per second.
| | 01:07 |
While we can send the sequence
with these mismatch clips to Color,
| | 01:10 |
I would recommend creating a self-
contained QuickTime of the second clip. Why?
| | 01:14 |
Well, first by baking in any scaling
and frame rates into a QuickTime file you'll
| | 01:19 |
eliminate the possibility of Color
translating the clip wrong, and having
| | 01:22 |
problems rendering the clip.
| | 01:24 |
Also, because Color looks at the Final
Cut Pro Sequence settings of the sequence
| | 01:27 |
you sent to Color, it creates a Color
project with those settings, and in this
| | 01:31 |
case, the Sequence
settings match this first clip.
| | 01:35 |
So, 1920x1080, 29.97 frames per
second, using Apple ProRes Proxy Codec.
| | 01:41 |
Lastly, clips that are of a different
frame rate than the Color project can
| | 01:44 |
have incorrect time code, or in and out points
that are wrong, causing all sorts of problems.
| | 01:49 |
Let's come down to the next clip.
| | 01:52 |
This clip is actually a Motion project
file, and it has just a bit of animated
| | 01:56 |
text on top of the video.
| | 01:58 |
This Motion project file seems okay
here in Final Cut Pro, but Motion project
| | 02:01 |
files like other
generators are unsupported in Color.
| | 02:05 |
Finally, let's come to the third group of clips.
| | 02:07 |
Here I have a clip that looks
pretty normal, and it transitions into a
| | 02:11 |
very affected clip.
| | 02:12 |
As we have previously discussed, if I
were to send this clip to Color, all of
| | 02:16 |
the filters would be removed when the
project gets to Color, meaning that I
| | 02:19 |
would see the original clip and not
the clip that has been processed by these
| | 02:23 |
filters that gives this clip it's look.
| | 02:25 |
So if I graded this clip, and it
comes back to Final Cut Pro, the filters
| | 02:29 |
would be reapplied, possibly
resulting in a look that I didn't want, or I
| | 02:33 |
wasn't expecting it.
| | 02:34 |
So how do we fix these clips?
| | 02:36 |
Easy, we create self-contained
QuickTimes and edit them back into the sequence.
| | 02:39 |
So let's start out with this clip
that has a different frame size, and is
| | 02:43 |
currently being scaled.
| | 02:44 |
Remember, this clip also has a
different frame rate than the sequence.
| | 02:48 |
Before you do any edits you should
always duplicate your sequence, so if you
| | 02:51 |
need to come back to the
original for any reason, you can.
| | 02:53 |
But I am going to do this by selecting
the sequence here in my browser, right-
| | 02:57 |
clicking on it and choosing Duplicate.
| | 02:58 |
Then I am going to click on the duplicate
and rename it by adding the suffix PREP.
| | 03:05 |
This PREP suffix just denotes that
this is the sequence that we actually did
| | 03:09 |
the PREP for Color on.
| | 03:10 |
So let me go ahead and double-click on
it to open it up, and it's this sequence
| | 03:14 |
that I want to do my Prep on.
| | 03:15 |
So the first thing that we need to do
to export this clip as a self-contained
| | 03:18 |
QuickTime is to mark this clip, and
the easiest way to do that is simply to
| | 03:22 |
position your playhead on the clip, and
then use the keyboard shortcut X. This
| | 03:26 |
keyboard shortcut marks the clip with
an in and out point on the exact frames
| | 03:31 |
where the clip starts and where it ends.
| | 03:33 |
So now that the clip is marked,
let's come up to the File menu and choose
| | 03:36 |
Export>QuickTime Movie.
| | 03:38 |
I'll go ahead and rename this clip to
match the original name of the clip.
| | 03:43 |
Let's call it clouds_fixed, where fixed
just denotes that the clip has been fixed.
| | 03:50 |
We want to use Current Settings, and I
am going to include video only, since
| | 03:54 |
this is a Video Only clip.
| | 03:56 |
I don't care about any of the markers,
but what I do care about is that we make
| | 03:59 |
this movie self-contained, so you
want to make sure you check this box.
| | 04:02 |
Okay, everything looks good, I'll
simply click Save, and Final Cut Pro
| | 04:07 |
renders out the file.
| | 04:08 |
Now that the clip is done exporting,
what I am going to do is choose the File
| | 04:12 |
menu and then come down to Import>Files.
| | 04:14 |
We'll navigate back out to our Desktop,
and let's choose the file that we just
| | 04:19 |
exported, called clouds_fixed, and click Choose.
| | 04:23 |
With the file selected in my browser,
all I am going to do is drag it over to
| | 04:26 |
the Canvas window and choose Overwrite,
and this will overwrite the clip back on
| | 04:29 |
to my sequence, and this works= because
the sequence has been previously marked.
| | 04:33 |
So, I'll select the file, drag it
over to the Canvas window and choose
| | 04:36 |
Overwrite, and you'll notice
that the clip has been replaced.
| | 04:40 |
This clip is now the self-
contained QuickTime that we exported.
| | 04:43 |
We could export this second clip, but
the process is the same as the previous
| | 04:47 |
clip, so let's skip ahead to
the last group of clips here.
| | 04:50 |
And remember, this was the clip that
transitions into a very affected clip.
| | 04:55 |
Obviously, all the filters on this
clip aren't supported in Color, and we
| | 04:58 |
should create a self-contained
QuickTime, but the real issue is, how do we
| | 05:02 |
handle this dissolve, and how do we
handle the handles that are needed to
| | 05:06 |
create this dissolve?
| | 05:07 |
Remember, any transition requires
handles, and if you export the clip as a
| | 05:10 |
self-contained QuickTime, you won't have
any handles. Little bit tedious. Here's
| | 05:15 |
how we fix this clip.
| | 05:16 |
What I am going to do first is simply
select the transition, right-click on it,
| | 05:20 |
and I am going to note the duration
and the alignment of the transition.
| | 05:24 |
Then let's go ahead and remove the
transition, and next, I am going to take the
| | 05:30 |
second clip and move it up
to the second video track.
| | 05:33 |
And the reason I moved it up to second
video track is because I want to extend
| | 05:37 |
the start point of the clip.
| | 05:38 |
Remember that transition was 15 frames?
| | 05:41 |
That basically means that each clip,
this first clip and the second clip, need
| | 05:45 |
to have about 7-1/2 frames of handles.
| | 05:48 |
Let's just call it 8 frames.
| | 05:50 |
So I need to add an additional 8 frames
immediate to this clip before I export it.
| | 05:55 |
So how I am going to do this is simply
by selecting the start of the clip and
| | 05:58 |
then on my keyboard, I am going to type
-8 and this will roll the start point of
| | 06:03 |
this clip back 8 frames.
| | 06:06 |
Now that I have extended the clip,
all we need to do is simply mark it.
| | 06:10 |
But because I have two clips on top of
each other, my playhead position impacts
| | 06:14 |
what clip is selected when I mark the clip.
| | 06:16 |
So for example, if I press X with my
playhead where it currently is, the first
| | 06:21 |
clip is marked, as well as
there's a bit of overlap here.
| | 06:23 |
What I actually need to do is move my
playhead to the second clip and then press
| | 06:27 |
X. Okay, so now the second clip is
marked, we are just going to repeat the
| | 06:30 |
process of exporting and importing again.
| | 06:32 |
So I'll choose File>Export>
QuickTime Movie, and we'll call this nyc
| | 06:40 |
timelapse_fixed, Video Only, and make
sure it's self-contained, and click Save.
| | 06:50 |
Okay, so the clip has done exporting.
| | 06:51 |
Let me select my browser and this time,
instead of choosing the File menu, I am
| | 06:55 |
simply going to right-click anywhere
here in the gray area of the browser and
| | 06:58 |
choose Import>Files, and then let's
select that file that we just exported,
| | 07:02 |
called nyc timelapse_fixed and click Choose.
| | 07:07 |
Next, I am simply going to drag this
clip out onto the timeline and position it
| | 07:10 |
in the exact same position as the
clip that I am replacing, and let go.
| | 07:15 |
Okay, so now we've replaced the clip
with a self-contained QuickTime file.
| | 07:19 |
What we need to do next is simply trim this
clip back to its original starting position.
| | 07:23 |
So I'll trim it to the right like
that, just by dragging the start point.
| | 07:27 |
So next, I'll just select the clip, and
with the clip selected, I am just going
| | 07:29 |
to use the keyboard shortcut Option+
down arrow, and this will move the clip
| | 07:33 |
down to Video track1.
| | 07:35 |
So now that the clip is in the right
place, I'll select the transition point
| | 07:38 |
between these two clips, right-click,
and choose Add Transition 'Cross
| | 07:42 |
Dissolve,' and then right-click on
the Cross Dissolve, and let's match the
| | 07:46 |
original length of the
Cross Dissolve to 15 frames.
| | 07:51 |
Okay, so now, this group of clips
will work properly when sent to Color.
| | 07:55 |
On some projects you will find yourself
having to do this on every single clip.
| | 07:58 |
So instead of having to export a ton of
clips, what I would suggest is the following:
| | 08:03 |
Export your entire sequence as one
large self-contained QuickTime, import that
| | 08:07 |
QuickTime back in the Final Cut
Pro and edit it on to a new sequence.
| | 08:11 |
Then use the Blade tool to cut up a
sequence at every place there is an edit,
| | 08:15 |
and finally, duplicate any transitions
that you have on those edits, and then
| | 08:18 |
send that project to Color.
| | 08:20 |
So any time you a situation where you
either know or don't know if Color will
| | 08:24 |
support something your best bet is to
export a self-contained QuickTime file.
| | 08:29 |
| | Collapse this transcript |
| Dealing with composited clips| 00:00 | So you've heeded the advice we talked
about in the first movie in this chapter,
| | 00:03 | about trying to collapse your Final
Cut Pro sequence down to a single track if
| | 00:06 | possible, removing any text, Final Cut
Pro generators and Motion project files.
| | 00:11 | But you still have quite a few places
on your sequence where you have clips on
| | 00:14 | top of each other, and you can't
collapse these clips down to single track,
| | 00:18 | because they are composited together somehow.
| | 00:20 | It might be a simple opacity change.
| | 00:22 | It might be some sort of key, or
it might even be one of Final Cut
| | 00:24 | Pro's composite modes.
| | 00:25 | In any case, we need to talk about how
these composites are presented in Color,
| | 00:29 | and how we can deal with them, so they
are easier to work with inside of Color.
| | 00:33 | So let's go up into the Chapter 04 bin,
and then open up the sequence called
| | 00:37 | 04_03_dealing with composited clips.
| | 00:40 | So on this sequence, I have two
clips that are on top of each other.
| | 00:44 | The top clip has had its opacity altered,
so that it blends with the clip below,
| | 00:48 | and everything looks good here in
Final Cut Pro, but let's go ahead and send
| | 00:52 | this sequence to Color.
| | 00:54 | I am going to that by choosing File>
Send To>Color, and I am fine with the
| | 00:59 | default naming, so I'll just click OK.
| | 01:03 | So the project opened up okay here in
Color, and I am just going to select the
| | 01:06 | Color Timeline, and then use the
keyboard shortcut, Shift+Z. Shift+Z just
| | 01:10 | snaps the clips into the
viewable area of my timeline.
| | 01:13 | So if I put my playhead in the middle
of these two clips, notice here in my
| | 01:17 | preview, which shows in lot of clips
in the Color timeline, I am only able to
| | 01:20 | see the top clip, this one. What's up of that?
| | 01:24 | Well first, Color does respect
tracks from Final Cut Pro, so if you have
| | 01:28 | two video tracks, like we did in all
Final Cut Pro sequence, you have two
| | 01:31 | tracks here in Color.
| | 01:33 | So the first thing to notice is that
color doesn't recognize the opacity change
| | 01:37 | or any composite mode from Final Cut Pro.
| | 01:39 | In addition, because Color doesn't
support any of Final Cut Pro's effects, with
| | 01:43 | the exception of the Color Corrector
Three Way, any key effect that you might
| | 01:46 | have used to create transparency
on a clip will not be recognized.
| | 01:50 | The other thing to understand about
clips that are composited like these two in
| | 01:53 | Color is Color will always display
the topmost clip, this one right here.
| | 01:58 | To even be able to view the bottom clip,
I need to double-click on it, now I can
| | 02:03 | see it here in my Preview.
| | 02:04 | But here's the weird thing, the
second that I start moving my playhead, the
| | 02:08 | previous snaps back to the topmost clip,
and I think this behavior is a bit of
| | 02:12 | a pain to deal with.
| | 02:13 | There is one more thing you need to know.
If we're to render this project, clips
| | 02:17 | on the first video track are rendered
first, and then clips on the successive
| | 02:22 | video tracks are rendered next. Okay.
| | 02:24 | Let's jump back in the Final Cut
Pro and talk about a good way to deal
| | 02:28 | with composited clips.
| | 02:29 | The way I usually suggest to people to
work with composited clips is to create a
| | 02:33 | self-contained QuickTime of the
composited section, using the same methodology
| | 02:37 | that we used in the last movie.
| | 02:39 | If you haven't watched the
previous movie on creating self-contained
| | 02:41 | QuickTimes, don't worry.
| | 02:42 | We'll go over it again quickly in just a second.
| | 02:45 | What creating a self-contained
QuickTime of this composited section will do is
| | 02:49 | bake in the compositing of the two clips.
| | 02:52 | The thing though is that you don't want
to lose the ability to come back to this
| | 02:55 | original composite if you need to.
| | 02:57 | So that's why I always suggest, prior to
prepping any sequence for Color, that you
| | 03:01 | duplicate the original sequence, and we
do this by simply selecting the original
| | 03:05 | sequence in the browser, right
clicking on it and choosing Duplicate.
| | 03:08 | And then I am going to click on the
duplicate and change its name with the
| | 03:13 | suffix _PREP, and that just indicates that
this is the sequence that I used to prep.
| | 03:19 | I'll double-click on it to open it up
and it's this sequence, the PREP sequence,
| | 03:24 | that I wanted to make my changes on.
| | 03:25 | Now that we have the sequence open, we
simply need to mark these clips, and I am
| | 03:29 | going to do that by pressing X on the keyboard.
| | 03:31 | By pressing X, I automatically create
an in point and out point on the exact
| | 03:35 | frames where these clips start and end.
| | 03:38 | Now that I have marked these clips,
I simply need to export them, and the
| | 03:41 | way that I do that is by coming up
to the File menu, down to Export and
| | 03:44 | choosing QuickTime Movie.
| | 03:46 | You can also use the keyboard
shortcut, Command+E. Just be sure that you
| | 03:50 | have the Final Cut Pro
sequence selected before you choose
| | 03:53 | File>Export>QuickTime Movie.
| | 03:57 | So here in the Save dialog box, I can
give this a name, and we will just call
| | 04:00 | this composite, I will save it out to
my desktop, and I don't need to include
| | 04:05 | Audio and Video, since there
is no audio in this sequence.
| | 04:07 | So I'll just choose Video Only, but I do
want to make sure that I export this as
| | 04:12 | a self-contained movie,
which I am currently. Okay.
| | 04:15 | Let's click Save.
| | 04:16 | All right, Final Cut Pro exports the
clip, and then let's just right-click
| | 04:19 | anywhere here in the
browser and choose Import>Files.
| | 04:23 | Go out to my desktop.
| | 04:25 | Let's choose the movie that we
just exported, and then click Choose.
| | 04:28 | All right, and here is the movie.
| | 04:30 | What I am going to do now is just come
back to my PREP sequence and delete these
| | 04:35 | two clips simply by selecting them
and pressing Delete on the keyboard.
| | 04:39 | Now, I'll simply drag the composite clip
that we exported back into the sequence
| | 04:43 | like this, and let ago.
| | 04:45 | And now if I scrub through the clip,
you'll notice that the composite is
| | 04:48 | baked in to one file.
| | 04:50 | It's one file, one video track, whereas
before, it was two files and two video tracks.
| | 04:56 | One more thing to do.
| | 04:57 | Remember how I said that Color
maintains track count from Final Cut Pro?
| | 05:00 | Well, Video Track 2 is blank,
so why send it to Color?
| | 05:04 | What I will do is simply right-click on
Video Track 2 and choose Delete Track,
| | 05:09 | and now, I have a single-track sequence.
| | 05:12 | So, let's once again choose File>Send
To>Color, I am fine with the default
| | 05:18 | naming, I'll click OK.
| | 05:21 | And now back in Color, if I select the
Color Timeline and press Shift+Z to snap
| | 05:25 | the clip to the viewable area of the
timeline, you'll notice that it's only one
| | 05:28 | clip, and the compositing is baked in.
| | 05:31 | My feeling is that dealing with
this baked in clip is many times much
| | 05:34 | easier, and all that's really needed for most
situations, where composited clips are used.
| | 05:38 | Of course, if you feel because of the
nature of the clips using the composite
| | 05:42 | that you need to correct them separately,
you can of course keep them separate
| | 05:45 | and correct them individually.
| | 05:46 | Just keep in mind the issues we
talked about previously in this movie.
| | Collapse this transcript |
| Working with stills and freeze frames| 00:00 | A little over a year ago I
was asked to bid on a project
| | 00:03 | that was a retirement video
for a CEO of a huge company.
| | 00:06 | After asking a few questions I learned
that the project was edited in Final Cut
| | 00:09 | Pro about 90% of the 15 minute piece was stills.
| | 00:13 | Although, I eventually took the project
and color corrected it in Final Cut Pro,
| | 00:16 | it was a bummer that I couldn't
do in Color without a ton of prep.
| | 00:20 | See, previous versions of Color
didn't support stills and freeze frames.
| | 00:23 | Of course, a lot of projects
incorporate stills and freeze frames.
| | 00:26 | And now in Color 1.5 you can use
them in your Final Cut Pro sequence and
| | 00:29 | have them appear properly in Color, so that
you can grade them just like any other clip.
| | 00:34 | There are a few rules to follow though.
| | 00:35 | So let's check out how this works.
| | 00:36 | Here in Final Cut Pro, I am going to
come up to Chapter 4 bin, and then open up
| | 00:40 | the sequence called 04_04_
working with stills and freeze frames.
| | 00:43 | This sequence has a few stills on it down here,
and a freeze frame taken from a video clip.
| | 00:49 | On first glance, everything looks
pretty good, but on closer inspection, there
| | 00:53 | are a couple of issues
that I need to tell you about.
| | 00:56 | Here is the freeze frame that transitions
out with a cross dissolve. Seems okay, right?
| | 01:00 | Well, first, for Color to recognize this freeze
frame, it must be positioned on Video track 1.
| | 01:06 | Secondly, this freeze
frame has a transition on it,
| | 01:09 | this cross dissolve right here.
| | 01:11 | Freeze frames and transitions will not
be sent to Color, even if they are on the
| | 01:14 | correct video track.
| | 01:16 | You can always add the transition back to
the freeze frame when you come back from Color.
| | 01:20 | Just keep in mind, if the freeze frame
is sandwiched between two video clips,
| | 01:24 | and those clips are also being graded in
color, you may have to render the video
| | 01:27 | from Color with handles so that
the transition will work properly.
| | 01:31 | We'll talk about rendering with
handles in the chapter on rendering.
| | 01:34 | Finally, if you make a freeze frame
from a clip that has been speed adjusted in
| | 01:37 | Final Cut Pro, in Color, you might
not actually see the correct frame.
| | 01:41 | Your best bet in those situations is to
create a self-contained QuickTime of the
| | 01:45 | freeze frame, and edit it
back into your sequence.
| | 01:48 | If you need a refresher on exporting self-contained
QuickTimes, be sure to check
| | 01:51 | out the second movie in this chapter.
| | 01:53 | So let's prep this clip properly.
| | 01:55 | And the first thing I am going to do
is select the cross dissolve, and then
| | 01:58 | press Delete on my keyboard
to remove the crosses off.
| | 02:01 | Next, all freeze frames need to be on
Video track 1, so I need to move this
| | 02:05 | freeze frame down one track.
| | 02:07 | To do that, I am going to select a
freeze frame, and then use the keyboard
| | 02:10 | shortcut, Option+down arrow.
| | 02:12 | Option+down arrow will automatically
move this clip down to Video track 1.
| | 02:17 | Moving further down in the sequence,
you can see that I have a few stills.
| | 02:20 | Your stills can be any standard still
format, but using a high quality still
| | 02:23 | format like TIFF is your best
bet to get superior results.
| | 02:27 | Unlike freeze frames,
stills can be on any track.
| | 02:29 | Although, you should still try to
collapse your sequence down to as few
| | 02:32 | tracks as possible.
| | 02:33 | The only catch with stills is that they
can't be larger than the maximum frame
| | 02:37 | size of Color, which is 4096x2304.
| | 02:41 | Let's check out one of these stills and
see its frame size by right-clicking on
| | 02:44 | it, and then choosing Item
Properties, and then Format.
| | 02:48 | You can see that this still is
3084x2288, which is smaller than the maximum
| | 02:54 | Frame Size of Color. All right.
| | 02:55 | Let me click OK to close this window.
| | 02:58 | And finally, before we send this
sequence to Color, you'll notice that both the
| | 03:02 | freeze frame here, as well as
stills here have bit of motion on them.
| | 03:07 | It's common to have moves like these
on stills and freeze frames, but the
| | 03:10 | important thing for our conversation is that
Motion tab keyframes do not show up in Color.
| | 03:16 | So let me go ahead and double-click on this
freeze frame here, and then click on the Motion tab.
| | 03:21 | And you can see that I have
two scale keyframes on this clip.
| | 03:24 | The first at 100%, and the next one at 110%.
| | 03:28 | What you need to know is that Color
ignores Final Cut Pro Motion tab keyframes,
| | 03:33 | but when his clip comes back from
Color, these keyframes will be reapplied.
| | 03:38 | The other thing that you need to know
is that when this clip arrives in Color,
| | 03:41 | we'll see the clip at the last Motion keyframe.
| | 03:44 | So in other words, in Color, we'll be
viewing this clip at 110%, not 100% that
| | 03:48 | the clip started at.
| | 03:50 | We'll talk more about how Color deals with
keyframes in Final Cut Pro in Chapter 10.
| | 03:55 | Okay, now that we've covered all our
bases with stills and freeze frames, let's
| | 03:58 | go ahead and send this sequence to Color.
| | 04:00 | First, let's make sure that the
sequence is selected, and then I am going to
| | 04:03 | choose File> Send To>Color.
| | 04:06 | I am fine with the default naming,
so let's go ahead and click OK.
| | 04:10 | And here in Color, everything looks
pretty good, here is the freeze frame, and
| | 04:17 | then here are the stills.
| | 04:18 | Notice though that none of the Motion
keyframes have been applied to the clips.
| | 04:22 | You will also notice though that I
have two video tracks. What I should have
| | 04:25 | done before exporting the sequence to
Color, was remove the second video track,
| | 04:30 | but in this case it's not
going to cause us any harm.
| | 04:32 | Finally, the last thing you need to
know, when you render a project that
| | 04:35 | contains freeze frames or stills, Color
renders out only one frame of each clip.
| | 04:40 | It does this to improve render time.
| | 04:42 | And to show you this, I am simply going
to click on the Render Queue at the top
| | 04:45 | of the Color interface, and Add All the clips.
| | 04:48 | Notice that each clip is only
getting rendered as one frame.
| | 04:52 | So one minute to one minute in one frame.
| | 04:55 | So as long as you follow a few rules,
working with stills and freeze frames from
| | 04:58 | a Final Cut Pro sequence,
things should go very smoothly.
| | Collapse this transcript |
| Working with speed-adjusted clips| 00:00 | If I think about it, almost every single
program that I work on has some sort of speed change.
| | 00:05 | This might be a way of stylizing the
show, or it might simply be a way to fix a
| | 00:08 | problem, like extending a shot to fill a hole.
| | 00:11 | The fact is, speed changes are used all the
time in lots of different styles of projects.
| | 00:16 | Color 1.5 handles speed-adjusted
clips, both constant and variable from
| | 00:20 | Final Cut Pro very well.
| | 00:21 | And this is partly to revise
speed engine in Final Cut Pro 7.
| | 00:25 | So here in Final Cut Pro, let's go up
to the Chapter 4 bin, then let's open up
| | 00:29 | the sequence called 04_05_
working with speed-adjusted clips.
| | 00:33 | Okay, so here I have a sequence
that has a speed-adjusted clip on it.
| | 00:36 | Let's back up to the beginning of the
sequence, and then I'll press the spacebar.
| | 00:40 | You will notice that the clip is pretty slow.
| | 00:44 | So let me press the spacebar to stop
playback, but I'll prove to you that
| | 00:47 | this clip has a speed change by selecting it
and then pressing Command+J on the keyboard.
| | 00:52 | This will open up the Change Speed
dialog, here you can see that I have changed
| | 00:55 | the speed of this clip to about 40%
and I have also applied some ease at the
| | 00:59 | beginning of the clip. All right.
| | 01:01 | Let's go ahead and close the Change
Speed dialog by clicking OK and then let's
| | 01:05 | go ahead and send this sequence to Color.
| | 01:07 | First, I'll select the sequence here,
and then choose File>Send To>Color.
| | 01:12 | I am fine with the default naming of
the sequence, so I'll just click OK.
| | 01:17 | Okay, so here we are in Color.
| | 01:18 | Let me go ahead and select the Color
Timeline and use the keyboard shortcut,
| | 01:21 | Shift+Z. Shift+Z simply snaps the
clip to the viewable area of my Timeline.
| | 01:26 | Let's scrub through the clip.
| | 01:28 | Everything seems to be okay.
| | 01:30 | But one thing I need to tell you about
is that you cannot keyframe corrections
| | 01:34 | on a speed-adjusted clip.
| | 01:36 | We haven't covered keyframes
yet, but we will in Chapter 12.
| | 01:39 | For now, I just want to show you what
happens when we attempt to add a keyframe
| | 01:42 | to a speed-adjusted clip.
| | 01:44 | So let me click on the Primary In room
here at the top of the Color interface.
| | 01:48 | The Primary In room is where I
apply primary color correction.
| | 01:51 | So if I go ahead and try to apply a
Primary In keyframe to this clip, and I
| | 01:55 | am going to do that by choosing the
Timeline menu and then coming down to Add Keyframe.
| | 01:59 | I will get this warning message:
| | 02:01 | "This operation is not allowed because the
current clip contains a variable speed effect."
| | 02:06 | Any parameter of functioning
Color that you want the keyframe on a
| | 02:09 | speed-adjusted clip will not work.
| | 02:11 | If you think you need to keyframe a
shot that has been speed-adjusted, your
| | 02:15 | best bet is to export the clip from
Fine Cut Pro as a self-contained QuickTime
| | 02:19 | and edit it back into your sequence, like
we did in the second movie in this chapter.
| | 02:22 | Let me click OK to close this window.
| | 02:26 | And then I am simply going to use the
controls here in the Primary In room to
| | 02:28 | perform a simple primary color correction.
| | 02:31 | In Chapter 6, we'll talk
more about primary corrections.
| | 02:35 | So I am just going to lighten this
clip up, just a bit, something like that.
| | 02:41 | Now we are going to send
this clip back to Final Cut Pro.
| | 02:43 | And the way that I do that is I first need
to render out the clip in the Render Queue.
| | 02:47 | So let me click on the Render Queue at
the top of the Color interface, and then
| | 02:50 | I am going to click Add Selected button.
| | 02:52 | That will add this clip to the Render Queue.
| | 02:55 | And then let me go ahead and click Start Render.
| | 02:57 | Now that this clip has done rendering,
we need to use the Send to Final Cut Pro
| | 03:03 | command here in Color.
| | 03:04 | And I'll choose that by going
to File>Send to> Final Cut Pro.
| | 03:10 | Here I have my browser, I have a
sequence that's called the same thing.
| | 03:12 | It just has 'from Color' in parenthesis.
| | 03:14 | This indicates that it's
the Color corrected sequence.
| | 03:16 | Let me double-click on it to open it
up, and you'll notice that the clip
| | 03:21 | still has to be rendered.
| | 03:23 | That's because Color doesn't
actually render the speed effect. Instead
| | 03:27 | what happens is when the clip
comes back to Final Cut Pro, the speed
| | 03:30 | effect is reapplied.
| | 03:32 | Let me show you that by selecting the
clip and pressing Command+J, and you'll
| | 03:36 | notice that the clip is still slowed down to
40%, and still has that ease at the beginning.
| | 03:43 | So working with speed-adjusted clips
is easy, just be aware that you can't
| | 03:46 | add keyframes to speed-adjusted clips,
and that Color doesn't actually render
| | 03:50 | the speed effect.
| | Collapse this transcript |
| Working with multiclips| 00:00 | Multi Clips in Final Cut Pro
are great way to edit the program.
| | 00:04 | Maybe it's a concert or
maybe a multi-camera interview.
| | 00:07 | Using multi-clips in Final Cut Pro
allows you to edit your program quickly.
| | 00:11 | In previous versions of Color,
using multi clips just didn't work.
| | 00:15 | And users who edited programs with multi-
clips had to do a number of workarounds
| | 00:19 | to get their project into
Color. Good news though,
| | 00:21 | Color 1.5 supports multi-clips
without the need to do any prep on them.
| | 00:26 | The multi-clips can be collapsed or
uncollapsed prior to sending to Color.
| | 00:31 | So here in the Final Cut Pro, let's go
up to the Chapter 4, then, and then open
| | 00:34 | up the sequence 04_06_working with multi-clips.
| | 00:38 | And in this Final Cut Pro sequence, I
have a simple interview segment that was
| | 00:42 | shot on two cameras.
| | 00:43 | This interview comes from a series I
worked called Closer To Truth, Cosmos,
| | 00:47 | Consciousness and God.
| | 00:48 | And it was cut together using Final
Cut Pro's multi-clip functionally.
| | 00:51 | If I go ahead and double-click on one
of these clips to load it into the
| | 00:56 | Viewer, you'll notice that this clip
is a two angle uncollapsed multi-clip.
| | 01:00 | So, we can go ahead and just simply send
this sequence to Color with no problems
| | 01:04 | as Color supports multi-clips that are
collapsed or uncollapsed like these,
| | 01:08 | but before I do some of this sequence
there is one thing you should know you
| | 01:11 | don't have the ability to switch
or grade multiple angles in Color.
| | 01:16 | Whatever is the active angle here in
your Final Cut Pro sequence, when you send
| | 01:20 | the project to Color, is the
angle that you'll see in Color.
| | 01:23 | Okay, so let's actually go
ahead send this project to Color.
| | 01:26 | I'm going to simply select the sequence
here in Final Cut Pro, and then come up to
| | 01:29 | the File menu and choose Send To>Color.
| | 01:32 | I'm fine with the default naming here.
| | 01:35 | So I'll just go ahead and click OK.
| | 01:39 | Okay, and the Project arrives here in
Color. Let me go ahead and select the Color
| | 01:42 | Timeline and use the keyboard shortcut
Shift+Z, Shift+Z simply snaps the clips
| | 01:47 | into the viewable area of the Timeline.
| | 01:49 | Don't worry about the next
few steps I'm going to do.
| | 01:51 | We haven't talked about them yet.
| | 01:53 | I simply want to show you what happens
when a project that uses multi-clips goes
| | 01:57 | back to Final Cut Pro from Color.
| | 01:58 | If you've access to exercise files,
feel free to come back to project, once
| | 02:03 | you've learned about making corrections,
saving grades and rendering and apply
| | 02:07 | your own corrections or saved grades.
| | 02:08 | So, what I'm going to do is come to the
Setup room here and then over to Grades.
| | 02:13 | The Grades tab, in the setup room,
| | 02:14 | lets me save grades that I've made on a clip.
| | 02:17 | And all a grade is a collection of
corrections that I make in each one of
| | 02:20 | the rooms in Color.
| | 02:23 | So, what I'm going to do is select
all the clips here on my Color Timeline
| | 02:26 | from the first angle.
| | 02:28 | And I'm going to do that by holding
down the Command key to select all three of
| | 02:32 | those clips, and then I'm going to double
-click on the saved grade and that will
| | 02:36 | apply it to all three clips.
| | 02:38 | I am going to do the same thing for the
second angle. I'll select the first one
| | 02:43 | and hold down the Command key to
select the other two clips of that angle and
| | 02:47 | then double-click on the saved grade
here in the Grades tab of the Setup room.
| | 02:53 | Now, that grade has been applied to these clips.
| | 02:56 | Okay, so now we're ready to render.
| | 02:58 | Let's go ahead and click on the
Render Queue room at the top of the Color
| | 03:01 | interface, them let's click on the
button Add All. This will add all of the
| | 03:06 | clips to Render Queue. Then let's
go ahead and click Start Render.
| | 03:13 | Okay, now that the render is done, let's
send this project back to Final Cut Pro
| | 03:16 | by choosing File>Send to>Final Cut Pro.
| | 03:20 | Final Cut Pro will open back up and
here at the top of my browser, I have a
| | 03:26 | sequence that's called the same thing
as the original but with from Color as a
| | 03:29 | suffix at the end of the sequence name.
| | 03:32 | Let's double-click on
that sequence to open it up.
| | 03:35 | If I scrub through the sequence, everything
looks pretty good but one thing to be aware about.
| | 03:39 | Let me go ahead and double-
click on one of these clips.
| | 03:43 | Notice now it is no longer a multi-clip.
| | 03:45 | It's a plain old vanilla regular clip.
| | 03:48 | That's because when you render multi-clips
from Color they render out as regular clips.
| | 03:53 | So using a Final Cut Pro Sequence
that has multi-clips on it and then
| | 03:56 | sending that sequence to Color is a
pretty straightforward process and
| | 03:59 | really without any problems.
| | 04:01 | Just be aware that when you render
your clips from Color and then send the
| | 04:04 | project back to Final Cut Pro
you no longer have multi-clips.
| | 04:08 | Your newly rendered
media is just a regular clip.
| | Collapse this transcript |
|
|
5. Overview of ColorNavigating the Color Finder and opening projects| 00:00 | I'd be the first to admit that Color
is a bit different in its user interface
| | 00:03 | than the rest of the Final Cut Studio.
| | 00:05 | But give it some time and I'm sure
you'll come to love it just like I have.
| | 00:08 | One thing though that I know is
frustrating to users who are just learning Color
| | 00:11 | is navigating the Color Finder dialog.
| | 00:13 | This dialog operates differently than a lot
of other Finder dialogs you might have used.
| | 00:17 | So let's take a look at using the Color
Finder dialog, we'll also take a look at
| | 00:20 | opening Color projects.
| | 00:22 | So let's go ahead and open up Color by coming
down to the dock and clicking on the Color icon.
| | 00:26 | In just a second Color will open up.
| | 00:28 | Now, I've purposely reset Color
to show us this warning message.
| | 00:32 | This is called the
Minimum System Checks warning.
| | 00:34 | What Color is telling us is that we're
currently running our screen resolution
| | 00:37 | lower than the recommended screen
resolution of 1680 x 1050. That's because we're
| | 00:42 | recording this title at a
resolution of 1600 x 1000.
| | 00:46 | And in this case, it's actually okay.
| | 00:48 | It's not going impact
anything that we're doing in Color.
| | 00:50 | So I'm going to click on the Never Show
Again button here, and then click Continue.
| | 00:54 | Now if this is the first time that you've
launched Color, you might also get some
| | 00:59 | Preference dialog boxes that pop-up,
asking me to choose default media and
| | 01:03 | project directories.
| | 01:04 | We'll talk more about those default
directories in a later movie in this chapter.
| | 01:07 | So, here I'm presented with the
Projects dialog box and here I can do a
| | 01:11 | couple things such as create a new
folder, and create a new project or open
| | 01:15 | up an existing project.
| | 01:16 | But before we do any of those things, let's
take a look at the anatomy of this dialog.
| | 01:21 | I should mention that this dialog is
like every other finder dialog in color and
| | 01:25 | how we navigate is also the same way
that you navigate the file browser in the
| | 01:28 | Setup room in the Correction
bin in all of Colors' rooms.
| | 01:32 | At the top of the Projects dialog, I've
four buttons. Going left to right, this
| | 01:36 | first button allows me to navigate up
one level in the Finder from where I'm
| | 01:40 | currently located and you can see where
you're currently located by coming down
| | 01:43 | to the bottom of dialog.
| | 01:44 | But here it says Current Directory and this
shows you where you currently are in the Finder.
| | 01:48 | We'll come back to this
pop-up in just one second.
| | 01:52 | The next button, the one with the
house on it brings you to the default
| | 01:55 | directory for the particular dialog
you have opened and in this case because
| | 01:58 | this is the Projects Finder dialog,
clicking on this button will bring us back
| | 02:01 | to the default project directory.
| | 02:03 | And using the default preferences,
this directory is located in your User
| | 02:06 | folder, Documents and then Color Documents.
| | 02:09 | If you are, say, saving a correction in
one of rooms in Color, clicking on this
| | 02:12 | home button would bring you to the
default directory that those corrections are
| | 02:16 | saved in on your system.
| | 02:18 | The next two buttons just allow me to
change how I'm viewing the dialog.
| | 02:21 | So, I can view the dialog
as icons or as list view.
| | 02:24 | When I'm on the icon view, I can use the
slider here to adjust the size of the icons.
| | 02:31 | Okay. Let's come back down to the Current
Directory pop-up, this guy right here.
| | 02:34 | I think what really confuses people
about the Color Finder dialog is that unlike
| | 02:37 | a regular OS X Finder dialog, there are
no locations like drives or user folder
| | 02:42 | locations listed on the
left-hand side of the dialog.
| | 02:45 | So what we use instead is
this current directory pop-up.
| | 02:49 | So, if we click in the pop-up, what
you should see is the pop-up sort of
| | 02:52 | being split in half.
| | 02:54 | At the bottom here are few listings
that back up a few directories from where
| | 02:58 | we're currently located.
| | 02:59 | Because I'm currently in the location,
User Documents and Color Documents, I have
| | 03:03 | the options to step back up to just the
Documents folder, back up to my user or
| | 03:07 | back up to the main Users folder.
| | 03:10 | Let's not click on anything here
and leave our location unchanged.
| | 03:13 | I can essentially do the same thing
with this first button at the top of the
| | 03:17 | dialog, the one with the up arrow on it.
| | 03:19 | So If I click on that, I navigate up
one level in my Finder, click on it again,
| | 03:24 | another level, and click on it one
more time and back up another level.
| | 03:28 | I can always see where I am by
looking at the Current Directory pop-up.
| | 03:32 | So I navigated all the way back
up to the main Users folder. Okay.
| | 03:36 | Let's go back to into the Current
Directory pop-up and you should notice two
| | 03:39 | things. Here I have a forward slash, and then
I have the word Home with the money sign before it.
| | 03:44 | What you need to know about these items
is that they are UNIX shorthand, so the
| | 03:48 | forward slash is the root level of your
machine or another way of saying that is
| | 03:52 | that it's the main level of your system.
| | 03:54 | The word 'Home' with the money sign
before it navigates you to your Home folder
| | 03:57 | or the main level of your User folder.
| | 04:00 | The forward slash here is important
as we need to navigate back to the root
| | 04:03 | level of our machine to
be able to change volumes.
| | 04:06 | So let's choose the forward slash and here
we are back at the root level of our system.
| | 04:10 | Let's make this view a little easier
to look at, so I'll change it from Icon
| | 04:13 | view to List view by using these
buttons here at the top of the dialog.
| | 04:17 | Then let's scroll down and here
you can see the Volumes directory.
| | 04:20 | Let me double click on it to open it up.
| | 04:22 | Here are all the volumes
that I've attached to my system.
| | 04:24 | The exercise_files files volume,
Macintosh HD and my Scratch Disk.
| | 04:28 | Let's double-click on the
volume called Macintosh HD.
| | 04:32 | Let's go ahead and create a new folder
here on the main level of my Macintosh HD.
| | 04:36 | I'm going to do that by
clicking this button, New Folder.
| | 04:39 | Let's call this folder Color
Projects Test and click Create.
| | 04:46 | When I click Create, Color is going to
automatically step me into this folder.
| | 04:50 | So, now that I'm inside this folder,
let's go ahead create a new project.
| | 04:53 | And I'll do that by
clicking in the New Project button.
| | 04:56 | Let's call this project Test
Color Project and click Save.
| | 05:02 | When I click Save, a new
blank color project is opened up.
| | 05:05 | Now, I should say before we go any
further, for most workflows you won't
| | 05:09 | actually create a color project
from scratch like we just did.
| | 05:12 | You'd probably be doing a round-trip
with Final Cut Pro and when you do that, a
| | 05:15 | project is automatically created for you
| | 05:17 | Let's go ahead and hide Color real
quick by using keyboard shortcut Command+H
| | 05:22 | and then let's come out through our
Macintosh HD, double-click on it to open up.
| | 05:26 | And here is that folder that we
created called Color Projects Test.
| | 05:29 | Let me open that up and here's the
actual color project that we created.
| | 05:33 | What I want you to notice is the
extension of the Color project.
| | 05:36 | The extension is .colorproj.
| | 05:38 | With this file selected, let me use the
keyword shortcut Command+I to get more
| | 05:42 | information on this file.
| | 05:43 | And you'll notice that this file is
really, really small. It's only 8 KB.
| | 05:48 | Well, just like Final Cut Pro projects, a
Color project does not contain any media.
| | 05:52 | It's simply references the
media that you're using on disk.
| | 05:56 | Color projects can still get pretty big
though, if you save a lot of stills in
| | 05:58 | the still store room.
| | 05:59 | And also they can grow in size because
every time that you save a project, an
| | 06:03 | Auto save version of the project
is included in the project bundle.
| | 06:06 | Let me go ahead and close this window and
then go back one level here on my Finder.
| | 06:10 | After watching this movie, you can
delete this folder called Color Projects Test
| | 06:14 | as we're not going to come back to it.
| | 06:16 | Finally, let's go ahead and
open up an existing color project.
| | 06:18 | I'm going to go into my exercise_
files volume, and then into the Chapter 5
| | 06:22 | folder, then let's go ahead and open
up his project right here called _05_01
| | 06:25 | navigating the color finder dialog,
I'll open it up by double-clicking on it.
| | 06:30 | And Color will reappear. Remember we
just hit it, we didn't actually quit the
| | 06:33 | application and the project will open
up but notice only the project that we
| | 06:37 | just clicked on is open.
| | 06:38 | The test project that we'd previously
created is automatically saved and closed.
| | 06:43 | Color support only one
project being opened at a time.
| | 06:46 | We can of course open up projects from
within Color, instead of having to go out
| | 06:50 | to the Finder and to do that you simply
go up to the File menu and choose Open.
| | 06:53 | But when I do that, Color will prompt me
with this warning, "Do you want to save
| | 06:57 | "any changes that you made to this project?"
| | 06:58 | Remember, only one
project can be opened at a time.
| | 07:01 | I'm going to click No because we
haven't done anything in this project.
| | 07:05 | Once again, we return to
the Projects dialog box.
| | 07:08 | So hopefully now you're a little bit more
comfortable with the Color Finder dialog.
| | 07:11 | It's different than the old Mac OS X
Finder dialog but once you understand it
| | 07:15 | and try it out a few times, using
it becomes second nature very quickly.
| | Collapse this transcript |
| Understanding the eight rooms of Color| 00:00 |
When I talk to people about Color, one
thing I always hear is that the Interface
| | 00:04 |
is so intimidating or "I
don't know where to start."
| | 00:07 |
These are natural thoughts I suppose,
but the fact is Color is actually are
| | 00:10 |
pretty straightforward and logical application.
| | 00:12 |
So I want to spend a few minutes
giving you an overview of the interface,
| | 00:15 |
tell you what things are called, and give
you an idea of the internal workflow of Color.
| | 00:19 |
Throughout the rest of the chapters in
this title, we will break down features
| | 00:22 |
and tools in more depth but for now let's
dive in and get more comfortable with Color.
| | 00:26 |
The first thing I want to look at is the
two main windows in the Color interface.
| | 00:29 |
The window right here is called the
Color window and the Color window contains
| | 00:32 |
all of Color's rooms, each tab
here at the top of the Color window.
| | 00:36 |
So I have the Setup room, the
Primary In room, the Secondaries room, the
| | 00:40 |
Color FX room and so on.
| | 00:42 |
The Color window also contains the Timeline.
| | 00:44 |
The Timeline is located
underneath of all the Color rooms.
| | 00:47 |
And then Timeline of course is
where the clips are placed in
| | 00:50 |
chronological order.
| | 00:51 |
The other main window I have is
called the Scopes window and the Scopes
| | 00:54 |
window is right here.
| | 00:55 |
The Scopes window contains my Preview,
right here, as well as my video scopes.
| | 01:00 |
With the Window menu at the top of the
Color interface, I can choose between the
| | 01:03 |
Color and Scopes window.
| | 01:05 |
I can also use keyboard
shortcuts to select one or the other.
| | 01:08 |
Shift+Command+1 for the Color window,
Shift+Command+2 for the Scopes window.
| | 01:12 |
And I can also switch to Dual Display mode.
| | 01:14 |
Dual Display mode will place the
Scopes window on one monitor and the Color
| | 01:17 |
window on its own monitor.
| | 01:19 |
I'm looking at the Color interface
in single display mode, which we will be
| | 01:22 |
for this entire title.
| | 01:24 |
If I want to switch to Dual Display mode,
there is one caveat. I have to choose
| | 01:27 |
this option and then restart the
application for the change to take effect.
| | 01:31 |
One more note between the two different
display modes. In single display mode I
| | 01:35 |
can toggle the Preview, this guy right
here, by double-clicking on it and it
| | 01:38 |
will take up most of the Scopes window.
| | 01:40 |
I can double-click on it again to
return it to its original size and have
| | 01:43 |
the Scopes reappear.
| | 01:45 |
In Dual Display mode, double-clicking
the Preview will make the preview go
| | 01:48 |
full screen, but remember the Preview
cannot be trusted as a critical evaluation tool.
| | 01:53 |
So let's take a look at the
first room in Color, the Setup room.
| | 01:57 |
The Setup room contains a number of
tabs at the bottom of the room, right here.
| | 02:01 |
On the shots tab, I can see any
shots that I have in my project.
| | 02:04 |
On the Grades tab, I can see any saved
grades that I have made, and a grade is
| | 02:08 |
simply a collection of different
corrections made in each room in Color.
| | 02:11 |
Just keep in mind - you won't
actually have these grades on your system.
| | 02:15 |
I can adjust Project Settings on the
Project Settings tab. I can see messages
| | 02:19 |
about playback on the Messages tab and
then on the User Preferences tab. I can
| | 02:22 |
adjust well, a User Preferences.
| | 02:24 |
The first room that we had to do any real
Color correction is the Primary In room,
| | 02:28 |
the second tab over here at
the top of the Color interface.
| | 02:31 |
The Primary In room is where I
perform primary Color correction.
| | 02:34 |
That is corrections that affect the entire clip.
| | 02:37 |
You'll notice that there is quite a
few controls here in the Primary In room.
| | 02:40 |
The Color balance controls here at the
top of the room, the primary curves in
| | 02:43 |
the middle of the room as well as the
few parameters over here on the Basic and
| | 02:46 |
Advance tabs and if you even saw that
we're plug-in for Final Cut Studio, you'll
| | 02:50 |
also have the Red tab.
| | 02:52 |
I have actually already gone ahead and
applied a primary correction to this clip
| | 02:55 |
to lighten it up and make it a bit warmer.
| | 02:57 |
We will talk more about all
these controls in Chapter 6.
| | 03:01 |
A great keyboard command though to
compare corrections before and after is
| | 03:04 |
Ctrl+G. So here is this clip before
the correction and then here is the clip
| | 03:09 |
after the correction.
| | 03:11 |
Let's navigate to the next clip in our
Color Timeline by dragging the playhead
| | 03:14 |
down to the next clip.
| | 03:15 |
And the next room that we have in the
Color pipeline is the Secondaries room.
| | 03:19 |
The Secondaries room is where I
applied targeted corrections, or corrections
| | 03:22 |
that affect only part of the clip.
| | 03:24 |
I have already applied a secondary
correction to this clip to treat the sky.
| | 03:29 |
There are lot of controls here in the
Secondaries room and we'll talk more
| | 03:31 |
about them in Chapter 7.
| | 03:33 |
But for now, let me just show you
before and after, the Secondary correction
| | 03:37 |
and I'll do that by using this Enabled
button here at the top of this Secondaries room.
| | 03:41 |
So, here is prior to the correction and
you can see on the clip, I have sort of
| | 03:44 |
a flat, blue-gray sky.
| | 03:46 |
If I enable the correction you
can see that it's been treated.
| | 03:48 |
Let me navigate down to the third clip in my
Color Timeline again by dragging my playhead.
| | 03:53 |
The next stop in the Color
Pipeline is the Color FX room.
| | 03:56 |
The Color FX room is where I apply looks
to my clips and I do that by using nodes,
| | 04:00 |
These items here on the left
hand side of the Color FX room.
| | 04:03 |
In chapter eight, we'll talk all about
adding our own notes to create a look and
| | 04:07 |
on this clip, I've already applied a
look by combining multiple nodes and
| | 04:10 |
what's called a node tree.
| | 04:12 |
Let's navigate to the next clip down.
| | 04:15 |
Next up is the Primary Out room.
| | 04:17 |
The Primary Out room looks just like the
Primary In room, but there are a couple
| | 04:21 |
of additional controls
over here on the basic tab.
| | 04:23 |
But for all intents and purposes, the
controls that I have here are exact same
| | 04:27 |
as those in the Primary In room.
| | 04:28 |
But here is the cool thing
about the Primary Out room.
| | 04:30 |
It allows me to perform a global
change to rooms that happen before it,
| | 04:34 |
meaning that, when I perform a
correction in the Primary Out room, I'm really
| | 04:37 |
working with the sum of the corrections
made in the Primary In, Secondaries, and
| | 04:41 |
then Color FX rooms.
| | 04:43 |
On this clip, I've already applied a
correction to adjust Contrast after it had
| | 04:46 |
been corrected in the Primary In,
Secondaries and Color FX rooms.
| | 04:51 |
Let me navigate to the next clip in
the Color Timeline, by using the down
| | 04:54 |
arrow on my keyboard.
| | 04:56 |
So, I'll select the Color
Timeline and then press the down arrow.
| | 04:59 |
The next room that I want to
talk about is the Geometry room.
| | 05:02 |
The Geometry room allows me do
geometric corrections in the Pan&Scan tab.
| | 05:06 |
It allows me to apply Custom user
shapes in the Shapes tab that I can apply to
| | 05:10 |
Secondary corrections and we can use the
Tracking tab here at the bottom of the room.
| | 05:14 |
So corrections will follow an
object or person around on screen.
| | 05:18 |
Quickly, I want to apply a Pan&Scan correction.
| | 05:20 |
So I'll click back on the Pan&Scan tab
and then just use the on screen controls
| | 05:24 |
here to apply Pan&Scan correction.
| | 05:29 |
And you'll notice over here in my Preview,
I've essentially zoomed into the clip.
| | 05:33 |
Let me go ahead and reset the Pan and Scan
adjustment that I just did, by clicking
| | 05:36 |
this button right here
that says, Reset Geometry.
| | 05:39 |
The next room that I have
is the Still Store room.
| | 05:42 |
The purpose of the Still Store room is
to save a Still and then use that Still
| | 05:46 |
to compare it against another
piece of footage in my Timeline.
| | 05:49 |
This helps in seeing the scene Color correction.
| | 05:51 |
So to save a Still, I'm simply going
to click the Save button down here.
| | 05:54 |
What will happen is that a Still will be
saved from the frame that my playhead is on.
| | 05:58 |
So, I'll click Save and you'll
see that a new Still has been saved.
| | 06:02 |
Next, I'm just going to navigate my
playhead previously in my Timeline,
| | 06:05 |
say right about here.
| | 06:07 |
I'll double-click on this clip to make
sure that it's loaded and now you can see
| | 06:10 |
over here in my Preview, I can
compare the two clips side by side.
| | 06:14 |
If you have video monitor attached to
your system, the Still Store will also
| | 06:18 |
output to that monitor,
| | 06:19 |
so you can get a much larger
comparison between the two clips.
| | 06:22 |
There are of course some additional
controls here that let me change how the
| | 06:24 |
images are compared against each other,
but we'll talk more about the Still
| | 06:27 |
Storeroom in chapter 11.
| | 06:29 |
But for now, let me turn off the
Still Storeroom by clicking this button
| | 06:32 |
Display Loaded Still.
| | 06:35 |
And finally, the last one that I have in
the Color pipeline is the Render Queue.
| | 06:39 |
As we have previously discussed, I need
to render out new Color corrected media
| | 06:42 |
to get back to Final Cut Pro and the
Render Queue is where I make that happen.
| | 06:47 |
Using the controls at the bottom of
the room, I can add clips to the Render
| | 06:49 |
Queue in different ways,
| | 06:51 |
like adding only Unrendered Clips,
Add Selected clips and Add All clips.
| | 06:55 |
I'll click on Add All and all of my clips for
my Color Timeline are added to the Render Queue.
| | 06:59 |
Now, to simply render these
clips, I would press Start Render.
| | 07:02 |
We'll talk more about
rendering and output in Chapter 14.
| | 07:05 |
One thing I want to mention is that you
don't have to use every room in Color.
| | 07:11 |
In fact, a lot of times, you may only
use the Primary In room and skip the
| | 07:14 |
Secondaries, Color FX,
Primary Out and Geometry rooms.
| | 07:17 |
You might not even save a Still on the
Stills room before you render a clip and
| | 07:21 |
that's okay. Different
projects have different needs.
| | 07:24 |
The important thing is that you
understand the overall workflow between
| | 07:27 |
the rooms in Color.
| | 07:29 |
| | Collapse this transcript |
| Essential preferences and project settings| 00:00 |
Understanding Preferences and Project
settings for any applications is one of
| | 00:03 |
those things that you don't necessarily
look forward to learning, but trust me,
| | 00:07 |
these settings and parameters are important.
| | 00:10 |
In Color, Preferences are pretty
straightforward and for the purposes of this
| | 00:13 |
movie, we don't need to
explore every Preference.
| | 00:16 |
So, we will explore just
some of the most essential ones.
| | 00:18 |
Preferences in Color can be
accessed in two different ways.
| | 00:21 |
The first is by coming up to the
Color menu and choosing Preferences.
| | 00:24 |
You can also click into the Setup room
and then to the User Preferences tab here
| | 00:28 |
at the bottom of the Setup room.
| | 00:29 |
So, we're going to cover quite a few
preferences here, but we're going to start
| | 00:32 |
with the three right here at the top.
| | 00:34 |
Default Project Directory, Default Media
Directory and Default Render Directory.
| | 00:38 |
The Default Project Directory is where
projects are saved by default and this is
| | 00:41 |
kind of important, because when you
send the project from Final Cut Pro to
| | 00:43 |
Color, this is the place
that the project gets saved.
| | 00:46 |
It defaults to your User folder,
Documents and Color documents.
| | 00:49 |
So if you ever need to go back and find
a project that you sent from Final Cut
| | 00:52 |
Pro, you need to look in
your Default Project Directory.
| | 00:55 |
In your own projects, you'll probably
want to point the default directory either
| | 00:59 |
to one central location or change it
on a project-by-project basis, prior to
| | 01:03 |
sending a project from Final Cut Pro to Color.
| | 01:05 |
Yes, I said, prior to
sending the project to Color.
| | 01:08 |
That way, the Color project file will
end up in the right place, when you send
| | 01:11 |
the project from Final Cut Pro to Color.
| | 01:13 |
Also the Default Project Directory is
the place that the Color first looks to
| | 01:17 |
when you open up the application
and you get the Projects dialog box.
| | 01:20 |
The Default Media Directory is the
Default directory that the file browser, this
| | 01:23 |
area over here on the left hand side of
the Setup room, is looking at by default.
| | 01:27 |
It also defaults to your User
folder, documents and Color documents.
| | 01:31 |
You just set this directory to a drive
or a folder that you use to import media
| | 01:34 |
directly in the Color.
| | 01:36 |
Just keep in mind that you'd only do this, if you
aren't doing the Color to Final Cut Pro trip.
| | 01:39 |
The Default Render Directory
is where media goes by default.
| | 01:43 |
When I render that of color.
| | 01:44 |
We can also choose to have a project
specific render directory, but we'll
| | 01:48 |
get back to that later.
| | 01:49 |
The next preference I want to
talk about is UI Saturation.
| | 01:52 |
Here is how UI Saturation works.
| | 01:54 |
When I adjust this value using my scroll
wheel on mouse and again, I can do that
| | 01:58 |
by simply hovering my mouse over the
value then scrolling down, I'm adjusting
| | 02:01 |
the saturation of various
elements of the User interface.
| | 02:05 |
Specifically, the elements that I'm
adjusting are the scopes as well as some
| | 02:09 |
things in the Primary, Secondaries
and Primary Out room, most notably the
| | 02:13 |
Color balance controls.
| | 02:14 |
So let me go back into the Setup room
and completely desaturate the UI and I can
| | 02:19 |
make this scrolling go faster by holding down
the Option key and then scrolling.
| | 02:23 |
All right. Let me click back into the Primary In
room and now you'll notice that the Color
| | 02:27 |
balance controls are completely desaturated.
| | 02:30 |
The idea behind UI Saturation is that
we don't want to have the interface so
| | 02:33 |
saturated that it might skew our choices
that we make for Color Correction and Grading.
| | 02:37 |
My personal preference is to
have this value right around .5.
| | 02:43 |
That's saturated enough to have the
color balance controls look normal and the
| | 02:46 |
scopes look normal but not over
saturated to where I might potentially skew my
| | 02:50 |
choices that I make for Color
Correction and Grading because of the saturation.
| | 02:53 |
Let's click back in the Setup room.
| | 02:55 |
The next little group of Preferences
that I have are these four checkboxes.
| | 02:58 |
These four checkboxes just change the
units used by my Time code Ruler down
| | 03:02 |
here on my timeline.
| | 03:03 |
Right now, it's set to Frames, but I can
change it to Seconds, Minutes, and Hours.
| | 03:08 |
And notice as I did that,
the Timeline seem to scale.
| | 03:11 |
What's really happening is that I'm
changing the value that the timecode ruler uses:
| | 03:15 |
Frames, Seconds, Minutes and Hours.
| | 03:18 |
So if I change this back to Seconds,
and press Shift+Z on my keyboard, each
| | 03:21 |
notch represents one second.
| | 03:24 |
The next three preferences I have
deals with just how things are displayed
| | 03:27 |
on the Color Timeline.
| | 03:28 |
I can Show the Shot name, Shot number
and Shot thumbnail here on the actual clip.
| | 03:33 |
Here is the Shot name, here is the Shot
number and then here is the Shot thumbnail.
| | 03:37 |
The next few preferences that I want to
talk about have to do with playback.
| | 03:40 |
The first option is right here.
| | 03:42 |
It's called Loop Playback and
it's pretty straightforward.
| | 03:45 |
With this checked, playback
will loop over and over again.
| | 03:48 |
The next option right here for
Maintain Frame Rate is a pretty big deal.
| | 03:52 |
With Maintain Frame Rate on, Color will
attempt to maintain the project frame rate
| | 03:56 |
when you begin playback,
| | 03:57 |
but it might drop frames in doing so.
| | 04:00 |
With Maintain Frame Rate off, like
it is now, every single frame of the
| | 04:04 |
source clip is played back, but playback
might be really slow, depending on the footage.
| | 04:09 |
I think in most cases, you
should leave this checked.
| | 04:12 |
The next option, I have is
how my scopes are displayed.
| | 04:14 |
The default option is to
display the scopes in Monochrome.
| | 04:17 |
If I look over here in my Scopes
window, in my Waveform scope, you can see as
| | 04:20 |
I click through the various options that
all the scopes are displayed in Monochrome.
| | 04:25 |
If I want to stay in Monochrome, I can
choose a specific color, but my personal
| | 04:29 |
preference is to have Color Scopes.
| | 04:31 |
So I'm going to uncheck Monochrome Scopes.
| | 04:34 |
Now, if I click in to say the waveform
scopes set to Parade, you can see that
| | 04:37 |
the Parade is set up in color.
| | 04:38 |
Red, green, and blue.
| | 04:40 |
The next preference that I want to take
a look at is the Video Output Preference.
| | 04:44 |
One important thing about Color is
currently that it does not support FireWire output.
| | 04:50 |
And as you can see, my video output is Disabled.
| | 04:53 |
Because I don't have a PCI Video Card on my
system that I'm using to record this title.
| | 04:56 |
But once again, you cannot use a FireWire
output device to have video come out of color.
| | 05:02 |
Auto-Save Project lets me auto save a project.
| | 05:05 |
The important thing to understand
about Auto-Saving Projects in Color is
| | 05:07 |
that it does not work like the
Autosave Vault in Final Cut Pro.
| | 05:11 |
Auto-Save in Color simply overwrites
the existing project at the time increment
| | 05:15 |
of your choosing, right
here with this parameter.
| | 05:17 |
Currently, it's setup to
auto save every five minutes.
| | 05:20 |
And the last preference we want to take
a look at is update UI During Playback.
| | 05:25 |
With Update UI During Playback unchecked,
when I select my Color Timeline and begin
| | 05:29 |
playback by pressing the Spacebar,
I can only see my Preview window.
| | 05:34 |
Nothing else in the color interface
updates, including the Timeline, and my Scopes
| | 05:38 |
actually disappear and we stop
playback by pressing the Spacebar.
| | 05:42 |
If I check this option, Update UI
During Playback, I can choose to Update
| | 05:45 |
Playback on my Primary
Display, or my Secondary Display.
| | 05:49 |
Well, in this title I'm only using one
display, so I would really only need to
| | 05:52 |
use my Primary Display option here.
| | 05:54 |
Updating a Secondary Display doesn't matter.
| | 05:55 |
But if you are using two displays,
you can decide which display, or if both
| | 05:59 |
displays, update during playback.
| | 06:02 |
So, now that this option is checked,
let me go ahead and select the Color
| | 06:04 |
Timeline again and press the
Spacebar to begin playback.
| | 06:07 |
And now you'll notice that the Color
Timeline animates, and my Scopes are
| | 06:10 |
visible and they also animate.
| | 06:12 |
Let me stop playback
by pressing the Spacebar.
| | 06:14 |
Okay, one last thing, not really a
preference, but still in Setup room, I want
| | 06:19 |
to click into the Project Settings tab.
| | 06:22 |
Most of the settings here are such as
Project Resolution, and Frame rate are
| | 06:25 |
actually filled in for us already if you
have done a Final Cut Pro to Color roundtrip.
| | 06:28 |
And in later chapters, we'll come
back to the Project Settings tab and talk
| | 06:31 |
about some additional options here.
| | 06:32 |
But for right now, I just want
to show you one important thing.
| | 06:36 |
You should always put your name and
then the name of the project or client in
| | 06:39 |
the Client field here.
| | 06:40 |
This helps identify the project later
on and this is especially useful if you
| | 06:43 |
need to hand off this color
project file to someone else.
| | 06:46 |
Okay, so now you should be more
comfortable with these essential preferences
| | 06:49 |
in Color.
| | 06:51 |
| | Collapse this transcript |
| Navigating the Color timeline| 00:00 | Like other Pro Video Applications,
Color uses a Timeline to place clips in.
| | 00:04 | The Color Timeline is little quirky though.
| | 00:06 | So let me show you different ways to
navigate and use the Color Timeline.
| | 00:10 | First let's talk about
selecting clips in the Color Timeline.
| | 00:13 | If you click on a clip,
notice that it becomes highlighted.
| | 00:15 | This sort of Seafoam turquoise
color indicating that it's selected.
| | 00:19 | If you want to select a clip and have
the playhead jump to that clip, simply
| | 00:22 | double-click on the clip.
| | 00:24 | You'll notice when I double-clicked on
that clip it became selected and the
| | 00:27 | playhead moved to it.
| | 00:28 | We can also select all the clips on
a Color Timeline by using the keyboard
| | 00:31 | shortcut Command+A and we can deselect
all clips on the Color Timeline by using
| | 00:36 | the keyboard shortcut, Shift+Command+A.
| | 00:38 | You might have noticed, when I double-
clicked on this clip to select it and
| | 00:40 | have the playhead moved to it, that some of
the clips in my Color Timeline went out of view.
| | 00:44 | So how do you get all the clips
in the Timeline back into view?
| | 00:47 | Simple, use the keyboard shortcut Shift+Z.
Shift+Z snaps the clips back into the
| | 00:52 | viewable area of the Timeline.
| | 00:53 | This keyboard shortcut is identical to
the one used in Final Cut Pro and the
| | 00:56 | nice thing about Shift+Z is that it quickly
lets you see all of your clips in a project.
| | 01:00 | And if you press Shift+Z, immediately
after setting a project to Color from
| | 01:04 | Final Cut Pro, all of your thumbnails,
these little pictures right here are
| | 01:07 | built and encached for later use.
| | 01:09 | This improves Timeline performance.
| | 01:12 | Let's take a look at a couple of
other ways to position the Color Timeline.
| | 01:15 | We can zoom in and out of the timeline
by holding down the right mouse button
| | 01:19 | and dragging left and right.
| | 01:21 | Just make sure you click-and-drag in
a Timecode Ruler here above the clips.
| | 01:26 | If you prefer keyboard shortcuts, you
can also use Command+Plus to zoom in and
| | 01:31 | Command+Minus to zoom out
of your playhead position.
| | 01:34 | You could also use the middle mouse button to
click-and-drag left and right to pan a timeline.
| | 01:38 | Again, you just seem to make sure that
you click on a Timecode ruler here and
| | 01:42 | you can drag left and right.
| | 01:45 | Now, if the middle mouse button didn't
work for you, but instead called up the
| | 01:48 | dashboard or something else, you need to
set up your mouse in System preferences.
| | 01:52 | So, let's open up System preferences by
choosing the Apple menu up here in the
| | 01:55 | upper left-hand corner of the
screen and choosing System Preferences.
| | 01:59 | Once System Preference is open, let's
click on the Keyboard & Mouse preference
| | 02:02 | pane, and then make sure
you're on the Mouse tab.
| | 02:05 | So what we need to do here is make
sure that we have one button set up as the
| | 02:08 | Primary button, and another button
set up as the Secondary button, depending on
| | 02:11 | what hand you would like
to use to use the mouse.
| | 02:14 | But we want to make sure that the
middle mouse button is set up to Button number
| | 02:17 | 3 and not one of these other options.
| | 02:20 | To have the best experience in Color,
you really want to work with the
| | 02:23 | three button mouse.
| | 02:24 | If you're on a portable computer, it
can be a good idea also to use a three
| | 02:27 | button mouse when you can.
| | 02:29 | Color 1.5 also supports multi touch
input on a compatible portable machine
| | 02:33 | like a MacBook Pro.
| | 02:34 | But since I'm not using a portable mac
for this title, please consult the Color
| | 02:37 | user manual for more information on Multi-touch.
| | 02:41 | Let's go ahead and quit System
Preferences since my mouse is set up just fine.
| | 02:45 | Back in Color, another way we can
change the view of the Timeline is by
| | 02:48 | expanding or contracting
the vertical heights of clips.
| | 02:51 | So let me select the Color Timeline
and press Shift+Z. Remember Shift+Z snaps
| | 02:55 | the clips back into the
viewable area of the Timeline.
| | 02:57 | And the way I am going to change the
vertical heights of the clips is by using
| | 03:00 | this thin grey bar underneath the clips.
| | 03:02 | If I click on it and drag down, I can
make my clips bigger or change their
| | 03:06 | vertical height and this resizing is
kind of nice, because if you want to
| | 03:09 | visually identify a clip,
you get a much bigger icon.
| | 03:12 | Let me reduce the vertical height just a bit.
| | 03:16 | Underneath this gray line, which is
called the track resize handle by the way,
| | 03:19 | we have another thin gray line.
| | 03:22 | If I pull this one down,
I can see my Grades track.
| | 03:25 | Basically, the Grades track shows me grades
and corrections that I've applied to a clip.
| | 03:30 | A correction is something that
happens in an individual room in Color,
| | 03:34 | while a grade is the
combination of all those corrections.
| | 03:37 | We'll talk much more in detail about the
Grade track in Chapter 11, when we talk
| | 03:40 | about Grade Management.
| | 03:42 | But for now, I don't need this Grades
track, so I'm going to drag this bar back up.
| | 03:45 | Now that we've position and scale the
Timeline a bit, the next thing we want to
| | 03:49 | talk about is navigating and
playback on Color Timeline.
| | 03:52 | There are lot of ways to navigate and
playback for Timeline, but I want to show
| | 03:55 | you the most common ways.
| | 03:57 | The simplest way to navigate the
Color Timeline is to click on the Timecode
| | 04:00 | Ruler above your clips
and just drag the playhead.
| | 04:04 | The easiest way to actually start and
stop playback is just to use the Spacebar.
| | 04:08 | So, if I press the Spacebar, playback
begins and if I press it again, playback stops.
| | 04:15 | One really important note
about playback in Color.
| | 04:18 | You won't get true real-time playback in Color.
| | 04:20 | This is absolutely normal.
| | 04:22 | How many frames you playback in real
time is determined by the complexity of
| | 04:26 | your grades, the resolution and frame rate
of your clips, and the power of your system,
| | 04:31 | namely the video card and
disks that you media resides on.
| | 04:34 | Take a look in the lower left-
hand corner of the Color Timeline.
| | 04:37 | When I begin playback and then stop
playback in the lower left-hand corner here,
| | 04:41 | Color will tell me how many frames
per second I'm getting of playback.
| | 04:44 | So let me select the Color Timeline
and then press the Spacebar to begin
| | 04:47 | playback and then I'll stop playback
and notice right here, Color tells me that
| | 04:54 | I was getting 16 frames of playback.
| | 04:56 | If you missed it, let me do it one more time.
| | 04:58 | I press the Spacebar to begin
playback and then stop playback.
| | 05:04 | And this time, I was getting
15 frames of real-time playback.
| | 05:06 | You can also see a lot of sorts of
playback speed by clicking the Setup room right
| | 05:11 | here at the top of the Color interface,
and then clicking the Messages tab.
| | 05:15 | Here, everytime I start and stop
playback, my playback frame rate is recorded.
| | 05:19 | Let's go ahead and switch back to
the Primary In room, by clicking in the
| | 05:22 | Primary In room tab at the
top of the Color interface.
| | 05:25 | JKL navigation, which you might be
familiar with from other applications, also
| | 05:29 | sort of works in Color. Let me explain.
| | 05:31 | With JKL navigation in Color, you
can't tap J or L multiple times to go
| | 05:36 | faster in that direction.
| | 05:38 | Tapping a direction key multiple times
simply starts and then stops playback.
| | 05:42 | So if I tap L, playback beings going
forward, and if I tap it again, it doesn't
| | 05:48 | go faster in that direction.
| | 05:50 | It simple stops playback.
| | 05:51 | This works exactly the same way
for the J key to play backwards.
| | 05:55 | We can use the arrow keys to navigate
the Timeline in a couple of different ways.
| | 05:58 | You can use the left and right arrows
to navigate frame by frame and you can
| | 06:02 | also use the up and down
arrows to navigate between clips.
| | 06:06 | The down arrow to go to the next clips,
and the up arrow to go to the previous clips.
| | 06:10 | So, let's talk little more
specifically about how clips are played back.
| | 06:14 | By default, when I navigate to a clip,
you'll notice that, around the clip, I have
| | 06:18 | an in and out point.
| | 06:20 | And when I begin playback Color will
loop around this clip, between the in and
| | 06:24 | out point over and over again.
| | 06:26 | So I'll select the Color Timeline and
press the Spacebar to begin playback and
| | 06:29 | notice that color loops around the clip.
| | 06:31 | That's because the default playback
mode is called shot mode, meaning it plays
| | 06:35 | back just a single clip at a time.
| | 06:38 | Up in the Timeline menu, I have an
option called Toggle Playback mode and I
| | 06:41 | can also use the keyboard shortcut
Shift+Command+M. If I choose this option,
| | 06:46 | then I am going to come down to the
Timeline and press Shift+Z. Notice that I
| | 06:49 | now have an in and an out point at the very
beginning and in the very end of the Timeline.
| | 06:54 | When in and out points are positioned
like this, it's called movie mode and this
| | 06:58 | is useful for when you want to
playback multiple clips at a time.
| | 07:01 | So, if I begin playback again, by
pressing the Spacebar, notice the playhead
| | 07:06 | goes in between clips.
| | 07:10 | You could also manually define the
portion of the Timeline that you want to
| | 07:13 | playback and the way this works is I
can simply come into any point in Color
| | 07:16 | Timeline where I want to start playback and
press I on the keyboard to mark an endpoint.
| | 07:21 | And then come down on the Timeline
where I want to mark an output point and
| | 07:23 | press O on the keyboard.
| | 07:25 | Now, I want to begin playback, Color
will loop back and forth between the in and
| | 07:30 | out points that I manually set.
| | 07:32 | A new feature in Color 1.5 is also pretty handy.
| | 07:35 | You can use the keyboard shortcut
Shift+I to navigate to your endpoint and
| | 07:39 | Shift+O to navigate to your out point.
| | 07:41 | Finally, I want to show you one last
miscellaneous thing about the Color Timeline.
| | 07:45 | In the upper left-hand corner here of the
Timeline, you'll notice there is a Lock icon.
| | 07:49 | When I send the project from Final Cut
Pro to Color, as I have done with this
| | 07:52 | project, the Timeline is automatically locked.
| | 07:55 | This prevents me from moving my
clips around and performing any edits.
| | 07:58 | Let me try to unlock the Timeline.
| | 08:00 | I am right-click anywhere here in the
Color Timeline and choose Unlock Track,
| | 08:05 | when I do that, Color presents me with
this rather verbose warning message that
| | 08:08 | basically says "If I unlock this track,
bad things will happen with Final Cut
| | 08:12 | "Pro interoperability."
| | 08:13 | I'm not feeling that daring, so I am
going to go ahead and click the No button.
| | 08:17 | It's a good idea when you are doing a
Final Cut Pro-to-Color Roundtrip to just
| | 08:21 | leave the tracks locked.
| | 08:22 | That way you won't have any problems
when you get back to Final Cut Pro.
| | 08:25 | So now you should have a pretty good
handle on navigating the Color Timeline.
| | Collapse this transcript |
| Understanding how to read Scopes| 00:00 |
You will hear me say several times
over the course of this title that your
| | 00:03 |
eyes can lie to you.
| | 00:04 |
Video scopes on the other hand are
unwavering in their evaluation of a clip.
| | 00:08 |
They tell you exactly what's
happening in the clip and don't lie.
| | 00:12 |
That's not to say that you don't use your
eyes and only the scopes will evaluate a clip.
| | 00:16 |
But using video scopes can help you make
important decisions about your footage.
| | 00:19 |
So, let's discuss the basics of
video scopes in Color, and later in this
| | 00:23 |
chapter, we will use the scopes to
understand evaluating contrast and color.
| | 00:27 |
There are lots of different
types of scopes out there.
| | 00:29 |
Hardware scopes, rasterizers, which use
a computer, and dedicated software scopes.
| | 00:34 |
Color uses software scopes, meaning
scopes that evaluate the clip solely in
| | 00:38 |
software without any
additional hardware to process the clip.
| | 00:42 |
So where are the scopes in Color?
| | 00:43 |
Well the scopes are located
right here on the Scopes window.
| | 00:47 |
Since I am in Single Display mode, I can
only view two scopes at a time plus the preview.
| | 00:52 |
In Dual Display mode you can
actually view three scopes in the preview.
| | 00:56 |
The scopes here in Color scale the
video image for processing to 384x192
| | 01:01 |
regardless of the
resolution of your source footage.
| | 01:04 |
It does this so that the scopes can
perform in real time and still analyze every
| | 01:08 |
line in the video signal.
| | 01:10 |
Again this is just for processing.
| | 01:12 |
Your footage is not actually
scaled here in the preview.
| | 01:15 |
There are four types of scopes in Color:
the Waveform scope, which is this one
| | 01:19 |
right here, the Vectorscope, which
is this one right here and two more
| | 01:23 |
additional scopes that are hiding at the moment.
| | 01:25 |
To access a scope that is not in view,
I simply right-click on any scope and
| | 01:28 |
then choose the one I want.
| | 01:30 |
So I will choose Histogram here and
notice that the Histogram replaces the
| | 01:34 |
Waveform because that's a
scope I right-clicked on.
| | 01:36 |
Let me go ahead and right-click on the
Vectorscope and choose 3D Color Space.
| | 01:43 |
Now the 3D Color Space
scope replaces the Vectorscope.
| | 01:46 |
So what do the different scopes do?
| | 01:48 |
Well, scopes can do a lot but each one
excels at a specific area of analysis,
| | 01:52 |
and there's some overlap between them.
| | 01:55 |
The Histogram here displays a
signal in a statistical way, showing me
| | 01:58 |
distribution of pixels across the
tonal range or from black to white.
| | 02:02 |
It's a good way to evaluate contrast
when it's set to Luma or color balance
| | 02:07 |
when it's set to RGB.
| | 02:09 |
The 3D Color Space scope is unique to
Color and lets us view a clip in a 3D
| | 02:13 |
model of various color spaces.
| | 02:15 |
We can use this scope to see where
hue, saturation and lightness are
| | 02:19 |
happening in the space.
| | 02:20 |
Let me right-click on the
Histogram and choose Waveform.
| | 02:24 |
The Waveform scope lets us measure
with the different display options here at
| | 02:28 |
the top of the scope, the signal in a
variety of different ways, like Luma only,
| | 02:32 |
which is great for measuring contrast,
RGB Parade, which is great for evaluating
| | 02:36 |
color balance, and other ways like being
able to view a composite of the signal in
| | 02:40 |
each individual color channel.
| | 02:41 |
Let me right-click on the 3D Color
Space scope and choose Vectorscope.
| | 02:46 |
The Vectorscope is the principle scope we
use to evaluate hue and saturation of a clip.
| | 02:50 |
Mimicking a color wheel, hue is
displayed as the angle around the Vectorscope,
| | 02:55 |
while saturation is the distance
out from the center of the scope.
| | 02:58 |
Besides the different view options
available for the different scopes, there are
| | 03:02 |
a few other things to understand about them.
| | 03:04 |
We can zoom into any of the Waveform scopes
by simply using the scroll-wheel on your mouse.
| | 03:09 |
Notice as I zoom into the Waveform scope,
it says Zoomed underneath the scope.
| | 03:13 |
I can do the same thing on the Vectorscope.
| | 03:16 |
After zooming in, I can reset each
one of these scopes by right-clicking
| | 03:20 |
and choosing Reset.
| | 03:23 |
In the case of the Vectorscope, you
can choose Preset Zoom Levels by clicking
| | 03:27 |
these buttons above the actual scope.
| | 03:29 |
Another place where I can change
options for my scopes is in the User
| | 03:32 |
Preferences of the Setup Room.
| | 03:34 |
So if go to the Setup Room, and then
click on my User Preferences tab, there's a
| | 03:37 |
couple of things here I want to talk about.
| | 03:39 |
First is this checkbox right
here for Update UI During Playback.
| | 03:44 |
If Update UI During Playback is
not checked, the scopes will not be
| | 03:47 |
displayed during playback.
| | 03:48 |
Let me show you what I mean.
| | 03:49 |
So I will uncheck this and then select my
Color Timeline and simply press the Spacebar.
| | 03:54 |
Notice during playback there are no
scopes here. I will stop playback.
| | 03:58 |
This time I am going to select Update
UI During Playback, come back down to my
| | 04:02 |
Color Timeline, press the Spacebar
again, and now you will notice that the
| | 04:06 |
scopes play in real time along with my preview.
| | 04:10 |
Also you will notice that the
timeline animates because we have selected
| | 04:13 |
Update UI During Playback.
| | 04:14 |
Let me stop playback by pressing the Spacebar.
| | 04:18 |
The second option in User Preferences
that affects the scopes is this checkbox
| | 04:22 |
right here for Monochrome Scopes.
| | 04:24 |
When the box is checked, all of
our scopes will be displayed in a
| | 04:27 |
monochrome color of our choosing,
and you can see that right here on with
| | 04:30 |
the Waveform scope set to Luma.
| | 04:32 |
If I uncheck this box, my
scopes are displayed in color.
| | 04:35 |
For example if I click on the Waveform
scope and then the Parade option, I can
| | 04:39 |
see the three color channels, red,
green and blue, each displayed in color.
| | 04:43 |
Something you will hear all the time in
regards to the scopes is the word trace,
| | 04:47 |
and let's define what we mean by trace.
| | 04:49 |
I am going to switch my
Waveform scope back to Luma.
| | 04:51 |
Also I am not distracted by all this
color going on here in the User Preferences
| | 04:54 |
tab, I am going to click back on the
tab up here at the top of the Color
| | 04:57 |
interface called Primary In.
| | 04:59 |
The trace is the information
that is displayed on the scope.
| | 05:01 |
For example, if we look at the
Waveform scope, we can see the trace, which is
| | 05:05 |
all this white stuff
displayed against the scale.
| | 05:08 |
In the case of all the different
Waveform scope options, the important thing to
| | 05:11 |
understand is that the trace mimics
the actual footage that we're looking at.
| | 05:15 |
Another way of saying that is on the
Waveform scopes, the trace mirrors the
| | 05:18 |
actual picture, left to right.
| | 05:21 |
Let me go to the next clip in the Color
Timeline by selecting the Color Timeline
| | 05:24 |
and pressing the down arrow.
| | 05:25 |
I'm going to go ahead and play
this clip and show you what I mean.
| | 05:28 |
Press the Spacebar to begin playback.
| | 05:31 |
Notice as the subject moves his hands that
this bit of trace right here, also moves.
| | 05:37 |
That's because the trace in the
Waveform scope mimics the actual picture.
| | 05:41 |
The other thing that's important about
this is location of the trace in the scope.
| | 05:45 |
You can see this big clump of trace right here.
| | 05:47 |
That's actually the interview subject
right here in the middle of the screen.
| | 05:51 |
Notice as he moves his hand that bit of
trace that's moving is on the left-hand
| | 05:55 |
side of the Waveform scope.
| | 05:57 |
It's also on the left-hand side of the preview.
| | 06:00 |
Let's navigate to the third clip
down on the Color Timeline again by
| | 06:02 |
pressing the down arrow.
| | 06:04 |
The trace on a Vectorscope does not
mimic the picture in the sense that it
| | 06:07 |
mimics the position of objects on the screen.
| | 06:09 |
However, the Vectorscope
mimics colors displayed on screen.
| | 06:13 |
If we look at this last clip, you can
see that the clip here in my preview
| | 06:15 |
appears to be pretty blue and we
can verify this on the Vectorscope.
| | 06:19 |
Remember the angle around the
Vectorscope represents hue, and the distance out
| | 06:24 |
from center represents saturation.
| | 06:26 |
So, here's the trace in the Vectorscope
and I can see that it's pointed towards
| | 06:29 |
blue and a little bit towards cyan
and that it's pretty saturated.
| | 06:33 |
So that's an overview of the scopes.
| | 06:35 |
In the next couple of movies we
will break down evaluating color and
| | 06:38 |
contrasts with the scopes.
| | 06:40 |
| | Collapse this transcript |
| Evaluating contrast with Scopes| 00:00 | Let's explore the concept of evaluating
contrasts with the video scopes in Color.
| | 00:04 | The two scopes that are used most often
to evaluate contrasts are the Waveform
| | 00:08 | scopes set to Luma and the
Histogram scopes set to Luma.
| | 00:11 | If the Waveform scope and the
Histogram scope are not being displayed on your
| | 00:14 | system, right-click on any of the
scopes and choose the Waveform scope or
| | 00:18 | the Histogram scope.
| | 00:19 | The first thing we need to understand
about evaluating contrast with the video
| | 00:22 | scopes is a refresh in what
we mean by the tonal range.
| | 00:25 | The first clip that I have here in my
color timeline is just a Black-and-White
| | 00:28 | gradient and Black-and-White
gradient represents the tonal range.
| | 00:32 | In other words, the tonal range could be
defined as black to white or another way
| | 00:36 | of saying that is dark to light.
| | 00:38 | If I look at the trace of this gradient,
displayed on the Waveform scopes set to
| | 00:41 | Luma, I can better visualize the tonal range.
| | 00:44 | The scale that the Waveform scope uses
to display the trace is pretty simple.
| | 00:48 | The bottom of the scale represents
the bottom of the tonal range or another
| | 00:52 | way of saying that is black and as we
move up the scale towards the top, the
| | 00:56 | top of the scale that the Waveform
scope uses represents the lighter portions
| | 01:00 | of the tonal range.
| | 01:01 | As we discussed in the last movie, the
trace on the waveform scope mimics the
| | 01:05 | footage displayed in my preview right here.
| | 01:07 | So, looking at this part of the trace right
here mimics the darker portions of the gradient.
| | 01:12 | Looking at this part of the trace right here
mimics the lighter portions of the gradient.
| | 01:16 | The units that the waveform scope
scale uses are called IRE units and we can
| | 01:21 | view the scale using IRE units or
we can view it using millivolts.
| | 01:25 | Millivolts are commonly used in
countries that use the PAL system.
| | 01:28 | Let me switch back to IRE. Because
we are dealing with digital video, IRE
| | 01:32 | units also correspond to digital percentage,
which of the values you often hear me mention.
| | 01:37 | I go back and forth because these
values are really the same thing for all intents and
| | 01:41 | purposes, but simply, black is 0% or
0 IRE and white is 100% or 100 IRE.
| | 01:50 | Values above 100% are generally
considered illegal for broadcast and indicate
| | 01:54 | overexposure. These values are
also known as super white values.
| | 01:58 | Values below 0 are too dark for broadcast.
| | 02:02 | Let's go ahead and take a look at an actual
clip on the Waveform scope set to Luma,
| | 02:05 | so we can discuss the contrast of that clip.
| | 02:07 | I'm going to select to my color timeline
and then use the down arrow to navigate
| | 02:11 | to the next clip and the first thing
you'll notice about the trace on this clip
| | 02:15 | is that it's much more all over the place.
| | 02:17 | Let's analyze the trace
here to describe its contrast.
| | 02:20 | Remember that the trace in the
Waveform scope mimics the picture.
| | 02:23 | So looking at this clip, I can see
that the clip appears to be pretty
| | 02:26 | overexposed and washed out
and the trace verifies it.
| | 02:30 | Notice right here in the middle of the
trace, over to the right hand side here,
| | 02:34 | there is a large amount of
trace right around 100% or 100 IRE.
| | 02:37 | The thing is, the more concentrated
the trace is at any point on the Waveform
| | 02:41 | scope, the more pixels in the
footage are situated at that percentage.
| | 02:44 | So this clump trace right here
probably represents this window, but there's
| | 02:48 | something important to note
about the scopes and the trace.
| | 02:52 | When Broadcast Safe is enabled in the
Setup room, I'll go the Setup Room and
| | 02:56 | then to Project Settings and it's
enabled right here, the trace is not actually
| | 03:00 | telling me the whole story about this clip.
| | 03:02 | Let me deselect Broadcast Safe and what
we'll notice is that the trace actually
| | 03:08 | jumped well above 100%.
| | 03:11 | It's always a good idea to correct your
footage with Broadcast Safe off, so you
| | 03:15 | can get the whole picture, pardon the pun,
upon about your clips.
| | 03:18 | Okay, the left side of the clip here,
where the woman is sitting, looks okay.
| | 03:22 | It doesn't have as much punch, but it's not
overexposed like this other part of the trace.
| | 03:26 | Overall we can say that this clip is
overexposed, but there's one more thing
| | 03:30 | leading to its sort of washout appearance.
| | 03:32 | If you look at the bottom of the
trace, you'll notice that the trace sits
| | 03:35 | right around 20 IRE.
| | 03:36 | The thing is with the bottom of the
trace sitting right around 20 IRE, no part
| | 03:41 | of the clip is being displayed as
true black and that is giving me this
| | 03:45 | washed-out appearance of the clip.
| | 03:46 | Let me select my color timeline and
navigate down to the third clip again by
| | 03:50 | pressing the down arrow.
| | 03:52 | This clip appears to be much darker
than the previous clip, but let's verify
| | 03:55 | that by taking a look at the
Waveform scope set to Luma.
| | 03:58 | Looking at the trace for this clip,
we can see that no part of the trace
| | 04:01 | extends above 40% or 45%.
| | 04:03 | In fact most of the trace appears
to be centered around 10% to say 25%.
| | 04:08 | Remember as the trace approaches 0% or
0 IRE, the footage will be darker and
| | 04:14 | closer to 100% or white will be lighter.
| | 04:17 | Overall we can describe this clip as
been pretty dark as most of the trace is on
| | 04:21 | the lower part of the Waveform scope.
| | 04:24 | I can also use the histogram to
evaluate the contrast of the clip.
| | 04:27 | The histogram is very
different than the Waveform scope.
| | 04:30 | It displays the tonal range from
left to right or dark to light.
| | 04:33 | But the histogram does not mimic the
picture like the Waveform scope does.
| | 04:37 | Instead, it presents the
clip in a statistical way.
| | 04:40 | What I mean by that is that the
spikes that we see here on the histogram
| | 04:43 | represent the concentration of
pixels at that part of the tonal range.
| | 04:47 | So here you can see I have large
number of spikes towards the bottom of the
| | 04:50 | tonal range and again I can verify that
by taking a look at the Waveform scope
| | 04:53 | as we have talked about earlier, we
have a large amount of trace towards the
| | 04:56 | bottom of the Waveform
scope and it's set to Luma.
| | 04:59 | Let's go ahead and navigate the
next clip in the color timeline.
| | 05:02 | And once again, we'll take a look at the
Waveform scope and the histogram set to Luma.
| | 05:07 | As we've previously discussed, Contrast
Ratio refers to the difference between
| | 05:11 | the darkest and lightest portions of a clip.
| | 05:13 | Using the Waveform scope in the histogram,
I can easily evaluate contrast ratio.
| | 05:18 | This clip has a pretty poor contrast
ratio as the trace is bunched up pretty
| | 05:21 | much here in the middle of the scope
from about 20 IRE up to about 50 IRE.
| | 05:26 | I can see the same thing down
here on the histogram set to Luma.
| | 05:29 | The spikes in the histogram are
pretty centered towards the lower to mid
| | 05:32 | part of the tonal range.
| | 05:34 | Let's go to the last clip in this project and
take a look at the contrast ratio of this clip.
| | 05:37 | Knowing what we know now, I can look at
the Waveform scope and the histogram and
| | 05:41 | tell that this clip has a high contrast ratio.
| | 05:44 | First, on the Waveform scope set to Luma,
I can tell that this clip has a high
| | 05:47 | contrast ratio because there's a lot of
difference between the bottom end of the
| | 05:50 | trace and the top end of the trace.
| | 05:52 | The trace goes pretty much
from 0 all the way up to 100 IRE.
| | 05:55 | If I look at the histogram set to Luma,
I can tell that this clip has a good
| | 05:59 | contrast ratio as well as most of the
spikes are spread across the tonal range.
| | 06:04 | So, that's evaluating
contrast with the scopes in Color.
| | Collapse this transcript |
| Evaluating color with Scopes| 00:00 | So, obviously an important part about
color correcting footage is evaluating the
| | 00:03 | color portion of the signal.
| | 00:04 | So let's talk about using the scopes to
evaluate color, so that you can make
| | 00:08 | informed decisions about your corrections.
| | 00:10 | The scopes that I use most often to
evaluate the color portion of a clip are the
| | 00:13 | Vectorscope and the Waveform scope
set to Parade. If those scopes are not
| | 00:17 | currently being displayed in your
system, simply right-click on a scope and
| | 00:21 | choose Waveform and then set it to Parade.
| | 00:23 | Likewise, right-click on a
different scope and choose Vector scope.
| | 00:27 | The vector scope, in a certain
regard, mimics the color wheel.
| | 00:30 | Around the edges of the Vectorscope,
I have, what I refer to as targets.
| | 00:33 | There are targets for the primary colors:
| | 00:35 | red, green, and blue, and
targets for the secondary colors:
| | 00:38 | cyan, magenta, and yellow.
| | 00:41 | The first clip that I have here in my
color timeline, and is being displayed in
| | 00:43 | my preview, is just standard color bars.
| | 00:46 | With these color bars being displayed,
if I look at the Vectorscope, I can see
| | 00:49 | small dots of trace.
| | 00:52 | Right now you can see that these dots
don't line-up with the color targets.
| | 00:56 | That's because of my
magnification on my Vectorscope.
| | 00:59 | These color bars are known as 75% color
bars and are the standard bars that most
| | 01:03 | people think of when thinking about color bars.
| | 01:07 | I want the little dots in the trace
to line-up with the color targets.
| | 01:10 | So what I need to do is change my
magnification of the Vectorscope to 75% and there we go.
| | 01:16 | Now you can see that the dots of trace
line-up with each one of the color targets.
| | 01:20 | You can also zoom in to the Vectorscope
by using the scroll-wheel on your mouse.
| | 01:25 | But let's go ahead and set this back to 75%.
| | 01:28 | Just like the color wheel, the angle
around the Vectorscope represents hue and
| | 01:33 | if you look at the color bars, I can
see a number of hues being displayed:
| | 01:36 | yellow, green, red, and so on.
| | 01:38 | That's why the trace lines up
with each one of the color targets.
| | 01:42 | So, for example, the yellow bar hits
the yellow target, the red bar hits the
| | 01:46 | red target, and so on.
| | 01:47 | Let's go down to the next
clip on the color timeline.
| | 01:49 | I will simply select the color
timeline and press the Down Arrow.
| | 01:52 | This clip is just a gradient
representing the color spectrum.
| | 01:56 | Notice the solid line around the
Vectorscope connecting all of the targets.
| | 02:01 | The angle around the Vectorscope,
as I said before, represents hue.
| | 02:05 | The other thing that this clip of the
color spectrum helps us visualize is
| | 02:08 | saturation and broadcast legal chroma values.
| | 02:11 | The outside line here on the Vectorscope
represents maximum legal saturation in most cases.
| | 02:17 | Trace that is outside of this line
is probably illegal for broadcast.
| | 02:21 | A more conservative approach is to use
the color targets here as your outside
| | 02:25 | boundary and you can see the trace on
this clip connects all of my hues right
| | 02:30 | around all the color targets and I try
to use this imaginary line as my boundary
| | 02:35 | for saturation rather than the outside
boundary, right here, of the Vectorscope.
| | 02:39 | Let's navigate to the next clip down on the
color timeline, again, by using the Down Arrow.
| | 02:44 | Looking that this clip, it appears to
have a pretty strong blue color cast and I
| | 02:48 | can use my Vectorscope to verify this.
| | 02:50 | The trace on the vector scope is
positioned towards the blue and cyan target.
| | 02:55 | Here is blue and here is cyan.
| | 02:57 | Remember that the angle around the
vector scope, of course, represents hue.
| | 03:00 | So with the trace mainly pointed
towards blue and the cyan targets, I can tell
| | 03:04 | that this clip is pretty blue and,
in fact it looks, well, pretty blue.
| | 03:08 | The Vectorscope doesn't mimic the
picture like the Waveform scope does, even
| | 03:12 | though there are lots of things
moving in this clip if I scrub through it.
| | 03:15 | You will notice that the
trace remains relatively static.
| | 03:19 | I can also use the Waveform scope
set to Parade to evaluate this clip.
| | 03:22 | Perhaps the best use of the Waveform
scope set to Parade is to see the relative
| | 03:26 | balance between the color channels:
| | 03:28 | red, green, and blue.
| | 03:30 | When one of the color channels is
positioned much higher or lower on the scale,
| | 03:33 | this is a good indication
that there is a color cast.
| | 03:36 | Looking at this clip on the Waveform
scope set to Parade, I can see that the
| | 03:40 | blue trace is elevated much
higher than the red and green traces.
| | 03:44 | The other useful thing about the
Waveform scope, when it's set to Parade, is that
| | 03:47 | it lets me see where on the tonal
range the color cast is happening.
| | 03:50 | Remember, on the Waveform scope, the
tonal range is represented from dark to
| | 03:54 | light or from black to
white as you go up the scale.
| | 03:58 | So looking at this clip, I can see
that most of the color cast appears in the
| | 04:02 | highlights between about 90% to about 110%.
| | 04:06 | Color casts like this are usually
an indication of poor white balance.
| | 04:09 | Let me select the color timeline and
navigate down to the last clip in this project.
| | 04:13 | On this last clip, let's combine using
the Vectorscope and the Waveform scope
| | 04:17 | set to Parade to evaluate the clip.
| | 04:18 | Looking at the Vectorscope, I can see
that most of the trace in this clip, this
| | 04:22 | part right here, pushes towards yellow red.
| | 04:25 | Here is the red target, and
here is the yellow target.
| | 04:27 | It's pretty saturated, but not
excessively so, and this is indicated by how far
| | 04:32 | the trace extends out
from the center of the scope.
| | 04:35 | On the Waveform scope, when it's set to
Parade, I can see that this clip has a
| | 04:38 | much stronger red cast, due to the
red trace being well elevated over the
| | 04:42 | other color channels.
| | 04:44 | Additionally, I can see that a great
deal of the trace happens at the top end of
| | 04:48 | the tonal range here
between about 60% to about 100%.
| | 04:52 | Okay, now that we know more about
evaluating our clips, we will put this
| | 04:55 | knowledge into action and in the
next chapter we will start making
| | 04:58 | primary corrections.
| | Collapse this transcript |
|
|
6. Making Corrections in the Primary In RoomWhat does the Primary In room do?| 00:01 | Almost every shot needs primary correction.
| | 00:03 | In Color, the Primary In room is
the principal place where we apply
| | 00:06 | primary color correction.
| | 00:08 | Primary corrections are ones
that affect the entire clip.
| | 00:11 | Over the course of a project, you'll
end up spending quite a bit of time in
| | 00:14 | the Primary In room.
| | 00:15 | So let's go to an overview of all the
controls available to use in the Primary In room.
| | 00:19 | Then throughout this chapter, we will use
these controls to make all sorts of corrections.
| | 00:23 | The Primary In room has quite a few
controls and the ones that most people
| | 00:26 | notice first are the color balance
controls here at the top of the Room.
| | 00:30 | I want to take a closer look at the
Color Balance controls, but before we do, I
| | 00:33 | want to mention one thing.
| | 00:35 | Over the course of this chapter, it
might appear that we are doing the same
| | 00:38 | thing, like adjusting contrast and
color in different ways. In fact, we are.
| | 00:42 | You can make primary corrections in a variety of ways.
| | 00:46 | No single way is correct or wrong and
you'll find yourself, in the course of a
| | 00:51 | project, using multiple
methods to correct a clip.
| | 00:53 | The first thing to notice about the
Color Balance controls is that there's three
| | 00:56 | of them, one for a different part of the
tonal range that it influences most, so we
| | 01:00 | Shadows, Midtones, and Highlights.
| | 01:03 | Let's take a closer look at the Color
Balance controls by examining the midtones
| | 01:06 | color balance control.
| | 01:08 | Each color balance control is
made up of a few different parts.
| | 01:11 | I have a color wheel, this part right here.
| | 01:14 | Next to the color wheel, I have three sliders.
| | 01:16 | The first slider, this one
right here, is the Hue slider.
| | 01:20 | The middle slider is the Saturation slider
and a third slider is the Contrast slider.
| | 01:25 | The easiest way to manipulate the Color
Balance controls is to simply drag the
| | 01:29 | target around the color wheel here.
| | 01:31 | The angle at which I drag around the
color wheel represents my hue just like it
| | 01:35 | does on a real color wheel.
| | 01:37 | The distance out from
center represents saturation.
| | 01:41 | I can also adjust the target on the
color wheel by using the first two sliders,
| | 01:44 | the Hue and Saturation slider.
| | 01:46 | So, by dragging the Hue slider up and
down, I can change the angle of the target
| | 01:51 | around the color wheel.
| | 01:53 | By dragging the Saturation slider up
and down, I can change the distance out
| | 01:58 | from center on my color wheel, or
in other words, adjust saturation.
| | 02:02 | If I drag the contract slider up and
down, I don't actually see any changes in
| | 02:06 | the actual color wheel of the color
balance control, but I do see changes in two
| | 02:10 | other places, first in my
preview, as well as on my scopes.
| | 02:14 | Each color balance control can be reset with
these little blue dots next the color wheel.
| | 02:19 | The first Reset button here resets Hue
and Saturation only and the second Reset
| | 02:24 | button resets lightness or
contrast only, and that's right here.
| | 02:28 | For those of you who crave geeky tech
information, you can also see changes that
| | 02:32 | have been made to Hue, Saturation, and
Lightness with these numbers right here
| | 02:36 | at the bottom of each color balance control.
| | 02:38 | Using these numbers is a good way
to match corrections between clips.
| | 02:42 | So I have Hue, Saturation and then Lightness.
| | 02:47 | Most often, when correcting a project,
it's the combination of manipulations
| | 02:51 | between the shadows, midtones and highlight color
balance controls that actually make up a correction.
| | 02:56 | Let me go ahead and reset the midtone color
balance control by using the two Reset buttons.
| | 03:01 | First, I will use the Hue and
Saturation Reset button and then I will reset
| | 03:05 | lightness by clicking on
the Lightness Reset button.
| | 03:08 | Let's go ahead and select the color
timeline and then press the Down Arrow to
| | 03:11 | navigate to the next clip.
| | 03:13 | The next method that I have to make
primary corrections in the Primary In room
| | 03:16 | is the primary curves.
| | 03:18 | The primary curves are located right
here in the middle of the Primary In room.
| | 03:23 | The primary curves operate much
differently than the Color Balance controls.
| | 03:26 | If you have ever used an application
that can leverage curves like Photoshop,
| | 03:29 | then curves might be familiar to you.
| | 03:32 | The way that the primary curves work is
that the entire tonal range is mapped in
| | 03:35 | a straight line on each curve.
| | 03:38 | In other words, on the left-hand side
here, I have black progressing up to white
| | 03:42 | or another way of saying that is
dark to light and there are four curves:
| | 03:47 | a red curve, a green curve, a
blue curve, and a Luma curve.
| | 03:51 | Each curve allows for a separate
manipulation of each channel, so red,
| | 03:55 | green, blue, and Luma.
| | 03:57 | Actually to make a manipulation of the
curve, all I have to do is click on the
| | 04:00 | line itself and this adds a control point.
| | 04:03 | Once I have added a control point, I can drag
up and down or left and right to remap values.
| | 04:11 | Each curve can be reset with this
little blue dot in the upper left-hand
| | 04:14 | corner of the curve.
| | 04:15 | Let me select my color timeline and
navigate to the last clip in this project.
| | 04:20 | The next place that I have control
over making primary corrections is in the
| | 04:24 | Basic and Advanced tabs here on
the right-hand side of the room.
| | 04:27 | On the Basic tab, I can make an
overall saturation correction and then I can
| | 04:31 | apply targeted saturation corrections
using the Highlight Saturation and Shadow
| | 04:36 | Saturation parameters.
| | 04:37 | I also have three things
called Master Lift, Gain and Gamma.
| | 04:42 | Master Lift primer allows me to apply
an overall Luma adjustment to a clip.
| | 04:47 | Master Gain is the exact same thing
as the Contrast slider in the Highlight
| | 04:50 | Color Balance control and Master Gamma
is the exact same thing as the Contrast
| | 04:55 | slider in the Midtones Color Balance control.
| | 04:57 | One important note about any
parameter box in color. There are three ways
| | 05:01 | to manipulate them.
| | 05:03 | First, if I simply hover my mouse
over one of the parameters, I can use the
| | 05:07 | scroll-wheel on the mouse to scroll up
to change the parameter, or scroll down.
| | 05:12 | I can make this change go faster if I
hold down the Option key on the keyboard
| | 05:16 | and then use my scroll-wheel.
| | 05:18 | Let me go ahead and reset the
Saturation parameter by clicking the Reset button
| | 05:21 | is right next to the word, Saturation.
| | 05:24 | I can also click into a box and when
I click once, my cursor is placed at a
| | 05:29 | specific value and if I triple-click
into the box, I can select the entire value
| | 05:36 | and then type in whatever I want.
| | 05:37 | Let me reset that one more time.
| | 05:42 | In the Advanced tab, I also have Lift,
Gain and Gamma, but it's broken down into
| | 05:47 | the three color channels:
| | 05:48 | red, green, and blue.
| | 05:49 | Also in the Advanced tab, I have
Printer Point Controls right here.
| | 05:52 | The Printer Point Controls
mimic the controls a film timer has.
| | 05:56 | Next, I have the RED tab.
| | 05:59 | if you've installed the RED plug-in
for Final Cut Studio like I have, you'll
| | 06:02 | have the RED tab here in the Primary In room.
| | 06:05 | This tab will not be visible on your
system if you haven't installed the RED
| | 06:09 | Final Cut Studio plug-in.
| | 06:10 | Essentially what the RED tab allows us to
do is perform raw processing to RED footage.
| | 06:15 | We will discuss all of these different
parameters here on the RED tab in a later
| | 06:19 | movie in this chapter.
| | 06:21 | Below the Basic, Advanced and Red tabs, I
have a few buttons, these guys right here.
| | 06:26 | The first button, the Auto Balance
button, allows me to perform an auto balance
| | 06:30 | correction to a clip.
| | 06:31 | We are not going to really cover the
Auto Balance button too much in this title
| | 06:36 | because I want you to know how to
correct your footage on your own and also the
| | 06:40 | Auto Balance button
doesn't do particularly good job.
| | 06:43 | But if you do use a Auto Balance
button, what it does is it simply makes
| | 06:46 | adjustments on the Advanced
tab to Lift, Gain, and Gamma.
| | 06:50 | Below the Auto Balance button,
I have some copy buttons.
| | 06:53 | We are going to apply Primary In room
corrections to other clips in the color timeline.
| | 06:57 | We will use these buttons in a
later chapter on grade management.
| | 07:00 | Lastly, I can reset the entire
Primary In room for a given clip.
| | 07:06 | So now you should be familiar with the
controls available to perform primary
| | 07:09 | corrections in the Primary In room.
| | 07:11 | Throughout this chapter, we will dive
into more depth about these controls to
| | 07:15 | make primary corrections.
| | Collapse this transcript |
| Using the Color Balance controls to affect tonal range| 00:00 |
I get asked all the time about how
the different color balance controls
| | 00:03 |
influence the clip that's being corrected.
| | 00:05 |
Well, the three color balance controls
influence different parts of the tonal
| | 00:08 |
range and understanding how each one
influences a different part of the tonal
| | 00:12 |
range, will allow us to make more
efficient and informed decisions when making
| | 00:15 |
primary corrections with
the Color Balance Controls.
| | 00:19 |
In Color, the color balance controls
are broken down into three distinct tonal
| | 00:22 |
ranges: Shadows, Midtones and Highlights.
| | 00:26 |
But what does this mean? And how do
these parameters and each one of the Color
| | 00:30 |
Balance Controls impact the
clip that you're correcting?
| | 00:32 |
Well, I think to best understand the
Color Balance Controls and how they
| | 00:36 |
influence different parts of the tonal range,
we should take a look at a few graphics.
| | 00:42 |
This first graphic shows each Color
Balance Control's range of influence mapped
| | 00:46 |
against the tonal range.
| | 00:47 |
Remember, the tonal range is black to
white or light to dark and in the RGB
| | 00:52 |
color model that color uses any
combination of human saturation exists somewhere
| | 00:57 |
on the tonal range and adjusting
contrast of the clip affects its lightness
| | 01:01 |
across the tonal range.
| | 01:03 |
On this graphic, the influence
that each Color Balance Control has is
| | 01:07 |
represented by a line.
| | 01:09 |
So the Shadows color balance
control is represented by a black line.
| | 01:12 |
The Highlights color balance control
is represent by a white line and the
| | 01:16 |
Midtones color balance control
is represented by the gray curve.
| | 01:18 |
Let's take a look at the influence that each
Color Balance Control has on the tonal range.
| | 01:24 |
This graphic shows me the influence
that the Shadow color balance control has
| | 01:28 |
in the tonal range.
| | 01:29 |
The Shadows color balance control
influences the darkest portions of the
| | 01:32 |
tonal range the most, and as I progress
across the tonal range, its influence diminishes.
| | 01:37 |
Next up, the Midtones color balance
control affects almost the entire tonal
| | 01:41 |
range except for the very darkest and the
very lightest portions of the tonal range.
| | 01:46 |
The Highlights color balance control
influences the lightest portions of the
| | 01:49 |
tonal range the most, and as I progress
across the tonal range getting darker its
| | 01:53 |
influence diminishes.
| | 01:56 |
Back in Color, I think the easiest
way to show you how each Color Balance
| | 01:59 |
Control influences the tonal range is
to introduce a color cast on a gradient.
| | 02:05 |
The gradient that I'm using is black to white.
| | 02:07 |
So it matches the tonal
range, going from dark to light.
| | 02:10 |
Let's start with the
Shadow Color Balance Control.
| | 02:12 |
I'm going to go ahead and add a yellow
color cast and when I do that, notice
| | 02:19 |
that the darkest portions of the tonal
range, down here, were influenced the most
| | 02:24 |
and as I progress across the
tonal range the color cast diminishes.
| | 02:28 |
This is because the Shadows color
balance control influences the darkest
| | 02:31 |
portions of the tonal range the most.
| | 02:33 |
Let's go ahead and reset the Shadow
Color Balance Control by using the Hue and
| | 02:37 |
Saturation reset button.
| | 02:40 |
Next, let's take a look at the
Highlight Color Balance Control.
| | 02:42 |
I'm going to go ahead and add a red color cast.
| | 02:47 |
Notice on the gradient that's the
lightest portions of the tonal range
| | 02:50 |
were influenced the most, and as I progress
across the gradient, the color cast diminishes.
| | 02:55 |
This is because the Highlight Color
Balance Control influences the lightest
| | 02:59 |
portions of the tonal range the most.
| | 03:00 |
I'll also reset Highlight Color
Balance Control by Clicking the Hue and
| | 03:04 |
Saturation Reset Button.
| | 03:07 |
Next, let's come into the
Midtones Color Balance Control.
| | 03:09 |
Now I'm going to go ahead and
introduce a green color cast.
| | 03:13 |
Notice that almost the entire
gradient has a green color cast.
| | 03:17 |
This is because the Midtones Color
Balance Control influences almost the
| | 03:21 |
entire tonal range, except for the very
darkest and the very lightest portions
| | 03:25 |
of the tonal range.
| | 03:26 |
Let me go ahead and reset the
Midtone Color Balance Control.
| | 03:29 |
Of course, the Colors Balance
Controls influence more than just color.
| | 03:34 |
They also influence lightness or contrast.
| | 03:37 |
It's kind of hard to show you this
influence on a black and white gradient.
| | 03:40 |
So let's navigate down to the next clip
in the color timeline, and I'll do that
| | 03:43 |
by simply selecting the
timeline and pressing the Down Arrow.
| | 03:47 |
After I arrive on the clip, I want to
make sure that I'm using the Waveform
| | 03:50 |
Scope set to Luma, which I am. Okay.
| | 03:53 |
Let's start out with the
Shadows Contrast slider.
| | 03:55 |
I'm going to drag the Shadows Contrast
slider up like that and what you should
| | 04:01 |
notice is that the trace
is lifted up by the bottom.
| | 04:05 |
This is because the Shadows Contrast
slider influences the darkest portions of
| | 04:09 |
the tonal range the most.
| | 04:10 |
And on the Waveform Scope, the darkest
portions of the tonal range are those
| | 04:14 |
areas nearest 0% or zero IRE.
| | 04:17 |
Let me go ahead and Reset the
Shadows Color Balance Control by using the
| | 04:22 |
Lightness Reset Button.
| | 04:24 |
Next, let's take a Look at
the Highlights Contrast slider.
| | 04:27 |
Let me go into the Highlights Contrast
slider and drag down and what you should
| | 04:31 |
notice over here on the Waveform Scope
set to Luma is that the trace seems to
| | 04:35 |
compress down from the top.
| | 04:37 |
This is because the Highlight
Contrast slider influences the lightest
| | 04:40 |
portions of the tonal range.
| | 04:42 |
And on the Waveform Scope, the
lightest portions of the tonal range are
| | 04:45 |
represented as I get nearer to 100% or 100 IRE.
| | 04:49 |
Let's Go ahead and Reset the Highlight
Color Balance Control by pressing the
| | 04:53 |
Lightness Reset Button.
| | 04:55 |
Lastly, let's adjust the
Midtones Contrast slider.
| | 04:57 |
I will go ahead and drag the Contrast slider up.
| | 05:01 |
And as I do that, notice that the
entire trace seems to move as one.
| | 05:07 |
That's because the Midtones Contrast
slider influences almost the entire tonal
| | 05:11 |
range, except for the very lightest and
very darkest portions of the tonal range.
| | 05:16 |
Okay, so that's what you need to know about
the Color Balance Controls and the tonal range.
| | 05:20 |
We will put this knowledge into action
over the next few movies as we use the
| | 05:23 |
Color Balance Controls to correct clips.
| | 05:26 |
| | Collapse this transcript |
| Correcting underexposed footage with the Color Balance controls| 00:00 | You are grading a show and everything
is going along just great and then you
| | 00:04 | arrive at that one shot, the dark clip.
| | 00:08 | It's the dreaded underexposed clip.
| | 00:11 | Well, correcting underexposed clips is a
super common task that every Colorist performs.
| | 00:15 | So, let's take a look at
how we can fix these clips.
| | 00:19 | Here in the Primary In room, we are
going to use the Color Balance Controls to
| | 00:21 | fix this underexposed clip, but it's
always a good idea, before you start
| | 00:26 | applying corrections to your
clips, to evaluate them first.
| | 00:29 | And the first step in that
process is to simply play back the clip.
| | 00:32 | So, I am going to select the Color
timeline and then use the Spacebar on the
| | 00:35 | keyboard to begin playback.
| | 00:38 | This is a shot of two people
walking and it looks pretty dark.
| | 00:43 | Although, the clip was shot in the early
evening, it's simply too dark for my taste.
| | 00:48 | Also, because this clip is dark, I know
that I am probably going to be performing
| | 00:51 | a contrast correction and the best
scope to evaluate contrast corrections is
| | 00:55 | the Waveform Scope when it's set to Luma.
| | 00:59 | So, if I take a look at the trace on the
Waveform Scope, I can confirm that this
| | 01:02 | clip is pretty dark.
| | 01:04 | The bottom of the trace is right around
0% or zero IRE and the top of the trace,
| | 01:10 | right here, is around 40-42%.
| | 01:14 | But most of the trace is centered
right here around zero, up to about -- 30%,
| | 01:20 | indicating that I have a pretty dark clip.
| | 01:23 | So to fix this clip, I am going to use
the Contrast sliders in each one of the
| | 01:26 | Color Balance Controls.
| | 01:28 | So let's start with the
Highlight Contrast slider.
| | 01:30 | I will click in the Highlight Contrast
slider and drag up quite a bit, until the
| | 01:35 | top of the trace reaches, I
don't know, right around 80-82%.
| | 01:40 | Just be careful when you are lightening
an underexposed clip that you don't drag
| | 01:43 | up too far on a Highlights Color
Balance Control Contrast slider.
| | 01:47 | It's very easy with underexposed
footage to add excessive video noise by
| | 01:51 | dragging up too far.
| | 01:53 | Next, I am going to come into the
Midtones Contrast slider and drag up just a
| | 01:57 | touch to lighten this clip in the Midtones.
| | 02:02 | Now you may have noticed, when I
made those last two corrections, on the
| | 02:05 | Highlight Contrast slider and the
Midtone Contrast slider, that the bottom of the
| | 02:09 | trace, this part right here,
came up from the 0% line.
| | 02:13 | This is common when making Contrast
corrections with the Color Balance Controls
| | 02:17 | in Color and this is due to the
overlapping nature of the Color Balance Controls
| | 02:20 | and how they influence the tonal range.
| | 02:23 | So to fix this, let's go into the
Shadows Color Balance Control and the Shadows
| | 02:27 | Contrast slider and drag down just a touch
until the bottom of the trace is just touching 0%.
| | 02:34 | This will ensure parts of the clip that
are supposed to be displayed as black,
| | 02:37 | are being displayed as black.
| | 02:40 | Okay, so when we playback this clip
again, I will select the Color timeline and
| | 02:43 | then press the Spacebar to begin playback.
| | 02:47 | Okay, I still get the feeling that this
clip is in early evening, but it's just
| | 02:50 | not as dark as it was before.
| | 02:52 | We'll go ahead and stop playback.
| | 02:54 | There is a great keyboard shortcut
that I can use to compare this clip to the
| | 02:59 | original clip and that's just Ctrl+G.
So by pressing Ctrl+G, I see the original
| | 03:05 | clip and if I press it again,
I see the corrected clip.
| | 03:10 | So again, here is the
original clip and the corrected clip.
| | 03:13 | One thing I want you to notice is that
when you press Ctrl+G to see the original
| | 03:17 | clip, underneath of your clip, down
here on the Color Timeline, you get this
| | 03:21 | warning message in red with yellow
lettering that says, "Grading is disabled.
| | 03:26 | "Press Ctrl+G to switch grading back on or
select 'Enable Grading' from the Grade menu."
| | 03:31 | This is a new warning in Color 1.5 that just
let you know when you have disabled a grade.
| | 03:35 | So let's go ahead and turn it back on.
| | 03:38 | So, you can see that it's pretty easy
to fix an underexposed clip using the
| | 03:42 | Color Balance Controls in the Primary In room.
| | Collapse this transcript |
| Correcting overexposed footage with the Color Balance controls| 00:01 | Overexposed clips hurt.
| | 00:03 | You're thinking that your show is going
to be perfect and then there is that one
| | 00:05 | clip with a blown out sky or an
overexposed person, and you just shake your head
| | 00:10 | and say, "How could that happen?"
| | 00:12 | The big problem with overexposed clips
is that if they're really overexposed, a
| | 00:15 | lot of image detail can be lost and
in a general way, the clip looks ugly.
| | 00:20 | It's always a good idea to watch back your
clips and evaluate them using the scopes.
| | 00:25 | So in this Color project, I'm going to
select the Color Timeline and press the
| | 00:28 | Spacebar on my keyboard to begin playback.
| | 00:34 | Okay, here I have an interview shot
with two people sitting by a window.
| | 00:38 | Windows are always problematic
unless they're properly gelled.
| | 00:42 | Because the clip looks washed out and
generally overexposed, I know that I'm
| | 00:46 | going to be performing a contrast correction.
| | 00:48 | And the best scope to evaluate a
contrast correction is the Waveform Scope
| | 00:52 | when it's set to Luma.
| | 00:54 | If I take a look at the trace on the
Waveform Scope, I can see a large area from
| | 00:58 | the center to the right-hand side of
the Waveform Scope that 's right around
| | 01:01 | 100% or 100 IRE, indicating
that this clip may be overexposed.
| | 01:05 | Well, actually it's a little
bit more complicated than that.
| | 01:10 | When I send a project from Final Cut
Pro to Color, Color's Broadcast Safe
| | 01:14 | feature is on by default and
Broadcast safe is actually masking the true
| | 01:19 | nature of this clip.
| | 01:21 | We'll talk more about broadcast safe
in a later chapter, but for now let's go
| | 01:24 | ahead and disable broadcast safe.
| | 01:26 | And I do that by clicking on the Setup
Room at the top of the Color interface
| | 01:30 | and then clicking on the Project
Settings tab at the bottom of the Setup Room
| | 01:34 | and right here, I can disable
Broadcast Safe by clicking on this button.
| | 01:38 | And aha! What you should have seen
on the Waveform Scope set to Luma is the
| | 01:43 | trace jumps well above 100% indicating
the true nature of this clip, that the
| | 01:49 | clip is actually overexposed.
| | 01:51 | So to fix this clip, let's jump
back into the Primary In room.
| | 01:54 | We're going to use the Contrast
sliders in each one of the Color Balance
| | 01:58 | Controls to fix this clip.
| | 02:00 | And let's start with the
Highlights Contrast slider.
| | 02:02 | I'm going to come into the Highlight
Contrast slider and drag down until the
| | 02:06 | top of the trace here on the Waveform Scope
sets to Luma is right around or just below 100%.
| | 02:12 | So here is my Highlights Contrast
slider, I'll drag down right until the
| | 02:17 | trace is around 100%.
| | 02:18 | Next, I'm going to use the Contrast
slider and drag down as well, but what I'm
| | 02:23 | trying to do is have the bottom of the
trace just touch the 0% or 0 IRE line.
| | 02:29 | And the reason I want this to happen is
because when the trace is touching 0%,
| | 02:33 | anything in the image that is
supposed to be black is displayed as black.
| | 02:38 | So let me go ahead and make that correction.
| | 02:39 | I'll come into the Shadow Color
Balance Control and drag down on the Contrast
| | 02:43 | slider until the trace just touches 0% or 0 IRE.
| | 02:49 | When I made that correction you'll
notice that the clip here on my preview
| | 02:52 | got well, kind of dark.
| | 02:53 | What I'm going to do now is come into
the Midtone color balance control and use
| | 02:57 | the Midtones Contrast slider and
drag up slightly, something like that.
| | 03:03 | But I want you to notice a few things
on the Waveform Scope set to Luma when I
| | 03:06 | made that last correction.
| | 03:08 | First, if you look at the bottom of
the trace on the Waveform Scope, you'll
| | 03:12 | notice that the trace came off 0%.
| | 03:15 | And if you look at the top of the trace
on the Waveform Scope, you notice that
| | 03:18 | the trace is now once again
peaking back over 100% or 100 IRE.
| | 03:23 | Why this happened is due to the
overlapping nature of the color balance controls
| | 03:27 | and how they each influence the tonal range.
| | 03:30 | So often when making contrast
corrections you'll have to come back into one of
| | 03:34 | the color balance controls
and make a correction again.
| | 03:38 | So let's come back into the Shadows
contrast balance control and use the
| | 03:41 | Contrast slider and drag down, once again,
until the trace touches the 0% or 0 IRE line.
| | 03:48 | And then let's come into the
Highlights color balance control and drag the
| | 03:51 | Highlights Contrast slider down just to
touch, until the trace is back under 100%.
| | 03:57 | Let's see what this clip look like
before the correction and a great keyboard
| | 04:01 | shortcut to do that is Ctrl+G. So if I
press Ctrl+G on my keyboard, here is the
| | 04:06 | original clip. It looks washed
out and kind of, well, overexposed.
| | 04:10 | If I press Ctrl+G again,
here is the corrected clip.
| | 04:13 | Notice it has a lot more definition
and doesn't have that washed out look and
| | 04:17 | doesn't really seem overexposed.
| | 04:19 | So you can see that it's pretty easy to
fix an overexposed clip using the Color
| | 04:23 | Balance Controls in the Primary In room.
| | Collapse this transcript |
| Expanding contrast ratio with the Color Balance controls| 00:00 | Sure, on any given day a Colorist is
fixing contrast problems like over or
| | 00:04 | underexposed clips, but more times than
not, contrast corrections that need to
| | 00:08 | be done are ones that simply expand
or widen the contrast ratio of a clip.
| | 00:13 | What I mean is you might have a clip
that's neither overexposed nor underexposed.
| | 00:18 | It's just kind of there.
| | 00:20 | So as we discussed in the beginning
of this title, clips with a higher
| | 00:23 | contrast ratio are generally seen
as being more pleasing than ones with
| | 00:27 | low contrast ratios.
| | 00:29 | Another way of saying that is clips
with higher contrast ratios have more
| | 00:33 | definition while clips with lower
contrast ratios seem kind of flat.
| | 00:38 | So let's take a look how to expand
the contrast ratio of a couple clips.
| | 00:42 | The first thing I always want to do before
I make any correction is evaluate my clip.
| | 00:46 | And in this project, I'm going to
select the Color timeline and press the
| | 00:49 | Spacebar to begin playback.
| | 00:53 | Okay, so I have a pretty cool clip.
It's a waterfall, in Iceland.
| | 00:56 | If we take a look at the Waveform
Scope set to Luma, I can evaluate the
| | 00:59 | contrast of this clip.
| | 01:01 | You'll notice that no portion of the
trace touches 0% and most of the trace is
| | 01:06 | peaking right round 70% or 70 IRE.
| | 01:10 | So in other words, the clip is not
underexposed, nor is it overexposed.
| | 01:15 | This clip represents a common
issue that the Colorist deals with.
| | 01:18 | In one regard, we need to darken this clip,
| | 01:21 | that is how the trace touches 0% or 0
IRE that ensures anything in the clip that
| | 01:26 | should be black is displayed as black.
| | 01:28 | In another regard, we
want to lighten this clip up.
| | 01:32 | So we're going to have to do
corrections that oppose each other.
| | 01:35 | One correction that darkens the clip and
another correction that lightens the clip.
| | 01:40 | The end result will be that we have a
clip with a much better contrast ratio.
| | 01:45 | So to fix this clip, we're going to
use the Color Balance Controls and
| | 01:48 | specifically, we're going to be using
the contrast sliders of each one of the
| | 01:51 | color balance controls.
| | 01:52 | Let's start out with the Shadow
Contrast slider and drag down until the trace
| | 01:57 | just touches 0% on my
Waveform Scope set to Luma.
| | 02:01 | So after I made that correction you can
see that the trace is now touching the
| | 02:04 | 0% or 0 IRE line on the
Waveform Scope set to Luma.
| | 02:09 | Next, I'm going to go into the
Highlight color balance control and use the
| | 02:11 | Highlights Contrast slider and drag up.
| | 02:13 | I want to have the top of the
trace just touch about 90-95% on the
| | 02:18 | Waveform Scope set to Luma.
| | 02:19 | So let me go ahead and do that.
| | 02:21 | I'll drag up just until the trace
touches about 90-95% and then finally,
| | 02:28 | I'm going to come into the
Midtones color balance control and use the
| | 02:31 | Contrast slider there to lighten this
clip up just a touch in the midtones,
| | 02:36 | something like that.
| | 02:37 | Now once again, due the overlapping
nature of the Color Balance Controls, you'll
| | 02:41 | notice on the Waveform Scope set to
Luma that the trace came off the 0% line.
| | 02:46 | So to fix this, we're just going to
come back into the Shadow color balance
| | 02:49 | control and use the Shadows Contrast
slider and drag down until the trace
| | 02:53 | once again touches 0%.
| | 02:56 | So to compare the original clip to
the corrected clip, I can simply use the
| | 02:59 | keyboard shortcut Ctrl+G. So
here is the uncorrected clip.
| | 03:03 | Notice it kind of looks flat and washed
out, but what I also want you to notice
| | 03:07 | is the trace on the Waveform Scope set to Luma.
| | 03:09 | The contrast ratio of this clip is low,
in other words, the difference between
| | 03:13 | the darkest and lightest
portions of the trace is pretty minimal.
| | 03:17 | Let me turn the grade on and this clip
appears to have a lot more definition.
| | 03:22 | If you notice the trace on the Waveform Scope,
the contrast ratio is much, much higher.
| | 03:27 | The trace now goes from about 0%
all the way up to about 90% or 95%.
| | 03:32 | I like to think in making these types
of corrections as removing sort of a
| | 03:35 | patina or film, off of a clip.
| | 03:37 | If you look at the original clip,
notice that it kind of has this gray wash
| | 03:40 | over it and the corrected
clip has a lot more definition.
| | 03:45 | Let's go ahead and navigate to
the next clip in the Color Timeline.
| | 03:47 | I'm going to do that by selecting the
timeline and pressing the Down Arrow.
| | 03:51 | As we did before, let's go ahead and
begin playback on this clip by pressing the
| | 03:54 | Spacebar on the keyboard.
| | 03:58 | Okay. Let me have a better
idea what the clip looks like.
| | 04:02 | Let's take a look at the
Waveform Scope set to Luma.
| | 04:04 | You'll notice right here, on the right
hand of the scope, that I have a pretty
| | 04:07 | large portion of trace over 100%.
| | 04:10 | And because the Waveform Scope mimics
the actual picture, I know that this
| | 04:14 | overexposed area is this door right here.
| | 04:16 | Also I want you to notice this large
clump of trace, right around 10% to about
| | 04:21 | 30% or 35%. This part of the trace
is pretty dark and specifically in the
| | 04:26 | middle of the preview, I have a lot
of trace right around 20-35% and that
| | 04:32 | represents this monk.
| | 04:33 | So once again, we need to
do opposing corrections.
| | 04:36 | We need to fix some overexposure in
this clip, but also lighten up portions of
| | 04:42 | the clip, specifically the monk.
| | 04:44 | So once again to do this, we're to
be going the Color Balance Controls in
| | 04:46 | the Primary In room.
| | 04:48 | So I'm going to start out with the
Highlights color balance control and use the
| | 04:50 | Contrast slider and drag down, until
the trace in the Waveform Scope is just
| | 04:54 | under 100% or 100 IRE, just like that.
| | 05:00 | Next, let's come into the Midtones
color balance control and use the Contrast
| | 05:04 | slider there and drag up to
lighten up the clip quite a bit.
| | 05:07 | And as I did that, you should notice two
things on the Waveform Scope set to Luma.
| | 05:11 | At the top of scope, the trace
is now peaking back over 100%.
| | 05:15 | Also notice at the bottom of the
trace, the trace came off to 0% line.
| | 05:20 | So we need to make some
additional corrections to fix this.
| | 05:23 | I'll come back into the Highlights
Color Balance Control and use the
| | 05:25 | Contrast slider and drag down just a touch,
until the trace is back under 100% or 100 IRE.
| | 05:33 | Next, I'll come into the Shadows
Color Balance Control and use the Contrast
| | 05:36 | slider there and drag down, until
the trace is once again touching 0%.
| | 05:41 | So let me show you the original clip
by using the keyboard shortcut Ctrl+G.
| | 05:47 | Here is the original clip and notice
the door here is overexposed and the
| | 05:50 | Waveform Scope set to Luma.
| | 05:51 | And then also notice this large
clump of trace right here around.
| | 05:55 | I don't know 10 to about 30%, 35%.
| | 05:58 | Let me turn the Grade back on and
notice that the corrected clip actually looks
| | 06:02 | a lot brighter, but it's not overexposed.
| | 06:06 | If you look at the trace here at the top of
the scope, you'll see that no part is over 100%.
| | 06:11 | Also, notice that large clump of trace
that was previous pretty dark is now
| | 06:15 | elevated much higher on the scope.
| | 06:18 | So once again, here is the
uncorrected clip and the corrected clip.
| | 06:22 | Expanding contrast ratio of clips is
easy to do using the Color Balance Controls
| | 06:27 | in the Primary In room.
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| Correcting color casts with the Color Balance controls| 00:01 | When most of us think about color
correction and grading, they think about
| | 00:03 | those big color wheels that are
present in Color Correction filters and
| | 00:06 | applications like Color.
| | 00:08 | Using these color wheels or what are
known as color balance controls, the colors
| | 00:11 | can adjust color balance for any given clip.
| | 00:14 | This could be everything from fixing
improper white balance to purposely
| | 00:17 | introducing a color cast
to create a stylized look.
| | 00:20 | In this movie, we will take a look at
fixing a clip within obvious color cast.
| | 00:24 | I should let you know though that
is clip has already had a contrast
| | 00:26 | correction applied to it.
| | 00:29 | It's always a good idea to perform
contrast corrections before color corrections.
| | 00:33 | Why?
| | 00:35 | As you make contrast adjustments, you
change the part of the tonal range that a
| | 00:38 | color cast occurs in.
| | 00:40 | Okay, so now that we know that is
this clip has had a contrast correction
| | 00:43 | applied to it, let's go ahead and
select the Color Timeline and press the
| | 00:46 | Spacebar to begin Playback.
| | 00:52 | It should be pretty obvious that this
clip has a blue color cast on it, but of
| | 00:56 | course, it's always a good idea to verify
that by using your videoscopes here in Color.
| | 01:02 | Currently, my Waveform scope is set to Luma.
| | 01:04 | With the Waveform scoop set to Luma,
I'm only seeing the lightness or Luma
| | 01:08 | part of the signal.
| | 01:09 | So in the Waveform scope, let's go ahead
change it from Luma to the Parade option.
| | 01:14 | If the Waveforms scope is not viewable
on your system, right-click on any one of
| | 01:18 | the scopes in the Scopes
window and choose Waveform.
| | 01:21 | When the Waveform scope is set to Parade,
I can see the relative color balance
| | 01:25 | between the three color
channels: Red, Green, and Blue.
| | 01:28 | And if I look at the trace in this
image when the Waveform scope is set
| | 01:31 | to Parade, I can see that the Blue
channel is elevated over the Red and
| | 01:35 | Green channels and quite a bit of the Red
trace is actually below the other two traces.
| | 01:41 | Next, let's go to the Vectorscope.
| | 01:43 | If your vectorscope is not being
displayed on your system, right-click on any
| | 01:46 | one of the scopes in the color
scopes window and choose Vectorscope.
| | 01:49 | Do you remember how the Vectorscope works?
| | 01:52 | The angle around the Vectorscope
represents Hue and the distance out from center
| | 01:57 | represents Saturation.
| | 01:58 | And you will notice on this Vectorscope
I have some trace, this part here that's
| | 02:03 | point towards the Blue and Cyan targets.
| | 02:06 | This is another indicator that I
have a blue color cast in this clip.
| | 02:10 | So, to fix this blue color cast I'm
going to use the primary color balance
| | 02:14 | controls here at the top of the Primary In room.
| | 02:17 | First, let's come into the highlight
color and balance control and I know that
| | 02:20 | to neutralize the blue color cast, I
need to add in yellow, because yellow is on
| | 02:24 | the opposite side of the color wheel from blue.
| | 02:28 | I'll go ahead and use the target here
in the Highlight color balance control
| | 02:31 | and drag toward yellow.
| | 02:35 | Something like that works.
| | 02:37 | So, how did I know to come to the
Highlight color balance control first?
| | 02:41 | Well, remember the concept of the tonal range.
| | 02:43 | If I look at the Waveform scope set
to Parade, when I have traces that are
| | 02:47 | unbalanced, especially at the top of
the trace, this indicates that the color
| | 02:51 | cast is in the highlights.
| | 02:52 | If the inconsistency was here in the
midtones, I would see a large difference in
| | 02:56 | the trace in the middle of the
waveform scopes set to Parade.
| | 02:58 | Well, you've guessed it.
| | 02:59 | If the color cast is mainly in the
shadows, I'd see that difference here at the
| | 03:03 | bottom of the trace when looking
at the Waveform scope set to Parade.
| | 03:06 | Actually, looking at this clip there
appears to be a bit of color cast in the
| | 03:10 | shadows, but we will come back
and fix that in just one moment.
| | 03:13 | Next, let's come into the Midtones
color balance control and, once again, I'm
| | 03:17 | going to drag the target here in the
color balance control towards yellow-red.
| | 03:23 | Something like that works.
| | 03:25 | Just be careful as you drag any one
color balance controls that you don't
| | 03:29 | introduce an unwanted color cast.
| | 03:32 | Taking a peak back over our Waveform
scopes set to Parade, everything is
| | 03:35 | looking pretty good.
| | 03:36 | There seems to be relative balance between
the three traces, Red, Green, and Blue.
| | 03:42 | Except take a look at the Red trace,
especially towards the bottom of the trace.
| | 03:45 | There's large clump of trace here
that's below 0% and is out of balance with
| | 03:49 | the other two traces.
| | 03:50 | So, to fix this we're going to use
the Shadows color balance control.
| | 03:55 | Now one thing I should say about
the Shadows color balance control.
| | 03:58 | Any color correction that you make
in a Shadows color balance control
| | 04:01 | influences a large portion of the clip
and can very easily make the clip look
| | 04:05 | like it has a color cast.
| | 04:06 | So you need to be pretty
subtle about the color correction.
| | 04:09 | I'm going to drag the target here, a
little bit towards yellow-green, something
| | 04:14 | like that, just a touch.
| | 04:17 | Now if I look at the Waveform scope set
to Parade, the bottom of the traces are
| | 04:22 | in relative alignment.
| | 04:23 | Don't worry that it's not perfect.
| | 04:25 | If you look in the preview here, these
rocks have sort of a red color cast and
| | 04:29 | they appear to be pretty dark.
| | 04:30 | So, in other words they're near
the bottom of the tonal range.
| | 04:34 | That explains the minor differences
here between the bottom of the traces.
| | 04:39 | So let's compare the corrected
clip to the original clip, and an easy
| | 04:42 | keyboard shortcut to use is Ctrl+G.
So, if I press Ctrl+G, I can see the
| | 04:47 | original clip, which is nice and blue,
and if I press Ctrl+G again, I can see
| | 04:52 | the corrected clip.
| | 04:53 | Also, I wanted you to notice on the
Waveform scope set to Parade on the
| | 04:57 | uncorrected clip the traces are out of
balance and on the corrected clip the
| | 05:02 | traces appear to be in relative balance.
| | 05:05 | Also, take a look at the
Vectorscope on our uncorrected clip.
| | 05:09 | Notice the large push of trace towards
the blue and cyan targets and if I enable
| | 05:14 | the grade once again, notice that the
trace is centered or you are pushing
| | 05:18 | towards the red and yellow targets just a touch.
| | 05:21 | The color balance controls
provide a very straightforward way of
| | 05:24 | correcting color cast.
| | 05:26 | In your day-to-day work of color you'll
find yourself using them a ton to color
| | 05:30 | correct clips with color casts.
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| Using Primary Curves| 00:01 |
Let's take a look at the
mechanics of using the Primary Curves.
| | 00:03 |
The Primary Curves are another way of
applying primary corrections, but using
| | 00:07 |
them for a lot of people is not as
intuitive as, say, using the color balance
| | 00:10 |
controls here at the top Primary In room.
| | 00:13 |
So, let's take a look at how they work.
| | 00:15 |
Unlike the color balance controls, each of
which influences a different part of tonal range,
| | 00:19 |
so, Shadows, Midtones, Highlights, the
Primary Curves allow for manipulations
| | 00:24 |
across the entire tonal range on each curve.
| | 00:27 |
What I mean by that is that the tonal
range is mapped on each curve going from
| | 00:31 |
left to right, dark to light, or black to white.
| | 00:35 |
In Color, I've four primary curves one
for Red, Green, Blue, and one for Luma.
| | 00:41 |
When a curve has no manipulations
applied to it it's represented as a straight
| | 00:45 |
line just like these curves here.
| | 00:47 |
To manipulate a curve I need to add a
control point and to add a control point I
| | 00:51 |
simply click on the
curve itself. Just like that.
| | 00:54 |
Adding a control point
doesn't actually apply a correction.
| | 00:58 |
I need to reposition this
control point along the curve.
| | 01:02 |
To reposition a control point, I
simply click on it and drag it around.
| | 01:09 |
Notice though that the control point
isn't actually attached to curve, instead
| | 01:13 |
it works as a strong influence in the
shape of the curve much like a magnet.
| | 01:19 |
Another important aspect of control
point position is that, depending on
| | 01:22 |
where I've placed the control point,
| | 01:24 |
I'm influencing a different part
of the tonal range. Let me explain.
| | 01:29 |
If I position the control point
up here on this Red curve, I'm
| | 01:32 |
influencing mainly Highlights.
| | 01:35 |
If I position the control point
right here on the curve, I'm mainly
| | 01:39 |
influencing the Midtones.
| | 01:41 |
Remember, the tonal range
is mapped out on each curve.
| | 01:44 |
So right here represents the
Midtones of the tonal range.
| | 01:48 |
If I position the curve towards the
bottom of the curve here, I'm influencing
| | 01:53 |
mainly the darkest portions of the tonal range.
| | 01:55 |
Let's go ahead and reset this curve
by using the Reset button in the upper
| | 01:59 |
left-hand corner of the curve.
| | 02:01 |
I could also take a control point that
I've added and simply drag it off the curve.
| | 02:06 |
This deletes an individual control point.
| | 02:09 |
But I'm going to ahead and use the
Reset button in the upper left-hand corner.
| | 02:14 |
Another important concept about
control point position is where it's placed
| | 02:18 |
along shape of the original curve, and
what I mean, is it above the original
| | 02:22 |
shape of the curve or below
the original shape of the curve?
| | 02:25 |
On any curve, if you add a control point
above the original shape of the curve,
| | 02:29 |
this part right here, you'll
effectively be adding in either Red, Green, or Blue
| | 02:34 |
depending upon which curve you are on.
| | 02:36 |
If you add a control point in position
below the original shape of the curve,
| | 02:40 |
this part right here on each curve,
you'll effectively be removing that color
| | 02:44 |
from that part of the tonal
range where the control point exists.
| | 02:47 |
I want to add a control point in the
midtones of the Red curve, right about
| | 02:51 |
here, and then I'm going to reposition
this control point above the original
| | 02:56 |
shape of the curve.
| | 02:57 |
You'll notice on the gradient that
I have in my preview that I've added Red
| | 03:02 |
mainly to the midtones.
| | 03:04 |
If I take this control point and
position it below the original shape of the
| | 03:08 |
curve, you notice that I've
effectively removed Red at that part of the tonal
| | 03:12 |
range and when I've removed Red,
I've essentially added Cyan. Why Cyan?
| | 03:16 |
An easy way to understand this
concept of control points below the
| | 03:21 |
original shape of the curve, of
any of any of the color curves, is by
| | 03:24 |
looking at the Vectorscope.
| | 03:25 |
If the Vectorscope is not showing in
your Scopes window, right-click on any
| | 03:29 |
scope and choose Vectorscope.
| | 03:31 |
But my Vectorscope is already showing.
| | 03:35 |
When I added a control point on the
Red curve and it was positioned above the
| | 03:39 |
original shape of the line, I was adding Red.
| | 03:42 |
And if you take a look at the Vectorscope,
notice that the trace is point towards Red.
| | 03:47 |
When I reposition this control point
below the original shape of the line, I was
| | 03:52 |
effectively removing Red or adding Cyan.
| | 03:55 |
Take a look at for your Vectorscope.
| | 03:56 |
Notice that the trace points toward Cyan.
| | 03:58 |
Let me reset the Red curve.
| | 04:02 |
So, on the Green curve, if I added a
control point and dragged above the
| | 04:05 |
original shape of the curve, I'm adding in Green.
| | 04:08 |
If I reposition that control point
below the original shape of the Green curve,
| | 04:12 |
I'm effectively removing Green and
adding Magenta, because it's opposite on the
| | 04:17 |
Vectorscope as well as on color wheel.
| | 04:19 |
Let me reset the Green curve.
| | 04:22 |
Finally, if I do the same thing in a
Blue curve by adding a control point and
| | 04:25 |
dragging above original shape of
the curve, I am adding in Blue here.
| | 04:29 |
You can see that with the trace
point towards Blue on the Vectorscope.
| | 04:31 |
And if I reposition the control point
below the original shape of the curve on
| | 04:35 |
the Blue curve, I'm
removing Blue or adding yellow.
| | 04:39 |
Let me reset the Blue curve.
| | 04:43 |
The Luma curve works slightly
different than the Red, Green, and Blue curves.
| | 04:47 |
If I add a control point and position
above the original shape of the curve, I
| | 04:51 |
am effectively lightening
that part of the tonal range.
| | 04:55 |
If I take that control point and
position it below the original shape of the
| | 04:58 |
curve, I'm effectively
darkening that part of the tonal range.
| | 05:01 |
Let me go ahead and reset the Luma curve.
| | 05:05 |
There's one more important thing to
understand about the primary Luma curve.
| | 05:09 |
Manipulations that I make to the
primary Luma curve directly influence how much
| | 05:13 |
I can adjust the contrast sliders in
each one of the color balance controls.
| | 05:17 |
Let me demonstrate.
| | 05:18 |
I'm going to go ahead and on the Luma
curve, I'm going to add a control point
| | 05:22 |
right about here and then I'm going to
reposition this topmost control point,
| | 05:27 |
the one that's there by default,
and drag it down just like that.
| | 05:33 |
What I want you to notice here on my
Waveforms scope set to Luma is that that
| | 05:37 |
part of the trace has been repositioned
down from 100% down to say about 80%-85%.
| | 05:44 |
Now if I try to use a contrast slider
in Highlight color balance control and
| | 05:47 |
drag up, you'll notice that I can't
make the trace really go above 80%-85%.
| | 05:53 |
That's because I've effectively used the
Luma curve to limit the effect of the
| | 05:58 |
contrast slider in the
Highlight color balance Control.
| | 06:00 |
Let me go ahead and reset the
Highlight color balance control as well as
| | 06:05 |
the primary Luma curve.
| | 06:08 |
The last important thing we need to talk
about in relation to the primary curves
| | 06:11 |
is adding multiple control points.
| | 06:13 |
To add multiple control points, I
simply click on a curve multiple times.
| | 06:17 |
So I'll use the Red curve again right here.
| | 06:19 |
I add a control point, I will add
another control point and finally I add a
| | 06:23 |
third control point.
| | 06:24 |
When I add multiple control points,
I can effectively limit the amount of
| | 06:28 |
influence that any single
control point has on the curve.
| | 06:32 |
So, if I leave these two outside
control point where they are, then move this
| | 06:36 |
middle control point, notice that the
shape of the curve doesn't change overall,
| | 06:40 |
but rather only changes in
between these two points.
| | 06:46 |
And you also notice here on my gradient
when I did that, I've only added Red to
| | 06:50 |
a small portion of the midtones,
whereas when I added the single control point
| | 06:55 |
before and repositioned it above
the original shape of the curve, I was
| | 06:58 |
influencing a much larger
area of the tonal range.
| | 07:02 |
So using the primary curves
should make a lot more sense now.
| | 07:05 |
In the next few movies, we will put
this knowledge into action and use the
| | 07:08 |
primary curves to correct some clips.
| | 07:11 |
| | Collapse this transcript |
| Making contrast corrections with the Primary Luma curve| 00:01 | Let's start our exploration in
actually making corrections with the primary
| | 00:04 | curves with the primary Luma curve.
| | 00:06 | The primary Luma curve is a simple way
to adjust contrast in clips because the
| | 00:10 | entire tonal range is available on the
primary Luma curve. And in a lot of ways
| | 00:15 | making Luma adjustments using the
primary Luma curve is easier than using the
| | 00:18 | color balance controls, because with
the color balance controls you're making
| | 00:21 | adjustments across three
different contrast sliders.
| | 00:25 | Let's take a look at three
clips that I want to correct.
| | 00:27 | The first is an overexposed clip
that generally looks washed out.
| | 00:31 | The next clip is a clip that's pretty
dark and then the third clip is a clip
| | 00:35 | that has a relatively poor contrast ratio.
| | 00:37 | Let's go back and fix the first clip.
| | 00:41 | I know that this clip is overexposed,
because if I look at the Waveform scope
| | 00:44 | set to Luma, there is a
bit of trace here over 100%.
| | 00:48 | Also, notice at the bottom of the trace
much of the trace is around 20 to 30 IRE
| | 00:52 | or 20% to 30%, and this is
contributing to the washed out look of this clip.
| | 00:56 | So let's go ahead and fix the
clip by using the primary Luma curve.
| | 01:00 | First, I am going to come into the
primary Luma curve and add a control point at
| | 01:03 | the top-end of the tonal
range, right about here.
| | 01:05 | Then I am going to use this topmost
control, the control point that's already
| | 01:09 | built into the curve and drag down just a bit.
| | 01:13 | The goal that I am trying to achieve
is that I want the trace to be under
| | 01:17 | 100%, which it is now.
| | 01:20 | Next, let's come down to a darker
area of the tonal range and add another
| | 01:23 | control point, right about here.
| | 01:24 | I am going to take this control
point and drag down just a bit.
| | 01:29 | I want to drag down just enough to
where the bottom of the trace here and the
| | 01:32 | Waveform scope set to Luma
is right around 0% or 0 IRE.
| | 01:38 | Something like that.
| | 01:39 | Don't worry if you can't get it
exactly on the 0% or 0 IRE line.
| | 01:44 | This clip was shot in front of some
pretty bright windows, so in reality, there
| | 01:48 | is not going to be anything in
the clip that should be true black.
| | 01:51 | You'll notice that when I made that last
correction though, the clip got pretty dark.
| | 01:55 | So let's comes into the midtones and
add another control point right about here
| | 01:59 | and drag up just a bit.
| | 02:03 | So now, if I use the keyboard shortcut,
Ctrl+G, I can toggle the grade on and off.
| | 02:07 | Here is prior to the correction, the
clip looks overexposed and washed out,
| | 02:11 | then here is after the correction that
we made on the primary Luma curve. The
| | 02:14 | clip has a lot more definition and
it's not overexposed, because I don't have
| | 02:18 | any trace over 100%.
| | 02:21 | Let's go down to the next
clip in the Color Timeline.
| | 02:22 | I'll do that by simply selecting the Color
Timeline and then pressing the Down arrow.
| | 02:26 | This clip is pretty dark and I can tell
that the clip is pretty dark if I look
| | 02:30 | at the trace and the Waveform scope set to Luma.
| | 02:32 | Most of the trace goes from
about 0% up to about 40% or 45%.
| | 02:37 | So let's also use the primary
Luma curve to fix this clip.
| | 02:40 | First, I am going to add a control
point right here in the middle of the curve,
| | 02:44 | and then drag up to lighten up the midtones.
| | 02:48 | Notice as I did that, the trace
moved up on the Waveforms scope set to Luma.
| | 02:53 | Next, let's add another control point
towards the top end of the tonal range
| | 02:57 | right about here and drag up just a little
bit to lighten up the highlights in this clip.
| | 03:02 | You'll notice that when I made those
two corrections that the trace came off
| | 03:06 | 0% or 0 IRE line on the Waveform
scope set to Luma and the clip also looks a
| | 03:11 | little washed out now.
| | 03:12 | So let's go ahead and another control
point towards the bottom of the tonal
| | 03:15 | range, right about here, and we'll drag down
just a bit until the trace returns to 0%.
| | 03:21 | Let me toggle this grade on and off
by using keyboard shortcut Ctrl+G, and
| | 03:28 | here is the clip before the
correction and you'll notice that it's kind of
| | 03:30 | dark and here is the clip after the correction,
we've lightened up this clip considerably.
| | 03:36 | The clip still has that sort
of early evening feel to it.
| | 03:39 | Finally, let's come down to the
last clip on the Color Timeline.
| | 03:42 | I'll do that just by dragging my
playhead here on the Color Timeline.
| | 03:45 | This clip has a pretty poor contrast
ratio, and if I look at the Waveform scope
| | 03:48 | set to Luma, I can see that no part
to the trace is set to 0% and that the
| | 03:52 | highest point in the trace is right around 60%.
| | 03:55 | So once again, let's use the primary
Luma curve, but this time we are going to
| | 03:59 | fix or expand the contrast ratio of this clip.
| | 04:02 | First, let's come in and add a control
point towards the bottom end of the tonal
| | 04:05 | range right around here and we'll drag
down just a touch until the bottom of the
| | 04:09 | trace touches 0% or 0 IRE when
the Waveform scope is set to Luma.
| | 04:15 | Next, I am going to add another control
point in the middle part of the primary
| | 04:17 | Luma curve. Remember, that represents
the midtones of the image, somewhere right
| | 04:21 | about here, and drag up just a
touch to lighten up the midtones.
| | 04:28 | That looks pretty good.
| | 04:30 | Finally, I lighten up the highlights
in this clip just a bit by clicking and
| | 04:33 | making the control point in the upper
part of the tonal range, this part of
| | 04:36 | the curve right here.
| | 04:40 | Now you will notice when I did that, the clip
actually appeared to get a little more flat.
| | 04:44 | It's brighter, but it also
appears to have lost some saturation.
| | 04:48 | This is something that happen sometimes
when you're making corrections with the
| | 04:51 | primary Luma curve and an easy way
to fix this is to just simply use the
| | 04:55 | Saturation parameter here on the
Basic tab of the Primary In room.
| | 04:59 | So with my cursor over the Saturation
parameter, I am simply going to use the
| | 05:04 | scroll wheel on my mouse and scroll up
to add a bit more saturation back into
| | 05:09 | the clip, something like that.
| | 05:11 | Now if I toggle this grade on and off by
using the keyboard shortcut Ctrl+G, you
| | 05:16 | can see the clip prior to the
correction, and the clip after the correction.
| | 05:21 | The clip has a much better contrast
ratio, which I can see here by looking on
| | 05:25 | the Waveform scope set to Luma and it
appears to have a lot more definition.
| | 05:29 | So here is before and after.
| | 05:32 | So the primary Luma curve is a very
granular way of correcting a contrast in a clip.
| | 05:36 | In this movie we corrected an
overexpose clip, we corrected an underexposed
| | 05:40 | clip, and we expanded the
contrast ratio of a clip.
| | 05:43 | The primary Luma curve has the
advantage of being able to correct contrast
| | 05:47 | problems in one place when compared to
the primary color balance controls where
| | 05:51 | you have to use three
different contrast sliders.
| | 05:54 | I encourage you to try out the
primary Luma curve in your own workflow.
| | Collapse this transcript |
| Making color corrections with Primary Curves| 00:00 | Sometimes I long for a bit more
granular control over color correcting a clip.
| | 00:05 | When I get that feeling or when I
can't get a clip just right with the Color
| | 00:08 | Balance Controls I reach for the primary curves.
| | 00:11 | Maybe it's because I have greater
control over the tonal range I can affect,
| | 00:14 | or maybe it's just because it's so much fun to
make a ton of little control points on a line.
| | 00:18 | Well, I digress.
| | 00:20 | Let's take a look at this Color
Timeline by selecting it, and then pressing the
| | 00:24 | Spacebar to watch back the clip.
| | 00:30 | What should be noticeable about this
clip is its blue color cast, and let's get
| | 00:34 | a little reinforcement of what I am
seeing by looking at the video scripts.
| | 00:37 | I want to evaluate this clip by
selecting the Waveform scope and then switching
| | 00:41 | over to the Parade option.
| | 00:43 | I am also going to evaluate this
clip by using the Vector Scope.
| | 00:47 | Well, when the Waveform Scope is set to
Parade, I can see the relative balance
| | 00:51 | between the three color channels:
| | 00:52 | Red, Green and Blue.
| | 00:54 | The elevated trace on this Blue channel
here shows me that this clip has a blue
| | 00:58 | color cast, and since most of the
difference between the traces appears at the
| | 01:02 | top of the trace, remember the top
portion of the Waveform Scope represents
| | 01:06 | highlights in the tonal range,
| | 01:08 | I can see that most of the color
cast is happening in the highlights.
| | 01:12 | This is usually a good indication that
when the shot was taken, the camera was
| | 01:16 | using improper white balance.
| | 01:17 | Let's take a look at the Vector Scope.
| | 01:19 | I can see that this clip has a
blue color cast as most of the trace,
| | 01:22 | this part right here, is
pointed towards the blue target.
| | 01:26 | Let's go ahead and use the
Primary Curves to correct this clip.
| | 01:30 | Because this clip has a blue color cast, I
am going to start here in the blue curve.
| | 01:34 | Looking at the Waveform Scope set to
Parade, I can see that the trace on the
| | 01:38 | Blue channel is elevated in the highlights.
| | 01:40 | I am going to first start out in the
blue curve by adding a control point
| | 01:44 | towards the top-end of the curve, or
in the highlights, right about here.
| | 01:47 | I am then going to grab the topmost
control point, the one that's there by
| | 01:51 | default and drag down.
| | 01:53 | As I do, notice on the Waveform Scope
set to Parade that the top of the blue
| | 01:57 | trace is compressed and what I want to
do is make sure that it's under 100%, and
| | 02:02 | that it's in relative alignment
with the green trace, which it is now.
| | 02:06 | Remember, when you use a control point
on either the Red, Green or Blue curves,
| | 02:09 | when you drag that control point below
the original shape of the curve you're
| | 02:13 | adding in color from the
opposite side of the Color Wheel.
| | 02:16 | So when I just made that correction,
what I was really doing was adding in
| | 02:19 | yellow/red, which neutralized
the color cast and the highlights.
| | 02:22 | If I take a look at the Waveform
Scope set to Parade in the middle section
| | 02:26 | of the scope, you can see that the middle
portions of the trace are also out of alignment.
| | 02:31 | Remember, the Waveform Scope mimics the
tonal range, where I have dark or black
| | 02:36 | here at the bottom of the scope, and
white or light at the top of the scope.
| | 02:40 | So this part of trace right
here represents the mid-tones.
| | 02:42 | Let's come back into the blue curve,
and we are going to add another control
| | 02:46 | point along the mid-tones of
the curve right around here.
| | 02:49 | Then I am going to drag that control
point down below the original shape of the
| | 02:53 | curve, and what you should notice on
the Waveform scope set to Parade is that
| | 02:58 | the trace moves down the scope.
| | 03:01 | What I am trying to do is have the blue
trace match the green trace just like that.
| | 03:08 | Next, let's go to work on the Red channel.
| | 03:10 | Coming into the Primary Curve, I am
going to add a control point right in the
| | 03:13 | middle of the curve.
| | 03:14 | Again, this will allow me
to manipulate the mid-tones.
| | 03:16 | So I'll click right about here to add
a control point, and then I am going to
| | 03:19 | drag this control point up
just a bit to warm up this clip.
| | 03:24 | Notice on the Waveform Scope set to
Parade that the red trace is moving up
| | 03:28 | the Waveform Scope.
| | 03:29 | Now just don't go too far like this, or
you will introduce an obvious red color cast.
| | 03:34 | So something right about there works.
| | 03:38 | Again, what I am doing is looking at
the Waveform Scope set to Parade and the
| | 03:42 | mid-tones right about here, and I am
trying to get them relatively equal.
| | 03:46 | I find it easiest when you are looking
at the Waveform Scope set to Parade, to
| | 03:49 | try to pick out something in
the trace that you can match.
| | 03:52 | What I am using on this clip is this
bunch of trace right here on each one of
| | 03:57 | the individual channel traces.
| | 03:59 | So this part right here, this part
right here, and this part right here.
| | 04:03 | Let's go ahead and add an additional control
point in the red curve towards the highlights.
| | 04:07 | Notice on the Waveform Scope set to
Parade that the top of the red trace is
| | 04:11 | still just a bit below
the green and blue traces.
| | 04:14 | So I am going to add a control point right
about here, and drag up ever so slightly.
| | 04:20 | Just like that.
| | 04:22 | Finally, this clip to me appears to
have a little bit of green in the mid-tones
| | 04:26 | even though the traces are relatively equal.
| | 04:28 | So I am going to come into the green
curve and add a control point right in
| | 04:32 | the mid-tones, right about here, and drag
down ever so slightly, something like that.
| | 04:39 | That looks better to me.
| | 04:41 | Finally, I am going to add a little bit
more definition to this clip, by coming
| | 04:44 | into the Luma Curve.
| | 04:46 | Notice that the bottom of the trace
here on the Waveform Scope set to Parade is
| | 04:49 | well off of the 0 IRE, or 0% line.
| | 04:52 | So what I am going to do is add a
control point here towards the bottom of
| | 04:55 | the mid-tones, and getting closer to the
darker portions of the tonal range or the shadows.
| | 04:59 | So let's add a control point right
about here, then drag down just a touch,
| | 05:06 | something like that.
| | 05:08 | Don't worry if you can't get the bottom
of the traces on the Waveform Scope set
| | 05:11 | to Parade to touch 0%, or 0 IRE.
| | 05:14 | This clip was shot through a window in a
taxicab, and the glass of the window is
| | 05:18 | acting like a filter.
| | 05:19 | Now, if I want to lighten this clip up
just a touch, I will add a control point
| | 05:22 | here in the mid-tones and drag up
just a bit, something like that.
| | 05:29 | Let's select the Color Timeline and
then press the Spacebar to begin playback.
| | 05:36 | The clip looks pretty good.
| | 05:38 | Let's toggle the grade on and off.
| | 05:39 | If I press Ctrl+G, here is the original
clip, kind of looks washed out and has
| | 05:44 | an obvious blue color cast, and here is
the corrected clip, looks much better,
| | 05:48 | doesn't have that blue color cast,
and has a little bit more definition.
| | 05:51 | One more time, uncorrected,
and the corrected clip.
| | 05:55 | So that's using the Primary
Curves to color correct a clip.
| | 05:58 | The danger with removing color cast with
the Primary Curves is that you might go
| | 06:01 | back, and spend all day adding control
points, and manipulating existing ones.
| | 06:06 | So avoid that temptation when possible.
| | Collapse this transcript |
| Using the Basic and Advanced tabs of the Primary In room| 00:00 | It seems like the Color Balance
controls and, to a certain degree, the Primary
| | 00:04 | Curves get all the attention when it
comes to making primary corrections.
| | 00:08 | But there are some additional controls
for making corrections that can be found
| | 00:11 | on the Basic and Advanced
tabs here in the Primary In room.
| | 00:14 | Let's start out our exploration of the Basic
and Advanced tabs by talking about Saturation.
| | 00:19 | The Saturation parameters can be found
on the Basic tab of the Primary In room.
| | 00:23 | This first clip in my Color Timeline
looks pretty good, and I have already
| | 00:27 | applied some primary correction to it.
| | 00:29 | But I can increase or decrease
overall saturation in the clip by using the
| | 00:34 | Saturation parameter here on the Basic tab.
| | 00:36 | The default value for
Saturation is 1, meaning that there's no
| | 00:40 | saturation adjustment.
| | 00:42 | But if I hover my mouse over the
parameter, and then use my Scroll Wheel, I can
| | 00:46 | scroll up to increase saturation, or
scroll down to decrease saturation.
| | 00:53 | Remember, I can make any parameter
adjustment faster in Color by holding down
| | 00:57 | the Option key and then using my Scroll Wheel.
| | 00:59 | So if I change the Saturation parameter
all the way down to 0, the clip becomes
| | 01:04 | completely desaturated,
and I have a grayscale clip.
| | 01:06 | Let me go ahead, and reset the
Saturation parameter for this clip.
| | 01:10 | I am going to do that by clicking on the
Reset button next to the word Saturation.
| | 01:15 | Let's navigate to the next
clip down in the Color Timeline.
| | 01:17 | Next thing I want to talk
about is Highlight Saturation.
| | 01:21 | Color allows for selective saturation
corrections either in the Highlights or in the Shadows.
| | 01:26 | We will start out first by
talking about Highlight Saturation.
| | 01:29 | Almost always, Highlight Saturation
is used to reduce saturation in the
| | 01:33 | highlights of a clip.
| | 01:35 | By doing this you can help fix clips
that have pesky broadcast legality
| | 01:38 | issues as well as make highlights true
white without any sort of color cast.
| | 01:43 | So to illustrate the effect of an
adjustment to the Highlight Saturation
| | 01:46 | parameter, I am going to go ahead and
make sure my Waveforms scope is active,
| | 01:49 | which it is, and if yours is not,
simply right-click on any of the scopes in
| | 01:53 | this Scopes window and choose Waveform.
| | 01:55 | Once you have the Waveform scope
up, change its option to Parade.
| | 02:00 | Notice at the top of the red trace,
where my Waveform scope is set to Parade,
| | 02:03 | that I have a bit of trace over 100%, or 100 IRE.
| | 02:08 | This indicates that I have illegal RGB
levels for broadcast, but it's really
| | 02:11 | being caused by the sunlight
hitting these white walls.
| | 02:15 | I could fix this clip by reducing the
overall saturation in it or by using the
| | 02:19 | Highlights Contrast slider in the
Highlights Color Balance Control.
| | 02:23 | But a much easier way to fix this is
with the Highlight Saturation parameter.
| | 02:28 | With my cursor over the Highlight
Saturation parameter here, I am going to use
| | 02:32 | my Middle Scroll Wheel on
my mouse and scroll down.
| | 02:35 | Remember, you can add the Option
key to change these values quicker.
| | 02:40 | So let me scroll down quite a bit, and
what you should have noticed over here on
| | 02:44 | the Waveforms Scope set to
Parade is the trace is now below 100%.
| | 02:49 | In the preview also, although a little
subtle, the highlights or, in other words,
| | 02:54 | these white walls here that have the
sunlight hitting them, are more white.
| | 02:58 | Because reducing Highlight Saturation
removed saturation only in the highlights.
| | 03:04 | So Shadow Saturation does just the
opposite of Highlight Saturation.
| | 03:08 | Let's navigate to the next clip down in
my Color Timeline to show you what I mean.
| | 03:12 | This clip looks pretty saturated
especially in the darker portions of the clip,
| | 03:16 | like the robes here on these monks, the
floor, and these Buddha statues up here.
| | 03:22 | So if I dial down Shadow Saturation
and again, I'll do that by hovering my
| | 03:25 | cursor over the Shadow Saturation parameter
and then using the Scroll Wheel on my mouse.
| | 03:31 | Notice that the saturation in
the robes becomes more black.
| | 03:35 | Let me reset this parameter
and show you it one more time.
| | 03:39 | So here is the original clip, and take a look
at the robes, and other dark areas in the clip.
| | 03:44 | As I adjust the Shadow Saturation
parameter down, you will notice that those
| | 03:49 | areas become less saturated and darker.
| | 03:52 | One last note on the Saturation Controls.
| | 03:54 | They can also be found in the
Secondaries room, and the Primary Out room.
| | 03:59 | Let me switch back to the Primary In
room. Then let's navigate to the next clip
| | 04:04 | to my Timeline by
dragging the Playhead down to it.
| | 04:07 | We have seen this clip
before and it looks a little dark.
| | 04:10 | If we take a look at my Waveform scope
set to Luma, we can verify that this clip
| | 04:14 | is kind of dark and has a poor contrast ratio.
| | 04:17 | So what I am going to do is use the
Master Lift, Gain, and Gamma parameters here
| | 04:21 | on the Basic tab to
perform a contrast correction.
| | 04:24 | This is just an alternate way of
performing a contrast correction.
| | 04:28 | We've done contrast corrections
before in this title, using the Color Balance
| | 04:31 | controls as well as the Primary curves.
| | 04:33 | This is just, as I said, an alternate
way of preforming the contrast correction.
| | 04:36 | But let me tell you what these parameters do.
| | 04:39 | Master Lift applies an overall Luma
correction to the clip, Master Gain is the
| | 04:44 | exact same thing as the Contrast
slider here in the Highlight Color Balance
| | 04:47 | Control, and Master Gamma is the exact
same thing as the Contrast slider here in
| | 04:52 | the Mid-tone Color Balance Control.
| | 04:54 | So with my Waveform scope set to Luma,
what I want to do is adjust Master Lift
| | 04:58 | first and I'll position my cursor
over the Master Lift parameter and scroll
| | 05:02 | down with my Middle Scroll Wheel on my
mouse, until the trace on the Waveform
| | 05:06 | Scope just touches 0%.
| | 05:10 | Next, I am going to use the Master
Gain parameter and scroll up to lighten up
| | 05:15 | this clip considerably until the
top of the trace is around 85-90%.
| | 05:20 | Then we can also lighten the mid-tones in
this image by using the Master Gamma parameter.
| | 05:25 | I will scroll up just a touch.
| | 05:28 | You might have noticed that the trace
came up 0% just like when we were using
| | 05:31 | the Color Balance
Controls and the Primary curves.
| | 05:33 | So I will once again adjust the Master Lift
down just a touch until the trace touches 0%.
| | 05:40 | Now, let's navigate to the
last clip of my Color Timeline.
| | 05:42 | I will do that by selecting the Color
Timeline and pressing the down arrow.
| | 05:45 | We have also seen this clip
before and it's actually pretty blue.
| | 05:50 | An alternate way of correcting this clip
is by using the parameters that we find
| | 05:53 | on the Advanced tab.
| | 05:55 | Here I have Red, Green, and Blue,
Lift, Gain and Gamma parameters.
| | 06:01 | Since we have already performed this
type of correction before, I have already
| | 06:03 | gone ahead and corrected this clip
using the controls here on the Advanced tab.
| | 06:07 | And to recall that saved grade, what I
am going to do is come into the Setup
| | 06:11 | room and then choose the Grades tab
at the bottom of the room, and then
| | 06:15 | double-click on the saved grade.
| | 06:17 | On your own system, you won't have this grade.
| | 06:20 | We will talk more about saving our own
grades in the chapter on Grade Management.
| | 06:24 | I am going to make sure that the clip
is selected here on my Color Timeline.
| | 06:27 | Now I will double-click on the
saved grade to apply the grade.
| | 06:29 | Now, let's switch back into the Primary
In room, and you will notice here on the
| | 06:33 | Advanced tab, I've used the separate Red,
Green and Blue, Lift, Gain and Gamma
| | 06:37 | parameters to color correct this clip.
| | 06:40 | Below the separate Lift, Gain and Gamma
parameters, there are Printer Point controls.
| | 06:44 | Printer Points are often used by Colorists
familiar with the traditional process
| | 06:48 | of color timing for film.
| | 06:50 | These controls right here emulate that process.
| | 06:54 | I find there are much easier ways of
making corrections, so we are going to skip
| | 06:58 | over these controls.
| | 06:59 | But feel free to try them out on your own.
| | 07:00 | Finally, let's talk about the Auto
Balance button, this button right here.
| | 07:05 | The Auto Balance button underneath the
Basic and Advanced tabs allows us to make
| | 07:09 | an automatic correction to the clip.
| | 07:11 | Before we actually use the Auto
Balance button, let's go ahead and reset the
| | 07:15 | Primary In room by clicking on this
button right here, Reset Primary In.
| | 07:19 | So I am going to go ahead and click on
the Auto Balance button and what Color
| | 07:23 | does is it makes an auto correction.
| | 07:25 | In reality what it really does is
it uses the Advanced tab here and all
| | 07:29 | the parameters on the Advanced tab, Lift,
Gain, and Gamma controls to make a correction.
| | 07:35 | Technically speaking, it takes the
darkest and lightest 5% of the image and the
| | 07:39 | most natural mid-tones to
apply a primary color correction.
| | 07:43 | In most cases, I think you're better off
making your own correction than trusting
| | 07:47 | the Auto Balance button.
| | 07:49 | But sometimes when you need to work very
quickly, the Auto Balance button can come in handy.
| | 07:53 | So that's using the parameters in the
Basic and Advanced tabs of the Primary In room.
| | 07:57 | I think you will find them pretty useful.
| | 07:59 | In my own experience, I found myself
using these controls often in tandem with
| | 08:03 | other tools, like the Color Balance
Controls, and the Primary Curves.
| | Collapse this transcript |
| Making primary corrections using the RED tab| 00:01 | Let's talk about applying a Primary Correction
to a clip that was ingested as a RED QuickTime.
| | 00:05 | In Chapter 03, we discussed ingesting
a clip as a RED QuickTime and if you
| | 00:09 | recall, the advantage of this
workflow is the ability to leverage raw
| | 00:12 | processing in Color.
| | 00:14 | This Color project has a clip in it
that was ingested as a RED QuickTime,
| | 00:18 | and then sent to Color.
| | 00:19 | The cool thing is is that because
this clip is a RED QuickTime, and Color
| | 00:22 | recognizes this type of clip, I can now
use the RED tab in the Primary In room
| | 00:26 | to correct the clip.
| | 00:28 | The RED tab is located on the right-hand
side of the Primary In room next to the
| | 00:32 | Basic and Advanced tabs.
| | 00:35 | Just keep in mind that the RED tab
won't actually be on your system unless
| | 00:38 | you've gone to RED.com/support and
downloaded the RED Final Cut Studio Plug-in.
| | 00:44 | So why would we want to use this tab?
| | 00:46 | Well, much like raw processing for
digital still images, when a clip is recorded
| | 00:50 | using a RED Camera, all the
adjustments you might make to the footage like
| | 00:53 | Exposure, Saturation, and ISO are
not recorded or baked into the clip.
| | 00:58 | Instead, they exist as metadata.
| | 01:01 | So when we use the parameters here in the
RED tab, we are manipulating that metadata.
| | 01:04 | Well, what about the rest
of the controls in Color?
| | 01:07 | Well, yes, there is some overlap between
the controls elsewhere in Color and the
| | 01:11 | parameters found here on the RED tab.
| | 01:13 | But I found that making most of my
primary corrections on the RED tab to RED
| | 01:17 | footage yields great results.
| | 01:19 | Parameters like Kelvin and Tint are
specifically geared to working with
| | 01:23 | RED QuickTime Media.
| | 01:24 | There are, of course, other corrections
that you might want to make to a clip
| | 01:28 | like a Secondary correction or a Color
FX correction that are outside of what
| | 01:31 | the RED tab can do.
| | 01:33 | The RED tab only makes primary corrections.
| | 01:37 | Before we actually correct this clip,
let's do a quick rundown of all the
| | 01:40 | parameters on the RED tab.
| | 01:42 | Starting at the top of the tab, we can
choose to enable or disable RED processing.
| | 01:47 | Next, we have Saturation, and this
control is the same as the Saturation
| | 01:50 | parameter on the RED Camera
| | 01:52 | and it adjusts the overall saturation in the clip.
| | 01:55 | We can choose values between 0, which is
grayscale, and up to 5, which is supersaturated.
| | 02:00 | Next is Kelvin.
| | 02:01 | This control, also found on the RED
Camera in the Color Temperature menu,
| | 02:05 | allows us to adjust the overall color
temperature for a clip using a Kelvin scale value.
| | 02:10 | Lower values will produce a cooler
overall tone, while higher values will
| | 02:14 | produce a warmer overall tone.
| | 02:17 | The Tint parameter is just an additional
way to adjust color in a RED QuickTime clip.
| | 02:22 | Exposure lets you adjust the
overall lightness in a clip.
| | 02:25 | The values are calibrated to camera f/stops
and you can adjust Exposure between -7 to +7.
| | 02:32 | Higher values equal a lighter clip.
| | 02:35 | Next up, we have Red, Green and Blue Gain.
| | 02:38 | These parameters allow you to adjust
the level of each of the primary color
| | 02:41 | channels for fine-tuning
of color casts in a clip.
| | 02:45 | The Contrast and Brightness
parameters do exactly what you think they'd do.
| | 02:49 | Adjusting the overall contrast works
by boosting or cutting highlights, and
| | 02:53 | raising or lowering shadows.
| | 02:56 | Brightness works by lightening the image.
| | 02:59 | Below these parameters, I have three pop
-up menus: Gamma, Color Space, and ISO.
| | 03:05 | If you are just getting started
correcting RED footage, you can leave these
| | 03:08 | settings at their default.
| | 03:09 | But let me briefly explain what each one does.
| | 03:13 | The Gamma pop-up menu lets you choose
different Gamma settings for a clip.
| | 03:17 | This control mimics the Gamma
settings and the Color Space option in the
| | 03:20 | View menu of the camera.
| | 03:23 | The Color Space pop up lets you
choose a color space for your clip, either
| | 03:28 | REDspace/Rec709 which matches most HD
footage and monitoring gear, and then Camera RGB.
| | 03:35 | When you choose Camera RGB it bypasses
any processing and represents exactly
| | 03:39 | what the camera sensor saw.
| | 03:42 | Finally, the ISO setting here
works much like a Digital SLR.
| | 03:45 | You can adjust the
sensitivity of the sensor to light.
| | 03:48 | Higher values will produce an overall
lighter image, but noise may be more visible.
| | 03:53 | So now that we know what all the
settings do, let's go ahead and
| | 03:56 | actually correct this clip.
| | 03:57 | I will select the Color Timeline and press
the Spacebar, so we can watch the clip back.
| | 04:04 | You can see it's a pretty static shot,
but it could use some primary correction.
| | 04:09 | So using the parameters here on the
RED tab, I am first going to adjust the
| | 04:12 | overall exposure of the clip.
| | 04:13 | What I am going to do is hover my
cursor over the Exposure parameter and then
| | 04:17 | use the Scroll Wheel on my mouse to scroll up.
| | 04:20 | If I hold down the Option key, I
can make this adjustment go faster.
| | 04:26 | Let's scroll up to a value right around 0.6.
| | 04:30 | Next, this clip looks kind of cool
to me, so I am going to use the Kelvin
| | 04:33 | parameter to warm up the clip.
| | 04:35 | Once again, I'll hover my cursor over
the Kelvin parameter, and then I will
| | 04:38 | use the Scroll Wheel on my mouse, while also
holding down the Option key, and scroll up.
| | 04:42 | I will scroll up to a
value right around 8500-8900.
| | 04:48 | Yeah, 8900 looks pretty good.
| | 04:51 | Then finally let's increase the
overall contrast on this clip.
| | 04:55 | Once again, using the Scroll Wheel on my mouse.
| | 04:59 | If I press Ctrl+G on my keyboard, I
can toggle the correction on and off.
| | 05:03 | Here is before the correction,
and here is after the correction.
| | 05:08 | One thing to know about toggling a
correction on and off when it comes to the RED tab.
| | 05:13 | When you toggle the correction on and
off, the entire RED tab is disabled.
| | 05:18 | So any default parameters that you
have, like your Gamma, Color Space, and ISO
| | 05:22 | settings are also disabled,
when you toggle the grade off.
| | 05:26 | That's why this clip looks different
than the original clip that we had at the
| | 05:29 | beginning of this movie.
| | 05:30 | We turn the grade back on.
| | 05:31 | There is one last thing to keep in
mind about correcting RED footage.
| | 05:36 | What I am going to do is come into
the Setup room and then click on my
| | 05:40 | User Preferences tab.
| | 05:43 | We need to discuss, very
quickly, the concept of proxies.
| | 05:46 | One really important thing to make
sure of when working with 4K or even 2K
| | 05:50 | RED footage is proxies.
| | 05:52 | Proxy support in Color only comes into
play when you are working with Cineon,
| | 05:56 | DPX or RED files, like we are in this
project, and using proxies gives you a large
| | 06:01 | performance boost when working in Color.
| | 06:04 | So on the right-hand side of the User
Preferences tab, let's make sure we have
| | 06:08 | Proxy Support enabled, which it is.
| | 06:11 | Next, I have proxies for three
different situations: Render Proxy, Grading
| | 06:15 | Proxy, and Playback Proxy.
| | 06:18 | Render Proxy dictates what
resolution your files will render at.
| | 06:21 | We will come back to this setting,
when we talk about Rendering 4K footage in
| | 06:26 | the chapter on Rendering an Output.
| | 06:28 | Next, we have Grading Proxy.
| | 06:30 | Grading Proxy determines the resolution
you will see your footage at here in the
| | 06:33 | preview as well as on your video
monitor, when actually grading your footage.
| | 06:37 | After you're done grading the
clip it goes back to Full Resolution.
| | 06:42 | It defaults to Half Resolution, which,
to be honest with you, still gives you a
| | 06:45 | really good quality image while
improving performance and responsiveness in
| | 06:49 | Color while making corrections.
| | 06:51 | Finally, there's Playback Proxy.
| | 06:53 | This option determines the resolution
of your footage when you are actually
| | 06:57 | playing it back from the Color Timeline.
| | 06:59 | It's set to Quarter, and I recommend
keeping it at Quarter to get the best
| | 07:02 | playback performance in Color.
| | 07:04 | So that's what you need to know about
grading RED QuickTime Media with the RED
| | 07:08 | tab in the Primary In room in Color.
| | 07:11 | On your own, feel free to go back into
the RED tab, and use any of these other
| | 07:15 | parameters to correct this clip.
| | Collapse this transcript |
|
|
7. Making Secondary CorrectionsWhat does the Secondaries room do?| 00:00 | The Secondaries room in Color is where you
make secondary or targeted color corrections.
| | 00:05 | What I mean is that secondary
corrections are corrections that allow us to
| | 00:08 | affect part of the picture while not
affecting the rest of the picture, like a
| | 00:12 | primary correction does.
| | 00:13 | In the Secondaries room, there are three
main ways to apply these types of corrections.
| | 00:17 | The first is by what's called an HSL Key.
| | 00:20 | And I have used an HSL Key
on this clip to treat the sky.
| | 00:24 | Let me show you the final correction
by clicking on this button right here,
| | 00:27 | which will show me my final image and
then I will use the Enable button here at
| | 00:30 | the top of a Secondaries room to show
you the clip before the correction and
| | 00:33 | after the correction.
| | 00:35 | Essentially, I have just warmed up
the sky and added a bit of saturation.
| | 00:38 | An HSL Key operates just like the
Limit Effect of Final Cut Pro's Color
| | 00:42 | Corrector 3-Way, and an HSL Key allows
us to isolate a portion of the clip based
| | 00:47 | on its hue, saturation or
lightness. HSL for short.
| | 00:51 | Once you isolate a portion of a clip,
you can apply a correction using the
| | 00:55 | secondary Color Balance controls here
at the top of the room or even some ofthe
| | 00:57 | parameters here on the Basic and Advanced tabs.
| | 01:01 | In the Secondaries room, all the
controls I have for performing an HSL Key are
| | 01:05 | found up here in the upper
right-hand corner of the room.
| | 01:08 | I can perform an HSL Key by using this
HSL eyedropper to sample HSL values from
| | 01:13 | a clip or I can use these little
strips right here, HSL Qualifiers.
| | 01:18 | Then finally, I can use his little
color swatches right here which let me
| | 01:21 | choose primary colors:
| | 01:22 | red, green, or blue, or secondary colors:
| | 01:24 | cyan, magenta, and yellow
that may be present in the clip.
| | 01:28 | Later in this chapter, we will discuss
creating the HSL Key with the eyedropper
| | 01:31 | and the qualifiers to create a key like
this one that I have here on this clip.
| | 01:35 | Let's navigate down to the second clip
in the Color Timeline, and let's talk
| | 01:39 | about a second way to
apply a secondary correction.
| | 01:42 | Vignettes are way of isolating part of
a clip for secondary correction using a
| | 01:46 | shape and that shape can be a Circle,
a Square or a user-defined shape.
| | 01:52 | On this clip, if I look at the
Previews tab here in the middle of the room,
| | 01:55 | which shows me my vignette controls, I
have used a vignette around these people
| | 01:59 | to draw the viewer's eye to them.
| | 02:01 | Let me disable and then enable the
secondary to show you this correction.
| | 02:04 | So, I will click on the Enable button
here at the top of the Secondaries room,
| | 02:08 | and here is the clip prior to the
correction and I'll enable the correction and
| | 02:12 | here's the clip after the correction.
| | 02:13 | If I click this button right here, I
can hide the outline of my vignette.
| | 02:18 | So it's a little easier to see the
clip before and after the corrections.
| | 02:22 | So one more time, before, and after.
| | 02:25 | All the controls you have for
vignettes are located near the bottom of the
| | 02:28 | Secondaries room right here, and in
a later movie we will discuss these
| | 02:31 | parameters and ways to manipulate the
shape by using on-screen controls here and
| | 02:36 | we will also discuss creating the user shape.
| | 02:38 | One very useful feature of the
Secondaries room that's often used for vignettes
| | 02:42 | but also for HSL Keys is the Control
pop-up here at the top of the room.
| | 02:46 | What I can do with the Control pop-up
is choose to correct what's inside of
| | 02:50 | a shape or selection or I can choose to
correct what's outside of a shape or selection.
| | 02:56 | So in this clip, I corrected the
outside of the vignette by darkening it up a
| | 03:00 | little bit and then on the inside of
the vignette, this part right here, I
| | 03:03 | lightened up the clip, essentially,
digitally relighting the scene.
| | 03:07 | Let's navigate to last clip in Color Timeline.
| | 03:10 | The third way to apply a secondary
correction is by using the secondary curves.
| | 03:14 | In the middle of the Secondaries room, I have
three additional tabs next to the Previews Tab:
| | 03:18 | the Hue Curve, the
Saturation Curve, and the Luma Curve.
| | 03:22 | The Saturation curve and Luma curves are
abbreviated Sat Curve and Lum Curve and
| | 03:28 | the secondary curves work slightly
different than the primary curves.
| | 03:31 | Each one of the curves maps the color
spectrum left to right and depending on
| | 03:34 | the curve you are on,
either hue, saturation, or Luma.
| | 03:38 | You're adding the control point and
manipulating these control points will
| | 03:41 | have a different effect.
| | 03:42 | For example, adding a control point on the
Hue Curve will change the hue of the clip.
| | 03:49 | Using the Saturation Curve like I
have on this clip, I've isolated just the
| | 03:53 | green grass in this shot and
made everything else grayscale.
| | 03:57 | And with the Luma Curve you can
selectively adjust the lightness of a particular
| | 04:01 | color along the color spectrum.
| | 04:03 | In later movies in this chapter, we will
explore using each one of the secondary curves.
| | 04:08 | Finally let's take a look at a few
miscellaneous things about the Secondaries room.
| | 04:11 | First is these tabs at the bottom of the room.
| | 04:14 | Each tab in the Secondaries room has
identical controls for performing a
| | 04:18 | secondary correction and we can
actually combine multiple secondary tabs
| | 04:21 | together to create an overall look.
| | 04:24 | And later in this chapter we will do just that.
| | 04:27 | As I have showed you a couple times is
this movie already, we have the Enable
| | 04:29 | button here at the top of the Secondaries room.
| | 04:32 | This button is used to disable or enable
a particular secondary and it's an easy
| | 04:37 | way to toggle a secondary
on and off to see its effect.
| | 04:40 | You might be thinking, "IfI only
could do that with the keyboard shortcut
| | 04:43 | "Ctrl+G." Well, Ctrl+G allows you to
toggle the entire grade off and a color grade
| | 04:49 | is the combination of all of your
corrections made in each room in color.
| | 04:54 | By toggling the Enable button
here, you only toggle off that
| | 04:57 | particular secondary.
| | 04:59 | And in previous versions of Color you
actually had to manually enable this
| | 05:02 | button, which was kind of a pain.
| | 05:04 | Now in Color 1.5, adjusting any
parameter here in the Secondaries room
| | 05:08 | automatically enables the room. Okay.
| | 05:10 | So, that's an overview of the tools
available in the Secondaries room.
| | 05:13 | In the movies throughout the rest of
this chapter, we will break down each tool
| | 05:16 | to make secondary corrections.
| | Collapse this transcript |
| Using the HSL eyedropper| 00:00 |
One of the most popular ways to
isolate a part of a clip for secondary
| | 00:03 |
corrections is by using an HSL Key.
| | 00:06 |
HSL stands for Hue, Saturation, and Lightness.
| | 00:08 |
And let me explain what I
mean by key part of HSL Key.
| | 00:11 |
The idea with an HSL Key is to select
portions of a clip based on their hue,
| | 00:15 |
saturation, and lightness
values, or a combination thereof.
| | 00:18 |
The selected portions are known as the key.
| | 00:20 |
Or another way of saying that is that
the proportions I select will take part in
| | 00:23 |
a secondary correction.
| | 00:25 |
HSL Keys are a great choice as a
secondary correction when you have objects
| | 00:29 |
that are moving around on screen or
when you have large portions of a clip that
| | 00:31 |
have similar HSL values.
| | 00:33 |
Here in this Color project, I
have a clip that looks pretty good.
| | 00:36 |
And in fact, I have already
applied some primary correction to it.
| | 00:39 |
What I like to do on this clip is isolate
the sky to give it more of a stylized look.
| | 00:44 |
And to do this, we are going to use an HSL Key.
| | 00:47 |
The HSL Key controls can be found
here in the upper right-hand corner of
| | 00:50 |
the Secondaries room.
| | 00:51 |
These three strips right here are
known as the HSL Qualifiers and there is one
| | 00:55 |
for hue, saturation, and lightness.
| | 00:57 |
In the next movie, we will talk
about using the HSL Qualifiers to select
| | 01:01 |
portions of clip based on their hue,
saturation, and lightness values.
| | 01:05 |
But in this movie we are going to use this
control right here, called the HSL Eyedropper.
| | 01:10 |
The first step in creating a key with
the HSL Eyedropper is to simply select
| | 01:13 |
the Eyedropper itself.
| | 01:15 |
And when I do that, notice over here in
my preview, I have these red cross-hairs.
| | 01:19 |
Don't click anything yet.
| | 01:21 |
If I was to single-click, I'd only
be selecting the HSL values right
| | 01:25 |
underneath the cross-hair.
| | 01:26 |
What I actually want to do is click-and-
drag across the sky here to add multiple
| | 01:31 |
HSL values for multiple pixels.
| | 01:34 |
So let me go ahead and do that.
| | 01:35 |
I am going to click-and-
drag across the sky like that.
| | 01:39 |
Now I want you to notice a few things.
| | 01:41 |
First, down here in the Previews tab, I
have my original image on the left and
| | 01:45 |
then over here I have
this black-and-white image.
| | 01:48 |
This is called my matte.
| | 01:49 |
Next to the matte, I have three buttons.
| | 01:52 |
These are called my Matte Preview
mode buttons and the one that's selected
| | 01:55 |
right now, the one that's gray-green-
gray, shows me my clip as a desaturated
| | 02:00 |
image in the preview.
| | 02:01 |
What that means is that anything that
I selected with the HSL eye-dropper is
| | 02:05 |
still saturated and
everything else is desaturated.
| | 02:09 |
The button right here that's black-white
-black shows me my matte in my preview.
| | 02:12 |
Now here is the idea behind a matte.
| | 02:15 |
Anything that's white in the matte is
what I have selected and it will take part
| | 02:18 |
in the secondary correction.
| | 02:20 |
Anything that's black in the matte is
not selected and will not take part in the
| | 02:24 |
secondary correction.
| | 02:25 |
And any part of the matte that's gray
will sort of take part in correction and
| | 02:29 |
sort of not take part in correction.
| | 02:31 |
Meaning that the correction won't
influence those gray areas as much as it
| | 02:35 |
will solid white areas.
| | 02:36 |
But also those gray areas will still be
influenced by the correction unlike the
| | 02:40 |
black areas that are not
influenced by the correction at all.
| | 02:43 |
You may have done a little bit of
chroma keying in applications like Final Cut Pro
| | 02:47 |
where the goal was to get your
matte as solid white as possible.
| | 02:51 |
For the purposes of most secondary
color corrections, it's not a necessity that
| | 02:54 |
you get the matte solid white, just that
you get the matte as white as you can. Okay.
| | 02:59 |
Let me come back over to my Matte
Preview mode buttons and click on the button
| | 03:02 |
that's red-green-blue.
| | 03:04 |
This will show me the final image or
another way of saying that, the final color
| | 03:08 |
corrected image with my secondary correction.
| | 03:11 |
Now that we have made the selection,
I am going to come up to the top of
| | 03:13 |
Secondaries room and use the
secondary Color Balance controls to
| | 03:16 |
actually correct this clip.
| | 03:17 |
So, what I am going to do is come in to
the Highlight Color Balance control and
| | 03:20 |
drag target towards yellow-
red, something like that.
| | 03:25 |
Now, there is one important thing to
keep in mind when you create an HSL Key.
| | 03:29 |
The correction looks pretty good but
let me switch back to my matte view.
| | 03:32 |
That's the button that's black-white-black.
| | 03:35 |
Notice where the white portions of the
selection meet the black portions of the
| | 03:38 |
selection, there's hard edges.
| | 03:40 |
And on some clips you might notice
ringing or artifacting along these edges.
| | 03:44 |
So, what I want to do is add a bit of
softness to the selection, so I don't
| | 03:47 |
see these hard edges.
| | 03:49 |
And I am going to do that with this Key
Blur parameter on the right-hand side of
| | 03:52 |
the Secondaries room.
| | 03:53 |
I will use my scroll wheel on my
mouse with my cursor hovering over the
| | 03:57 |
parameter to scroll up to add some Key Blur.
| | 03:59 |
Remember, I can hold down the
Option key to change this value faster.
| | 04:04 |
A value of around 1 is pretty good. All right.
| | 04:07 |
Let's switch back to the final view.
| | 04:09 |
Two last things I should mention.
| | 04:10 |
You might have noticed when we made the
selection that we didn't select just the
| | 04:14 |
sky, we also selected the
lake, this part right here.
| | 04:18 |
And I can see that on my matte. Here
is the sky selected as well as the lake.
| | 04:22 |
In a later movie in this chapter, I will
show you way of limiting the effects of
| | 04:25 |
an HSL Key so that on this clip
we only have the sky selected.
| | 04:30 |
Then the last thing I should mention
is that any time you change your Matte
| | 04:34 |
Preview mode buttons here in the
Secondaries room, new in Color 1.5, those views
| | 04:38 |
are also outputted to your video monitor.
| | 04:41 |
And this is really nice,
especially when you're in matte view.
| | 04:44 |
So you can get a much bigger picture
of your matte on your video monitor.
| | 04:47 |
So, you can see making a selection with
the HSL Eyedropper and then performing
| | 04:51 |
the secondary correction is pretty easy.
| | 04:55 |
| | Collapse this transcript |
| Refining HSL keys with the HSL qualifiers| 00:00 | Let's explore using the HSL Qualifiers
to first select a part of a clip and then
| | 00:04 | we'll use the HSL
Qualifiers to fine tune a matte.
| | 00:08 | Remember, the HSL controls can be found
in the upper right-hand corner here of
| | 00:11 | the Secondaries room.
| | 00:13 | An HSL stands for hue, saturation, and
lightness, and to recap, HSL Keys allow us
| | 00:17 | to select portions of a clip for
secondary corrections based on hue, saturation
| | 00:22 | and lightness in the clip.
| | 00:24 | First off, let's take a look at the
mechanics of using the HSL Qualifiers.
| | 00:27 | Each qualifier is represented by a
strip up here in the HSL controls:
| | 00:32 | The Lightness strip right here, showing
the tonal range going from left to right
| | 00:36 | or from dark to light.
| | 00:37 | The Saturation strip, showing
saturation going from left to right or
| | 00:41 | desaturated to saturated.
| | 00:43 | Then finally, the Hue strip,
showing us the color spectrum.
| | 00:46 | When a qualifier is not active, this
center point handle, this little white line
| | 00:50 | right here, will be centered in each strip.
| | 00:53 | Also the handles on each strip
will be pegged to the outside.
| | 00:57 | Additionally, if I look at my Previews
tab next to the original image, the matte
| | 01:01 | preview will be solid white
indicating no HSL Key is being made.
| | 01:05 | There are checkboxes next to each
qualifier and these checkboxes let us disable
| | 01:09 | or enable a particular qualifier.
| | 01:13 | This is useful, for example, if you
are simply trying to isolate an object
| | 01:16 | on screen and to reduce the saturation of
that object so the clip can be broadcast-safe.
| | 01:20 | In that case, you'd de-select the Hue
and Lightness qualifiers like I have here
| | 01:24 | and only use the Saturation qualifier.
| | 01:27 | Let me turn these two qualifiers back on.
| | 01:30 | Each qualifier has a set of handles on
either end of the strip and to move these
| | 01:34 | handles you simply click into
the qualifier itself and drag.
| | 01:37 | By moving these handles, you can
isolate a portion of hue, saturation or
| | 01:41 | lightness that you want to select.
| | 01:43 | So, for example, on this Lightness
qualifier when I just move these Range
| | 01:46 | handles, I am selecting
mainly the mid-tones of this clip.
| | 01:49 | When I drag the handles, I can keep
the relative position of the handles the
| | 01:53 | same but change where on the qualifier
they occur, and I can do that by dragging
| | 01:57 | in the middle of the two
handles on this little white line.
| | 02:00 | Notice as I drag, the relationship
between the two handles remains the same.
| | 02:05 | If you look close, and you really
have to look close because even on a big
| | 02:09 | monitor, they are small, I have two
additional handles that are actually
| | 02:12 | attached to the Range handles, and let
me drag them out so you can see them.
| | 02:16 | This handle right here, and there is
another one on this side, these are called
| | 02:20 | Tolerance handles and a good way to
think about Tolerance handles is that they
| | 02:24 | control the amount of falloff
or softness from your selection.
| | 02:28 | And to manipulate the Tolerance
handles just like the Range handles, you just
| | 02:31 | click on them and drag them.
| | 02:33 | By default, when you move either the
Range handles or the Tolerance handles, you
| | 02:36 | are making a symmetric change, meaning
that both sides are changing as you drag.
| | 02:42 | If you need to make an asymmetric change,
simply hold down the Shift key and drag.
| | 02:46 | You'll notice only one handle is moving. Okay.
| | 02:49 | Let me reset all of the fiddling we just
did with the HSL Qualifiers by clicking
| | 02:53 | the Reset button here next to
qualifiers themselves, this little blue dot.
| | 02:57 | Let's actually take a look at making
a correction with the HSL Qualifiers.
| | 03:02 | In this first clip,
everything looks pretty good.
| | 03:04 | It's a pretty interesting shot, but what
I want to do first is switch my Waveform
| | 03:08 | scope from Luma over to Parade.
| | 03:10 | If your Waveform scope is not currently
being shown, simply right-click on any
| | 03:14 | of the scope in the Scopes window and
choose Waveform and then go ahead and
| | 03:17 | click on the Parade option.
| | 03:19 | Notice on the Waveform scope set to
Parade, I have a bit of trace that's over
| | 03:23 | 100% here in the red channel and on the
Vector scope, you can see that there is
| | 03:27 | a really strong push
towards sort of yellow and red.
| | 03:30 | Finally, let's switch over to a scope
that we haven't taken a look at yet.
| | 03:33 | In the Waveform scope, I am going to
click on the Chroma option and you can
| | 03:37 | see that there is a bit of trace over 50% or
50 IRE when the Waveform scope is set to Chroma.
| | 03:44 | Values over 50% on the Waveform scope set to
Chroma generally indicate illegal saturation.
| | 03:50 | What is it in this clip that's too saturated?
| | 03:52 | Well, if I look closely, I am willing
to bet it's these torches here and then
| | 03:55 | the reflection of the torches on the water.
| | 03:58 | It didn't help in this clip that when
I made a Primary correction, I pushed
| | 04:01 | saturation quite a bit.
| | 04:03 | The reason I did this is because I
wanted the overall look of the clip to be
| | 04:06 | rich and the fire to be very vibrant.
| | 04:09 | This kind of problem with pushing
saturation in the Primary In room and then
| | 04:12 | creating an illegal clip happens all the time.
| | 04:15 | And it's one big reason to play or
scrub through your clips and not just park
| | 04:19 | the play head on one frame.
| | 04:20 | So let's go ahead and first make a
selection of the most saturated portions of
| | 04:24 | this clip by using the HSL Qualifiers.
| | 04:27 | So, I will switch back
into the Secondaries room.
| | 04:28 | We are not going to use all the HSL Qualifiers.
| | 04:32 | Let's uncheck the Hue Qualifier
and then also let's uncheck the
| | 04:35 | Lightness Qualifier.
| | 04:36 | What I am going to do is use the
Saturation Qualifier to select only the most
| | 04:40 | saturated portions of this clip.
| | 04:42 | So to do that, I am going to click
into the qualifier and then I am going to
| | 04:46 | position my Range handles by
dragging the middle of them up to the most
| | 04:49 | saturated portions of the
Saturation Qualifier, like this.
| | 04:52 | Then I am going to click-and-drag
behind the Range handles and this will allow
| | 04:56 | me to extend my Tolerance
handles, so I have a bit of softness.
| | 04:59 | If you take a peek at the Previews tab
here in the middle of the room and then
| | 05:03 | take a look at the matte,
you'll see I am getting really close.
| | 05:05 | Almost all of the torches and the water
reflections are being selected but there
| | 05:09 | also looks like there's some stuff that
shouldn't be selected, this bit up here.
| | 05:13 | So what we are going to do to get rid
of this noise or the stuff that we don't
| | 05:16 | want selected is to enable another qualifier.
| | 05:19 | In this case, I am going to
turn the Lightness Qualifier on.
| | 05:22 | And then I am going to use the
Range handles and drag up, like that.
| | 05:26 | Notice when I position those Range
handles that noise or that extra stuff that
| | 05:30 | was being selected when I used the
Saturation Qualifier only, has now
| | 05:33 | disappeared for the most part.
| | 05:34 | Let me spend just a second to refine
this selection using both the Saturation
| | 05:38 | Qualifier and the Lightness Qualifier.
| | 05:40 | I am going to hold down my Shift key and
extend the Saturation Range handle down
| | 05:45 | just a bit so I have more of the
torches and more of the reflection selected.
| | 05:48 | Then I am going to come into the
Lightness Qualifier and set its Range handles,
| | 05:52 | so I get rid of some of that noise.
| | 05:54 | Now I will also set a little bit of softness.
| | 05:56 | Just remember, if you hold down the
Shift key you can affect one side or the
| | 06:00 | other of each qualifier.
| | 06:02 | Okay, so that looks pretty good.
| | 06:04 | Now what I want to do is actually
go ahead and make the correction.
| | 06:07 | And to make this correction, I am going
to come to the Saturation parameter here
| | 06:11 | on the Basic tab, then use the
scroll wheel on my mouse to scroll down.
| | 06:15 | Notice when I actually change the
Saturation parameter that the preview switched
| | 06:18 | to my desaturated preview.
| | 06:20 | That's because here with my Matte
Preview mode buttons, I am currently on the
| | 06:23 | desaturated preview, the
buttons that's gray-green-gray.
| | 06:26 | If I want to look at the matte only,
I can click on the button that's
| | 06:29 | black-white-black and here
you can see what I've selected.
| | 06:33 | I have selected the torches as well as
most of the reflections on the water.
| | 06:36 | Now one thing I forgot to do.
| | 06:38 | Anytime that you are using HSL Key,
you want to add a little bit of Key
| | 06:41 | Blur that will blur your selection on the
edges so you don't see any ring or artifacting.
| | 06:46 | Let's go ahead and add a bit of Key
Blur as well by coming to the Key Blur
| | 06:49 | parameter and then using the
scroll wheel on my mouse to scroll up.
| | 06:52 | Remember, you can hold down the Option
key to have this value change faster.
| | 06:56 | A value of around 1 is pretty good. All right.
| | 06:57 | Let me change my Matte Preview
mode button to the final view, the one
| | 07:01 | that's red, green and blue.
| | 07:04 | Okay, so I've reduced the Saturation a bit.
| | 07:06 | Just be careful you don't go too far or
the clip will lose some of its luster.
| | 07:09 | Let's go back and take a look at the scopes.
| | 07:11 | On the Waveform scope set to Chroma,
you'll notice now I don't have any part
| | 07:15 | of the trace over 50%.
| | 07:17 | And remember, trace that's over 50% on
a Waveform scope set to Chroma generally
| | 07:21 | indicates illegal saturation.
| | 07:22 | Let's go ahead and click back on the
Waveform scope set to Parade and you'll see
| | 07:27 | that most of my trace is now below 100%.
| | 07:30 | I have two options here to get that
final little bit of trace below 100%.
| | 07:34 | I could reduce the saturation even
more, which I don't really want to do.
| | 07:38 | So what I am going to do is actually
come into the Secondaries Color Balance
| | 07:41 | controls and then the Highlight
Color Balance control and just reduce the
| | 07:44 | contrast and the highlights,
just a touch, just like that.
| | 07:48 | So now I have a legal clip. Okay.
| | 07:50 | So this clip looks good.
| | 07:51 | Let's navigate down to the
second clip in the Color Timeline.
| | 07:54 | This was the clip that we used in the
previous movie and we created an HSL
| | 07:57 | selection by using the HSL Eyedropper.
| | 08:00 | Now when we made that HSL selection,
we didn't pay much attention to the
| | 08:03 | quality of the matte.
| | 08:05 | And a lot of times when you use the
HSL eyedropper you're simply trying to
| | 08:08 | get into the ballpark and then you can use
the HSL Qualifiers to refine the selection.
| | 08:13 | And knowing what we know now about using the
qualifiers, I am going to go ahead and do that.
| | 08:17 | So, I am going to come first into the
Lightness Qualifier and adjust the Range handles.
| | 08:22 | I am going to hold down the Shift key
and drag the left-most range handle down,
| | 08:27 | something like that and notice how now
in the preview area here in my matte, I
| | 08:32 | have a much more solid white matte.
| | 08:34 | I can also adjust the Hue Range handles
to select a little bit more hue in the
| | 08:38 | color spectrum, something like that.
| | 08:41 | And I can also adjust softness by
adjusting the Tolerance handles.
| | 08:45 | And I'm just adjusting softness on one
side by holding down my Shift key as I
| | 08:49 | drag the Tolerance or Range handles. Okay.
| | 08:51 | That looks pretty good.
| | 08:53 | The correction looks a little too saturated.
| | 08:55 | So I am just going to come back into my
Secondary Color Balance control and just
| | 08:58 | back off that color just a touch in
the Highlight Color Balance control,
| | 09:02 | something like that and that looks much better.
| | 09:05 | So, you can see it's pretty easy to
first create and then refine HSL Keys
| | 09:10 | using the HSL Qualifiers.
| | Collapse this transcript |
| Creating vignettes| 00:00 |
Vignettes are one big reason that I love Color.
| | 00:02 |
I think vignettes are an immensely
powerful way to make secondary corrections.
| | 00:06 |
Now don't hear the word vignette and
automatically think of a traditional lens
| | 00:09 |
vignette, where there are darkened
edges around the side of a frame.
| | 00:13 |
We can certainly create that kind of a
look using vignettes, but I think there
| | 00:16 |
are much more powerful ways
of using vignettes than that.
| | 00:19 |
Let me select this Color Timeline and
press the Spacebar to begin playback.
| | 00:22 |
All right, this is just a B-Roll
shot but I think it needs to be re-lit.
| | 00:28 |
The silhouette is too much and I can't
see any details on the subject's face.
| | 00:33 |
So what I want to do is use a vignette
to lighten up the subject's face while also
| | 00:37 |
making the background a touch darker
to reverse the silhouette just a bit and
| | 00:41 |
make it less severe.
| | 00:43 |
So what I am going to do is come into
the Secondaries room and then to the
| | 00:46 |
bottom of the Secondaries room and enable a
vignette by clicking this button right here.
| | 00:51 |
When I enable a vignette, here in my
Previews tab, I get the default Circle vignette.
| | 00:55 |
I can change the type of shape that
the vignette is using by using the
| | 00:58 |
Shape pop-up right here.
| | 01:00 |
As I said, the default is a Circle but we can
change this to use a Square or a User Shape.
| | 01:04 |
We'll talk about user shapes in the next movie.
| | 01:07 |
In this case, the Circle is
going to work pretty good.
| | 01:10 |
And I can use the on-screen controls
here in the Previews tab to position the
| | 01:13 |
vignette, but if you are more of a
parameter type person, you can also use these
| | 01:17 |
parameters here at the bottom of the
Secondaries room in the Vignette section.
| | 01:21 |
I am going to go ahead and
use the on-screen controls.
| | 01:23 |
To position a vignette, I am simply
going to click inside of the shape itself
| | 01:27 |
and move it over, just like that.
| | 01:29 |
I can change the scale and the aspect
of the vignette by using these handles in
| | 01:33 |
each one of the corners of the vignette.
| | 01:35 |
So if I click-and-drag, I can change the
scale as well as the aspect of the vignette.
| | 01:39 |
Now that I have positioned the
vignette, let's come up to the top of the
| | 01:43 |
Secondaries room and use
the Color Balance controls.
| | 01:45 |
What I am going to do is use the
Contrast slider in the Highlight Color Balance
| | 01:49 |
control to lighten up what's
going on inside of the vignette.
| | 01:52 |
Well, how do I know that I am lightening up
what's going on inside of the vignette?
| | 01:57 |
I make that decision by using the
Control pop-up right here in the
| | 02:00 |
top-right-hand corner of the room.
| | 02:02 |
Currently it's set to Inside, which
means that any correction I do will affect
| | 02:06 |
what's going on inside of the vignette.
| | 02:09 |
If I change this to Outside, any
correction that I perform will happen outside
| | 02:12 |
of the vignette shape.
| | 02:13 |
Let me change this back to Inside.
| | 02:16 |
So as we have discussed, what I want to
do is lighten up the inside of the shape
| | 02:20 |
considerably to lighten the subject's face.
| | 02:23 |
So I am going to use the Highlight
Color Balance control and then the Contrast
| | 02:26 |
slider right here and drag up considerably.
| | 02:28 |
You will notice that when I did
that, a couple of things happened.
| | 02:31 |
First, the Secondaries room
was automatically enabled.
| | 02:34 |
Anytime that you make a correction,
Color automatically enables the
| | 02:38 |
Secondaries room for you.
| | 02:40 |
You also might have noticed that my
preview went to this desaturated work.
| | 02:43 |
This is the same thing that we got
when we were performing HSL Keys in the
| | 02:46 |
previous movies in this chapter.
| | 02:48 |
Now the others thing I want you to
notice here in the preview is this yellow
| | 02:51 |
outline around the vignette itself.
| | 02:54 |
We can control all of these
things here in the Secondaries room.
| | 02:57 |
So remember, this button right here,
the one that's gray-green-gray, is the
| | 03:00 |
reason that I am seeing a
desaturated preview here.
| | 03:03 |
If I change this to the button
that's black-white-black, I see my matte.
| | 03:07 |
In the case of a vignette, the
matte doesn't make a whole lot of sense.
| | 03:11 |
If I click on this button right here,
the one that's red-green-blue, I will see
| | 03:14 |
my final corrected image.
| | 03:16 |
To turn off the outline of this vignette,
| | 03:18 |
I simply use this button right here.
| | 03:20 |
This button allows me to toggle
on and off the vignette outline.
| | 03:24 |
I am going to leave it off.
| | 03:27 |
And when I turned it off, notice that the
vignette has a nice hard edge around it.
| | 03:32 |
Not exactly the look we were going for.
| | 03:34 |
I didn't exactly want to
put a halo around this person.
| | 03:37 |
So to soften up the edges of this
vignette, I am going to use the Softness
| | 03:40 |
parameter here in the Vignette section
at the bottom of the Secondaries room.
| | 03:43 |
I am going to hover my cursor over the
Softness parameter box and then use my
| | 03:47 |
middle scroll wheel on my mouse
to scroll up to add some softness.
| | 03:51 |
Remember, I can change any parameter
box faster in Color by also holding down
| | 03:55 |
the Option key and then scrolling up or down.
| | 03:58 |
So I'll add a lot of
softness, something like that.
| | 04:03 |
Now when we made the correction here
with our Highlight Contrast slider, I
| | 04:06 |
dragged up quite a bit. But you know what?
| | 04:08 |
It's still a little too
dark for me inside the shape.
| | 04:11 |
So what I am going to do is use the
Midtone Contrast slider and drag up just a
| | 04:15 |
touch, something like that works.
| | 04:17 |
All right, as I mentioned before, we want
sort of reverse this silhouette effect.
| | 04:22 |
So, what I am going to do is use the
Control pop-up and change it from Inside,
| | 04:25 |
meaning we are affecting what's going
on inside the shape to Outside, so we can
| | 04:29 |
affect what's going on
outside of the vignette shape.
| | 04:32 |
Now that I am on the outside of the
vignette, I am going to use the Highlight
| | 04:35 |
Contrast slider and drag
down slightly, just like that.
| | 04:38 |
If I want to see a before and after
of the secondary correction, I can just
| | 04:43 |
toggle the Enable button here, on and off.
| | 04:45 |
So here's the clip prior to the correction.
| | 04:47 |
Notice you can't see any detail on the
person's face, and here is our correction
| | 04:52 |
that we just performed.
| | 04:53 |
We have a lot more detail in
the person's face now. All right.
| | 04:56 |
Let's navigate to the next clip down
in the Color Timeline, I will do that
| | 04:59 |
simply by dragging down.
| | 05:01 |
In the last clip, we made essentially
a contrast correction using a vignette.
| | 05:04 |
In this clip, I want to make a
color correction using a vignette.
| | 05:07 |
I am essentially going to use the same
controls that we used before in the previous clip.
| | 05:12 |
So, what I am first going to do is
enable the vignette right here at the bottom
| | 05:15 |
of the Secondaries room. Then I will
position the vignette around the subject's
| | 05:19 |
face, something like that
will add a bit of softness.
| | 05:25 |
And now I am going to use the Color
Balance controls at the top of the
| | 05:28 |
Secondaries room to remove all the red
that's going on in the skin tone of this subject.
| | 05:32 |
If I take a look at the Vector Scope,
notice that I have this large bit of trace
| | 05:36 |
that's pointing towards red.
| | 05:37 |
I am willing to bet that's this large
amount of red skin tone on this subject.
| | 05:41 |
So I am going to use the Highlight
Color Balance control and drag the target
| | 05:45 |
away from red, rather towards blue
and cyan, something like that works.
| | 05:51 |
Now the subject has a
much more natural skin tone.
| | 05:54 |
Again I can toggle the correction on
and off by using the Enable button here at
| | 05:58 |
the top of the Secondaries room.
| | 05:59 |
So here's prior to the correction,
notice the red skin tone on the subject and
| | 06:03 |
here's after the correction,
notice the much more natural skin tone.
| | 06:06 |
Now I don't want to make it seem like
every correction that we do with the
| | 06:10 |
vignette is treating somebody's face. It's not.
| | 06:12 |
So let's go down to the third
clip in this Color Timeline.
| | 06:14 |
Here is a clip that looks pretty cool,
but you know what, I think the sky
| | 06:19 |
could use a little help.
| | 06:20 |
So, what I am going to do is enable a
vignette again by using the Vignette
| | 06:24 |
button right here at the bottom of the
Secondaries room, and then let's change
| | 06:27 |
the Shape type from Circle to Square.
| | 06:29 |
Then I will position the vignette on
the sky on this clip, something like that.
| | 06:34 |
Let's add a bit of Softness and then once
again we will use the Color Balance controls.
| | 06:39 |
I will come into the Highlight Color
Balance control and drag the target towards
| | 06:43 |
yellow-red, something like that works.
| | 06:46 |
And now we've made the sky a whole lot
more interesting by affecting only the
| | 06:49 |
sky and keeping the water the same.
| | 06:52 |
So, you can see vignettes are
simple yet powerful way of performing
| | 06:56 |
secondary corrections.
| | 06:59 |
| | Collapse this transcript |
| Creating user shapes| 00:00 | Sometimes, a standard vignette shape,
like a circle or a square, simply doesn't
| | 00:03 | work for making a secondary correction.
| | 00:06 | In those situations, your
best bet is to use a user shape.
| | 00:09 | The idea behind user shapes is that they
allow you to create a custom shape that
| | 00:13 | can be attached to a secondary for
the purpose of using it as a vignette.
| | 00:16 | The thing is, the way that we create
and then attach user shapes to a secondary
| | 00:20 | is not all that intuitive.
| | 00:22 | So let's see how this process works.
| | 00:24 | Because I'm going to be using a user
shape and attaching it to a secondary, the
| | 00:28 | process starts here in the Secondaries room.
| | 00:30 | First, I want to make sure that I go
ahead and enable the Vignette controls here
| | 00:33 | in the Secondaries room.
| | 00:34 | What I'm going to try to do on this
clip is create a vignette that goes around
| | 00:38 | the edges of this building so
that we can treat the sky here.
| | 00:42 | So when I enabled the vignette, the
default circle vignette popped up.
| | 00:45 | I can change this by using the Shape
type pop-up in the Vignette controls.
| | 00:49 | I can change it from the default Circle
to a Square or I can use a User Shape.
| | 00:53 | Before I actually click on User
Shape here, I want to prepare you for
| | 00:56 | what's going to happen.
| | 00:57 | When I select User Shape, I'm going
to jump out of the Secondaries room and
| | 01:00 | into the Geometry room.
| | 01:02 | It's in the Geometry room that we
actually make the user shape, and not in
| | 01:06 | the Secondaries room.
| | 01:07 | So, let me go ahead and choose User Shape.
| | 01:09 | You'll notice that I jumped
immediately to the Geometry room.
| | 01:12 | This is kind of weird at first, because
you're thinking to yourself, "I thought I
| | 01:15 | "was in the Secondaries room, or I
thought I was making a vignette."
| | 01:18 | But remember, the Geometry room, and
specifically the Geometry room on the
| | 01:22 | Shapes tab is where we make custom user shapes.
| | 01:25 | When you jump from the Secondaries room
to the Geometry room, the Shapes tab is
| | 01:28 | automatically selected and the clip is
shown here in the middle of the room,
| | 01:32 | much bigger than it is in the
preview, which is kind of nice.
| | 01:35 | But you'll also notice that it's kind of dim.
| | 01:37 | The idea behind this is that when you
add control points, they're easier to see
| | 01:41 | against the clip when the clip is dim.
| | 01:43 | I can zoom in and out on the
clip as well as pan around the clip.
| | 01:46 | How I do this is by holding my right mouse
button down, and dragging, I can zoom in and out.
| | 01:53 | Then if I hold down my middle mouse
button, I can pan around the clip.
| | 01:58 | At any time I can center or reframe
the clip by pressing F on the keyboard.
| | 02:03 | I like to remember that keyboard
command by thinking of F for frame.
| | 02:08 | Over here on the Shapes tab,
I have several controls.
| | 02:10 | Here at the top of the Shapes tab, I
can see the Current Secondary that the
| | 02:13 | shape, if I attach it to the
secondary, will be applied to.
| | 02:16 | In this case, it's secondary number one.
| | 02:19 | Right here, I can see any previously saved
shapes or the one that I'm about to create.
| | 02:23 | Now with these controls here, I can
choose to use a tracker to have the shape
| | 02:26 | follow an object around the screen.
| | 02:29 | I can choose to add softness.
| | 02:30 | I can name the shape.
| | 02:31 | I can create a new shape or remove a shape.
| | 02:33 | I can close a shape.
| | 02:34 | We'll get back to this
button in just one second.
| | 02:36 | Then I can also choose to save a shape for
later use or load a previously saved shape.
| | 02:42 | With these controls right here, I can
choose whether the shape I'm about to make
| | 02:45 | is a B-Spline shape or a Polygon shape.
| | 02:48 | When I choose B-Spline, the shape that
I create will have nice rounded corners.
| | 02:52 | When I choose Polygon, the
shape will have hard corners.
| | 02:55 | Because we're going to be a making a
shape that goes around the hard edges of
| | 02:59 | this building, I'm going
to choose a polygon shape.
| | 03:01 | And then finally, these
controls right here affect how I select
| | 03:05 | different control points.
| | 03:06 | We'll get back to these controls
in just a few minutes. All right.
| | 03:09 | Now that I'm more familiar with the
Shapes tab in the Geometry room, let's go
| | 03:12 | ahead and actually make our shape.
| | 03:14 | So what I'm going to do is actually
click on the clip here, just outside of the
| | 03:17 | clip, actually, and make a control point.
| | 03:19 | Then I'm going to zoom in just a touch
into the clip, and reposition the clip
| | 03:22 | so it's easier to see.
| | 03:23 | What I want to do is make control points that
go along the outside edges of this building.
| | 03:28 | So let me just spend a few
moments creating the shape.
| | 03:31 | I'll click to add another control
point, and then continue clicking to add
| | 03:35 | additional control points.
| | 03:37 | At any time, you can reposition the image,
if you zoomed into it, by holding down
| | 03:41 | the middle mouse button and panning the image.
| | 03:48 | Okay, so now I've made most of my
control points, but there is one more thing
| | 03:50 | that I need to tell you.
| | 03:51 | You need to actually close the shape,
and there are two ways to do that.
| | 03:55 | First, you can click the Close Shape
button here, and second, you can click on
| | 03:59 | the original control point
that you made to close the shape.
| | 04:02 | I prefer this method, because when you
click the button Close Shape, Color will
| | 04:05 | find the shortest path from your last
control point to your first control point,
| | 04:09 | and this may result in an undesired effect.
| | 04:11 | So I'm just going to click on the
original control point to close the shape.
| | 04:14 | When I do, notice that I have this
little green box right here, indicating that
| | 04:18 | the shape is closed.
| | 04:19 | Okay, now that I've made the shape, I
need to go ahead and attach it to the
| | 04:23 | secondary that we were on.
| | 04:25 | I do that at the top of the Shapes
tab by clicking this Attach button.
| | 04:28 | I know that the Current Secondary that
I was on is the secondary number one.
| | 04:32 | That's because right here in the
Current Secondary pop-up it says, 1.
| | 04:35 | So let me go ahead and click Attach, and
the shape is attached to the secondary.
| | 04:40 | I'll go back into the Secondaries room.
| | 04:42 | What I'm going to do is go ahead in my
Matte Preview mode buttons, these guys
| | 04:46 | right here, change the Matte Preview
mode from the Desaturated Preview, this
| | 04:49 | button right here that's gray, green,
gray, to the final image, the button here
| | 04:53 | that's red, green, and blue.
| | 04:55 | Next, I'm going to come up into the
Secondary color balance controls and use
| | 04:58 | my Highlight color balance control, and
drag towards yellow-red, something like that.
| | 05:04 | Over here in my preview, it looks like
there's this white line all around the
| | 05:07 | edges of the building.
| | 05:08 | There's actually not.
| | 05:09 | What's happening is that I have the
outline of my vignette showing, and I can
| | 05:13 | toggle that outline on and off
by using this button right here.
| | 05:16 | If I click this, the outline
on the vignette disappears.
| | 05:20 | Okay, this looks pretty good, but
I want to show you one more thing.
| | 05:23 | Let's click back into the Geometry room.
| | 05:25 | After you close a shape, you can
reposition any control point that
| | 05:29 | you've previously made.
| | 05:30 | You'll often find yourself needing to
do this if, for example, a shape was
| | 05:34 | not in the right spot.
| | 05:37 | So, after making a shape, I often come
back and just spot-check myself, making
| | 05:41 | sure that control points are
in the places that I want them.
| | 05:43 | And all of these control points look good.
| | 05:45 | Let's click back on the Secondaries
room and then navigate down to the second
| | 05:50 | clip in this color timeline.
| | 05:51 | One of my favorite uses of user shapes
to create vignettes is that we can create
| | 05:56 | a vignette that is not a
perfect square or a perfect circle.
| | 06:00 | Take a look at this clip.
| | 06:01 | It's an interview happening
with two guys sitting on the couch.
| | 06:04 | It's kind of weird the way that they're sitting.
| | 06:06 | I could try to use a standard
circle or a standard square vignette.
| | 06:10 | I'm going to use a user shape so I can
create a custom shape around these two subjects.
| | 06:15 | So just like we did last time, I need to
first enable the vignette controls here
| | 06:19 | in the Secondaries room, and then from
the Shape pop-up, let's change this from
| | 06:23 | the default Circle to User Shape.
| | 06:26 | Just remember, what's going to happen
is that we'll automatically jump into the
| | 06:29 | Geometry room. This is normal.
| | 06:30 | So now that we're in the Geometry room
on the Shapes tab, let's go ahead and
| | 06:34 | actually make the shape.
| | 06:36 | This time, instead of using a polygon
shape, I'm going to use a B-Spline shape.
| | 06:39 | A B-Spline shape will
give me nice, curved edges.
| | 06:42 | So let me create the shape
by clicking here and dragging.
| | 06:47 | Notice as I drag around, because I'm
using a B-Spline shape, I get a nice,
| | 06:52 | curved edge in the shape.
| | 06:55 | Okay, and then to close the shape,
remember, I just click on the
| | 06:58 | original control point.
| | 07:00 | I know that the shape is closed when I get
this green box in the middle of the shape.
| | 07:04 | Okay, now one thing I want to do on this
shape that we didn't do in the previous
| | 07:08 | shape was add quite a bit of softness.
| | 07:10 | I can do that by using the
Softness parameter right here.
| | 07:13 | Remember that I can use the scroll
wheel on my mouse to change these values.
| | 07:16 | Simply, by hovering my mouse over the
parameter box and using my scroll wheel, I
| | 07:20 | can change the amount of softness.
| | 07:22 | I can make this value change
faster by holding down my Option key.
| | 07:26 | Okay, now that I've added a lot
of softness, I want you to notice
| | 07:28 | something about the shape.
| | 07:29 | Well, it looks kind of weird, doesn't it?
| | 07:31 | What happened when we added
softness is that the shape split out into
| | 07:35 | three different lines.
| | 07:36 | The yellow line right here
represents the shape itself.
| | 07:39 | These two green lines, one for the outside
and one for the inside, are softness lines.
| | 07:44 | One cool thing about creating a user
shape is that you can control softness
| | 07:47 | inside of the shape and softness
outside of the shape, separately.
| | 07:52 | This is a little quirky, so let me
just show you a couple things about
| | 07:54 | controlling softness, both
the inside and the outside.
| | 07:57 | When you select a control point on the
shape itself, one of these yellow boxes
| | 08:01 | right here, and you reposition it,
notice that both of the softness lines,
| | 08:05 | outside and inside of the shape, move
along with the control point as you moved
| | 08:08 | it around the screen.
| | 08:10 | If you select one of the Softness
control points, either the inside or outside,
| | 08:13 | you can change the position of that
control point independently of the outside
| | 08:17 | softness or the shape itself.
| | 08:20 | But sometimes, you want to select multiple
control points so you can move them altogether.
| | 08:25 | That's where these controls, right
here on the Shapes tab come into play.
| | 08:27 | When these controls are set to Main,
and I go ahead and draw a box around
| | 08:31 | shapes, what I'm doing is selecting
the main shape, or another way of saying
| | 08:36 | that is the shape itself.
| | 08:38 | So now if I drag, I'm moving the shape as
well as all the Softness control points.
| | 08:43 | If I change this to Inner and draw a box,
I'm only going to be moving the inner
| | 08:49 | Softness control points, and you
guessed it, if I change this to Outer and draw
| | 08:53 | a box, I'll be controlling only
the outer Softness control points.
| | 08:58 | Let me go ahead and reposition
the shape a little bit better.
| | 09:04 | Okay, now that we've made the shape,
let's go ahead and once again attach it
| | 09:07 | to the secondary by clicking the Attach
button up here on the top of the Shapes tab.
| | 09:11 | Then let's come back into the
Secondaries room and notice I have the shape
| | 09:16 | outline here in my Previews tab, and
I'm going to apply the actual correction.
| | 09:20 | So using the secondary color balance
controls, I'm going to use the Highlights
| | 09:23 | Contrast slider and drag up quite a bit.
| | 09:27 | Something like that works.
| | 09:28 | Next, I'm going to switch my
control pop-up from inside to outside.
| | 09:33 | To make this scene a little bit
more dramatic, I'm going to drag the
| | 09:35 | Contrast slider down.
| | 09:40 | Something like that works just fine.
| | 09:42 | Then finally, I'll just toggle this
correction on and off so you can see the effect.
| | 09:46 | Here's the clip before the correction,
and here is the clip after the correction.
| | 09:50 | Essentially, I've re-lit this scene.
| | 09:53 | Okay, so that's using User Shapes
in the Secondaries room in Color.
| | 09:57 | User shapes are great when a standard
vignette shape type, like a circle or a
| | 10:00 | square, just doesn't cut it.
| | Collapse this transcript |
| Changing colors using the Hue curve| 00:00 | The Secondary Hue Curve is one of
those tools that at first glance doesn't
| | 00:03 | really seem to make a whole lot of sense.
| | 00:05 | I mean, why would you want to
change the color of something to a
| | 00:08 | completely different color?
| | 00:09 | Well, there are lots of reasons to
use this curve, from the utilitarian
| | 00:12 | adjustment of hue of skin tones, to
the request from a director to change the
| | 00:16 | color of an actor's shirt from white
to red throughout the entire movie.
| | 00:21 | Trust me, not a whole lot of fun.
| | 00:23 | Well, I thought we get it to be a
little bit more fun and creative in our
| | 00:25 | application of the Secondary Hue
Curve and use it to change the color of an
| | 00:29 | object on the screen to
create a pretty stylized look.
| | 00:33 | The Secondary Hue Curve can be found
alongside the other secondary curves, in
| | 00:36 | the Previews tab in the
middle of the Secondaries room.
| | 00:39 | So you can see that this clip is a
pretty cool shot of a big, pinkish, purplish
| | 00:43 | head statue, and talking with a client,
they actually wanted to change the
| | 00:46 | color of the statue to something a bit more
surreal, like a big headed statue is not surreal?
| | 00:52 | Well, I'm going to go ahead and
change the color of this statue using the
| | 00:55 | Secondary Hue Curve.
| | 00:57 | The secondary curves operate a little
bit differently than the primary curves
| | 01:01 | that I find in the Primary
In and Primary Out rooms.
| | 01:04 | On the secondary curves, the color
spectrum is mapped left to right.
| | 01:07 | I can see that pretty
easily just looking at the curve.
| | 01:11 | Manipulating the secondary curve does work
just like manipulating the primary curves.
| | 01:14 | I simply click on a
curve to add a control point.
| | 01:17 | The thing is, when you manipulate a
control point, each one of the secondary
| | 01:21 | curves, the Hue Curve, Saturation
and Luma Curve, operates differently.
| | 01:24 | For example, when I added a control
point here on the Hue Curve, if I drag up
| | 01:29 | or down, I'm rotating hue at that particular
part of the color spectrum around the color wheel.
| | 01:36 | Drag it down.
| | 01:37 | I'm rotating in the opposite direction.
| | 01:40 | Take, for example, if I add a control
point here in the pinkish or red portion
| | 01:43 | of the color spectrum.
| | 01:45 | Notice down here on my vectorscope, I
have a bit of trace that's pointing right
| | 01:49 | here towards the magenta
target. That's the statue.
| | 01:52 | If I take this control point and
drag it up, notice that the trace on the
| | 01:57 | vectorscope rotates to
the right or towards blue.
| | 02:00 | If I take that control point and drag
it down, notice that it rotates in the
| | 02:04 | opposite direction towards red and yellow.
| | 02:07 | Just like the primary curves, you
can effectively lock off a portion of a
| | 02:10 | secondary curve by making multiple
control points, so that you only affect the
| | 02:14 | part of the curve that's in
between two stationary control points.
| | 02:19 | I can remove an individual control point from
a curve, simply by dragging it off, like that.
| | 02:23 | Finally, I can reset the curve by
using this button up here in the upper
| | 02:27 | left-hand corner of the curve that
resets all of the control points.
| | 02:31 | So, as I mentioned, the goal of this
correction is to change the color of this
| | 02:35 | statue, and this statue is, obviously,
pretty pinkish, purple, little magenta,
| | 02:39 | but an easy way to find out where the
statue appears on the color spectrum is to
| | 02:43 | click into the preview, and then
click on the actual statue itself.
| | 02:47 | So I'm going to click in the preview
and then click on the statue itself.
| | 02:50 | And notice what happens is I got this
little box right here, what's called a Cage.
| | 02:55 | When this Cage is added, what Color does
is sample values at that part of the clip.
| | 03:01 | For the purposes of our discussion, what
that does down here on the Hue Curve is
| | 03:04 | it places this vertical line along the curve.
| | 03:08 | This is exactly where on the color
spectrum the hue of this statue is occurring,
| | 03:12 | right where this vertical line is.
| | 03:13 | Next to make the actual correction,
I'm going to add a few control points.
| | 03:18 | So I'm going to make two control points
around that vertical line, and then I'll
| | 03:21 | make two more outside of that.
| | 03:24 | The reason I'm making multiple control
points, again, is to effectively lock off
| | 03:28 | this portion of the curve
from this portion down here.
| | 03:31 | So now that I've made my control points
, I'm going to leave these two outside
| | 03:34 | points stationary, but use
the middle points and drag up.
| | 03:40 | Notice as I do, what's happening is
that the color of the statue is changing.
| | 03:46 | Which direction you drag the control
points, either up or down, will actually
| | 03:50 | make a difference in the color
that the statue will end up being.
| | 03:52 | Remember, if you drag up, you're
effectively rotating to the right along the
| | 03:56 | color wheel on the vectorscope, and
if you drag down, you're effectively
| | 03:59 | rotating hue to the left or
towards yellow-red on the vectorscope.
| | 04:03 | I think I actually want to make this
not blue, purple, but let's go ahead and
| | 04:07 | make it a little bit more red
and yellow, something like that.
| | 04:13 | Now one important note about
manipulating control points on the secondary
| | 04:17 | curves. The closer any two points are
together, the more severe our correction
| | 04:21 | will be. The farther apart
two points are, the less severe.
| | 04:25 | If you find yourself looking at a
clip and you're getting all sorts of
| | 04:27 | artifacting or ringing, what you need
to do is spread your control points out,
| | 04:32 | just a touch, like this.
| | 04:34 | And that will provide you
with a softer overall correction.
| | 04:38 | So you can see the Hue Curve is an
easy way to isolate a color on the color
| | 04:42 | spectrum and then change it to another hue.
| | Collapse this transcript |
| Leaving and removing colors using the Saturation curve| 00:00 | Popularized by films such as
'Pleasantville,' 'Schindler's List,' and scores of
| | 00:04 | commercial projects, a look you see all
the time is one where all of the colors
| | 00:07 | in a scene, besides a certain one, have
been removed, or another way of saying
| | 00:11 | that is that one color has been left behind.
| | 00:13 | Well, possible to do with the HSL
qualifiers, I find an easier way to achieve
| | 00:18 | this type of look is with the
Saturation Curve in the Secondaries room.
| | 00:21 | In this project, let me select the
Color Timeline and begin playback by
| | 00:24 | pressing the Spacebar.
| | 00:28 | This clip looks okay, but the thing that
pops out to me about this clip is these
| | 00:31 | red flowers right here.
| | 00:33 | I think a cool look to create would be
one where the flowers are saturated and
| | 00:36 | everything else in the clip is desaturated.
| | 00:38 | We can do this by using the Saturation Curve.
| | 00:41 | The Saturation Curve is located in the
middle of the Secondaries room, alongside
| | 00:45 | the Hue Curve, Luma Curve, and the Previews tab.
| | 00:49 | The Saturation Curve, like other
curves in the Secondary room, has the color
| | 00:52 | spectrum mapped left to
right or going red to red.
| | 00:56 | If I click on the curve,
I can add a control point.
| | 00:58 | On the Saturation Curve, after I've
added a control point, if I drag up, I'm
| | 01:03 | increasing saturation at that
point of the color spectrum.
| | 01:06 | If I take the control point and drag
down, I'm decreasing saturation at that
| | 01:11 | point of the color spectrum.
| | 01:12 | Like the other curves, I can add
multiple points to effectively lock off a
| | 01:16 | section of the curve from
the other part of the curve.
| | 01:20 | So when I move that middle control
point that I added, I was only affecting the
| | 01:23 | area between these two control
points and not the rest of the curve.
| | 01:28 | I can delete a control point off the
curve by selecting the control point and
| | 01:31 | dragging it off the curve.
| | 01:33 | I can reset the entire curve by
clicking on the Reset button here in the upper
| | 01:36 | left-hand corner of the curve itself.
| | 01:39 | Okay, now that we're a little bit more
familiar with the Saturation Curve, let's
| | 01:42 | go ahead and actually make the correction.
| | 01:44 | As I mentioned before, the look that
we want to create is one where these red
| | 01:47 | flowers are still saturated and
everything else in the clip is desaturated.
| | 01:52 | So I know I want to keep the red
flowers, so I guess I could just come into
| | 01:55 | the Saturation Curve and start making
control points around the red part of
| | 01:58 | the color spectrum.
| | 01:59 | But an easier way to do this is have
Color tell us exactly where the flowers are
| | 02:04 | on the color spectrum.
| | 02:05 | And the way that I do that is by
clicking into my preview and then clicking on
| | 02:08 | the flowers themselves.
| | 02:09 | Let me demonstrate.
| | 02:10 | So I'll click on the preview, and then
I'll go ahead and click on one of the flowers.
| | 02:15 | Down here in the Saturation
Curve, notice this vertical line.
| | 02:18 | This vertical line is Color's way of
telling us that this is where the flowers
| | 02:21 | exist on the color spectrum.
| | 02:23 | So now on the Saturation Curve,
I'm going to go ahead and add quite a
| | 02:27 | few control points.
| | 02:28 | The reason I'm adding multiple control
points is because I effectively want to
| | 02:31 | desaturate most of the color
spectrum, except for the red portion.
| | 02:36 | So I'm going to take the control points
that I've added and drag down quite a bit.
| | 02:42 | Just be careful as you're dragging these
control points down that you don't drag
| | 02:45 | them off the actual curve
itself, which would delete them.
| | 02:51 | So you might need to add a couple of
more points like this to get most of the
| | 02:56 | color spectrum desaturated.
| | 02:58 | If you take a peek up here in the preview,
the clip is starting to look pretty good.
| | 03:02 | I simply need to adjust a couple of
these control points a little more.
| | 03:08 | Okay.
| | 03:10 | That's starting to look pretty good.
| | 03:12 | One thing to keep in mind about moving
control points is that the closer two
| | 03:15 | control points are together, the
more severe our correction will be.
| | 03:19 | The farther two control points are
away like these two, the softer or less
| | 03:23 | severe the correction will be.
| | 03:24 | In this case, I want the correction to
be pretty severe, keeping only the red
| | 03:28 | part of the color spectrum. Okay.
| | 03:32 | That looks pretty good, but one thing
you might have noticed in this clip though
| | 03:35 | is that the subject's face here
still has a touch of saturation.
| | 03:39 | That's because, skin tone exists
naturally in the red, yellow part of the color
| | 03:43 | spectrum, or the part that we're keeping.
| | 03:45 | For this look, that's okay,
the clip still looks pretty cool.
| | 03:48 | Let me go ahead and disable this correction
real quick, so you can see the original clip.
| | 03:53 | Here's the original clip with
everything being saturated, and then here's the
| | 03:57 | clip after the correction.
| | 03:59 | Notice that just the flowers are saturated.
| | 04:01 | You might have noticed when I did that that
I appear to get some holes in the flowers.
| | 04:05 | That's because I've made some of my
control points a touch close to each other.
| | 04:08 | So I'm simply going to back off here
on a couple of these control points,
| | 04:11 | and remember, moving control points farther
away from each other, softens the correction.
| | 04:16 | That looks better.
| | 04:17 | So you can see, it's pretty easy to use
the Saturation Curve in the Secondaries
| | 04:21 | room to reduce or bolster saturation at
a particular part of the color spectrum.
| | 04:25 | In this case, we created
a very stylized, cool look.
| | Collapse this transcript |
| Making luma adjustments to specific colors| 00:00 | One type of correction that comes up
every now and then is the need to reduce
| | 00:03 | the Luma or lightness on a clip at a
specific part of the color spectrum.
| | 00:07 | This might be to fix a clip to make it
broadcast legal or to simply adjust the
| | 00:10 | overall look of a shot.
| | 00:11 | Let me go ahead and select the Color
Timeline in this project and press the
| | 00:15 | Spacebar to begin playback.
| | 00:17 | All right. This is just a simple B-roll
shot, and this clip has already had some
| | 00:23 | primary correction applied to it.
| | 00:25 | The goal of correcting this clip in
the Secondary room is to get the grass in
| | 00:28 | the shot looking a little more lush.
| | 00:31 | I experimented making the grass more
saturated with the Saturation Curve, but
| | 00:35 | that just made it look hyper color.
| | 00:37 | Often times, when you want something
to look more bold or defined, or in this
| | 00:40 | case more lush, lowering the
lightness of the feature touch can help.
| | 00:43 | And in this clip, I'm going to
do that by using the Luma Curve.
| | 00:47 | The Luma Curve abbreviated, Lum Curve
here in the middle of the Secondaries
| | 00:50 | room, is located alongside of the
other curves, as well as the Previews tab.
| | 00:55 | Just like the other secondary curves,
the color spectrum is mapped left to
| | 00:58 | right or red to red.
| | 00:59 | I can add a control point to Luma
Curve by clicking on the curve itself.
| | 01:04 | And on the Luma Curve, when I take the
control point and drag up, I'm increasing
| | 01:08 | lightness at that point of the color spectrum.
| | 01:11 | If I take the control point and drag it
down, I'm darkening up the clip at that
| | 01:14 | point in the color spectrum.
| | 01:16 | Just like the other secondary curves,
I can use multiple control points to
| | 01:19 | effectively lock off a section of the
curve, so I can manipulate it without
| | 01:23 | manipulating the rest of the curve.
| | 01:26 | Just like the other secondary curves, I
can remove an individual control point
| | 01:29 | by clicking on the control
point and dragging it off the curve.
| | 01:32 | I can reset the entire curve by clicking
the blue Reset button here in the upper
| | 01:36 | left-hand corner of the curve itself.
| | 01:39 | As I mentioned, the goal of this clip
is to have the grass in the shot look a
| | 01:42 | little bit more lush and bold.
| | 01:44 | I know that grass is green, obviously,
but a cool way in Color that we can have
| | 01:47 | Color tell us exactly where the grass
is in the color spectrum is by clicking
| | 01:51 | into the preview and then onto the grass itself.
| | 01:54 | When I do that, notice that I get
this little box or cage right here.
| | 01:58 | Down here on the Luma Curve, what
Color did was placed this vertical line on
| | 02:02 | the curve itself, letting us know that this is
where the grass occurs on the color spectrum.
| | 02:07 | So next, what I want to do is add
a couple of control points around
| | 02:10 | this vertical line.
| | 02:11 | I'll add a control point here, another
control point here, and then two more
| | 02:16 | outside of those control points.
| | 02:18 | The reason I'm adding multiple control
points is to effectively lock off this
| | 02:21 | section of the curve from
this part of the curve down here.
| | 02:24 | Now that I've added the control points,
I'm going to leave the outside control
| | 02:27 | points stationary and
manipulate the inside ones.
| | 02:30 | So what I'm going to do is darken up the
grass a little bit by taking the inside
| | 02:34 | control points and dragging down just a touch.
| | 02:38 | As I do that, you should notice that
the grass here on my preview gets a little
| | 02:41 | darker, and overall, looks a little more lush.
| | 02:44 | Just like the other secondary curves,
the closer two control points are to each
| | 02:47 | other, the more severe a correction is.
| | 02:49 | The farther away they are from each other,
the more soft or less severe the correction is.
| | 02:55 | So let me go ahead and toggle this
correction on and off by using the Enabled
| | 02:58 | button here at the top of the Secondaries room.
| | 03:01 | So here is the clip prior to the correction,
and here is the clip after the correction.
| | 03:05 | Now, I actually think I went a bit
too far, because the trees are looking
| | 03:08 | black instead of green.
| | 03:10 | So that's easy to fix.
| | 03:12 | We'll simply click on these points
again and drag up just a touch, just like
| | 03:16 | that, so that the trees and
the grass aren't quite as dark.
| | 03:20 | If I toggle the correction on and off again,
here is the original, and here is the corrected.
| | 03:25 | That looks much better.
| | 03:26 | We've achieved our goal of making
the grass look a little bit more lush.
| | 03:30 | So that's pretty much all
there is to using the Luma Curve.
| | 03:32 | The Luma Curve is one that you don't use
all the time, but in cases like this, it
| | 03:36 | really does come in handy.
| | Collapse this transcript |
| Using multiple secondaries| 00:00 | So far, throughout this chapter, we've
only been using one secondary tab from the
| | 00:04 | Secondaries room to make secondary corrections.
| | 00:07 | But there are times when you need to
make multiple corrections on the same
| | 00:09 | Secondary tab, and other times when you
need to harness the power of the eight
| | 00:13 | separate Secondary tabs in the
Secondaries room to complete a look.
| | 00:17 | In this first clip of my Color
Timeline, I've previously used an HSL key to
| | 00:21 | select most of the sky in this clip.
| | 00:22 | Let me show you the final correction by
switching my Matte Preview mode button
| | 00:26 | from the Desaturated Preview, this one
right here, the one that's gray, green,
| | 00:30 | gray, to the final image, the
button that's red, green, and blue.
| | 00:33 | Notice on this clip that not only is
the sky corrected, but also the water and
| | 00:38 | other parts of the clips like
the mountains have this warm tone.
| | 00:42 | The problem is that the HSL values from the
sky also happen in places like the water here.
| | 00:48 | So what can we do to fix this?
| | 00:49 | Well, when working with HSL keys, you can
limit the effect of a key by using a vignette.
| | 00:54 | Let me show you what I mean.
| | 00:56 | So in the Secondaries room, I've
already made the HSL key as we just described,
| | 01:00 | but now when I come down and click on
the Vignette button to enable a Vignette.
| | 01:05 | And what you should notice when I
enable the Vignette is that here in my
| | 01:09 | preview, the correction is only
happening inside of the default Circle Vignette.
| | 01:14 | That's because the Vignette limits the
selection made by the HSL key and the
| | 01:18 | color correction that we made with
the secondary color balance controls.
| | 01:22 | Obviously, this is not the
look that we're going for.
| | 01:24 | So let's make this look a touch better.
| | 01:25 | I'm going to change this Vignette type
from Circle to Square, using the Shape
| | 01:29 | pop-up here from the Vignette
controls of the Secondaries room.
| | 01:32 | Then I'm going to use the on-screen
controls here in the Previews tab to
| | 01:36 | position the Vignette, and then
resize the Vignette, something like that.
| | 01:42 | Finally, I'm going to add quite a
bit of Softness to this Vignette.
| | 01:44 | Now if I want to, I can
resize the Vignette just a touch.
| | 01:51 | To get a better look of this clip in
the preview, let's go ahead and click
| | 01:54 | this button right here, which will turn off
the outline on the Vignette in our preview.
| | 01:59 | Okay.
| | 02:00 | That looks much, much better.
| | 02:03 | So again, remember that you can limit
the effect of an HSL key and any color
| | 02:07 | corrections you do by adding a Vignette.
| | 02:10 | When you do that, the correction only
happens inside of the Vignette. All right.
| | 02:14 | Let's go ahead and navigate down to
the next clip in the Color Timeline.
| | 02:17 | I will simply just drag my
playhead down here in the Timeline.
| | 02:19 | I've already applied a primary
correction to this clip, but it's still looking a
| | 02:23 | little flat, especially here in the sky.
| | 02:27 | Also, I feel like the host of the show,
who's walking right here, is getting a
| | 02:30 | little lost against the darkness of this fence.
| | 02:32 | Actually, I think, I'd like to focus
more attention to the center of the screen,
| | 02:37 | this part right here. Oh boy!
| | 02:39 | That's quite a few corrections.
| | 02:41 | We can't do that all in one Secondary tab.
| | 02:44 | So what we're going to have to do is
use multiple Secondary tabs here at the
| | 02:47 | bottom of the Secondaries room.
| | 02:49 | So let's start out first with the sky.
| | 02:51 | Let's make sure we're on Secondaries tab 1.
| | 02:53 | I'm going to go ahead and use the HSL
Eyedropper, and then sample some values
| | 02:58 | here in the sky, just like that.
| | 03:03 | Then I'm going to refine the
selection, using the HSL Qualifiers.
| | 03:07 | If you need a refresher on using the
HSL Qualifiers, be sure to check out the
| | 03:10 | earlier movie in this chapter
on using the HSL Qualifiers.
| | 03:13 | Now that I've made the selection, I'm
going to add a bit of Key Blur to soften
| | 03:17 | the edges of the selection, and then
let's go ahead and use the Highlight color
| | 03:20 | balance control and drag towards
yellow and red, something like that.
| | 03:26 | Now I want to apply a Vignette so we can
have the host pop off the screen a bit more.
| | 03:31 | To do that, I'm going to
click over to Secondaries tab 2.
| | 03:34 | Then I'm going to click on the
Previews tab here in the middle of
| | 03:36 | the Secondaries room.
| | 03:37 | I'll go ahead and enable the Vignette
by clicking on the Vignette button, and
| | 03:41 | then I'm going to resize the
Vignette so it's positioned around the host.
| | 03:47 | After I position it, I'll add a bit of
Softness, and remember, I can control any
| | 03:51 | parameter box and color by simply
positioning my cursor over the parameter box,
| | 03:54 | and then using the middle scroll
wheel on my mouse to scroll up.
| | 03:58 | I can make values change faster by holding
down the Option key and also scrolling up.
| | 04:02 | Okay, so that's a good amount of Softness.
| | 04:05 | Next, what I'm going to do is come into
my Secondaries color balance controls,
| | 04:08 | and drag up in the Highlight color
balance control to lighten the inside of the
| | 04:12 | Vignette, something like that.
| | 04:14 | Then we'll go ahead and switch
the Control pop-up to the Outside.
| | 04:18 | And now I'm going to darken the
outside of this Vignette just a touch, so we
| | 04:22 | draw a little bit more
attention to the subject right here.
| | 04:25 | Finally, I think, this clip could benefit
by using a traditional lens type Vignette.
| | 04:30 | To do that, I'm going to click on
Secondaries tab 3, and then once again, on
| | 04:34 | the Previews tab let's go ahead and enable a
Vignette by clicking the Vignette button here.
| | 04:40 | The default Circle Vignette is fine,
and what I'm going to do is make it nice
| | 04:43 | and big by positioning it over here,
and then resizing it, something like that.
| | 04:49 | Then I'll add quite a bit of Softness
with the Softness parameter here in the
| | 04:52 | Vignette section of the Secondaries room.
| | 04:53 | Then I'm going to switch the Control
pop-up to the Outside, and drag the
| | 04:57 | Highlight Contrast slider down quite a
bit, like that, to create a traditional
| | 05:02 | lens style Vignette.
| | 05:04 | Okay, this clip is looking pretty good.
| | 05:06 | The thing to understand is that each
one of these corrections happened on its
| | 05:09 | own Secondaries tab.
| | 05:11 | So in this first tab, I treated the
sky, and actually I think the sky is a
| | 05:15 | little bit too saturated, so I'm
going to back off it just a touch,
| | 05:18 | something like that works.
| | 05:20 | Then on the second Secondaries tab, I
used a Vignette around the host so we
| | 05:23 | could focus our attention to him by
lightening him up a bit inside of the
| | 05:27 | Vignette, and then darkening
the outside of the Vignette.
| | 05:30 | Finally, in Secondaries tab 3, I
mimicked a traditional lens style Vignette by
| | 05:33 | darkening the edges of
the screen quite severely.
| | 05:36 | Okay, so that's using multiple secondary
corrections on one tab as well as using
| | 05:40 | separate tabs to make several
different secondary corrections.
| | 05:43 | Remember that you can use up to
eight different Secondary tabs in the
| | 05:46 | Secondaries room when you have shots
that are very complex, and you need to
| | 05:50 | apply a lot of secondary corrections.
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|
|
8. Using the Color FX RoomWhat does the Color FX room do?| 00:00 | The Color FX room is the sexy part of Color.
| | 00:03 | Okay, I think that just about
everything in Color is sexy.
| | 00:06 | But the Color FX room, which is mainly
used to create stylized looks, always
| | 00:09 | gets a lot of attention.
| | 00:11 | Let's take a look at how
the Color FX room is laid out.
| | 00:13 | On the left-hand side here I have my
node list. Each node in the node list
| | 00:17 | performs a separate operation on a clip.
| | 00:20 | The thing to remember is because the
Color FX room comes after the Primary In
| | 00:23 | and Secondaries rooms, the footage
that each node affects is actually footage
| | 00:28 | that possibly has primary or
secondary corrections already applied to it.
| | 00:32 | The large gray area here in the
middle of the room is called the node view.
| | 00:36 | This is where I work with
and manipulate node trees.
| | 00:39 | Node trees are simply
multiple nodes linked altogether.
| | 00:42 | Let me show you a node tree by showing
you another part of the Color FX room.
| | 00:46 | Down here in the bottom right-hand
corner of the Color FX room, I have two tabs,
| | 00:50 | the Parameters tab, which when I have
a node selected here in my node view, I
| | 00:54 | can adjust different parameters about that node.
| | 00:56 | And the Color FX Bin.
| | 00:58 | The Color FX Bin is where I can
access pre-built nodes created by Apple
| | 01:02 | that ship with Color.
| | 01:03 | In the next movie, we'll actually
talk about downloading additional Color
| | 01:06 | FX presets from Apple.
| | 01:07 | The Color FX Bin is also where I can
save and access my own node trees that I've
| | 01:12 | saved, and we'll talk more about
saving node trees in a later chapter.
| | 01:16 | For now, on this clip, I'm just
going to apply a pre-built node tree.
| | 01:19 | Let me go ahead and find the
node tree called Dream_Cold.
| | 01:22 | Now currently, I'm viewing the Color
FX Bin as a list, and I can control how
| | 01:26 | I'm viewing the Color FX Bin with these
controls up here at the top of the Color FX Bin.
| | 01:31 | So, as I mentioned right now, I'm
viewing this as a list, but I can also view
| | 01:34 | the Color FX Bin as icons by
clicking on this button right here.
| | 01:38 | When I'm viewing the Color FX Bin as
icons, I can use the slider to adjust
| | 01:43 | the size of the icons.
| | 01:45 | Now that I have that node tree called
Dream_Cold selected, I want to apply it
| | 01:50 | to this first clip.
| | 01:51 | To do that, I can do a couple things.
| | 01:53 | First, I can double-click on it or I
can come down with it selected, and
| | 01:58 | click on the Load button.
| | 02:00 | I'm just going to go ahead and double-
click on it to apply it to this clip.
| | 02:04 | Now, notice here in the node view I
have a bunch of nodes all linked together.
| | 02:09 | Each node is linked
together by what we call a noodle.
| | 02:12 | That's just this white line right here.
| | 02:14 | Each noodle connects the output of
one node to the input of another node.
| | 02:19 | So, here is the output of this Blur node,
and here's the input of this Add node.
| | 02:24 | Each node has at least one input,
while some nodes like this Add node right
| | 02:29 | here has two inputs.
| | 02:31 | Nodes with multiple inputs let us
combine different manipulations to our clips.
| | 02:36 | The thing to remember is that the output
of each node is what feeds the input of
| | 02:40 | a node further down on the node tree.
| | 02:43 | When talking about node trees you'll
often hear the phrase adjusting a node
| | 02:46 | further downstream.
| | 02:47 | What that means is a node that
comes further down in the node tree.
| | 02:51 | So, for example, this Gamma node is
further downstream than say this Add node.
| | 02:56 | Another thing to remember is that when
you click on a node further downstream,
| | 02:59 | you're viewing its effect as well as
the sum as the nodes that came before.
| | 03:03 | So when I click on this Add node, I'm
seeing its effect, but also I'm seeing the
| | 03:07 | effect of the Blur node and the B&W node.
| | 03:11 | With the node selected, if I come down
to the bottom right-hand corner of the
| | 03:14 | Color FX room and click on the Parameters tab,
I can adjust the parameters for a given node.
| | 03:18 | With this B&W node selected, you'll
notice that there's actually no parameters
| | 03:23 | that I can adjust for it.
| | 03:24 | Some nodes have parameters that
you can adjust, while others don't.
| | 03:27 | The only thing I can do
on this node is bypass it.
| | 03:30 | So, if the click the Bypass button
here, you'll notice around the B&W node
| | 03:34 | and the noodle that connects the B&W node
to the Add node, I have this orange outline.
| | 03:39 | This indicates that this node
is currently being bypassed.
| | 03:42 | Let me turn the node back on by
clicking on the Bypass button.
| | 03:46 | Other nodes, like this Blur,
have parameters that we can adjust.
| | 03:50 | In the case of the Blur node,
Spread is just a parameter to control how
| | 03:54 | blurry the node is.
| | 03:56 | Okay, so let's go ahead and navigate
down to the next clip in my Color Timeline,
| | 04:00 | and I'm going to click back on the Color FX Bin.
| | 04:03 | Let's go ahead and try the Blue_
Movie preset, this one right here.
| | 04:06 | I'll double-click on it
to apply it to this clip.
| | 04:09 | You'll notice that this node tree is
much more complicated than the previous one.
| | 04:13 | Sometimes when you get a node tree
that's very large, the node view can be very
| | 04:17 | difficult to look at.
| | 04:18 | When that happens you can
reposition any given node.
| | 04:22 | To do that, you simply click
on the node, and drag it around.
| | 04:26 | If you draw a box around multiple nodes,
notice that they all become selected.
| | 04:31 | You can then move them as one large group.
| | 04:33 | Finally, let's go the last
clip in this Color Timeline.
| | 04:37 | I don't want to give you the
impression that using the Color FX room is just
| | 04:40 | about using presets.
| | 04:42 | We can actually make our own node trees,
using the individual nodes here in the node list.
| | 04:47 | I'm going to build a very
simple node tree right now.
| | 04:50 | In later movies in this chapter,
we'll build more complex node trees.
| | 04:55 | So let me start out by taking this B&W
node, and dragging it into the node view.
| | 04:59 | Then I'm going to go ahead and
take a Film Grain node, and drag it in
| | 05:03 | between the B&W node, and the Output
node, dragging it onto the noodle that
| | 05:08 | connects these two.
| | 05:09 | When I do that, the Film Grain node is
inserted between the B&W and Output nodes.
| | 05:14 | I'm then going to select the Film Grain
node, come down to the Parameters tab,
| | 05:18 | and adjust its Grain Intensity.
| | 05:20 | By adjusting Grain intensity, I
want to make the clip much grainier.
| | 05:24 | Immediately, these color effects are a
little silly for these particular clips.
| | 05:27 | But now that we have a better idea of
how the Color FX room works, we'll dive
| | 05:30 | into a little bit more detail in the
rest of this chapter and explore building
| | 05:33 | our own node trees, and
buildings some common looks.
| | Collapse this transcript |
| Using presets and downloading Color FX looks| 00:00 | So the Color FX room is cool, but it
gets cooler when you factor in Apple has
| | 00:04 | provided about 90 new
color effects presets online.
| | 00:07 | Before we download some color effects
presets from Apple, I should point out
| | 00:10 | that Color does, in fact, ship with
several dozen presets, which are great.
| | 00:14 | But now available on the Apple website
here, there are dozens more that I think
| | 00:18 | are much more useful than the stock presets.
| | 00:20 | What you need to do is simply
navigate to apple.com/finalcutstudio/resources.
| | 00:25 | Once you get to that page, come down
to the Color Looks section, and click on
| | 00:28 | the Go To Download Page.
| | 00:30 | Once on the Download page, simply click the
Download button to download the Color Looks.
| | 00:34 | Once the Looks are downloaded,
let me go ahead and hide Safari.
| | 00:40 | What happens when you download the Looks
is that a Color Looks disc image opens up.
| | 00:44 | Inside of that, there is a
folder called Color Looks.
| | 00:47 | Let me open up that directory.
| | 00:49 | In this directory, you'll see folders for
all the different categories of new Looks.
| | 00:53 | You'll see a read-me file
about installing the New Looks.
| | 00:56 | Now you could read this file, but let me
just tell you where to install these Looks.
| | 01:00 | I'm going to go ahead and open up my
Macintosh hard drive, and then come to my
| | 01:04 | Users folder, and then go to Library,
and then go to Application Support, and
| | 01:10 | then finally to Color.
| | 01:12 | Right here I have an Effects folder.
| | 01:14 | Let me double-click on that to open it up.
| | 01:16 | The Effects folder is where all
your color effects presets are saved.
| | 01:19 | You'll notice already in this
folder, I have a lot of presets.
| | 01:24 | These are the stock
presets that ship with Color.
| | 01:26 | So what I could do is simply take all of
these folders that I've downloaded, and
| | 01:30 | dump them into this location.
| | 01:32 | But to keep them separate from the
original looks that ship with Color, I'm
| | 01:35 | going to go ahead and, in the Effects
folder, create a new folder, and call this
| | 01:39 | folder 'downloaded looks'.
| | 01:43 | I'll open up the downloaded looks
folder, and then simply take all the new
| | 01:47 | downloaded looks and drag
them in to that new folder.
| | 01:51 | Now that I've installed the Looks, I
can close these windows as well as unmount
| | 01:57 | the disc image by selecting that and
pressing Command+D on my keyboard. Okay.
| | 02:01 | Now that we've installed these Looks,
let's go ahead and open up a Color project.
| | 02:05 | From the exercise files, I'm going to
open up the project called 08_02_using
| | 02:09 | presets and downloading ColorFX looks.
| | 02:11 | I'll double-click on it to open it up.
| | 02:14 | Once Color opens, I am going to
navigate to the Color FX room, and then let's
| | 02:17 | click over on the Color FX Bin.
| | 02:20 | If you're in list view, like I am, you
should see a folder called downloaded looks.
| | 02:26 | You can also see this folder when
you're in icon view. It's right here.
| | 02:28 | Let me double-click on
that folder to open it up.
| | 02:32 | The downloaded looks folder was the
folder that we just created in the Finder.
| | 02:35 | It contains all the newly downloaded Looks.
| | 02:37 | Let me click back to list view.
| | 02:39 | You'll see that there is a ton of
different categories like Bleach Bypass, Blues
| | 02:43 | and Greens, Drama, Skin
Softening, Vignettes, and so on.
| | 02:47 | What I'm going to do is
apply a couple of these presets.
| | 02:49 | Let me select my Color Timeline and
press Shift+Z to snap the clips in this
| | 02:53 | Timeline back into the viewable area.
| | 02:54 | In this first clip, what I think I
want to do is go into this Deep and Soft
| | 02:58 | Shadows category and apply a
preset called, De-Sat_Deep_Shadows_1.
| | 03:03 | It's this first preset here.
| | 03:05 | I will just double-click on
it to apply it to this clip.
| | 03:06 | That provides a very filmic, contrasty look.
| | 03:11 | Let's go back up one level in the Color
FX Bin, by using the button right here
| | 03:15 | with the up arrow on it.
| | 03:17 | Another category that will save you a
lot of time is the Vignettes category.
| | 03:20 | These types of looks are requested all the time.
| | 03:23 | Before we apply one of these presents,
let's go out here into the node view, and
| | 03:27 | select all these nodes, and
press Delete to delete them.
| | 03:30 | Then let's go into the Vignettes
folder, and let's add a Vignette called
| | 03:34 | Vignette_Blue_Green, this second one right here.
| | 03:38 | I have to say that Apple did a
really good job of these new presets, and
| | 03:40 | there are a ton of Looks.
| | 03:42 | But I think one of the categories
that's most useful day-to-day are the Skin
| | 03:45 | Smoothing Looks, and I use those all the time.
| | 03:48 | Let me navigate back up one level in
the Color FX Bin, and then let's navigate
| | 03:53 | to the second clip in this Color Timeline.
| | 03:55 | Here in the Color FX Bin, you'll
see a folder called Skin Soften.
| | 03:58 | Let's go ahead and open that up.
| | 03:59 | Like any preset, these Looks will just
get you started, and let me go ahead and
| | 04:03 | take this first preset called Skin_
Soften_1, and apply it to this clip.
| | 04:08 | Now that the preset has been applied, I
actually have a little bit of labor to do.
| | 04:11 | I'm going to select these three nodes here.
| | 04:13 | I know that we haven't talked about
creating node trees or adjusting nodes, but
| | 04:17 | I want to show you how all of
these presets are adjustable.
| | 04:20 | We'll talk further about the steps I'm about
to do in the rest of the movies in this chapter.
| | 04:24 | So here's this node tree.
| | 04:26 | But to make it really work, I have to
adjust some of these nodes, namely, this
| | 04:30 | node right here called the HSL Key node.
| | 04:32 | So to adjust this, what I'm going to
do is double-click on this node right
| | 04:35 | here called Blur node.
| | 04:36 | When I double-click on a node that's
further downstream or comes after the one
| | 04:40 | that I want to adjust, it
locks my viewer onto that node.
| | 04:45 | So, with the Blur node in view, I am
going to single-click on the HSL Key node,
| | 04:48 | and come to the Parameters tab here
at the bottom of the Color FX room.
| | 04:52 | Then what I'm going to do, just like
we've done before with refining HSL
| | 04:56 | keys, is use the HSL Qualifiers here,
so that only the skin tone of this
| | 05:01 | subject is selected.
| | 05:02 | Let me spend a second to do that.
| | 05:07 | Okay.
| | 05:08 | That's much better.
| | 05:09 | I'll double-click anywhere here in the
gray area to deselect the HSL Key node
| | 05:13 | and to unlock the Blur node from the viewer.
| | 05:16 | So that's downloading and using the
new Apple color effects presets in the
| | 05:19 | Color FX room.
| | Collapse this transcript |
| Creating node trees| 00:00 |
Okay, I admit it, building a node
tree from scratch is not the most
| | 00:04 |
straightforward process in Color.
| | 00:06 |
Before we begin, let's get on
the same page about one concept.
| | 00:10 |
A node tree is simply different nodes
linked together to create an overall look.
| | 00:16 |
Each node does something slightly
different to the clip, but collectively, they
| | 00:20 |
create an effect or a look.
| | 00:22 |
So let's go ahead and take a look at
building a simple node tree from start to finish.
| | 00:26 |
Let's come over to the node list, this
area on the left-hand side of the Color
| | 00:29 |
FX room, and find the
Duotone node, this one right here.
| | 00:33 |
I'm going to go ahead and drag
this Duotone node into the node view.
| | 00:37 |
Notice when I do that, that the
node view becomes highlighted.
| | 00:40 |
I'll go ahead and let go.
| | 00:42 |
When I do that, notice that the
Duotone node came along with an Output node,
| | 00:47 |
this guy right here.
| | 00:48 |
This is a really important point.
| | 00:50 |
Any node tree you build
must have an Output node.
| | 00:54 |
By dragging a node into a
blank node view, an Output node is
| | 00:58 |
automatically created.
| | 01:00 |
The Output node connects a node
tree to the color render pipeline.
| | 01:03 |
Without an Output node,
your tree won't be rendered.
| | 01:07 |
So let's go ahead and change a
few parameters of the Duotone node.
| | 01:10 |
To do that, I'll simply click on the node.
| | 01:12 |
I know that it's active when it's
highlighted this blue-turquoise color.
| | 01:16 |
Then with the Duotone node active,
I'm going to go ahead and click on the
| | 01:19 |
Parameters tab here at the
bottom of the Color FX room.
| | 01:23 |
The Duotone node has two parameters that I
can adjust, a Light Color, and a Dark Color.
| | 01:28 |
I'm going to change both of them towards blue.
| | 01:30 |
I'll simply drag this target for the
Light Color towards blue, like that, and
| | 01:36 |
I'll go ahead and do the same thing
for the Dark Color, just like that.
| | 01:41 |
Next, let's come back over into our
node list, and find the Film Grain node,
| | 01:45 |
this guy right here.
| | 01:46 |
This time instead of dragging, I'm just
going to double-click on the Film Grain node.
| | 01:51 |
Notice when I did that, the Film Grain
node was added to the node view, but it
| | 01:55 |
is not connected to the rest of the tree.
| | 01:58 |
Let's try that again.
| | 01:59 |
I'm going to select the Film Grain node,
and then just press Delete on my keyboard.
| | 02:03 |
Instead of double-clicking on the
Film Grain node, let's go ahead and drag
| | 02:06 |
it into the node view.
| | 02:07 |
You'll notice when I did that it didn't
come along with an Output node. That's fine.
| | 02:12 |
The reason it didn't come along with an
Output node is because I only need one
| | 02:16 |
Output node in any node tree.
| | 02:18 |
And because I'd previously dragged the
Duotone node in, it came with an Output node.
| | 02:22 |
Color is smart enough to figure out
that I don't need another Output node.
| | 02:27 |
So with the Film Grain node selected,
let's come to the Parameters tab and
| | 02:30 |
adjust the Grain Intensity up quite a bit.
| | 02:32 |
I'm simply going to hover my cursor over
the Grain Intensity parameter, and then
| | 02:36 |
use the scroll wheel on my mouse to scroll up.
| | 02:39 |
I can make this go faster by
holding down the Option key.
| | 02:44 |
Okay, now that we've adjusted the Film
Grain node, you'll notice that it's still
| | 02:47 |
not connected to anything.
| | 02:49 |
So we need to talk about
connecting and disconnecting noodles.
| | 02:52 |
A noodle is just this thin white line
that connects the output of one node to
| | 02:57 |
the input of another node.
| | 02:59 |
What I want to do here is connect the
Duotone node to the Film Grain node, and
| | 03:03 |
finally, to the Output node.
| | 03:04 |
So to do that, I first need to
disconnect the noodle that's connecting the
| | 03:08 |
Duotone node to the Output node.
| | 03:10 |
To disconnect a noodle, the easiest
thing to do is simply double-click on the
| | 03:13 |
input of a node downstream.
| | 03:16 |
So, in this case, the node downstream
from the Duotone node is the Output node.
| | 03:19 |
I'll just double-click on its input.
| | 03:22 |
You'll notice that the noodle disappears.
| | 03:25 |
Okay, now that we've disconnected that
noodle between the Duotone node and the
| | 03:28 |
Output node, let's reposition our
nodes, like so, so the node tree makes a
| | 03:32 |
little bit more sense.
| | 03:34 |
Now what I want to do is
connect these nodes altogether.
| | 03:37 |
So, I'm going to click-and-drag
on the output of the Duotone node.
| | 03:40 |
When I do that, notice
that I have this green noodle.
| | 03:43 |
The green noodle just indicates that it
hasn't been connected to the input of another node.
| | 03:47 |
So I'm going to drag down onto
the input of the Film Grain node.
| | 03:51 |
Notice when I do that, the input of the Film
Grain node becomes highlighted and says Source.
| | 03:56 |
I'll let go.
| | 03:58 |
Now, these two nodes are connected.
| | 04:00 |
I'll do the same thing here with the
output of the Film Grain node, and drag it
| | 04:04 |
to the input of the Output node.
| | 04:06 |
So now I have a node tree where the
Duotone node feeds the Film Grain node,
| | 04:10 |
which finally gets
outputted with the Output node.
| | 04:13 |
Let me show you one more
interesting thing about connecting noodles.
| | 04:16 |
With the Film Grain node selected like
it is I'm going to go ahead and press
| | 04:19 |
Delete on the keyboard.
| | 04:21 |
Because I deleted a node in the middle
of a node tree, the Duotone and Output
| | 04:25 |
nodes are no longer connected.
| | 04:27 |
So, let's go ahead and reconnect them.
| | 04:29 |
Again, I can do that by dragging the
output of the Duotone node to the input
| | 04:33 |
of the Output node.
| | 04:34 |
My feeling is all this connecting and
disconnecting can become old real fast.
| | 04:39 |
So, what I can do is I can
automatically connect nodes together, when I drag a
| | 04:43 |
node into the node view.
| | 04:44 |
Here's how this works.
| | 04:46 |
Instead of double-clicking or just
dragging this Film Grain node into the node
| | 04:50 |
view, what I'm going to do is drag the
node onto the noodle that's currently
| | 04:54 |
connecting the Duotone and Output nodes.
| | 04:57 |
Notice when I do that that the
noodle becomes highlighted blue.
| | 05:01 |
When I let go, the Film Grain node is
automatically connected to the Duotone and Output nodes.
| | 05:08 |
That's a lot faster.
| | 05:09 |
Let's go ahead and select this whole
node tree by drawing a box around it, and
| | 05:12 |
pressing Delete on the keyboard to remove it.
| | 05:14 |
Multi-input nodes work just like single
input nodes with an obvious difference
| | 05:19 |
that they have multiple inputs.
| | 05:20 |
The thing to remember about multi-input
nodes is that a blank input simply feeds
| | 05:25 |
in the original clip, i.e., the
clip before the Color FX room.
| | 05:29 |
Another way of saying that is that it
feeds in the clip affected by the Primary
| | 05:32 |
In and Secondaries rooms.
| | 05:34 |
Also, different inputs on multiple
input nodes can do different things.
| | 05:37 |
For example, this Alpha Blend node
right here, which I'll drag into the node
| | 05:42 |
view, has three inputs, one for
Source 1, one for Source 2, and another
| | 05:48 |
input called Alpha.
| | 05:49 |
We're going to actually use this Alpha
Blend node in a couple of recipes later
| | 05:53 |
in this chapter, but for right now,
let me go ahead and delete it.
| | 05:55 |
I'll also delete the Output node.
| | 06:00 |
So quickly, let's build a
very simple multi-input node.
| | 06:03 |
First, let's go ahead and add a Color node.
| | 06:05 |
I'll select the Color node and double-
click on it to add it to the node view.
| | 06:09 |
Then let's go ahead and add an Add node.
| | 06:12 |
I'll double-click on it here
at the top of the node list.
| | 06:16 |
So what I'm going to do is take the
output of the Color node and drag it to one
| | 06:20 |
of the inputs on the Add node, just like that.
| | 06:23 |
Well, for any node tree to work,
remember that I have to have an Output node.
| | 06:27 |
So, let's scroll down and find the
Output node, and double-click on it to add
| | 06:30 |
it to the node view.
| | 06:32 |
So, we'll take the output of the Add node,
and drag it to the input of the Output node.
| | 06:39 |
Okay, this probably wasn't the look
that you were thinking of, but remember
| | 06:42 |
what I said about multi-input nodes.
| | 06:45 |
Currently, one input of this
Add node is from this Color node.
| | 06:48 |
This blank input is getting the original clip.
| | 06:52 |
So if I go ahead and select the Add
node, I can adjust the Bias or the split
| | 06:57 |
between these two inputs.
| | 07:00 |
So what I'm going to go ahead and
do is adjust the Bias of Source 2.
| | 07:03 |
Currently, it's set to 0.5, which
means that this input is only getting half
| | 07:07 |
of the original clip.
| | 07:08 |
I want to go ahead and make this value 1.
| | 07:11 |
Now the entire original clip
is being fed in to input 2.
| | 07:15 |
Then using the controls for Source
1 Bias, I'm going to scroll down to
| | 07:19 |
something like 0.22.
| | 07:24 |
Though this clip is so
blue, it looks much better.
| | 07:27 |
The node tree and the effect that I
just created is probably not one that I'd
| | 07:29 |
actually do, simply because I can do
this type of tinting elsewhere in Color.
| | 07:34 |
The reason I added this node tree
was to simply demonstrate multi-input
| | 07:37 |
nodes, like this Add node.
| | 07:38 |
So now you should be a bit more
comfortable in building node trees.
| | 07:41 |
Over the next few movies, we'll
continue to build different node trees and
| | 07:44 |
explore the Color FX room.
| | 07:47 |
| | Collapse this transcript |
| Interlaced footage and node trees| 00:00 | One area that needs special attention
in regards to the Color FX room is building
| | 00:04 | node trees when dealing with interlaced footage.
| | 00:07 | Color requires special handling of
node trees when working with interlaced
| | 00:10 | footage to make sure that
the footage looks as expected.
| | 00:13 | So, here I have a clip that's already
had a node tree applied to it, but this
| | 00:16 | clip is interlaced, so it require a
special handling to look as it should.
| | 00:21 | Now, technically, every node tree that is
applied to interlaced footage should be
| | 00:25 | handled using the method
I'll describe in this movie.
| | 00:28 | But in my experience, you should
build a regular node tree first, and if it
| | 00:31 | doesn't look quite right, or shows
any sort of artifacting, then you should
| | 00:36 | follow the method that
I'll describe in this movie.
| | 00:38 | With that said, if you build any node
tree that applies a transform, really
| | 00:42 | meaning the Translate and Scale nodes from
the node list here, you must use this method.
| | 00:47 | Okay, so what needs to happen when
you're dealing with a clip that is
| | 00:49 | interlaced, and we'll have a node tree
applied to it, is that we need to process
| | 00:53 | the odd fields and the even fields separately.
| | 00:57 | Then at the bottom of the node three,
combine those fields back together.
| | 01:00 | So here's how it works.
| | 01:01 | But first thing that we need to do
with this node tree is duplicate it.
| | 01:05 | Luckily for us, Color 1.5 supports
Copy and Paste in the Color FX room.
| | 01:10 | So all we need to do to copy all these
nodes is to simply draw a box around them.
| | 01:15 | Then I'll press Command+C on the
keyboard to copy all of these nodes.
| | 01:18 | Press Command+V to paste them.
| | 01:21 | Let me just drag the pasted nodes over
here like this, so that the overall node
| | 01:25 | tree is going to be easier to look at.
| | 01:27 | Now that we've duplicated the node tree,
we need to add a Deinterlace node at
| | 01:31 | the top of each half of the overall node tree.
| | 01:34 | Each half of the overall node
tree will process a different field.
| | 01:38 | So let me go ahead and find the
Deinterlace node, right here in the node list.
| | 01:42 | I'm going to double-click on it twice to
add two Deinterlace nodes to the node view.
| | 01:46 | I'll take this one and position it
on this half of the overall node tree.
| | 01:51 | Then I'll take this Deinterlace node and
place it above this half of the overall node tree.
| | 01:57 | Next, let's go ahead and
select this first Deinterlace node.
| | 02:00 | Then I'm going to come down to the
Parameters tab in the bottom right-hand
| | 02:03 | corner of the Color FX room.
| | 02:05 | What I want to do is make sure that
each one of these Deinterlace nodes are
| | 02:08 | processing a separate field.
| | 02:11 | So, on this first Deinterlace node,
I'm going to make sure that it's
| | 02:14 | processing the Even fields.
| | 02:16 | Then on this Deinterlace node, I want to
make sure that it's processing the Odd fields.
| | 02:22 | So after we've set up each Deinterlace
node to process separate fields, we need
| | 02:26 | to connect a Deinterlace node to
its half of the overall node tree.
| | 02:30 | Let me spend a second to do that.
| | 02:31 | I'll take the output of this
Deinterlace node and connect it to the input of
| | 02:36 | the Lift node here.
| | 02:37 | I'll do the same thing on this
half of the overall node tree.
| | 02:42 | Okay, the second to last step in this
process is to add an Interlace node at the
| | 02:46 | bottom of the overall node tree.
| | 02:48 | So, let's go ahead and find the
Interlace node here on the node list, this guy
| | 02:52 | right here. I'll double-click
on it to add it to my node view.
| | 02:56 | Notice that the Interlace node has two inputs.
| | 02:59 | One for the Even fields,
and one for the Odd fields.
| | 03:02 | What we've essentially done is
created a node tree that has two halves.
| | 03:07 | This half of the overall node tree
processes the even fields, and this half of
| | 03:12 | the overall node tree processes the odd fields.
| | 03:15 | So what I'm going to do is take the
output of each of these Saturation
| | 03:18 | nodes, and drag a noodle to connect it to the
input on the Interlace node, just like that.
| | 03:25 | Finally, the last step that we need to do
is add an Output node to this node tree.
| | 03:30 | Let me double-click on the
Output node here from my node list.
| | 03:35 | Remember, for any node tree to be
processed by the Color render pipeline, we
| | 03:39 | must have an Output node at
the bottom of the node tree.
| | 03:42 | So let me go ahead and connect the
output of this Interlace node to the input
| | 03:47 | of the Output node.
| | 03:49 | So, that's all there is to
creating a node tree that works properly
| | 03:52 | with interlaced footage.
| | Collapse this transcript |
| Creating a day-for-night look| 00:00 | I work on a lot of documentary-type
television shows for National Geographic and
| | 00:04 | all of the Discovery channels.
| | 00:06 | And it seems like I'm always getting
asked to build a day-for-night look.
| | 00:10 | A day-for-night look of course
simulates the popular style of shooting footage
| | 00:13 | during the day by making it
look like it was shot at night.
| | 00:17 | The reason to do this is that it's
easier to get a good exposure during the
| | 00:20 | day and not have to deal with noise and
other issues that creep up when shooting at night.
| | 00:25 | It has also become a way of building a
stylized and sometimes clich? look.
| | 00:30 | In my work, this look is often
requested for recreation scenes and to have
| | 00:34 | stocked footage, match
the rest of a night scene.
| | 00:37 | So, let's take a look at how this simple
recipe works in the Color effects room.
| | 00:40 | The first thing about creating a
convincing day-for-night look is that ideally
| | 00:44 | you want a footage that is relatively
underexposed, like this clip I have here
| | 00:47 | on my Color timeline.
| | 00:48 | The underexposure will help you create
the look without having to do a ton of
| | 00:51 | work in adjusting the exposure.
| | 00:54 | I've cheated a bit though, because I've
applied some primary correction to those
| | 00:58 | clips to darken it up.
| | 00:58 | Take a look at the Highlight color
balance control here and you'll notice that
| | 01:01 | I've adjusted its lightness way down.
| | 01:03 | With that said, we still want to be able to
darken the lightest portions of the clip.
| | 01:07 | The way that we're going to do this it
come to the Color Effects room and we're
| | 01:10 | first going to add an HSL Key
node from the node list over here.
| | 01:15 | To add the HSL Key node to my Node View,
I'm simply going to double-click on it.
| | 01:18 | An HSL Key node selects values based
on the Hue, Saturation and Lightness.
| | 01:23 | Okay, so now that we have the HSL Key
node, notice here in the Parameters tab,
| | 01:27 | when I have the HSL Key node selected
that it doesn't have a Key Blur parameter
| | 01:31 | like we have here in the Secondaries
room, when we made HSL keys in Chapter 07.
| | 01:37 | So, to blur the selection that I make
with the HSL Key node, I need to add a
| | 01:41 | Blur node, I'll double click on
it to add it to the Node View.
| | 01:44 | So, once we make a selection with an HSL
Key, we need a way to darken this clip.
| | 01:48 | What I'm going to do is
go ahead add a Gain node.
| | 01:52 | And the Gain node will let us
adjust the Lightness in this clip.
| | 01:56 | We're also going to use this Gain node to
boost the overall blue level on the clip.
| | 02:00 | As a day-for-night look tends to look blue.
| | 02:03 | With the Gain node selected, let me go
ahead and copy it by pressing Command+C
| | 02:07 | on the keyboard and then Command+V to paste it.
| | 02:12 | So, now I've two Gain nodes.
| | 02:14 | Copy and paste is actually a new feature
in the Color Effects Room in Color 1.5,
| | 02:18 | but why are we duplicating this node?
| | 02:20 | Well, I'll explain that bit in just a minute.
| | 02:23 | Now, we need a way of combining our HSL
Key in the Gain nodes and we're going to
| | 02:27 | do that with the Alpha Blend node.
| | 02:29 | I'll double click on it to add it to
the Node View and notice that the Alpha
| | 02:33 | Blend node has three inputs.
| | 02:35 | Two regular inputs right here and
right here and then an Alpha input.
| | 02:39 | We're going to connect the
HSL Key to the Alpha input.
| | 02:43 | Finally, to have any node tree work
and for it to be added to the Color
| | 02:46 | Render Pipeline, I need to make
sure that I have an Output node.
| | 02:49 | So, let's scroll down here in the
Node list and add an Output node by
| | 02:53 | double clicking on it.
| | 02:54 | All right, so now we have all the nodes
that we're going to need to create this
| | 02:57 | look. Let's go ahead and connect everything up.
| | 02:59 | I'll take the HSL Key node and connect it
to the Blur node and then the Blur node
| | 03:04 | I'll connect to the Alpha
input of the Alpha Blend node.
| | 03:06 | I'll take each one of these Gain
nodes and connect them to the Alpha Blend
| | 03:10 | node, like this, and then I'll take the Alpha
Blend node and connect it to the Output node.
| | 03:15 | Okay, so everything is set up, now we
actually need to make the correction.
| | 03:19 | Let's start with the HSL Key node.
| | 03:21 | What we need to do with an HSL Key node
is select just the highlights in the clip.
| | 03:26 | In a traditional day-for-night look,
there are almost no highlights and the
| | 03:29 | highlights that remain
have a strong blue color cast.
| | 03:33 | So, what I'm going to do is go ahead
and double-click on this Blur node.
| | 03:35 | When you double-click on a node that's
downstream from the one that you want to
| | 03:39 | adjust, that node that you double-
clicked on becomes locked to your preview.
| | 03:44 | And notice it also becomes
highlighted, sort of this beige tan color.
| | 03:48 | So, now with the Blur node locked to the
preview, what I'm going to do is select
| | 03:52 | is the HSL Key node to adjust its parameters.
| | 03:54 | What I'm going to do with the HSL qualifiers
here is I want to select just the highlights.
| | 03:59 | So, I'm going to turn off the Hue and
Saturation qualifiers and use just the
| | 04:03 | Lightness qualifier.
| | 04:04 | Let's click in to the lightness
qualifier and adjust the range handles, just
| | 04:08 | like that, we're selecting
mainly just the highlights.
| | 04:13 | Something like this works, remember I
can hold down the Shift key to adjust one
| | 04:18 | side or the other of the
range and tolerance handles.
| | 04:22 | Okay, and notice over here in my
preview, I've selected just the lightest
| | 04:26 | portions of this clip.
| | 04:28 | Let's double-click anywhere here in the Node
View to unlock this Blur node from the preview.
| | 04:33 | Then let me select the Blur node and let's up
the spread or the blurriness of the Blur node.
| | 04:38 | I'm just using the scroll-
wheel on my mouse. All right.
| | 04:42 | That's good.
| | 04:43 | Okay, now that we've made a selection,
let's go into the first Gain node.
| | 04:46 | Again, what we're trying to do with
this node is reduce overall Luma levels to
| | 04:50 | darken the clip and give the clip a night look.
| | 04:53 | But we're trying to do that with a
bias towards blue, because again, a
| | 04:57 | day-for-night look has a blue look.
| | 04:59 | Because this first Gain node is attached
to input number two or the inside input
| | 05:03 | of the Alpha Blend node, any
adjustment that we do on this Gain node will be
| | 05:07 | affecting the selection that
we've made with the HSL Key.
| | 05:11 | With the Gain node selected,
let's come over to the Parameters tab.
| | 05:15 | Let's dial down the overall Gain
parameter down to a level of around -- I don't
| | 05:19 | know, about 0.55,
something like that's pretty good.
| | 05:23 | Now that we've reduced the overall Luma level
on this clip, let's push this clip towards blue.
| | 05:28 | I'm going to do that with the Blue
Gain parameter right here, again using the
| | 05:32 | scroll-wheel on my mouse.
| | 05:33 | Let's scroll up until we get to a value
of, I don't know, right around 1.3, 1.35.
| | 05:37 | All right, now we're starting
to get that day-for-night look.
| | 05:43 | Next, let's click on the second Gain node.
Because this Gain node is attached to
| | 05:47 | the outside, or input number one, of the
Alpha Blend node, the correction we make
| | 05:52 | will not affect what we have selected
with the HSL Key node, but everything
| | 05:55 | outside of that selection.
| | 05:57 | So, what I want to do is reduce the
Highlight level even more for the part of
| | 06:01 | the clip that's outside of the selection,
mainly the grass and the person right here.
| | 06:06 | So once again, I'll use the overall
Gain parameter and dial this down.
| | 06:09 | I'm going to do way down to a value of
right around 0.35 or so, something like
| | 06:15 | that, maybe a little higher, 0.38.
| | 06:17 | Next, let's push the outside of our
HSL Key selection towards blue and again,
| | 06:22 | we'll do that by using the Blue Gain
parameter and let's scroll up to a value
| | 06:27 | of, I don't know right around 1.7, 1.75.
| | 06:29 | I'll click off this Gain
parameter and now you can see the overall
| | 06:34 | day-for-night look.
| | 06:35 | If you want to tweak this more, feel
free to come into either one of the Gain
| | 06:39 | nodes or the HSL Key node
to refine the overall look.
| | 06:42 | So, there you go, an easy and
straightforward recipe for creating
| | 06:46 | a day-for-night look.
| | Collapse this transcript |
| Creating a defocused vignette| 00:00 | I'm not sure what it is.
| | 00:01 | It could be the explosion of digital
SLR cameras with their huge sensors and
| | 00:05 | the ability to work with very fast
lenses that throw large parts of the clip
| | 00:09 | out of the focus, while other parts are
super sharp, or maybe it's just an invoked style.
| | 00:14 | But the Defocused Vignette look is one
that I am being asked to replicate more
| | 00:17 | and more on shows that I work on.
| | 00:19 | This look tries to replicate the very
shallow depth-of-field that's created by
| | 00:23 | having equipment capable of
creating this type of look in camera.
| | 00:27 | But let's go ahead and replicate this
effect with just a few nodes here in
| | 00:29 | the Color Effects room.
| | 00:30 | You might have noticed that this clip
already has a little bit of blur around
| | 00:34 | the edges of the clip.
| | 00:35 | Talking to the client, we just want
to accentuate this and we'll do that in
| | 00:39 | the Color Effects Room.
| | 00:40 | I find it very useful when you're
thinking about creating a look, to think about
| | 00:43 | the nodes that will make up that look.
| | 00:46 | So, for this look we know
that we'll need a Vignette node.
| | 00:49 | Let me scroll down here in the Node
list and find the Vignette node right here
| | 00:53 | and I'll double-click on it to add it.
| | 00:56 | We also know that we want to blur the
outside edges of this vignette and we'll
| | 00:59 | do that with a Blur node.
| | 01:01 | This guy right here, I'll double-
click on it to add it to the Node View.
| | 01:05 | Of course, for any node tree to be
added to the Color Render Pipeline, we also
| | 01:10 | need an Output node.
| | 01:11 | So, let's go find the Output node right
here and I'll double-click on it to add
| | 01:15 | it to the Node view.
| | 01:16 | But the one node that might not be so
obvious and it combines the vignette and
| | 01:19 | the blur is the Alpha Blend node.
| | 01:21 | Let me go and find the Alpha Blend node
right here and I'll double-click on it
| | 01:25 | to add it to the Node view.
| | 01:27 | The Alpha Blend node takes in an Alpha
channel input, this input right here, and
| | 01:32 | in this case that's going to be the vignette.
| | 01:35 | Then it combines two other regular inputs.
| | 01:38 | Source 1 and Source 2.
| | 01:40 | So, let's connect all the
nodes in this tree together.
| | 01:42 | I'll take the Vignette node and connect it
to the Alpha input on the Alpha Blend node.
| | 01:46 | All right. That's hooked up.
| | 01:49 | Next, we need to hook up the Blur
node, but which input do I choose?
| | 01:54 | Here's an easy, non-
technical way of remembering this.
| | 01:58 | If you connected the Blur node to the
first input on the Alpha Blend node, this
| | 02:02 | one right here, you're going to be
blurring the outside of the vignette, because
| | 02:06 | it's the outside input.
| | 02:09 | If instead you connected the Blur
node to Source number 2, this input right
| | 02:12 | here, you'd be blurring inside of the
vignette, this part of the vignette right here.
| | 02:17 | So, what I want to go ahead and do is
make sure that I connect the Blur node to
| | 02:21 | the outside or Source 1 input of
the Alpha Blend node, just like that.
| | 02:27 | Finally, let's take the Alpha Blend
node and connect it to the Output node.
| | 02:32 | Just remember that anytime that you
have a blank input on a multi-input node
| | 02:36 | it's feeding in the original image.
| | 02:39 | So, input number 2 here is
just feeding in the original clip.
| | 02:43 | So, in this case, inside of the
vignette will be the original clip.
| | 02:48 | Just remember, it's not
actually really the original clip.
| | 02:50 | It's the clip that's been processed by
the Primary In and Secondaries rooms.
| | 02:55 | Okay, now that we have everything
connected, let's go ahead and start
| | 02:58 | making some adjustments.
| | 02:59 | Let me go ahead and first select
this Blur node and crank the Spread
| | 03:03 | or Blurriness way up.
| | 03:04 | I'll do that by holding down the
Option key on my keyboard and then using the
| | 03:07 | scroll-wheel to increase this value.
| | 03:12 | Let's increase the Spread to a value.
| | 03:13 | I don't know, right around 10, there we go.
| | 03:16 | Notice with the Blur node selected, the
clip here on my preview is really blurry.
| | 03:19 | Next, let's go ahead and click on the vignette.
| | 03:22 | Unfortunately with the Vignette node, I
don't have any on-screen controls like I
| | 03:26 | do in the Secondaries room
to position the Vignette.
| | 03:28 | I have to use the parameters right here.
| | 03:31 | I can, however, choose from a different
shape type for the vignette, I can choose
| | 03:34 | from a circle or square and I
can also choose to use a tracker.
| | 03:38 | We'll talk about using
trackers in a later chapter.
| | 03:41 | But for now, I'm fine with the circle
as the Shape Type and let's just use
| | 03:44 | the parameters here to position and then
size and then add some softness to the vignette.
| | 03:50 | I want the vignette to be centered
right over the host of this show, right here
| | 03:54 | and the size looks pretty good, but
let's change the aspect just a touch,
| | 03:58 | something like that and then
add quite a bit of softness.
| | 04:01 | Something like that. Now if I click off
of the Vignette node, notice now here in
| | 04:08 | my preview that inside of the vignette
it is nice and sharp and the host of the
| | 04:12 | show is in focus and
everyone else is out of focus.
| | 04:16 | One thing I find it very useful to do
with this type of look is to adjust the
| | 04:20 | Softness all the way back down to 0, so
you can see the framing of the vignette
| | 04:25 | compared to the stuff
that you have out of focus.
| | 04:28 | If you don't like the framing,
simply come back into the vignette and
| | 04:31 | readjust the positioning.
| | 04:33 | After you readjusted the
positioning, dial back up on your softness.
| | 04:38 | So, let's go ahead and
select the Color timeline.
| | 04:41 | And I'll press the Spacebar to begin
playback, so we can take a look at this clip.
| | 04:47 | Okay, pretty cool look.
| | 04:49 | What's inside of the vignette is
nice and sharp and everything else is
| | 04:52 | blurry and out of focus.
| | 04:54 | This stylized shallow depth-of-field
look can be used anytime you want to
| | 04:58 | simulate that in camera effect and as
you can see, it's pretty easy to create.
| | Collapse this transcript |
| Creating a "film" look| 00:00 | It seems like everyone is always trying
to get their video to look more like film.
| | 00:04 | That might be done by choosing fast
lenses that can create a shallow Depth of
| | 00:08 | Field or it might be done by applying
corrections to emulate film, like creating
| | 00:12 | the s-curve in one of the primary curves.
| | 00:14 | Whatever the case, it's
something that always comes up.
| | 00:17 | So, to help you with this, let's
build a node tree that stimulates the always
| | 00:20 | popular bleach bypass film look.
| | 00:22 | To understand what goes into this
recipe, you have to understand with film
| | 00:25 | developed with a bleach
bypass process looks like.
| | 00:29 | The bleach bypass process is simply
skipping a step when developing a piece of film.
| | 00:33 | That is the part that
removes silver from the film.
| | 00:36 | Film that undergoes this process
typically has higher contrast, a granular look
| | 00:40 | and a lower overall saturation.
| | 00:42 | So, we are going to go ahead and add
quite a few nodes here in the Color Effects
| | 00:46 | room to adjust contrast
and saturation for this clip.
| | 00:49 | Before we begin, let me just scrub
through this clip, so you have a better idea
| | 00:52 | of what the clip looks like.
| | 00:55 | Okay and here in the Color Effects room, we are
going to start out by adding an Exposure node.
| | 00:59 | Here is the Exposure node, I'll just
double-click on it to add it the Node view.
| | 01:02 | We are going to use this node to drop the
overall exposure of this clip quite a bit.
| | 01:07 | And the Exposure node affects the lower end
of the tonal range more than the upper end.
| | 01:11 | So, it will make the clip darker.
| | 01:13 | Next, let's go ahead and
add a Bleach Bypass node.
| | 01:16 | The Bleach Bypass node will just
simulate the traditional process.
| | 01:19 | Next, let's scroll down in our
Node list and add a Lift node.
| | 01:24 | Again, simply by double-clicking on
it, I'll add to it to the Node view.
| | 01:28 | A Lift operation applies an overall
Luma adjustment to the clip and we'll use
| | 01:31 | the Lift node to crush the blacks in this
clip, which will add to the contrasty look.
| | 01:35 | To also help with the contrasty look,
let's go ahead and add a Gain node,
| | 01:39 | this one right here.
| | 01:40 | We'll use this node to blow
out the highlights in the clip.
| | 01:44 | Next, let's scroll down in the
Node list and add the Saturation node.
| | 01:48 | We'll use the Saturation node to
decrease the saturation in this clip because
| | 01:51 | the Bleach Bypass process
tends to lower overall saturation.
| | 01:54 | And next, let's scroll up
and add a Film Grain node.
| | 01:57 | This one right here.
| | 01:58 | We'll use the Film Grain node to
help grunge up this clip a bit.
| | 02:02 | Finally, any node tree to be added to the
color render pipeline needs to have an Output node.
| | 02:07 | So, I'll add an Output node by double-clicking
on it and it will get added to the Node view.
| | 02:12 | All right, now that we have the all the
nodes that we are going to use for this
| | 02:14 | look, let's go ahead and connect them all.
| | 02:16 | I am simply going to connect
them all from the top down.
| | 02:18 | Meaning, I am going to connect the
Exposure node, to Bleach Bypass node, to
| | 02:22 | Lift node and so on.
| | 02:25 | Okay, now that all the nodes are connected,
we are ready to start making some adjustments.
| | 02:30 | Let's start out with the Exposure
node here, at the top of the tree.
| | 02:33 | So, I have selected the Exposure node
but let's just make sure we are on the
| | 02:36 | Parameters tab of the Color
Effects room, which we are.
| | 02:39 | As I said before, we're going to use
the Exposure node to drop the overall
| | 02:42 | exposure of this clip quite a bit.
| | 02:44 | So, using the Exposure parameter of
the Exposure node, let me use the scroll
| | 02:48 | wheel of my mouse to dial this value down.
| | 02:50 | I am going to scroll down until I
get to a value right around 0.1 or so.
| | 02:55 | Next, let's click on the Bleach Bypass node.
| | 02:58 | Notice that the Bleach Bypass node
doesn't have any parameters that we can adjust.
| | 03:02 | So, let's move on, to the Lift node.
| | 03:04 | Remember the Lift node performs an
overall luma adjustment to the clip, and
| | 03:07 | we're going to use the Lift node to crush the
trace here, on the Waveform Scope set to Luma.
| | 03:12 | If your waveform scope is not currently
in view, right-click on any one of the color
| | 03:16 | scopes and choose Waveform
and then choose the Luma option.
| | 03:20 | Okay, so with the Lift node selected,
let me come into the parameters tab and
| | 03:24 | I'm going to adjust the overall Lift
parameter, not the individual Red, Green,
| | 03:27 | and Blue Lift parameters.
| | 03:29 | So, let me use the Lift parameter
and scroll down until I get to a value
| | 03:33 | right around 0.18, 0.19.
| | 03:36 | Something like that works just fine.
| | 03:38 | And you can see on the Waveform Scope,
set to Luma, that we've shifted the
| | 03:41 | trace down quite a bit,
| | 03:42 | darkening this clip considerably.
| | 03:44 | Next, let's click on the Gain node.
| | 03:46 | And once again, we are going to use the
overall Gain parameter, instead of the
| | 03:49 | individual Red, Green, and Blue Gain parameters.
| | 03:52 | We are going to use this Gain parameter
to blow out the highlights in this clip.
| | 03:56 | So, let me use my scroll wheel on my
mouse, and scroll up until I get to a
| | 04:00 | value, I don't know, right around 1.3
or so, 1.4, something like that.
| | 04:07 | Next let's click on the Saturation node.
| | 04:09 | Remember that the Bleach Bypass
process tends to desaturate footage.
| | 04:13 | So, let's go ahead and desaturate this
clip a little bit using the Saturation
| | 04:17 | parameter here of the Saturation node.
| | 04:19 | And I'll scroll down until I get
to a value right around 0.45 or so.
| | 04:24 | Yeah, something like that looks good.
| | 04:26 | Finally, let's grunge this clip
up a bit with the Film Grain node.
| | 04:29 | The Film Grain node has a couple of
parameters, Grain Intensity, Grain Size and
| | 04:34 | the Option to have the
grain in monochrome or in color.
| | 04:37 | Let's leave the Monochrome unchecked,
and we will leave the Grain size where it
| | 04:40 | is but let's adjust Grain Intensity.
| | 04:42 | I will scroll up until I get to a value,
I don't know, right around 0.7 or so,
| | 04:47 | something like that.
| | 04:49 | Okay, so we're done creating the look.
| | 04:51 | Let's go down to the Color timeline and
press the Spacebar, to begin playback.
| | 04:54 | All right and the clip looks
pretty cool, a very stylized look.
| | 05:00 | Now you might have noticed that we
pushed the trace for this clip well below
| | 05:04 | 0% or 0 IRE on the Waveform Scope set to Luma,
and we pushed the trace above 100% or 100 IRE.
| | 05:12 | We can fix this pretty easily by
jumping into the Primary Out room and making a
| | 05:16 | few contrast corrections.
| | 05:17 | But for now, don't worry about it.
| | 05:19 | In the next chapter, we'll talk about
Broadcast Safe and using the Primary Out
| | 05:23 | room in more detail.
| | 05:24 | Okay, so that's creating a
simple Bleach Bypass look.
| | 05:27 | Feel free to play by adding me in
additional nodes like the gamma and curve
| | 05:31 | nodes anywhere in the node tree,
to tweak the look even more.
| | Collapse this transcript |
|
|
9. Maintaining Broadcast Safety and Making Corrections Using the Primary Out RoomWhat is broadcast-safe color?| 00:01 | You've probably heard the
term broadcast safe before.
| | 00:04 | But what does that mean?
| | 00:05 | Broadcast safe comes into play
every day in the work that I do.
| | 00:08 | Working for clients that produce
content for National Geographic, Discovery
| | 00:12 | Channel and PBS, every day I am
presented with the challenges in grading footage
| | 00:16 | to make it broadcast safe.
| | 00:17 | In this movie, we will get an
overview of what we mean by broadcast safe.
| | 00:21 | The first thing that is meant by
broadcast safe is protecting the Luma values.
| | 00:25 | In essence, this means that the clips
are not too bright or too dark, and that
| | 00:29 | the clips have a contrast ratio
that is aesthetically pleasing.
| | 00:32 | This also means that from clip to
clip or scene to scene, luma level is
| | 00:36 | continuous, so that the clips and
scenes overall have the same relative luma values.
| | 00:41 | Broadcast safe also means that
clips have good saturation, meaning that
| | 00:45 | they're not too saturated.
| | 00:47 | Clips that are too saturated have the
potential to bleed or when clipped with a
| | 00:50 | hardware legalizer, or the broadcast
safe controls like Color uses, they can
| | 00:54 | exhibit excessive banding.
| | 00:56 | This is important because clips that are
excessively saturated generally are not
| | 01:00 | aesthetically pleasing.
| | 01:01 | The same goes for clips that are not
saturated enough, unless of course that
| | 01:04 | was the desired effect.
| | 01:06 | One very misunderstood and often under-
looked aspect of ensuring broadcast safe
| | 01:11 | is the idea of protecting luma in RGB gamut.
| | 01:14 | Gamut issues often come into play
when YCbCr video is converted to RGB
| | 01:19 | color space, which happens when
video is displayed on RGB native devices
| | 01:23 | like computer monitors.
| | 01:24 | Color doesn't do a great job
of protecting RGB in luma gamut.
| | 01:28 | Later in this movie, we'll take a
look at some filters in Final Cut Pro
| | 01:31 | for protecting gamut.
| | 01:34 | As I have mentioned, an important part
of ensuring broadcast safe is to protect
| | 01:37 | continuity between scenes.
| | 01:39 | What this really means is that clips
maintain a visual continuity throughout the project.
| | 01:44 | Tools like the Still Store room, as
well as the Scopes in Color, allow us to
| | 01:47 | ensure broadcast safe continuity
throughout a show or in other words, clips have
| | 01:51 | similar luma and chroma levels.
| | 01:54 | Color has a pretty robust toolset
for maintaining broadcast safe with the
| | 01:58 | Broadcast Safe parameters in the Setup
room and the options available in the
| | 02:01 | Project Settings tab.
| | 02:03 | Also, by using the internal scopes and
optioning with external scopes, you can
| | 02:07 | monitor the levels in your clips.
| | 02:08 | Finally, Final Cut Pro
picks up where Color leaves off.
| | 02:12 | In Final Cut Pro, we can use the
Broadcast Safe filter, as well as the RGB Limit
| | 02:16 | filter to provide additional
broadcast safe limiting, including RGB gamut
| | 02:21 | limiting, and we'll talk about these
filters in a movie later in this chapter.
| | 02:25 | At the end of the day protecting for
broadcast safe, even if your program is
| | 02:28 | not intended for broadcast, will give
you a more consistent look over your entire program.
| | Collapse this transcript |
| Using the broadcast-safe controls| 00:00 | So you understand the
importance of Broadcast Safe.
| | 00:03 | But how do we actually ensure
Broadcast Safe inside of Color?
| | 00:06 | Throughout this title, we paid
special attention to correcting footage with
| | 00:10 | Broadcasting Safe in mind.
| | 00:11 | But you can't catch every single pixel.
| | 00:13 | Well, at least you can, if you want to do
projects that won't take weeks to correct.
| | 00:17 | Even still, I'll bet you'll miss a pixel or two.
| | 00:19 | Fortunately, Color provides a robust
tool called Broadcast Safe that provides
| | 00:24 | several parameters for
protecting for Broadcast Safe.
| | 00:27 | And in this movie, we'll break
down those different settings.
| | 00:30 | The Broadcast Safe parameters can be
found by going to the Setup Room and then
| | 00:34 | by choosing the Project Settings tab.
| | 00:36 | And here, on the right hand side of the
Project Settings tab, I have all of my
| | 00:39 | Broadcast Safe parameters.
| | 00:41 | The first option I have is to enable
the Broadcast Safe parameters and I am
| | 00:44 | going to go ahead and select this
option, so the Broadcast Safe is on.
| | 00:48 | Next, let's take a look at
each one of these parameters.
| | 00:51 | First up is Ceiling IRE.
| | 00:52 | This setting determines, the
maximum allowable Luma level in a clip.
| | 00:56 | Its default is 100, which is what you
should keep it on to limit Luma values
| | 01:00 | to 100 IRE or lower.
| | 01:03 | Next is Floor IRE, which is
the opposite of Ceiling IRE.
| | 01:06 | It determines the lowest allowable Luma level.
| | 01:09 | Keep this at 0 even if you are
outputting video to analog devices that use
| | 01:13 | 7.5 IRE as a floor.
| | 01:16 | Your video card, like an AJA or Blackmagic
card, will do a better job with this conversion.
| | 01:21 | Next up is Amplitude and Phase.
| | 01:23 | The Amplitude and Phase
controls shouldn't have to be adjusted.
| | 01:26 | These allow you to adjust the
intensity and phase or hue of a chroma signal,
| | 01:30 | which results in a shift in hue
in saturation and in the signal.
| | 01:33 | You shouldn't have to adjust Offset either.
| | 01:36 | Offset works in conjunction with the
Amplitude and Phase parameters to offset
| | 01:39 | any Chroma adjustment
made to Amplitude or Phase.
| | 01:42 | But what I would suggest
that you change is Chroma limit.
| | 01:45 | The default is 50 and 50 limits Chroma
values to the outside edges of the vectorscope.
| | 01:51 | I found a more conservative value
of like 47 or 48 works better in most
| | 01:57 | situations and what that does is it
brings the trace closer to the imaginary
| | 02:01 | line that connects all of the
color targets on the vectorscope.
| | 02:05 | I would also suggest that
you adjust Composite Limit.
| | 02:08 | The Composite Limit parameter
controls the composite level of when Luma and
| | 02:11 | Chroma are combined.
| | 02:13 | I found that changing those from
the default 110 to 100 adheres to
| | 02:17 | most broadcast specs.
| | 02:19 | Finally, there's one more
setting here, called Handles.
| | 02:22 | And what's kind of confusing is that
Handles have absolutely nothing to do
| | 02:26 | with Broadcast Safe.
| | 02:28 | I guess the engineers didn't
have a better place to put it.
| | 02:30 | But what Handles does is it allows you
to add a specific amount of extra clip to
| | 02:34 | be rendered when you add
a clip to the render cue.
| | 02:36 | And this is actually an important setting.
| | 02:39 | First, for Handles to work properly,
the original clip, ie one you sent from
| | 02:42 | Final Cut Pro, must have extra
media or handles to begin with.
| | 02:46 | Second, you should add handles to a clip
if you think that when it gets back to
| | 02:49 | Final Cut Pro, you will need
to add additional transitions.
| | 02:52 | The default amount of Handles in Color is 0,
| | 02:55 | meaning that only the clip on the
Color Timeline will be rendered and no
| | 02:58 | additional media from that clip will
be rendered and you will have no handles
| | 03:01 | when you get back to Final Cut Pro.
| | 03:03 | Okay, one more thing to understand
about the Broadcast Safe settings is that
| | 03:06 | they won't work miracles.
| | 03:08 | Take for example, this first clip
that I have in the Color timeline.
| | 03:10 | Let me go ahead, and turn off Broadcast
Safe, and then come into the Primary In room.
| | 03:15 | You will notice that I have dialed up
Saturation in this clip quite a bit.
| | 03:19 | Let me go even further.
| | 03:20 | Now, this is not a real correction that I
would make, as this clip is way too saturated.
| | 03:24 | But let me go ahead and switch back
to the Setup Room and then once again,
| | 03:28 | enable the Broadcast Safe parameters.
| | 03:30 | What I want you to notice as I toggle
Broadcast Safe on and off is this area
| | 03:34 | of the sky right here.
| | 03:37 | That doesn't look very good.
| | 03:39 | One name that a lot of people give to
Broadcast Safe parameters in Color is the
| | 03:43 | clipper because it clips values, often
resulting in an undesired effect like we
| | 03:48 | have here in the sky on this clip.
| | 03:51 | Your best bet is to always correct
manually for Broadcast Safe by using
| | 03:55 | the videoscopes in your eyes, and then enable
the Broadcast Safe settings as a safety net.
| | 03:59 | We'll talk more about making
corrections with Broadcast Safe in mind over the
| | 04:03 | next new movies in this chapter and of
course, it's always a good idea to check
| | 04:07 | with your specific client or
broadcaster about the settings that they choose.
| | 04:11 | But now you know more about these settings.
| | Collapse this transcript |
| Making corrections using the Primary Out room| 00:00 | I feel like I am always getting
asked about the Primary Out room.
| | 00:03 | I get questions like, "What does it do?"
| | 00:06 | or "When would I use it?"
| | 00:07 | Well, to answer those questions, the
first thing you need to know about the
| | 00:10 | Primary Out room is that it comes
after the Primary In, Secondaries and
| | 00:14 | Color effect rooms.
| | 00:15 | Because it comes after those rooms, it
works with the sum of corrections made in
| | 00:20 | each one of those rooms.
| | 00:21 | And this is a significant point,
because while you can use the Primary Out room
| | 00:25 | without using any of the rooms that
came before it, when you do that, you are
| | 00:28 | simply mimicking a regular
old Primary In correction.
| | 00:31 | The real power of the Primary Out room
is when you use it to make corrections on
| | 00:35 | footage that's already been
corrected in the previous rooms in Color.
| | 00:39 | One reason or one way to use the
Primary Out room is to help correct footage
| | 00:42 | that is illegal for broadcast.
| | 00:44 | Take a look at this first clip.
| | 00:46 | Like all the clips in this sequence,
it's been treated with a Primary In,
| | 00:49 | Secondary and Color effects correction.
| | 00:51 | Let's go ahead and take a look
at the Waveform Scope set to Luma.
| | 00:54 | If your Waveform Scope is not
currently being shown, right-click on any of
| | 00:58 | the scopes in the Color Scopes window and
choose Waveform and then select the Luma option.
| | 01:03 | So, looking at the trace here on the
Waveform Scope set to Luma, I can see
| | 01:06 | that I have a bit of
trace above 100 IRE or 100%.
| | 01:10 | I can also see that I have a
little bit of trace below 0 IRE or 0%.
| | 01:15 | This indicates that this
clip is illegal for broadcast.
| | 01:18 | So we can go ahead, and fix
this in the Primary Out room.
| | 01:21 | You might notice that the Primary Out
room looks just like the Primary In room.
| | 01:24 | There are a couple of differences though.
| | 01:26 | First, on the Basic tab, I have some
clipping controls and we'll use these
| | 01:29 | clipping controls on the next
clip in this Color Timeline.
| | 01:32 | Next, you will notice that I don't
have an Auto Balance button, and finally,
| | 01:37 | if you have installed the red plug-in
for Final Studio, there's no red tab in
| | 01:40 | the Primary Out room.
| | 01:41 | But just like the Primary In room, I
have Color Balance controls, Curves and
| | 01:46 | then different parameters here on the Basic
and Advance tabs that I can use to correct a clip.
| | 01:50 | On this clip, we are going to use the
Color Balance controls to make it legal.
| | 01:54 | So I am going to start out in the
Highlight Color Balance control and use the
| | 01:56 | Contrast slider and drag down until the
top of the trace is just below 100% or
| | 02:01 | 100 IRE, something like that works.
| | 02:05 | Next, let's come into the Shadow
Color Balance control and use the Contrast
| | 02:09 | slider there to drag up a bit, so that
we have the bottom of the trace, just
| | 02:12 | touching 0% or 0 IRE, just like that.
| | 02:17 | We now have a legal clip.
| | 02:18 | The nice thing about that was I didn't
have to come back in to the Primary In,
| | 02:22 | Secondaries or Color effects rooms to
change corrections on this clip to make it legal.
| | 02:27 | I did it all in one place
in the Primary Out room.
| | 02:30 | Okay, let's navigate to the
second clip down to my Color Timeline.
| | 02:33 | I'll do that by simply dragging my Playhead.
| | 02:35 | This clip looks okay, but let's go ahead
and change the Waveform Scope from Luma
| | 02:39 | to the Parade option.
| | 02:41 | And notice here on the Waveform Scope
set to Parade that I have a bit of trace
| | 02:44 | in the red channel that's over 100% or 100 IRE.
| | 02:48 | Once again indicating that this
clip is illegal for broadcast.
| | 02:52 | So instead of making a correction using
the Color Balance controls or the curves
| | 02:55 | in the Primary Out room, I am
going to cheat a little bit.
| | 02:57 | I am going to use these Clipping controls.
| | 02:59 | The Clipping controls allow you to clip
or cut off maximum Chroma values for the
| | 03:05 | Red, Green and Blue channels and using
the Clipping control is often the only
| | 03:10 | way to legalize a clip that doesn't
respond well to other corrections, while
| | 03:13 | maintaining the overall look on the clip.
| | 03:16 | The default value for each one of the
Clipping controls is 1, meaning that no
| | 03:20 | clipping has taken place.
| | 03:22 | So let's go ahead and enable the
Clipping controls and then I am going to change
| | 03:26 | the value for the Red Ceiling, this
parameter right here, down to 0.9 and take a
| | 03:32 | look at my Waveform Scope set to Parade.
| | 03:34 | The red trace is now below 100% or 100 IRE.
| | 03:39 | Okay, the final use that we have
for the Primary Out room is to provide
| | 03:42 | a general overall correction to a
clip that's already been corrected in
| | 03:45 | the proceeding rooms.
| | 03:46 | Let's navigate down to the last clip
in this Color Timeline by selecting the
| | 03:49 | Color Timeline and using the down arrow.
| | 03:51 | This clip looks pretty good overall but
the client has told me that they would
| | 03:54 | like the clip to be darker,
warmer and a bit more saturated.
| | 03:59 | So I could go back to the Primary In,
Secondaries and Color effects rooms
| | 04:02 | to treat this clip.
| | 04:04 | But I can make the correction all
in one place in the Primary Out room.
| | 04:07 | So let me go ahead and do that.
| | 04:09 | I am going to use the Color Balance
controls here, at the top of the Primary out
| | 04:11 | room to darken up the clip
touch, something like that.
| | 04:14 | Then I will use the Shadow Contrast
slider to darken up the clip even more. Okay.
| | 04:21 | Then, because the client wants this clip
to be a little bit warmer, let's use the
| | 04:24 | Highlight Color Balance control and
drag the target towards yellow, red
| | 04:28 | something like that.
| | 04:29 | Then finally, let's use the Saturation
parameter to saturate this clip a little bit more.
| | 04:35 | So now this clip is very
stylized and has a very unique look.
| | 04:39 | Okay, so that's using the Primary Out room.
| | 04:41 | The Primary Out room, while almost
identical to the Primary In room, is a perfect
| | 04:45 | place to apply Broadcast Safe
corrections or shape whole looks, because it comes
| | 04:50 | after the Primary In,
Secondaries, and Color FX rooms.
| | Collapse this transcript |
| Maintaining RGB legality with Final Cut Pro's RGB Limit filter| 00:00 | Color does a lot of things well,
including providing a very good Broadcast Safe
| | 00:04 | option to limit levels
so that they remain legal.
| | 00:07 | Color however, does not have an RGB Gamut
limiting option in its Broadcast Safe settings.
| | 00:11 | You could argue that simply watching
the wave form scope set to Parade will
| | 00:15 | allow you ensure RGB legality, but in my
experience illegal RGB levels can still
| | 00:19 | get through to Final QuickTime Renders.
| | 00:21 | Well, in this movie, we'll take a look at a
feature not in Color but in Final Cut Pro.
| | 00:25 | This feature will allow us to limit
RGB levels and clips and help ensure
| | 00:29 | broadcasting safe legality even
further than the broadcast safe controls
| | 00:32 | in Color can do alone.
| | 00:34 | So here in Color, I have a Color
project that I have already rendered.
| | 00:37 | If you have access to Exercise Files
you want to follow along step-by-step, you
| | 00:40 | will need to render this project.
| | 00:42 | To do so, simply click into the
Render Queue Room at the top of the color
| | 00:45 | interface, then click the Add All
button here at the bottom of the Render Queue
| | 00:49 | Room and then finally click Start Render.
| | 00:51 | We will talk in more detail
about rendering in Chapter 14.
| | 00:55 | So to send this project back to Final
Cut Pro, after it's been rendered, what I
| | 00:58 | need to do is choose the
File >Send To>Final Cut Pro.
| | 01:04 | In just a second Final Cut Pro will open,
and you can see here at the top of my
| | 01:07 | browser, I have a sequence called 09_04_
maintaining RGB legality, and it has the
| | 01:12 | suffix 'from Color' at the
end of the sequence name.
| | 01:15 | This is my Color corrected sequence.
| | 01:17 | So let me go ahead and double
-click on it to open it up.
| | 01:20 | So Final Cut Pro has a filter called
RGB limit that, well, limits RGB values.
| | 01:26 | And while we can apply it to each clip in
the color corrected sequence, I find it
| | 01:30 | more efficient and easier to apply
this filter to a nested sequence.
| | 01:34 | So what I am going to do is come back
up into my browser, select the color
| | 01:37 | corrected sequence, right-
click on it, and choose Duplicate.
| | 01:42 | And then let's just click on the name of
the duplicate, and change the end of it
| | 01:45 | to something like _RGB limit.
| | 01:49 | I'll double-click on
that sequence to open it up.
| | 01:52 | Then what I am going to do is select
all the clips in this duplicate sequence,
| | 01:55 | and then press Delete on
the keyboard to delete them.
| | 01:58 | Then let's come back up into the
browser and find the original color corrected
| | 02:02 | sequence, this one right here, and
drag it down into the duplicate sequence.
| | 02:07 | What this will do is it I will
nest the color corrected sequence.
| | 02:10 | Let's come back up into the
browser and then choose the Effects tab.
| | 02:14 | If the Effects tab is not visible on
your system, simply go to the Window menu,
| | 02:18 | then choose Effects, or use
the keyboard shortcut Command+5.
| | 02:22 | Once in the Effects tab, let's come
into the Video Filters folder, and then
| | 02:25 | finally into the Color Correction folder.
| | 02:27 | And here, we have the RGB limit filter.
| | 02:30 | Let's double-click on it to
open it up into the viewer.
| | 02:32 | So most of the default settings are
fine here on the RGB limit filter, but
| | 02:36 | the one that I want you to change is
in this category, Maximum RGB Limiting,
| | 02:41 | and specifically the value we need to change
is Clamp Levels Above, a certain percentage.
| | 02:45 | It defaults to 107%, which is
probably okay in most situations, but to be a
| | 02:50 | little more conservative,
let's change this value to 100%.
| | 02:54 | After you've changed the Clamp Level
Above percentage, let's go ahead and select
| | 02:58 | the RGB Limit filter, and drag
it down onto the nested sequence.
| | 03:02 | Now you are not going to really notice
a change when you apply that filter to
| | 03:06 | the clip here in your canvas, as
the RGB limiting is very subtle.
| | 03:09 | But let's go ahead and verify that this
RGB Limit filter was actually applied to
| | 03:13 | the nest, and the way that I'll do
that is to simply select the nest and then
| | 03:17 | press the Return key.
| | 03:18 | Well, you are thinking yourself,
"I just double-click on it?"
| | 03:21 | Well, if you double-click on a nest,
it opens up the original color corrected
| | 03:24 | sequence, and not the nest.
| | 03:27 | So let's go back to the duplicate
sequence that has the nest on it, select the
| | 03:30 | clip and press Return.
| | 03:32 | That will open up the nested
sequence here into my viewer.
| | 03:35 | In fact, this nest does have
the RGB Limit filter on it.
| | 03:38 | Let me show you one more thing about
Broadcast Safe legality here in Final Cut Pro.
| | 03:42 | I am going to select the RGB limit
filter, and then press the Delete key on the
| | 03:45 | keyboard to remove it from the
nested color corrected sequence.
| | 03:49 | If you are really worried about
Broadcast Safe legality, and you want RGB limit
| | 03:52 | capabilities, then what you should use is the
Broadcast Safe Filter here in Final Cut Pro.
| | 03:56 | Let me double-click on the Broadcast
Safe Filter, again, that's in the Video
| | 04:00 | Filters folder, and then the Color
Correction folder and finally Broadcast Safe.
| | 04:04 | Don't worry about all these
different sliders and parameters.
| | 04:07 | They don't actually come into play
unless you choose Custom from the
| | 04:10 | Luma/Chroma mode pop-up.
| | 04:12 | Inside of the Luma/Chroma mode pop-up,
I am going to the choose the option
| | 04:16 | Extremely Conservative, and then
notice at the bottom of the Broadcast Safe
| | 04:20 | Filter here, we have RGB limiting, and
its default is 100%, unlike the RGB Limit
| | 04:26 | filter that we were just
using, which defaults to 107%.
| | 04:30 | So just like the RGB Limit filter, I'll
take the Broadcast Safe Filter and drag
| | 04:34 | it down onto to the color
corrected nested sequence, and let go.
| | 04:38 | Once again, you are not going to
really see any change here on the canvas, as
| | 04:41 | any change is probably going to be very subtle.
| | 04:43 | Let's verify that the Broadcast Safe
Filter was applied to the nest, and we will
| | 04:46 | do that by selecting the nested
sequence and pressing Return on the keyboard to
| | 04:50 | open it up into the viewer, and in fact,
the Broadcast Safe Filter was applied
| | 04:54 | to the color corrected nested sequence.
| | 04:57 | So to complete the circle of
Broadcast Safe in Final Cut Studio, you should
| | 05:00 | consider using either the RGB Limit or
Broadcast Safe Filter in Final Cut Pro,
| | 05:05 | after sending the project
to Final Cut Pro from Color.
| | Collapse this transcript |
|
|
10. The Geometry RoomWhat does the Geometry room do?| 00:00 | Let's take a quick look at
what the Geometry Room does.
| | 00:03 | The Geometry Room consists of three tabs:
| | 00:05 | the Pan&Scan tab, the
Shapes tab, and the Tracking tab.
| | 00:10 | The Pan&Scan tab is where I can
apply geometric corrections to a clip.
| | 00:14 | The Shapes tab is where I can create
custom shapes to attach to a secondary and
| | 00:18 | then use those shapes as a vignette.
| | 00:19 | We did this in Chapter 7.
| | 00:21 | And finally, the Tracking tab is
where I can track an object around screen.
| | 00:25 | All of the tabs in the Geometry
Room have a few features in common.
| | 00:29 | First, notice that the footage in the
middle of the room is darkened a bit.
| | 00:32 | This helps to see the on-screen controls in
each of the three tabs of the Geometry Room.
| | 00:35 | Next, I can zoom, pan and re-frame
all the tabs in the exact same way.
| | 00:40 | Let me demonstrate.
| | 00:41 | So here on this clip in the Pan&Scan
tab, I am simply going to hold down my
| | 00:44 | right mouse button and drag.
| | 00:47 | That will let me zoom into the clip.
| | 00:49 | I can pan around the clip by holding down
my middle mouse button and dragging around.
| | 00:52 | Finally, I can re-frame or
reposition the clip back in the center of the
| | 00:57 | Geometry Room by using the
keyboard shortcut 'F' on my keyboard.
| | 01:00 | So let's take a quick look at each
tab, and then in later movies in this
| | 01:04 | chapter, we'll break down the specifics
of the Pan&Scan tab and the Tracking tab.
| | 01:08 | So the Pan&Scan tab, which I am
actually already on, is where I can apply
| | 01:11 | geometric corrections to my clips.
| | 01:13 | I can do this in two ways.
| | 01:14 | I can use the on-screen controls right
here with this wireframe, or I can use
| | 01:18 | the parameters on the Pan&Scan tab.
| | 01:21 | So let me go ahead and zoom into this
clip by using the on-screen controls,
| | 01:25 | and to do that, I am going to grab one
of these control point handles at the
| | 01:28 | corner of this wireframe.
| | 01:29 | I'll click on it and drag in.
| | 01:31 | Notice two things when I did that.
| | 01:33 | First, the wireframe itself becomes
red, indicating that I have applied a
| | 01:36 | Pan&Scan correction to this clip.
| | 01:38 | Next, take a look at the preview.
| | 01:39 | It looks like I have zoomed into the
clip, and in fact, that's what I have done
| | 01:43 | when I have scaled this wireframe.
| | 01:44 | I can reposition the wireframe around
the clip, simply by clicking the middle of
| | 01:48 | it, and dragging, and I can rotate the
wireframe by clicking on one of the edges
| | 01:51 | of the frame and dragging up and down.
| | 01:55 | There are few things to keep in
mind though, about the Pan&Scan tab.
| | 01:58 | When you send the project to Color from
Final Cut Pro, basic motion parameters
| | 02:01 | of the Motion tab in Final Cut Pro,
are translated into Pan&Scan corrections.
| | 02:06 | When you send a project back to Final
Cut Pro, the Pan&Scan corrections that you
| | 02:10 | have made in Color are maintained
throughout the round trip and you can do
| | 02:13 | further tweaking inside of Final Cut Pro.
| | 02:15 | However, keyframes in the Pan&Scan tab
are a different story and we'll talk more
| | 02:20 | about keyframes in the Pan&Scan
tab in the next movie.
| | 02:23 | Next, let's click on the Shapes tab.
| | 02:24 | The Shapes tab is where I can
make my own user-defined shapes.
| | 02:27 | The thing is, I don't actually want
to create shapes here by themselves, I
| | 02:31 | always want to access the Shapes tab
from within the secondaries room by using a
| | 02:35 | vignette, and then choosing the
shape type as user shape, and this will
| | 02:39 | automatically jump you to the
Geometry Room and on to the Shapes tab.
| | 02:43 | We have already covered creating user-
shapes in chapter 07, so I am going to
| | 02:47 | skip over the controls in the Shapes tab.
| | 02:49 | Finally, I have the Tracking tab.
| | 02:51 | Let me go to my color timeline
and navigate to the next clip down.
| | 02:55 | The Tracking tab let's me track an
object around screen and use that tracking
| | 02:59 | data to attach it to a correction.
| | 03:02 | Quickly, let me show you how to add a tracker.
| | 03:04 | I am simply going to click the New button
here on the Tracking tab to add a tracker.
| | 03:08 | I'll position the tracker over the
subject's face, then click the Process
| | 03:12 | button to begin tracking this object.
| | 03:14 | I want to go ahead and cancel that
track, because in a later movie in this
| | 03:18 | chapter, we'll talk about both auto
tracking as well as manual tracking.
| | 03:23 | After performing a track, we can apply
the tracking data in several places in
| | 03:27 | Color, including the secondaries room,
the Pan&Scan tab of the Geometry Room and
| | 03:32 | the Shapes tab of the Geometry Room.
| | 03:34 | Now that we are little more familiar
with the Geometry Room, in the next few
| | 03:38 | movies, we'll break down some specific features.
| | Collapse this transcript |
| Creating pan and scan adjustments| 00:00 | The Pan&Scan tab of the Geometry Room
is a useful tool to make geometry type
| | 00:04 | corrections in Color, but the Pan&Scan
tab also interacts very heavily with the
| | 00:08 | Motion tab of the viewer in Final Cut Pro.
| | 00:10 | So let's jump into Final Cut Pro,
and take a look at how this works.
| | 00:13 | Here in my Final Cut Pro project, I am
going to go into the Chapter 10 bin and
| | 00:17 | then go ahead and open up the
sequence called 10_02 Pan&Scan.
| | 00:21 | Here on this sequence, I have a clip
that I have applied several Motions
| | 00:24 | Tab adjustments to.
| | 00:26 | Let me show you this by double-
clicking on the clip, and then in the viewer
| | 00:29 | clicking on the Motion tab.
| | 00:31 | Here, you can see I have changed
parameters like Scale, Rotation, Center point.
| | 00:35 | I have also changed, here in the
Distort category, this clip's Aspect Ratio.
| | 00:39 | So let's go back down to the Final
Cut Pro Timeline to make sure that the
| | 00:43 | Timeline and the sequence is active, and
then choose File>Send To>Color, to send
| | 00:48 | this sequence to Color.
| | 00:49 | I am fine with the
default naming of the sequence.
| | 00:52 | So I'll just click OK.
| | 00:55 | Now in Color, let's go and click on the
Geometry Room at the top of the Color interface.
| | 01:00 | Notice on the Pan&Scan tab, as well as
in the middle of room it appears that a
| | 01:04 | Pan&Scan correction has
already been made. Well, it has.
| | 01:08 | Motion tab settings from Final Cut Pro
are translated into Pan&Scan corrections.
| | 01:13 | If you want to do further refinement
to Pan&Scan correction here, we can.
| | 01:16 | So for example, I'll just simply just
move the frame over here, I'll zoom in a
| | 01:20 | bit, and then I'll rotate the frame.
| | 01:23 | The only thing that I can't do
with the on-screen controls is change
| | 01:27 | aspect ratio of this clip.
| | 01:28 | So I'm going to come into the Pant&Scan tab
and then hover my mouse over the Aspect
| | 01:32 | Ratio parameter, and adjust it a little bit.
| | 01:34 | Obviously, this Pan&Scan correction
is a bit silly, but just bear with me
| | 01:37 | for one more second.
| | 01:38 | Now that I have updated this Pan&Scan
correction, let's come into the Render
| | 01:42 | Queue and add this clip to
the Render Queue to be rendered.
| | 01:45 | I'll do that by clicking the Render
Queue Room at the top of the Color interface
| | 01:48 | and then clicking the Add Selected button.
| | 01:50 | This will add the clip to my
Color Timeline to the Render Queue.
| | 01:53 | Then let's click Start Render.
| | 01:56 | Now that the clip is done rendering, we
need to send this back to Final Cut Pro
| | 01:59 | and I'll do that by choosing
File>Send To>Final Cut Pro.
| | 02:04 | Back in Final Cut Pro at the top of
the browser here, you will notice this
| | 02:07 | sequence called 10_02 pan&
can, but with 'from Color' in parenthesis.
| | 02:12 | This is the corrected sequence.
| | 02:13 | Let me go ahead and open this up.
| | 02:15 | Then I am going to navigate this
sequence to the exact same frame that we were
| | 02:18 | on in the original sequence.
| | 02:19 | So you can see, if I switch between the
two sequences, the difference between them.
| | 02:24 | It's the same clip, but on the
corrected sequence, the clip has been reframed.
| | 02:29 | This is because anytime that you send
a project back to Final Cut Pro from
| | 02:32 | Color, any correction that you did on
the Pan&Scan tab of the Geometry Room in
| | 02:35 | Color is updated or translated back to a
parameter here on the Motion tab of the
| | 02:40 | viewer in Final Cut Pro.
| | 02:42 | So let me look ahead and open up this
clip from the From Color Sequence and you
| | 02:46 | can see I have different parameter
settings here than I did on the original clip
| | 02:51 | that we sent to Color.
| | 02:52 | Let me go ahead and close the From
Color Sequence by right-clicking on it
| | 02:57 | and choosing Close Tab.
| | 02:58 | Then I am going to come into my browser
and select the corrected sequence, and
| | 03:02 | press the Delete key on the
keyboard to remove it from this project.
| | 03:06 | Things get a little more
interesting when keyframes are involved.
| | 03:09 | Back here on the original Final Cut Pro
Sequence, I am going to open this clip
| | 03:12 | back up into the viewer.
| | 03:13 | Then I am going to click on the Motion
tab. Then I am going to reset all the
| | 03:17 | changes that we made in the Basic Motion
category and in the Distort category of the Motion tab.
| | 03:22 | I'll do that by simply clicking this red X,
and then this red X for the Distort category.
| | 03:26 | What I am going to do is
create a simple animation.
| | 03:29 | On my playhead at the beginning of the
clip, I am going to make a keyframe right
| | 03:32 | at the start of the clip for the Scale
parameter, and then I am going to come
| | 03:35 | down about halfway to three quarters
through the clip, and create another
| | 03:39 | keyframe by changing the scale to 150%.
| | 03:42 | So if scrub through this, you can see
that the clip animates, or it scales up.
| | 03:47 | Let's go back down and select the
Final Cut Pro Timeline, and then once again
| | 03:52 | choose File>Send To>Color.
| | 03:55 | I am okay with the default naming here,
and I am going to go and click OK.
| | 03:59 | When Color pops up you might be asked, "Do
you want to replace an existing project?"
| | 04:02 | Go ahead and click Replace.
| | 04:04 | This is because we
previously sent the sequence to Color.
| | 04:07 | Now back in Color, let me select the
Color Timeline and press Shift+Z, so we can
| | 04:11 | see this entire clip on the Timeline.
| | 04:13 | And if I scrub through the clip, notice
that I don't actually see that animation.
| | 04:19 | Any keyframes that you create in the Motion
tab of Final Cut Pro are not shown in Color.
| | 04:24 | What you see is the clip from
the last Motion tab keyframe.
| | 04:28 | So in this case, I am seeing the
clip after it's already zoomed in.
| | 04:31 | This doesn't mean that the
keyframes are gone though.
| | 04:33 | Keyframes are preserved in the round-trip.
| | 04:36 | And when the clip is sent back to Final
Cut Pro, the keyframes will be reapplied.
| | 04:39 | This is important because sometimes the
animation that you created in Final Cut
| | 04:42 | Pro will actually make the
clip in Color hard to see.
| | 04:45 | So what you can actually do is click
into the Geometry Room and reset the
| | 04:50 | Pan&Scan correction.
| | 04:51 | Now we can see the whole clip
without any Pan&Scan correction.
| | 04:54 | Let me go back and click on the
Render Queue tab here at the top of Color
| | 04:57 | interface, add this clip again to
the Render Queue to be rendered, and
| | 05:00 | click Start Render.
| | 05:03 | Now that the clip is done rendering,
let me choose File>Send To>Final Cut Pro.
| | 05:08 | Back in Final Cut Pro, let's once
again open up the From Color Sequence, and
| | 05:12 | here's my clip that's been corrected.
| | 05:14 | If I scrub through it, notice once
again, that I have that Scale animation.
| | 05:19 | If I double-click on the clip to load
it into the viewer, the keyframes for the
| | 05:22 | Scale parameter have been reapplied to the clip.
| | 05:24 | One more thing about the interactivity
between the Motion tab here in Final Cut
| | 05:28 | Pro's viewer and the Pan&
Scan tab in Geometry Room.
| | 05:31 | Let me go ahead and close the From Color
Sequence, and then remove it from this project.
| | 05:36 | On the original sequence, 10_02 pan&scan,
let me double-click on this clip and
| | 05:41 | click on the Motion tab and reset
all the Motion tab parameters for this
| | 05:45 | clip, and I'll select the Final Cut
Pro Timeline here, and once again send
| | 05:48 | this project to Color.
| | 05:50 | I am fine with the default naming, and
when Color opens up, simply choose to
| | 05:54 | Replace the Project.
| | 05:56 | We can actually keyframe from scratch
inside of the Geometry Room and then the
| | 06:00 | Pan&Scan tab in Color.
| | 06:03 | So for example, if I make a correction
by scaling this clip, and then placing
| | 06:07 | the frame here, I can add a
keyframe on the Color Timeline.
| | 06:11 | Now we haven't talked too much in-depth
about keyframes yet, but we'll talk more
| | 06:15 | about them in Chapter 12.
| | 06:17 | For now, let me just show you how this works.
| | 06:19 | I positioned the frame here, I am
going to add a keyframe for the position of
| | 06:22 | this frame by pressing Ctrl+9 on my keyboard.
| | 06:25 | Then I'm going to come down later in
time on this clip and press Ctrl+9 again to
| | 06:29 | make another keyframe.
| | 06:30 | Then I'll simply drag the Pan&Scan
wireframe over to this part of the clip.
| | 06:35 | If I drag through my Color Timeline,
take a look at the preview, I've
| | 06:38 | animated this clip.
| | 06:40 | Let me go ahead and once again add this
clip to the Render Queue by clicking Add
| | 06:42 | Selected, and then Start Render.
| | 06:44 | Finally, let's send this back to Final Cut
Pro by choosing File>Send To> Final Cut Pro.
| | 06:51 | We'll open up the From Color Sequence and
then let's drag through the corrected clip.
| | 06:57 | Interesting.
| | 06:58 | We don't actually see the animation.
| | 07:00 | Let me double-click on the clip
to open it up into the Motion tab.
| | 07:03 | Any Pan&Scan keyframes that you make in
Color are ignored and the project is
| | 07:07 | sent back to Final Cut Pro.
| | 07:09 | All you see here is the initial
adjustment that we made in the Pan&Scan tab
| | 07:13 | of the Geometry Room.
| | 07:14 | The only time that Color actually
renders keyframes from the Pan&Scan tab of the
| | 07:18 | Geometry Room is when you are working
on a project and rendering back to 2K or
| | 07:21 | 4K DPX or sending out an image
sequence or working with a Red 4K project.
| | 07:26 | So that's using the Pan&Scan tab.
| | 07:28 | I bet you're wondering, will
I ever use the Pan&Scan tab?
| | 07:31 | Well, the answer is yes, especially
if you're working on the DPX type
| | 07:34 | project, as it's really the only
place to effectively make these types of
| | 07:37 | corrections in Final Cut Studio.
| | 07:39 | Also, when working on a normal QuickTime
or XML based project, in my experience,
| | 07:43 | I use the Pan&Scan tab to update static
Motion tab settings from Final Cut Pro,
| | 07:48 | to fix issues that clients might not
have even seen, or to have the shot work
| | 07:52 | with other shots in the
sequence in a more creative fashion.
| | Collapse this transcript |
| Automatically motion-tracking corrections| 00:01 | A lot times, when grading a show, you
want a correction like a vignette shape
| | 00:04 | or in some workflows the Pan&Scan correction
to follow an object or person around the screen.
| | 00:09 | We can use a tracker to track objects
across the screen, and then use that data
| | 00:13 | to attach corrections.
| | 00:14 | So that the corrections follow the
object or person around the screen.
| | 00:19 | In Color, this can be done
automatically or manually.
| | 00:22 | In this movie, we will take a
look at making the automatic track.
| | 00:24 | So here in this Color project, I have a
clip that I've actually already applied
| | 00:27 | some primary and secondary correction to.
| | 00:30 | The secondary correction that I
performed was just a simple vignette.
| | 00:33 | What I was trying to do was lighten
the inside of the vignette shape and
| | 00:36 | darken the outside of the shape, so I could
draw the viewer's eye to subject here on screen.
| | 00:41 | Let me show you the correction.
| | 00:43 | I'll change my Matte Preview mode
button from the Desaturated preview that I am
| | 00:46 | looking at right now, this gray-green-
gray button to the final view, the one
| | 00:50 | that's red-green-blue. Then I will toggle off
the vignette outline, using this button right here.
| | 00:56 | Then finally, I'll just toggle the
correction on an alpha using the Enabled
| | 00:59 | button here at the top of the room.
Here's prior to the correction, and then
| | 01:03 | after the correction.
| | 01:04 | It's subtle, but it definitely does
draw the viewer's attention to the
| | 01:07 | subject on the screen.
| | 01:08 | So, in the Color Timeline here, let me
scrub through the clip, and you'll notice
| | 01:13 | that right about there, the
subject exits the vignette.
| | 01:17 | Now we could keyframe this vignette, I
want to actually talk about keyframing in
| | 01:21 | Chapter 12, but there is a much
easier way to have the vignette follow this
| | 01:25 | subject around the screen and
that's by using a tracker.
| | 01:28 | In Color, I find my tracking controls inside
the Geometry Room and then on the Tracking tab.
| | 01:34 | To add a new tracker, all I need to do is
simply press this new button right here, but
| | 01:39 | before we do that, I want to show you a
few things about adding a new tracker.
| | 01:43 | The first is how Color defines
the area that it wants to track.
| | 01:46 | If I was to add a new tracker, which
I'll go ahead and do right now by clicking
| | 01:50 | the New button, you'll
notice that underneath the clip.
| | 01:53 | I am going to make this a little
bigger, I have a green bar right here that
| | 01:58 | says, In, and a green bar
right here that says, Out.
| | 02:02 | This represents the area that Color
wants to try to track, and by default it
| | 02:07 | uses the position my playhead was on, when
I added the tracker in the end of the clip.
| | 02:11 | Let me remove this tracker by clicking
the remove button on the Tracking tab.
| | 02:17 | If I want a manually defined the area
that I want to track on a clip, what I
| | 02:20 | need to do is add a new tracker by
clicking the New button and then position my
| | 02:24 | playhead where I want the track to start,
| | 02:26 | say right there, and then click the
Mark In button on the Tracking tab.
| | 02:30 | When I do that, what you should have
noticed is that the screen bar that says In,
| | 02:35 | moved to my playhead position.
| | 02:37 | I can do the same thing to mark an
outpoint. I simply position my playhead on
| | 02:41 | the clip where I want the
tracker to stop, then click Mark Out.
| | 02:46 | And this screen bar that says Out
moved to my playhead position.
| | 02:49 | It's important to note that these
Mark In and Mark Out buttons are not the
| | 02:53 | same thing as the keyboard shortcuts I and O, to
mark and an In and Out on the Timeline.
| | 02:58 | These buttons only work for a tracker.
| | 03:01 | So let me go ahead and remove this
tracker, and let's go ahead and track
| | 03:05 | this clip for real.
| | 03:07 | With my Color Timeline selected, I am
going to use the Up arrow on my keyboard
| | 03:09 | to navigate my playhead back
to the beginning of the clip.
| | 03:11 | Then I'll press Shift+Z, so we can
see the entire clip in the Timeline.
| | 03:17 | Then I am going to go ahead and
click the New button on the Tracking tab.
| | 03:21 | I want you to notice a couple things.
| | 03:23 | First, down here in my Timeline, the
in point of the tracker is the very
| | 03:26 | first frame on my clip and the outpoint of
the tracker is the very last frame on my clip.
| | 03:31 | Then here in the middle of the
Geometry Room I have two boxes.
| | 03:34 | These are my on-screen tracking controls.
| | 03:37 | Let me zoom into them a bit, so
we can study them a bit closer.
| | 03:39 | The automatic tracking
controls are made up of two boxes.
| | 03:44 | This first box, this outside one
here that's yellow, is my search area.
| | 03:48 | The idea behind the search area is that
I want to adjust its size, so that the
| | 03:51 | object I am trying to track
never exits the search area.
| | 03:56 | I place the inside box, called the Reference
Area, on the actual object I want to track.
| | 04:01 | You always want to make sure that you
place the reference box on something that
| | 04:04 | is angular, or is of high contrast.
| | 04:07 | Color does not do a particularly good
job tracking objects that are not angular
| | 04:11 | or have high contrast.
| | 04:12 | For example, if I try to track is
completely black area, Color wouldn't
| | 04:16 | really know what to do.
| | 04:17 | Let me zoom back out by pressing the F
key on a keyboard to reframe this clip
| | 04:21 | in the Geometry Room.
| | 04:22 | Now I am going to go ahead and position
these two boxes over the subject's face,
| | 04:27 | and then let's zoom back in.
| | 04:29 | Remember, to zoom in and out in the
Geometry Room, all you need to do is hold down your
| | 04:33 | Right mouse button and drag.
| | 04:35 | Then to pan the image, simply hold
down your Middle mouse button and drag.
| | 04:40 | So what I am going to try to do is
position the reference area over the
| | 04:43 | subject's face, like this.
| | 04:44 | And you can move the reference area
simply by clicking in the middle of the box.
| | 04:49 | Then I am going to adjust the search
area a little bit bigger like this.
| | 04:54 | Just be careful that you don't
make the search area too big.
| | 04:57 | The larger the search area, the longer
it will take for Color to track an object.
| | 05:02 | But you want to make it big enough so
that the object that you're trying to
| | 05:05 | track never leaves the search area.
| | 05:08 | The same logic holds
true for the reference area.
| | 05:10 | You want to make it big enough so that
the object you are trying to track, like
| | 05:14 | this subject's nose, remains
inside of the reference area.
| | 05:17 | Let me press F again on the
keyboard to reframe this clip.
| | 05:22 | Now that we have got the search area
and the reference area boxes set up to
| | 05:27 | actually track this clip, I am going to
go ahead and click this Process button,
| | 05:30 | and Color will go ahead
and actually track this clip.
| | 05:35 | I want you to notice a few things.
| | 05:37 | Down on the Timeline you should notice a
green progress bar, and this is Color's
| | 05:41 | way of telling us, this is how
far the track has progressed.
| | 05:44 | Then in the middle of the Geometry
Room all those red dots you see
| | 05:47 | are tracking keyframes.
| | 05:53 | Once the track is finished, your
playhead returns to where the tracking started,
| | 05:56 | in this case it was the beginning of the clip.
| | 05:59 | One more thing before I actually apply
this tracking data to a correction. Right
| | 06:04 | here in the middle of the tracking tab,
I can adjust Tracking Curve Smoothness.
| | 06:08 | What that does is it adjusts the
smoothness of the actual tracking curve.
| | 06:13 | Sometimes when Color tracks something
it's a little jittery, so adjusting this
| | 06:17 | value up will smooth out the shape of the curve.
| | 06:22 | We now ready to apply this
tracking data to a correction.
| | 06:24 | Let's go back into the Secondaries room,
and here on the Secondaries room let's
| | 06:29 | come down to our Vignette controls,
and you will notice that there's a pop-up
| | 06:32 | right here called Use Tracker.
| | 06:33 | And currently this vignette is not using
tracker, because the pop-up is set to None.
| | 06:37 | We can change this though to use
the tracker that we just created.
| | 06:40 | That tracker is called Tracker 1.
| | 06:43 | So when I choose Tracker 1, don't be
surprised if the vignette pops away
| | 06:47 | from the subject, or from your original
location that you had positioned the vignette.
| | 06:50 | This is normal.
| | 06:51 | All you need to do is, at the start of
the clip, position the vignette back on
| | 06:55 | your subject, something like that.
| | 06:57 | Now if I scrub through this clip,
notice that the vignette follows the
| | 07:01 | subject around screen, and I can see
that right here in my Previews tab of
| | 07:05 | the Secondaries room.
| | 07:06 | It's a little bit more
subtle up here in the preview.
| | 07:09 | One more note about automatic tracking in Color.
| | 07:12 | Let me switch back to the Geometry Room,
and then I am on the Tracking tab, and
| | 07:16 | then finally I am going zoom
into this clip quite a bit.
| | 07:18 | Notice that when I zoom into the clip
I can see the individual keyframes that
| | 07:22 | Color made when it was
tracking this object around screen.
| | 07:24 | A new feature in Color 1.5 is that I
can actually take an automatic track and
| | 07:28 | convert it to a manual track at any
point in time, and I do this by clicking on
| | 07:33 | this Manual Tracker button.
| | 07:35 | In previous versions of Color when
you would auto track something and then
| | 07:38 | change the track to a manual track, all
of your auto tracking data was lost, but
| | 07:42 | now when we select Manual Tracker,
none of that auto tracking data is lost.
| | 07:47 | And this is very cool because now we
can manually update any tracking point.
| | 07:51 | In the next movie, we will talk more
about Manual Tracking, but let me just
| | 07:54 | briefly show you how it works.
| | 07:56 | So after it converted an Auto
tracker to a Manual Tracker, I can simply
| | 07:59 | reposition anyone of these tracking keyframes.
| | 08:03 | The way I do that is by simply
clicking anywhere on screen where I want the
| | 08:06 | tracking keyframes to go.
| | 08:08 | Now just for the sake of demonstration,
I am going to click way over here.
| | 08:11 | So currently my playhead is on this
keyframe, the one that's green, and I want
| | 08:15 | to reposition it way over here, so I'll click.
| | 08:19 | Notice that it got positioned over
there, and what Color did, was it moved
| | 08:22 | the playhead one frame. I know what
| | 08:24 | you might be thinking to yourself,
"Didn't you click way over here?"
| | 08:27 | Well, I did, but what happens when
you manually track something is that
| | 08:30 | Color will place the frame where you clicked,
and then advanced the playhead one frame.
| | 08:34 | So now we're looking at the
frame after I moved the keyframe.
| | 08:38 | Again, we'll talk more about
manual correction in the next movie.
| | 08:41 | So that's all what really
is to creating an auto track.
| | 08:44 | You can attach tracking data to a
correction like we did in this movie, to have
| | 08:47 | a correction follow an object
or subject around the screen.
| | Collapse this transcript |
| Manually motion-tracking corrections| 00:00 | In the last movie we explored auto
tracking and it worked rather well for
| | 00:03 | animating the vignette.
| | 00:05 | Sometimes though, auto
tracking simply doesn't work well.
| | 00:09 | For example, what if you want to
place a vignette around a subject, but the
| | 00:11 | subject starts offscreen.
| | 00:13 | The auto tracker in Color can't
handle these situations, because it doesn't
| | 00:17 | support what is known as
offset tracking. So what you do?
| | 00:22 | Well, you put a little elbow grease
into the problem and do a manual track.
| | 00:26 | Before we do any tracking, let's just
go ahead and scrub through this clip.
| | 00:29 | You'll notice at the very first frame
in the clip, the subject is not on the
| | 00:32 | screen, but as I scrub through the clip, the
camera pans and the subject becomes visible.
| | 00:39 | What we want to do on this clip is
place a vignette around the subject's head
| | 00:42 | and upper body, specifically to remove
some of this yellow and orange skin tone.
| | 00:47 | The tracking controls in Color can be found in
the Geometry room and then on the Tracking tab.
| | 00:54 | Before we go ahead and add a new tracker, let
me simply zoom out of this image just a bit.
| | 00:59 | And I am going to do that by holding
down my Right mouse button and dragging.
| | 01:05 | Because I know that the subject starts
offscreen, I want some extra area here
| | 01:08 | around the clip in the Geometry room so
I can add some tracking points without
| | 01:12 | actually clicking on the clip itself.
| | 01:15 | Also, before we actually add the tracker,
remember that Color by default starts
| | 01:20 | tracking a clip from
wherever your playhead position is.
| | 01:24 | So I want to actually track this entire clip.
| | 01:26 | So what I need to do is position my
playhead back at the beginning of the clip,
| | 01:29 | and an easy way to do that is to simply
select the Color Timeline and then press
| | 01:33 | the Up arrow on the keyboard.
| | 01:35 | Then to get the clip back into the viewable
area of the Timeline, I am going
| | 01:37 | to press Shift+Z. Okay, now we
are ready to track this clip.
| | 01:43 | I am going to go ahead and click the
New button here on the Tracking tab.
| | 01:47 | By default, this puts some on-screen
controls here for an auto track, but we want
| | 01:52 | to do a manual tracker, because the
subject starts offscreen and the auto
| | 01:55 | tracker won't work well for that situation.
| | 01:58 | So to change this tracker from an auto
track to a manual track, I am going to
| | 02:02 | click on this button right
here called Manual Tracker.
| | 02:06 | Now just be careful, the next time that
you click, you'll be actually adding the
| | 02:10 | first tracking point for this Manual Tracker.
| | 02:13 | If you got a little overzealous and
start to clicking already, like this, you can
| | 02:17 | always remove a tracker by
clicking the Remove button.
| | 02:21 | Just be careful though if you already
started to clicking your playhead might
| | 02:24 | have advanced in the clip.
| | 02:25 | So you need to go back to the
beginning of the clip and remember, I did that
| | 02:28 | by using the Up arrow on my keyboard and
then I simply reframed the clip on the Timeline.
| | 02:35 | So I will click the New button and we'll
change this from an auto track to manual track.
| | 02:39 | I know that the subject starts
offscreen somewhere right about here.
| | 02:42 | So I am going to have to make quite a
few tracking keyframes here offscreen
| | 02:46 | until the subject appears in the clip.
| | 02:48 | One of the things I think that people
find very confusing about manual tracking
| | 02:52 | in Color is that every time that you
add a manual track point, Color advances
| | 02:57 | the playhead one frame.
| | 02:59 | So it can look like your
points are jumping around.
| | 03:02 | The other thing about that is that you
have to be a little bit predictive about
| | 03:06 | where you think the object that you
want to track is going to be on screen the
| | 03:10 | next time you click.
| | 03:11 | All right, so let me go ahead and
start tracking this clip by clicking.
| | 03:15 | The first time I click, I have added a
tracking point, but also notice down here
| | 03:18 | on the Timeline that my
playhead has advanced one frame.
| | 03:21 | So I am going to need to click several
times until the subject appears in the clip.
| | 03:26 | So let me go ahead and
add those tracking points.
| | 03:33 | Now I can just see the
edge of the subject on screen.
| | 03:37 | At this point, you might find it most
useful to zoom back into the clip and you
| | 03:41 | can do that by holding down your Right
mouse button and dragging, and then you
| | 03:45 | can reposition the clip in the
Geometry room here by holding down your Middle
| | 03:48 | mouse button and dragging.
| | 03:52 | So as I mentioned before, you need to
be a little predictive about where you
| | 03:55 | think the object that you want
to track is going to be on screen.
| | 03:58 | As color advances the playhead one
frame after every time that you click.
| | 04:02 | So I am going to try to track
the subject's nose right here.
| | 04:05 | I am going to continue making
tracking points following subject's nose
| | 04:11 | around screen.
| | 04:13 | I am done manually tracking the subject
around screen and I know that the tracking
| | 04:22 | is done when the last tracking
point turns green, like it has here.
| | 04:26 | Now manual tracking takes a long time.
| | 04:29 | So use it only when you have to.
| | 04:32 | This clip was only about four-and-a-
half seconds long and it took me a while to
| | 04:36 | add all these tracking points.
| | 04:37 | Let me press F on my keyboard to
reframe the clip here in the Geometry room.
| | 04:44 | Now that I've created the tracking
data, let's click back over into the
| | 04:47 | Secondaries room, and then
let's click on the Previews tab.
| | 04:51 | I've already created a
vignette that we can use on this clip.
| | 04:56 | So go ahead and enable the Secondaries
room by using the Enabled button here at
| | 04:59 | the top of the room and then
click on Vignette controls.
| | 05:03 | You'll notice that a vignette has
already been placed over the subject's
| | 05:06 | upper body and his head.
| | 05:09 | Changing that Preview mode from the
Desaturated view to the Final view and then
| | 05:12 | turn off the Vignette outline.
| | 05:16 | If I back this clip up and scrub
through it, what you'll notice right now is
| | 05:21 | that the Vignette does not follow the subject.
| | 05:24 | Let's try to figure this out.
| | 05:26 | Why did that happen?
| | 05:27 | Well, just like when we created an
auto track, I need to tell the Vignette to
| | 05:31 | use the tracking data.
| | 05:33 | And I do that by coming down here to
the Use Tracker pop-up in the Vignette
| | 05:36 | controls of the Secondary room.
| | 05:39 | Currently, it's set to None.
| | 05:41 | So I need to click on that and choose tracker 1.
| | 05:44 | Now what happened was that the
tracker popped offscreen, but if you scrub
| | 05:48 | through this clip, you'll notice that
the tracker is still offscreen until the
| | 05:52 | very end of the clip, right there.
| | 05:55 | What I found most useful on this type
of tracking, when the subject starts
| | 05:58 | offscreen, is to position your playhead
on the last frame of the clip and then
| | 06:03 | position the Vignette, and from
there the tracking data should take over.
| | 06:08 | So the Vignette starts offscreen and as
I scrub through the clip, you'll notice
| | 06:13 | that the Vignette now
stays right on the subject.
| | 06:17 | So that's manual tracking.
| | 06:19 | One last note about tracking.
| | 06:20 | It's very, very tempting to track
everything you can, but try to avoid it,
| | 06:25 | because it can be a major drain on
time and use tracking only where it's
| | 06:30 | really needed.
| | Collapse this transcript |
|
|
11. Grade ManagementUsing multiple grades| 00:00 |
Of course all of us would love to be
able to do things right the first time and
| | 00:03 |
have our choices accepted by everyone.
| | 00:05 |
But the fact is that rarely
happens in life or in the Color suite.
| | 00:08 |
How I grade a clip might not
exactly be what my client had in mind.
| | 00:12 |
More often than not though, what my client wants
is just a variation of what I've already done.
| | 00:16 |
Also, sometimes I might not be sold
myself on how I have created the clip and I
| | 00:20 |
want to try out another look without
losing the work that I've already done.
| | 00:24 |
So how do we deal with
these situations in Color?
| | 00:26 |
Well, we do it by using multiple grades.
| | 00:28 |
By using multiple grades you can apply
different or the same corrections to a
| | 00:32 |
clip in different ways.
| | 00:33 |
The reasons for doing this are pretty simple.
| | 00:35 |
You want to apply different looks to a
clip without replacing looks that you
| | 00:39 |
have already created.
| | 00:40 |
First, let's remember the
difference between corrections and grades.
| | 00:44 |
Corrections happen in each one of
colors rooms here at the top of the color
| | 00:47 |
interface and a grade is just the sum
of all corrections for a particular clip.
| | 00:52 |
So far in this title, we've been adding
corrections to clips and every time that
| | 00:56 |
we've added a correction
it's been added to a grade.
| | 00:59 |
So down here in my Timeline underneath
the clip, I have my grades track and if I
| | 01:03 |
just click on this thin gray line,
I can expand my grades track.
| | 01:07 |
Currently, right now, I don't have any
corrections on this clip, but I do have a grade.
| | 01:12 |
By default, every clip has one grade.
| | 01:14 |
That's this blue bar right here called Grade 1.
| | 01:16 |
So on the grades track, I can add
multiple grades and I can see each correction
| | 01:20 |
that I have applied to a grade.
| | 01:22 |
As I have mentioned, currently on this
clip, I have no corrections applied, but
| | 01:25 |
let's go ahead and apply a few corrections.
| | 01:27 |
So I am going to come into the Primary
In room and just do a simple correction
| | 01:31 |
here, something like that.
| | 01:34 |
Now notice down on the grades track
attached to Grade 1 there is a bar here that
| | 01:38 |
says PI, PI for Primary In.
| | 01:41 |
each room in Color has its own correction bar.
| | 01:43 |
So if I click on the Secondaries room,
then the Previous tab here, and I am
| | 01:47 |
going to make a simple vignette to
treat the sky in this clip, like this.
| | 01:54 |
Now I will add a little
softness to the vignette.
| | 01:55 |
If you need a refresher on
creating vignettes, be sure to go back to
| | 01:59 |
Chapter 7 and watch the movies on
creating vignettes and I am just going to tint
| | 02:04 |
this a little bit, something like that
and we'll just position. That's working.
| | 02:10 |
Notice after I made that secondary
correction down in the grades track, attached
| | 02:13 |
to Grade 1, I now have a
new corrections bar called S1.
| | 02:17 |
This is for secondary tab 1 and in fact,
every secondary correction can have
| | 02:21 |
its own correction bar.
| | 02:23 |
The Color FX room works in the same way.
| | 02:24 |
If I apply a preset Color FX Node Tree,
like this Warm_glo, notice down here
| | 02:30 |
attached to Grade 1, I now
have a Color FX correction bar.
| | 02:34 |
Finally, in the Primary Out room if I
make a correction, like this, just doing a
| | 02:41 |
simple contrast correction, you'll
notice attached to Grade 1, I now have a new
| | 02:44 |
correction bar labeled PO for Primary Out.
| | 02:48 |
The corrections that I performed
here were not meant actually to be the
| | 02:50 |
correction that I do in the real world.
| | 02:51 |
It was just to illustrate
how these correction bars work.
| | 02:54 |
So the next thing I want to do is figure
out how I can add a new grade and apply
| | 02:57 |
different corrections, but keep
this grade and its corrections.
| | 03:01 |
Well, it's pretty simple, I can come up
to grades menu and here I can choose to
| | 03:04 |
add up to three additional grades,
Grades 2, 3, and 4, and notice the keyboard
| | 03:10 |
shortcut for each one, Ctrl+2, Ctrl+3,
and Ctrl+4. So let me go ahead and select
| | 03:15 |
Grade 2. And down in the grades track on my clip,
| | 03:20 |
you'll notice I now have a new blue bar
labeled Grade 2 and currently it doesn't
| | 03:24 |
have any corrections attached to it.
| | 03:26 |
I can easily switch back and forth
between grades by simply clicking on
| | 03:30 |
the previous grades.
| | 03:31 |
So if I click on Grade 1, there is
Grade 1 and all of its corrections, and if I
| | 03:34 |
click on Grade 2, you'll notice
that it doesn't have any corrections.
| | 03:38 |
So let's go ahead and quickly
make some corrections for Grade 2.
| | 03:41 |
I will come back to the Primary In
room and what I am going to do is create a
| | 03:44 |
very shadowy almost
day-for-night look on this clip.
| | 03:46 |
That looks pretty good.
| | 03:47 |
I will come into the Secondaries room,
I am going to add a vignette and what I
| | 03:53 |
am going to do with the vignette is
sort of simulate a lens vignette where the
| | 03:57 |
edges of the screen are pretty dark.
| | 03:59 |
So I'll switch my control pop-up here
to outside and drag down quite a bit,
| | 04:04 |
something like that and I am going to
skip the Color FX room for this grade and
| | 04:08 |
just go to the Primary Out room and
lighten the clip up, just a touch,
| | 04:14 |
something like that.
| | 04:15 |
So now, let me go ahead and switch
back and forth between these two grades.
| | 04:18 |
Here's Grade 1 and here's Grade 2.
| | 04:21 |
The thing is, I like Grade 2 better.
| | 04:23 |
So wouldn't it be cool if there was a way
to signify that I like this grade better?
| | 04:27 |
Well, in fact there is.
| | 04:28 |
If I come back up to the grade menu, I
can set this grade as a Beauty Grade.
| | 04:32 |
Note the keyboard shortcut Ctrl+Shift+B.
So, let me set the Beauty Grade
| | 04:36 |
for Grade number 2.
| | 04:37 |
You'll notice now, on the grade bar
itself where it says Grade 2, the bar is
| | 04:42 |
turned from blue to orange.
| | 04:44 |
A Beauty Grade doesn't actually do
anything to the footage or to the grade.
| | 04:48 |
It's simply a way of marking
the grade as your favorite.
| | 04:51 |
This could be your favorite or
perhaps the client's favorite grade.
| | 04:55 |
I can also use keyboard
shortcuts to navigate between grades.
| | 04:58 |
Remember, up here under the grade
menu, each grade has its own keyboard
| | 05:01 |
shortcut, Ctrl+1 through 4.
| | 05:04 |
The thing to remember those, if you
are using Spaces in Mac OS X, that
| | 05:07 |
feature by default uses Ctrl+1, Ctrl+2, Ctrl+
3 and Ctrl+4, and so on to activate a space.
| | 05:12 |
So you want to go in the System
Preferences and change these default
| | 05:15 |
shortcuts for Spaces.
| | 05:16 |
I don't have Spaces enabled so I am okay.
| | 05:18 |
Let me go ahead and press Ctrl+1 and notice
that I automatically navigated back to Grade 1.
| | 05:24 |
Let me go ahead and press Ctrl+3.
| | 05:26 |
In that case, you'll
notice a new grade was created.
| | 05:30 |
By using these keyboard shortcuts, if
a grade is already present on the grades
| | 05:33 |
track, you simply navigate to that grade.
| | 05:36 |
If a grade is not present on the
grades track using one of the keyboard
| | 05:39 |
shortcuts, adds that new grade.
| | 05:41 |
If I right-click on any one of these
grades, I can choose to reset any the
| | 05:45 |
corrections that are on it
or actually remove the grade.
| | 05:48 |
Let me go ahead and remove Grade 3.
| | 05:51 |
The last thing I want to show you is
that you can copy grades from one grade to
| | 05:55 |
another simply by dragging.
| | 05:57 |
So if I wanted to replace the
corrections here on Grade 1 with the corrections
| | 06:01 |
on Grade 2, I could simply take the
Grade 2 bar and drag it onto Grade 1.
| | 06:07 |
What that does is it replaces all the
corrections that were on Grade 1 previously.
| | 06:13 |
So now you should be a bit more
familiar with grades and in the following
| | 06:16 |
movies, we'll learn more about grade management.
| | 06:19 |
| | Collapse this transcript |
| Copying and dragging corrections and grades| 00:00 |
Let's take a look at how to copy and
drag Corrections and Grades from one clip
| | 00:03 |
to another clip or even multiple clips.
| | 00:05 |
The reason for doing this is pretty obvious.
| | 00:07 |
You like your correction or grade and you want
to apply it to another clip or group of clips.
| | 00:11 |
A byproduct of copying and dragging
corrections and grades is that you can work
| | 00:14 |
a whole lot faster than
grading clips individually.
| | 00:17 |
One thing to keep in mind before we
begin. In Color there are multiple ways to
| | 00:20 |
effectively do the same thing when it
comes to speeding up workflow, whether
| | 00:24 |
it's copying and dragging corrections
or grades, saving them as presets to
| | 00:27 |
recall later or using groups to organize clips.
| | 00:30 |
The goal is really the same, to allow
you to work faster and more efficiently.
| | 00:34 |
So, over the next few movies, you
might feel like we're doing the same thing,
| | 00:37 |
but just in a different way and that's true.
| | 00:39 |
But it's up to you to pick the way
that you're most comfortable with to apply
| | 00:42 |
corrections and grades across multiple clips.
| | 00:45 |
So, in this Color project, I have a part
of an interview segment from a show that
| | 00:48 |
I work on, called, Closer to Truth:
| | 00:50 |
Cosmos, Consciousness, God.
| | 00:52 |
And you can see that I've already
corrected the first two clips in this timeline.
| | 00:56 |
Each clip represents a different camera angle.
| | 00:58 |
So, with my playhead on the first clip,
let's come into the Primary In room and
| | 01:01 |
then notice down here on the lower
right hand corner of the Primary In room
| | 01:04 |
I've two buttons, Copy To
Selected and Copy To All.
| | 01:07 |
I can copy this primary correction to
any selection that I have here in my Color
| | 01:11 |
timeline, by clicking Copy To Selected
and I can copy the primary correction to
| | 01:15 |
all of the clips that I've here in my
Color timeline by clicking Copy To All.
| | 01:19 |
So, on my Color timeline, let me select
the third and fifth clips, which are the
| | 01:22 |
same camera angle as the first clip.
| | 01:25 |
So, I'll do that by holding down my
Command key, which allows me to select
| | 01:29 |
multiple clips as I click.
| | 01:31 |
So with those two clips selected in my
playhead on the first clip, I am going to
| | 01:34 |
click this button, Copy To Selected.
| | 01:36 |
Now what happened when I clicked that
button was that the primary correction was
| | 01:40 |
applied to the third and to the fifth clips.
| | 01:43 |
Let me position my playhead over the
fifth clip and click reset Primary In.
| | 01:47 |
That will remove that
primary correction from that clip.
| | 01:50 |
And I'll do the same thing on the third clip.
| | 01:51 |
We'll use these clips in a
different way in just a moment.
| | 01:55 |
And to deselect both of these clips, I
am going to use the keyboard shortcut,
| | 01:58 |
Shift+Command+A. The things about
copying a correction like we just did is that
| | 02:03 |
it only works in some rooms, like the
Primary In and the Primary Out, where
| | 02:07 |
there are Copy buttons.
| | 02:08 |
In rooms like the Secondaries room, you'll
notice that there aren't any Copy buttons.
| | 02:13 |
So what do we do?
| | 02:13 |
Well we have to copy the clip in a different way.
| | 02:16 |
The way we do that is by copying a grade.
| | 02:18 |
Let me position my playhead on the second clip.
| | 02:21 |
You'll notice that this clip has a
Primary In correction and two secondary
| | 02:24 |
corrections as denoted by the
three different correction bars.
| | 02:27 |
PI for Primary In, S1 and S2 for
the different secondary corrections.
| | 02:31 |
What I am going to do is come up to the
Grade menu and here I can choose to copy
| | 02:35 |
an entire grade, or rather
copy all three corrections.
| | 02:39 |
I am going to do that by saving this
grade to one of Color's five memory banks.
| | 02:43 |
So, you can choose any one of the five
memory banks or you can use a relatively
| | 02:47 |
complicated keyboard shortcut.
| | 02:49 |
I prefer to use the Grade menu and
then Copy Grade and then one of the memory
| | 02:52 |
banks, because I can never remember
the keyboard shortcut for each one of
| | 02:56 |
these memory banks.
| | 02:57 |
So, I am going to copy this grade to Mem-bank 1.
| | 03:00 |
Now that the grade has been copied,
let me go down to the fourth clip in
| | 03:03 |
the Color timeline.
| | 03:04 |
With the clip selected, I am going to
come back of the Grade menu and choose
| | 03:07 |
Paste Grade>Mem-bank 1.
| | 03:09 |
And when I did that you can see that
all three corrections from the second clip
| | 03:13 |
were applied to the fourth clip.
| | 03:15 |
Or in other words, the entire
grade was applied to the fourth clip.
| | 03:18 |
The only thing that you should be aware
of is that when you save a grade to one
| | 03:21 |
of the memory banks and then paste a
grade from one of the memory banks, the
| | 03:25 |
grade is pasted onto the
currently active grade on the clip.
| | 03:28 |
So, this clip has two grades, Grade 1 and
Grade 2 and Grade 1 was the active grade.
| | 03:33 |
So the grade was pasted onto Grade 1.
| | 03:35 |
Sometimes it's just easier to drag a
correction or grade from one clip to another.
| | 03:39 |
And I say correction or grade,
because it's possible to drag either.
| | 03:43 |
As we've discussed previously
underneath each clip, I've a grade bar, which
| | 03:46 |
shows me the corrections on each clip.
| | 03:48 |
So, on clip number four here, I've a
primary and two secondary corrections.
| | 03:51 |
I want to take the primary correction
from his fourth clip and drag it onto the
| | 03:55 |
sixth clip, the last clip
here on the Color timeline.
| | 03:58 |
So, I'll simply click on the Primary In
Correction bar and then drag it onto the sixth clip.
| | 04:03 |
And notice when I let go here that the
primary correction was applied to the sixth clip.
| | 04:08 |
I can do the same thing for secondary
corrections as well as any other type of
| | 04:11 |
correction that might be on the clip.
| | 04:13 |
So in this clip, I'll take the secondary
1 correction here and drag it onto
| | 04:17 |
the sixth clip and let go
and it's also been applied.
| | 04:20 |
You can see pretty quickly, dragging
individual corrections can get old.
| | 04:23 |
So instead of dragging individual
corrections, what you can do is drag an entire grade.
| | 04:28 |
So I am going to click on this blue
grade bar right here, where it says Grade 1,
| | 04:31 |
and drag the entire grade onto the last clip.
| | 04:33 |
Before I let go, notice the little hand
here that's holding three corrections.
| | 04:38 |
Those three corrections make up
the entire grade that I am dragging.
| | 04:40 |
So, I'll let go and the entire
grade has been applied to the last clip.
| | 04:45 |
Let me go ahead and reset both
the fourth and sixth clips' grades.
| | 04:49 |
I'll do that by placing my playhead
over the clip and then right-clicking on
| | 04:52 |
the Grade bar here, and choosing Reset Grade 1
and I'll do the same thing for the fourth clip.
| | 04:59 |
There are a couple of neat things in
relation to dragging corrections and grades
| | 05:02 |
that we should talk about.
| | 05:03 |
First, new to Color 1.5, when you
drag a correction or grade, you can apply
| | 05:08 |
that clip to every clip that you have
selected and not just the clip you're dragging to.
| | 05:12 |
So, I've already gone ahead
and corrected this first clip.
| | 05:15 |
But before I drag the correction, let
me make sure that I don't have any other
| | 05:18 |
clips in my Color timeline selected.
| | 05:20 |
And I can do that by using keyboard
shortcut Shift+Command+A. Next, let me go
| | 05:24 |
ahead and select the third and the fifth clips.
| | 05:27 |
I'll do that by holding down the Command key
and then clicking on the third and fifth clips.
| | 05:31 |
Remember, Command+Clicking on
clips adds them to the selection.
| | 05:35 |
Now with both of these clips selected,
what I am going to do is drag the grade
| | 05:38 |
from clip number one on to
clip number three and let go.
| | 05:42 |
You'll notice though that the grade
was applied not only to the clip that I
| | 05:46 |
dragged to, this one right here, but
also to the other clip that I had selected.
| | 05:50 |
This makes it very easy to apply a
correction or grade across multiple clips on
| | 05:54 |
your Color timeline.
| | 05:55 |
There are a couple of
nuances to this operation though.
| | 05:57 |
So, let me go ahead and first
deselect all the clips I have in my Color
| | 06:00 |
timeline, again, by using the keyboard
command, Shift+Command+A.Take a look at
| | 06:04 |
the fourth and the sixth clip here on
the Color timeline and you'll notice that
| | 06:07 |
they are the same angle and
each clip has two grades on it.
| | 06:10 |
So, if I go ahead and select the fourth
and the sixth clip by Command+Clicking
| | 06:14 |
on them, let's come back to the second clip.
| | 06:17 |
This is also the same angle
but it's already been graded.
| | 06:19 |
So, if I go ahead and drag the grade
from clip two to clip four, as we just saw
| | 06:23 |
it should also be applied to clip six.
| | 06:26 |
However, there is one little gotcha here.
| | 06:28 |
Let me go ahead and drag the grade
onto the actual clip itself and let go.
| | 06:33 |
Notice that the grade was applied to clip
four but down here on clip six, no grade.
| | 06:38 |
Let me go ahead and reset clip four by right
-clicking on it and choosing Reset Grade 1.
| | 06:44 |
What I need to do when I drag the
grade to have it be applied as I think it
| | 06:47 |
should be applied is not drag the
grade onto the clip itself, but onto one
| | 06:52 |
of these Grade bars.
| | 06:53 |
So with both clips still selected,
I'll drag the grade from the clip number
| | 06:56 |
two onto the Grade bar for clip number
four and now it's applied to both the
| | 07:01 |
fourth and the sixth clip.
| | 07:03 |
I am going to reset these one more time.
| | 07:05 |
I've one more thing to show you.
| | 07:08 |
As I mentioned before, both
of these clips have two grades.
| | 07:11 |
If I was to drag the grade from clip
two on to these clips, the grade would be
| | 07:15 |
applied to the active
grade on both of the clips.
| | 07:17 |
In this case, it's grade 1 on both clips.
| | 07:20 |
But if I instead make the active grade
on the sixth clip, Grade 2 and then drag
| | 07:26 |
the grade from clip number two onto
grade 1 on the fourth clip and let go,
| | 07:32 |
notice though on the sixth clip, the
grade was applied to the alternate grade.
| | 07:37 |
And there is one last thing here I
need to show you about that action.
| | 07:40 |
I'll reset both of these grades.
| | 07:42 |
Anytime that you drag a grade onto an
alternate grade, on the clip that you're
| | 07:46 |
dragging to, it's applied
to that alternate grade.
| | 07:49 |
So, I am dragging the grade from clip
number two on to Grade two on the fourth
| | 07:53 |
clip, and it's applied to that grade, but
onto the active grade of clip number six.
| | 07:58 |
So, that's copying and dragging
corrections and grades in Color.
| | 08:01 |
I think you'll find these methods a
great way to speed up grading in your
| | 08:05 |
own projects.
| | 08:06 |
| | Collapse this transcript |
| Saving corrections and grades| 00:00 | Somebody once said, "Why reinvent the wheel?"
| | 00:03 | And I think that this adage is
perfect in the context of color grading.
| | 00:06 | Why rebuild a correction or
grade when you don't need to?
| | 00:09 | After all you've already
created the correction or grade once.
| | 00:11 | The more grading that you do, the more
you realize, there are a lot of times
| | 00:14 | where you want to use the same
correction or even the same grade again.
| | 00:17 | For example, if you work on a series where
shots are repeated from episode to episode.
| | 00:22 | So, let's take a look at saving
corrections and grades, so that we can apply
| | 00:25 | them to other clips and in that way
not only can we work faster but we can
| | 00:28 | maintain consistency throughout our show.
| | 00:31 | Mechanics of saving corrections
and grades in Color is pretty easy.
| | 00:35 | In the Primary In, Secondaries, Color
Effects, and Primary Out rooms we can use
| | 00:40 | the correction bins.
| | 00:41 | And in the Primary In, Secondaries and
Primary Out rooms, the correction bin is
| | 00:46 | located on the left-hand side of
the room, this area right here.
| | 00:50 | In the Color Effects room, it's
located in the lower right-hand corner.
| | 00:54 | That's called the Color
Effects Bin, this tab right here.
| | 00:56 | Let me switch back to the Primary In room.
| | 00:59 | So, to save an actual correction, all
you need to do is make sure you're on the
| | 01:03 | clip that you want to save the
correction from, and then make sure that you are
| | 01:06 | in the room of the correction you want to save.
| | 01:08 | So, in this first clip, I have a
Primary In correction that I want save.
| | 01:12 | So, I'll make sure that I am in the
Primary In room, which I am, and then we can
| | 01:15 | use the correction bin over
here to save the correction.
| | 01:18 | Now before I actually save the
correction, I want you to notice something.
| | 01:22 | Here in this File box, notice
that I have all these weird numbers.
| | 01:25 | Here is what's up with this.
| | 01:26 | By default, if you don't give a
correction a name by entering it here in the
| | 01:30 | File box, Color will save the file by
the correction type, day, month, year,
| | 01:36 | hour, minute, second and even
time zone followed by an extension.
| | 01:40 | Well, that's kind of confusing, so in
the most cases you'll actually want to
| | 01:44 | give the correction its own name.
| | 01:45 | So I double-clicked into this box,
and let me just name the correction.
| | 01:48 | I will call it host primary.
| | 01:51 | Now, here is a quirky little thing in Color.
| | 01:55 | If I click somewhere else in the
Interface, say this gray area of the correction
| | 01:58 | bin, notice that the file name
went back to the default naming.
| | 02:02 | You just want to make sure when you
name a file that you immediately click the
| | 02:05 | Save button, right here.
| | 02:08 | So, let me reenter that name again,
Host Primary, and now I'll click Save.
| | 02:14 | When I click the Save button the
correction is saved, and it saves a
| | 02:17 | little thumbnail here that's
representative of the frame I was on when I
| | 02:20 | save the correction.
| | 02:22 | You can see the thumbnail and
the name of the saved correction.
| | 02:26 | And using the controls here at the top
of the corrections bin you can make the
| | 02:29 | thumbnail bigger or smaller and you can
also change this from Icon view to List view.
| | 02:35 | I prefer the Icon view, so I can
actually see the thumbnail of the correction.
| | 02:39 | Now, if you think about it, you can see
that quite easily this main level of a
| | 02:43 | correction bin can get pretty messy.
| | 02:44 | If you've used Color for say over a
year and you are working on dozens and
| | 02:48 | dozens of projects, this bin can end
up with a ton of saved corrections.
| | 02:53 | So, wouldn't it be nice if you
get to organize things into folders?
| | 02:56 | Well, you actually can, and to create a
new folder in the corrections bin, all
| | 02:59 | you need to do is click this New button
right here and Color will prompt me to
| | 03:04 | name the new folder, and let's call
this Closer To Truth Primary Corrections.
| | 03:14 | This is just the name of the
show that this footage comes from.
| | 03:17 | So, I'll go ahead and click Create.
| | 03:19 | Now, you didn't actually delete your correction.
| | 03:22 | It just disappeared.
| | 03:23 | What happened was Color
automatically stepped you into the folder.
| | 03:27 | You can go back up one level in the
correction bin by pressing this button right
| | 03:31 | here, the one with the Up Arrow on it.
| | 03:33 | Back on the main level of the
correction bin, you can see I have the correction
| | 03:37 | that I previously saved and
the folder that I just made.
| | 03:40 | If you want to organize corrections
that you've already saved, you can't actually
| | 03:44 | do it here in Color.
| | 03:46 | You would think that you could just take the
saved correction and drag it into this folder.
| | 03:50 | It doesn't work that way.
| | 03:51 | What we need to do is go out of Color
and into the Finder to organize this
| | 03:55 | correction into that folder.
| | 03:57 | So, let me go ahead and hide Color for a second.
| | 03:59 | I'll use the keyboard shortcut
Command+H to hide the application.
| | 04:02 | And then in a Finder Window, what I am
going to do is go to my User folder, then
| | 04:07 | to my Library folder/
Application Support and then to Color.
| | 04:12 | Let me change this to List
view, so it's easier to see.
| | 04:15 | Once again, that file path was your
User folder/Library/Application Support
| | 04:21 | and then Color.
| | 04:24 | Here I have folders for pre-saved Color
Effects, Grades, Primary and Secondary
| | 04:29 | corrections, Shapes and
then something called LUTs.
| | 04:32 | We'll talk more about LUTs briefly in the
last movie in the rendering and output chapter.
| | 04:36 | So, let me go ahead and
open up the Primary folder.
| | 04:39 | Here in the Primary folder I have a few files.
| | 04:42 | I have the Host Primary correction
which we saved, which is actually split into
| | 04:45 | two different files, a
.lsi file, and a .pcc file.
| | 04:49 | The .lsi file is the thumbnail that we
see in Color and the .pcc file is the
| | 04:54 | actual correction file, in this
case Primary Color Correction.
| | 04:58 | So, to organize these two corrections
into the folder that we created, all I
| | 05:02 | need to do is select them both, and
that's very important that you select both
| | 05:05 | the thumbnail as well as the
correction and then drag them into that folder.
| | 05:10 | Okay, now that we've organized the
correction into that folder, let's go back into Color.
| | 05:14 | To have the correction bin update, I
need to click on this button right here,
| | 05:18 | the button with a house on it.
| | 05:20 | This will bring me back to the default
directory for this correction bin, which
| | 05:24 | was the folder that we were just in.
| | 05:26 | So, I'll click on it and now you'll see
the main level of the correction bin update.
| | 05:31 | Now, I just have the folder and
not the correction and the folder.
| | 05:35 | If I double-click on the folder,
here you can see the correction that we
| | 05:38 | just moved into it.
| | 05:39 | So, that's pretty much all
there is to saving a correction.
| | 05:42 | So, saving corrections in the
Secondaries, Color Effects and Primary Out rooms
| | 05:47 | works in the exact same way as saving
a correction in the Primary In room.
| | 05:50 | If you've access to the Exercise Files,
the rest of these clips here in the
| | 05:54 | center of this Color timeline have
corrections that you can save on your own.
| | 05:57 | But I do want to mention two quick things.
| | 06:00 | First, anytime that you save a
secondary correction, you are actually saving
| | 06:04 | the correction from each one of the
Secondary tabs, meaning if I use an HSL Key
| | 06:09 | on secondary tab 1, a vignette on
secondary tab 2, and say a secondary curve on
| | 06:15 | secondary tab 3, the saved correction would
include all of these three separate corrections.
| | 06:21 | The other thing I want to mention is
that in the Primary Out room when you save
| | 06:24 | a correction, if you've used any of the
clipping parameters here on right-hand
| | 06:28 | side of the room, those are
not saved with a correction.
| | 06:31 | Let me go back and click on the Primary In room.
| | 06:34 | Applying a saved correction is simple.
| | 06:37 | You'd notice that the last clip in
this Color timeline is actually the same
| | 06:40 | shot just closer in.
| | 06:42 | So, to apply a saved
correction, I have three options.
| | 06:45 | First, I can double-click on the Saved
correction, second I can single-click on
| | 06:50 | the correction, make sure the clip
that I want to apply the correction to is
| | 06:53 | selected in my Color timeline and then
click Load down here at the bottom of
| | 06:57 | the corrections bin, or I can simply take the
correction and drag it onto the clip itself.
| | 07:03 | Whatever way you want to choose, just
make sure that you have the clips selected
| | 07:08 | that you want to apply the correction to first.
| | 07:11 | So, I am simply going to use the double-
click method to apply the saved correction.
| | 07:14 | And you'll notice that the Primary In
correction was applied to the last clip
| | 07:19 | in the Color timeline.
| | 07:20 | The last thing I want to show you
is the concept of saving grades.
| | 07:23 | Notice this clip right here has a
Primary In, Secondary, Color Effects and
| | 07:29 | Primary Out correction.
| | 07:30 | All of these corrections contribute
to making this clip look pretty cool.
| | 07:33 | Instead of saving each correction that
makes up this clip in an individual room
| | 07:37 | and then apply them one-by-one, we
can save them altogether as a grade.
| | 07:41 | Now, when you save a grade all you are
really doing is saving the corrections
| | 07:45 | that are attached to that grade as one file.
| | 07:47 | So to save a grade, we need to come into
the Setup room and then choose the Grades tab.
| | 07:52 | Just like saving a correction in any
one of Color's rooms, the mechanics of
| | 07:56 | saving a grade are the exact same.
| | 07:59 | I'll simply give this file a name,
cool blue look, and then press Save.
| | 08:05 | And to illustrate applying the saved
grade, I am going to come down here to the
| | 08:09 | Color timeline, right-click on the
Grade bar and choose Reset Grade number 1.
| | 08:14 | So now I am back to the original clip.
| | 08:18 | To apply this grade, I can apply it in
the same three methods that I applied the
| | 08:20 | saved correction, double-clicking on it,
selecting it, and clicking Load when I
| | 08:25 | have the clip selected or by
dragging it onto the clip itself.
| | 08:28 | I'll make sure that the clip is selected
and then I'll double-click on the saved grade.
| | 08:33 | Notice the grade is applied to that
clip, meaning that all of the corrections
| | 08:37 | that were on that clip, when I saved
the grade are reapplied. One last note.
| | 08:41 | After you apply a grade or correction, it
doesn't mean that you can't tweak it further.
| | 08:45 | So, I applied this grade, but I could
come back into any one of the rooms that
| | 08:48 | make up correction on this
grade and tweak it further.
| | 08:53 | Say making a change like that.
| | 08:55 | That change only affected this clip.
| | 08:58 | It didn't affect the saved
grade that I had saved earlier.
| | 09:01 | So now that we've gone through saving
corrections and grades, hopefully you can
| | 09:05 | see that it's a pretty powerful
way to speed up your workflow.
| | Collapse this transcript |
| Using groups| 00:00 | Of course, making corrections to actual
clips is a time consuming process, but
| | 00:04 | in a lot of cases what's even more time
consuming is making sure that a grade or
| | 00:08 | correction is consistent throughout a project.
| | 00:11 | For example, every time an interview
subject appears in a show, you probably want
| | 00:14 | that shot to look the same.
| | 00:16 | To help us with this, we can use a
feature in Color called Groups and we use
| | 00:20 | this feature to apply corrections and
grades to groups of clips in a consistent way.
| | 00:23 | I access Groups in the Setup
room and then on the Shots tab here.
| | 00:28 | The Shots tab simply shows me all of
the clips that I have in a Color project
| | 00:31 | and there are two ways of viewing it.
| | 00:33 | List View, which I am
currently viewing or Icon View.
| | 00:36 | When I am in the Icon view, I can see
icons or thumbnails of my clips, either
| | 00:41 | way selecting a clip also selects it
here in my Color timeline and I can search
| | 00:46 | for a clip say, based on its shot number
or its name using these fields here at
| | 00:51 | the top of the Shots tab.
| | 00:53 | But the only way I can use
Groups is when I am in the icon view.
| | 00:56 | Also notice that right now that Shots tab is
kind of taking up about half of the Setup room.
| | 01:00 | Well, if I hover my cursor in between
the Shots tab and the File browser over
| | 01:05 | here, you'll notice that I get this blue line.
| | 01:08 | If I click in that blue line, I
can expand the Shots tab, like that.
| | 01:12 | If I hover my mouse back over that line,
I can click on it again to have the
| | 01:17 | File browser return.
| | 01:18 | For this movie, I am going to
expand the Shots tab like that.
| | 01:21 | In the Shots tab, I can view all my
clips as icons as I am viewing them now and I
| | 01:25 | think a good way to think about the
Shots tab when it's set to Icon view like
| | 01:28 | this is as a traditional
photographic light table.
| | 01:32 | I can see all my clips and then I can
drag them around here in the Shots tab
| | 01:36 | to reposition them.
| | 01:38 | All I need to do to select a clip is
click on it, and then I can click on it
| | 01:41 | again to drag it around.
| | 01:42 | And as I pointed out before, every time
that I select a clip it's also selected
| | 01:46 | down here in the Color timeline.
| | 01:48 | Just like I did in the Geometry room,
I can zoom in and zoom out of the Shots
| | 01:52 | tab here as well as pan it around.
| | 01:54 | Let's recall how we did this.
| | 01:55 | If I hold down my right mouse button, I
can drag and zoom in and out, and if I
| | 02:00 | hold down the middle mouse button, I
can pan left and right, up and down.
| | 02:07 | You can see in this project it
looks like I have similar clips.
| | 02:11 | These three clips that are here are all
of the same angle and then these three
| | 02:14 | clips right here are all the same.
| | 02:16 | So it makes sense then that I'd like to
group these clips, because they are similar.
| | 02:21 | So let's go ahead and actually make a group.
| | 02:23 | To make a group, I am going to simply
select all the clips from one angle and I
| | 02:26 | can do this in a couple different ways.
| | 02:29 | Here in the Shots tab, when it's set
to Icon view, I can simply click in the
| | 02:32 | first clip that I want to select
and then hold down the Command key to
| | 02:35 | select the other clips.
| | 02:37 | Another way of doing this is to
switch my Shots tab to List view.
| | 02:42 | Here in List view, I can sort
each one of these column heads.
| | 02:45 | So if I click on the Shot Name column
head, you'll notice all the camera A and
| | 02:49 | all the camera B shots are listed together.
| | 02:52 | So I'll simply click on the first camera
A shot and then hold down the Shift key
| | 02:56 | and select the last camera A shot.
| | 02:58 | Holding down the Shift key will select
any clips in between my first clip that
| | 03:02 | I've selected and the last clip I selected.
| | 03:04 | So let me switch back over to Icon view
here by clicking the Icon view button.
| | 03:08 | Now that those clips are selected, to
create the group, I simply press G on my
| | 03:12 | keyboard, G for group.
| | 03:14 | You'll notice when I did that, a
new group bar were selected here.
| | 03:18 | If I click on the Group bar, I can
move all the clips around as a group and I
| | 03:23 | can still move each clip around individually.
| | 03:26 | So let's go ahead and make another group
for the second angle, these clips right here.
| | 03:31 | But instead of selecting them all first,
I am going to manually create a group
| | 03:35 | and again I do that by pressing G on my
keyboard, just make sure you don't have
| | 03:38 | any clips selected before
you actually make the group.
| | 03:40 | So I don't have any clip selected, I am
going to go ahead and press G and a new
| | 03:44 | group is created, notice that it's Group 2.
| | 03:47 | Color simply makes a new
group in chronological order.
| | 03:50 | So the first group that I created was
Group number 1, second group, Group number
| | 03:53 | 2, any successive groups that I have
will be numbered 3, 4, 5 and so on.
| | 03:58 | So now that I have created a blank
group, how do I actually add clips to it?
| | 04:01 | Well, that's pretty easy.
| | 04:03 | If I right-click on a clip that I
want to add to this group and then drag,
| | 04:07 | notice that I have this white line.
| | 04:10 | Well, I'll take this white line and
actually drag it to Group number 2 and let go.
| | 04:15 | Now that clip has been
attached to Group number 2.
| | 04:18 | Let me repeat this process
for these other two clips.
| | 04:21 | Again, I'll right-click on the
clip and then drag it to the Group.
| | 04:24 | So now in that other angle, all
three clips are attached to Group 2.
| | 04:31 | If for some reason you want to remove a
clip from a group, say, the shot is not
| | 04:35 | actually similar to the
others, you can easily remove it.
| | 04:38 | To do that, simply right-click on a
shot that you want to remove and then drag
| | 04:41 | the white line here to somewhere in the
gray area of the Shots tab and let go,
| | 04:46 | and notice that blue line is
disconnected between the clip and the group itself
| | 04:50 | and this clip is once
again independent of the group.
| | 04:53 | Let's go ahead and add
this clip back to that group.
| | 04:57 | So the next thing we want to do is
actually start applying some corrections and
| | 05:00 | grades to these groups.
| | 05:02 | The first shot that I have in my Color
timeline here simply has one correction
| | 05:06 | applied to it, a Primary In correction.
| | 05:08 | So I can take this correction and
simply drag it up onto Group 1, because Group
| | 05:12 | 1 contains all the clips of this angle.
| | 05:14 | So let me go ahead and do that.
| | 05:16 | So I'll click on the Primary In
correction bar and drag it up to Group 1.
| | 05:19 | Notice as I do, I have this little hand
here that's holding the Primary In correction.
| | 05:23 | I will drag it onto Group 1 and
notice when I do that, Group 1 becomes
| | 05:26 | highlighted and then I'll let go.
| | 05:29 | Now, the Primary In correction was
applied to the other clips in the Color
| | 05:33 | timeline that are at the same angle.
| | 05:35 | I can do the same thing of course,
with any other type of correction, like a
| | 05:38 | Secondary correction, or Primary
Out correction or Color FX correction.
| | 05:42 | But you can see that dragging individual
corrections to a group will take a long
| | 05:46 | time, especially if you are on a big project.
| | 05:49 | So we can also drag grades.
| | 05:51 | We'll go to second clip I have here on
the Color timeline and this clip has a
| | 05:54 | number of corrections applied to it,
a Primary In and two Secondary corrections.
| | 05:58 | So instead of taking each individual
correction and dragging them to Group
| | 06:02 | number 2, I am simply going to take the
entire grade and drag it to Group number 2.
| | 06:06 | So let me go ahead and do that.
| | 06:07 | I'll click on the Blue Grade bar here and
then drag the entire Grade up to Group 2.
| | 06:11 | Notice as I am dragging, the hand
contains all three of the corrections that
| | 06:16 | I've applied to this Grade.
| | 06:17 | That is the Primary In correction
and the two Secondary corrections.
| | 06:21 | So I'll take this Grade and drag it
up onto Group 2, Group 2 will become
| | 06:24 | highlighted and now when I let go, the
entire grade was applied to the other
| | 06:29 | clips that are similar to this one.
| | 06:31 | There are just two things to keep in
mind when dragging corrections or grades
| | 06:35 | to a group like this.
| | 06:36 | Any grade that you apply replaces the
current correction or current grade on
| | 06:40 | those clips in a group.
| | 06:42 | The second thing to realize is that
after you apply a correction or grade, by
| | 06:45 | dragging it to a group, it's not undoable.
| | 06:48 | So in another words, you can't press
Command+Z to undo the grade that you
| | 06:52 | applied to the group.
| | 06:53 | So as you can see, Groups are pretty cool.
| | 06:56 | You might be wondering, "So should I
use groups or should I drag corrections
| | 06:59 | "and grades or should I save corrections and
grades, just like we have in previous movies?"
| | 07:04 | Well, there's no right or wrong way
to manage your corrections or grades.
| | 07:08 | What matters most is that you find a
way that you are most comfortable with.
| | 07:11 | I think in most cases, you'll often
use a combination of methods that we've
| | 07:14 | talked about in this chapter.
| | 07:16 | Personally, I use the drag method to
update similar clips that are close to each
| | 07:20 | other on the Color timeline.
| | 07:21 | I use the Save Correction method when I
know in future shows I'll be seeing the
| | 07:25 | same shot, and I use the Group method
when it's obvious that I have a lot of
| | 07:29 | similar shots that all need to
be corrected in the same way.
| | Collapse this transcript |
| Using the Still Store room| 00:00 | The ability to compare one frame to
another frame is an essential tool in Color
| | 00:04 | and we do this with the Still Store room.
| | 00:05 | The purpose of the Still Store room is
to capture representative frame of one
| | 00:09 | clip, and then use that frame as a
comparison against another clip. "Why?" you might ask.
| | 00:13 | Well, the Still Store room allows you
to compare contracting color of two clips
| | 00:16 | for the purpose of matching them.
| | 00:17 | Of course, you still need to use other
tools like the scopes to match clips, but
| | 00:21 | it's also very important that you
look at the clips you are matching.
| | 00:23 | If you are an experienced Final Cut Pro user,
you might be familiar with the frame viewer.
| | 00:27 | Well the idea for the
Still4Store room is essentially the same.
| | 00:30 | The first clip I have here in my
Color timeline is working for me.
| | 00:32 | It has some basic primary
correction applied to it.
| | 00:35 | The second clip in the Color timeline is
not working for me and it appears to be
| | 00:39 | washed out but to be fair,
it hasn't been corrected.
| | 00:41 | And these two shots are
obviously from the same interview.
| | 00:44 | I suppose I can simply drag the primary
correction from this first clip onto the
| | 00:48 | second clip, but in my experience, this
is seldom spot on, especially when two
| | 00:52 | cameras are being used.
| | 00:53 | So to help me match these two shots,
what I am going to do is save a still from
| | 00:57 | the first clip and then use that
still to compare against the second clip.
| | 01:01 | This will aid me in making the
correction I need to make on the second clip.
| | 01:05 | So let's go into the first clip and find a
frame that we want to save. That one works.
| | 01:09 | Just make sure that the frame you
choose is representative of the entire clip.
| | 01:13 | Next, let's go into the Still Store room.
| | 01:15 | The main area here in the Still Store
room is where I save or store stills.
| | 01:19 | Over on the right-hand side here of the
Still Store room, I have some controls
| | 01:22 | for how the saved stills are displayed.
| | 01:24 | At the bottom of the room, I have
controls for naming the still and I can also
| | 01:27 | choose a directory where the stills are saved.
| | 01:29 | We'll get back to this
directory part in just one minute.
| | 01:32 | So when my playhead is on the frame that
want to save, all I need to do is press
| | 01:35 | the Save button, right here.
| | 01:37 | When I do that, the still is saved.
| | 01:40 | Once the still is saved, I can look at
the Still Store room in two different
| | 01:42 | ways, Icon view, which is what I
am currently using and List view.
| | 01:46 | For obvious reasons, I find Icon view
the best way to view the Still Store room.
| | 01:51 | Remember back a few movies ago when
we saved the primary correction in the
| | 01:54 | Primary In room? When we saved that
correction it took on a weird default name.
| | 01:58 | But when I save a still it does the same thing.
| | 02:01 | By default a still is named still, dot, the date
and then the time at which the still was saved.
| | 02:07 | If you want to name a still, you need to
name it prior to actually saving the still.
| | 02:11 | Let me go ahead and select the still
that we just saved and then press Delete on
| | 02:14 | the keyboard to remove it.
| | 02:15 | Color then warns me that this action is not
undoable, do I wan to continue? I'll click Yes.
| | 02:21 | So I am going to come in right in here
to the File dialog box, double-click and
| | 02:25 | let's go ahead and give the still a name.
| | 02:27 | We will call it camera A.
| | 02:30 | Immediately after naming the file, click Save.
| | 02:33 | Don't click anywhere here on the
gray area of the Still Store room.
| | 02:36 | If you do, the file name will default
back to that weird naming that we had before.
| | 02:40 | So I have named the file, I will go
ahead and click Save and once again, you can
| | 02:44 | see that the still is saved.
| | 02:46 | So before we actually go ahead and
compare the still to the second shot in
| | 02:49 | the Color timeline, let me hide
Color for a second and I will do that by
| | 02:52 | using the keyboard shortcut Command+H.
Here is the Color project file that I
| | 02:56 | am using in this movie.
| | 02:56 | Let me right-click on it and
choose Show Package Contents.
| | 03:00 | I want to show you where
stills are saved by default.
| | 03:03 | Inside of the Color project file
bundle, you will notice that there is a
| | 03:06 | folder called StillStore, and it's inside of
this folder that stills are saved by default.
| | 03:11 | Here is that still that we just saved,
camera A. You will notice that it's
| | 03:15 | actually two different files,
a .LSI file and a .SRI file.
| | 03:20 | The .LSI file is the icon file and
that's the thumbnail that shows up in Color.
| | 03:24 | And the .SRI file is the actual still itself.
| | 03:28 | Do you remember just some
minute ago when I deleted that still?
| | 03:30 | Well, Color deleted the still but it didn't
actually delete the icon file, the .LSI file.
| | 03:36 | So if I want to remove this from the
Color project file bundle, I can, by
| | 03:39 | pressing Command+Delete,
which will move it to the trash.
| | 03:42 | The reason I am showing you
all this is for two reasons.
| | 03:45 | First, when you save stills, they are
saved here in the Still Store room but
| | 03:48 | they can get pretty big.
| | 03:50 | Notice the file size of this saved still.
| | 03:52 | It's 7.9 megabytes.
| | 03:54 | So if you save a ton of stills in a
project, your Color project can get really,
| | 03:58 | really big and if there are still files
that you're not using, you might want to
| | 04:02 | come into the Color Project file
bundle, then into the StillStore room, and
| | 04:06 | remove any .LSI or .SRI
files that you are not using.
| | 04:11 | Also if you're working on two projects
and you want to use the same stills in
| | 04:13 | both projects, you need to open up the
Color project file bundle, come into the
| | 04:17 | StillStore directory, and then copy all
the files out of one StillStore folder
| | 04:21 | and then paste them into the
StillStore folder of the other project. Okay.
| | 04:26 | Let's go back in the Color.
| | 04:27 | Now that we have gone ahead and saved the
still file, let's navigate down to the second clip.
| | 04:32 | I am simply going to double-click
on the saved still to activate it.
| | 04:36 | Then I need to make sure that this
button right here, Display Loaded Still is
| | 04:39 | checked, which it is.
| | 04:40 | I can also use the keyboard shortcut
Ctrl+U to toggle this button on and off.
| | 04:45 | Down below this button, I have a
number of parameters where I can control how
| | 04:49 | the still is being displayed.
| | 04:50 | There are some presets where I can
choose to have the stills displayed in the
| | 04:53 | left, Right to Left, Top
to Bottom, or Bottom to Top.
| | 04:58 | In any of those presets, I can choose to
adjust the transition, that is where the
| | 05:02 | actual split between the two clips
occurs, as well as the angle of the split.
| | 05:07 | One thing I should let you know.
| | 05:08 | In Color 1.5, which is the version of
the application that I am using in this
| | 05:11 | movie, when you save a still, and then
activate it, on the Waveform Scope set
| | 05:15 | to Luma or in fact, any of your scopes, the
trace does not display like the original clip.
| | 05:21 | In fact, it jumps out a little bit.
| | 05:23 | Meaning that the trace is a little
bit over 100% and a little bit below 0%.
| | 05:27 | If I navigate back to the first clip,
here you can see the original clip and its
| | 05:32 | trace and then the saved still and its trace.
| | 05:36 | The image here in the preview is still fine,
however, the trace seems to be affected.
| | 05:40 | For our purposes here in
this movie. That's okay.
| | 05:42 | We are simply going to use the
still to visually compare the two clips.
| | 05:46 | So let me navigate back down to the
second clip and the second clip here on the
| | 05:50 | right-hand side of the
preview, seems to be washed out.
| | 05:53 | So what I am going to do is make a
Primary In correction by coming into the
| | 05:56 | Primary In room and then using my
Shadow Contrast slider here in the Color
| | 05:59 | Balance Controls and dragging down
until the black level seems to be about the
| | 06:04 | same, something like that.
| | 06:06 | To turn off the displayed still I will
use the keyboard shortcut Ctrl+U.
| | 06:09 | All right. The clip is
starting to look much better.
| | 06:13 | Notice that I have a bit of trace
in the Waveform Scope set to Luma.
| | 06:15 | That's still over 100%.
| | 06:16 | So I will drag down just a bit,
something like that and then maybe I will
| | 06:21 | lighten this clip up just a touch.
| | 06:23 | I will activate the still again by using
Ctrl+U, and it looks pretty good except
| | 06:29 | the color looks a little
off between these two clips.
| | 06:32 | So I am going to use the Midtone Color
Balance Control here and drag a little
| | 06:35 | bit from yellow towards blue, and
that's starting to look much better.
| | 06:42 | So I will press Ctrl+U again to toggle
the Still off and then I will simply drag
| | 06:47 | between these two clips and
they look like they are match.
| | 06:50 | So you can see that Still Store room
is an easy tool to compare two shots.
| | 06:55 | I would encourage you to use the Still Store
room often in your own projects to compare shots.
| | 07:00 | You'll find that you often get more
consistency in your projects by using
| | 07:03 | the Still Store room.
| | Collapse this transcript |
|
|
12. Making Corrections Over TimeHow to keyframe in Color| 00:00 |
Maybe you've key framed in Final Cut Pro or
maybe in a motion graphics application
| | 00:04 |
like Motion or Adobe After Effects. In
color we can also key frame corrections
| | 00:09 |
to have them change over time.
| | 00:11 |
Before we start key framing in Color,
let's talk about what a key frame actually is.
| | 00:15 |
A key frame is essentially like a
bookmark in time that remembers a particular
| | 00:19 |
setting or parameter.
| | 00:21 |
When you have two key frames that
remember different values for a setting or
| | 00:24 |
parameter, an animation occurs.
| | 00:27 |
The distance between two key frames
determines how fast the animation happens,
| | 00:31 |
the closer two key frames are to
each other, the faster the animation.
| | 00:35 |
The further apart they are,
the slower the animation.
| | 00:38 |
So for example, if I added two key
frames on a clip in Color and the first key
| | 00:42 |
frame sort a value of zero saturation
for a clip and the second key frame sort
| | 00:46 |
a value of 100% saturation for the clip,
you'd see the clip go from grayscale
| | 00:51 |
to fully saturated.
| | 00:52 |
So inside of Color to add a
key frame you have two options.
| | 00:57 |
You can come up to the Timeline menu
and choose Add Key Frame or use the
| | 01:00 |
keyboard shortcut Ctrl+9.
| | 01:03 |
One really important note
about key frame shortcuts in Color.
| | 01:06 |
That is in the Mac OS there
is a feature called Spaces.
| | 01:10 |
If you have Spaces enabled, the thing
is, the default keyboard shortcut to
| | 01:13 |
switch directly to a
space is Ctrl, then a number.
| | 01:17 |
So, depending on how you have
Spaces configured you may jump right to a
| | 01:20 |
different space rather than adding
or navigating the key frame in Color.
| | 01:24 |
So, it's a good idea to change the
default shortcut in your System Preferences
| | 01:28 |
or disabled Spaces altogether.
| | 01:30 |
I have already changed it on my system.
| | 01:33 |
Next, before you actually add a key
frame here in color, you need to make
| | 01:36 |
sure that the room you want to add the key
frame to is active before adding the key frames.
| | 01:41 |
Key frames in Color get added to
the currently selected room and the
| | 01:44 |
currently selected grade.
| | 01:46 |
So let's go ahead and add a key frame.
| | 01:48 |
I will choose Add Key Frame
here from the Timeline menu.
| | 01:52 |
Notice when I added that key frame it
was put on to its own key frame track
| | 01:55 |
here in the timeline.
| | 01:56 |
That key frame track is
labeled PI for Primary In.
| | 02:00 |
Each one of these little flags here
represents the key frame track and there
| | 02:04 |
is one for each room.
| | 02:06 |
In the case of the Secondaries room, it
can have multiple key frame tracks, one
| | 02:10 |
for each Secondary tab.
| | 02:12 |
The important thing to understand is
that when I add a key frame it gets added
| | 02:15 |
to the key frame track for that particular room.
| | 02:17 |
So I added the key frame for the Primary
In room and it got added to the Primary
| | 02:21 |
In key frame track because
I am in the Primary In room.
| | 02:24 |
Since we are in the Primary In room,
let me talk about a few things.
| | 02:28 |
Almost every feature in the Primary In room
can be keyframed except the primary curves.
| | 02:33 |
Also, you can't key frame
an individual parameter.
| | 02:36 |
Each key frame records all of
the parameters in the room at once.
| | 02:40 |
So the Color Balance controls, the
parameters on the Basic and Advanced tabs and so on.
| | 02:45 |
So we added the key frame to the
Primary In room down here in my Timeline.
| | 02:48 |
Let me select the Color Timeline and then use
the arrow keys to navigate over a few frames.
| | 02:53 |
There is a very quick Irish
change in this clip, right about there.
| | 02:57 |
So it would make sense that right here
I want to actually make a correction to
| | 03:01 |
match the previous frame.
| | 03:02 |
Let me go up into the Color
Balance controls and try to do that.
| | 03:06 |
You will notice as I try to move the
Contrast slider or even move the target
| | 03:10 |
here in one of the Color
Balance controls, Color won't let me.
| | 03:14 |
In fact, if I try to adjust any
control in the Primary In room here, I can't.
| | 03:17 |
Unlike applications like Final Cut Pro,
where you set an initial key frame and then
| | 03:23 |
changes that you make after that are
interpreted by the application as a request
| | 03:27 |
for a new key frame,
| | 03:28 |
Color makes you manually add a key
frame before making a correction.
| | 03:33 |
This is kind of good if you think
about it because it's kind of a safety net of sorts.
| | 03:36 |
So, I need to add another key frame
before making the correction and in this
| | 03:40 |
case, I am going to use
the keyboard shortcut Ctrl+9.
| | 03:43 |
So I will press Ctrl+9 and a new key frame
is added to the Primary In key frame track
| | 03:49 |
Later in this chapter, we will
actually talk about key framing an exposure
| | 03:52 |
change like this one.
| | 03:53 |
So I am going to skip
making the correction here.
| | 03:55 |
Let's go to the next clip down.
| | 03:58 |
This clip has multiple key frames and
those key frames are animating a vignette
| | 04:02 |
in the Secondaries room.
| | 04:03 |
Let me click into the Secondaries
room and then down to the Preview tab.
| | 04:06 |
And if you look here in the Preview
tab as I drag through this clip, you can
| | 04:11 |
see the vignette animating.
| | 04:13 |
Each of the eight tabs in the
Secondaries room and the controls that they
| | 04:15 |
contain can be keyframed.
| | 04:17 |
Each has their own key frame track.
| | 04:20 |
Both HSL keys and vignettes can be keyframed.
| | 04:22 |
However, the secondary curves, just like
the primary curves, cannot be keyframed.
| | 04:28 |
You could also the Enable button here at
the top of the room on and off and this
| | 04:32 |
allows you turn the Secondary on or off.
| | 04:36 |
You can also key frame the vignette button on
and off to turn the vignette well, on or off.
| | 04:42 |
Let's navigate to the next clip down
on my color timeline by selecting by
| | 04:45 |
selecting the color Timeline
and pressing the down arrow.
| | 04:47 |
This clip has a color effects correction on it.
| | 04:50 |
So let me go ahead and
switch the Color Effects room.
| | 04:53 |
Each node in the Color Effects room
can be key framed but to save space the
| | 04:58 |
Color Effects room is displayed as a
single key frame track down here on the
| | 05:01 |
timeline, not as a track for each node.
| | 05:03 |
Here is the other thing that's kind of
confusing at first about key frames that
| | 05:07 |
are displayed for the
color effects key frame track.
| | 05:09 |
Notice currently in the Timeline it
looks like I don't actually have any key
| | 05:13 |
frames for this node tree that I have build.
| | 05:15 |
Well, actually that's not true. If I
click on this Vignette node, notice now I
| | 05:20 |
have some key frames here on
the Color Effects key frame track.
| | 05:23 |
Only key frames for the currently
selected node are displayed in the key frame
| | 05:27 |
track for the Color
Effects room in the Timeline.
| | 05:29 |
So if I switch to another node, notice
those key frames down here on the Color
| | 05:33 |
Effects key frame track disappear.
| | 05:36 |
So if key frame seem to disappear at
random from the color effects key frame
| | 05:39 |
track, you've probably just selected a
different node that doesn't have any key frames on it.
| | 05:43 |
Finally, let's navigate down here to
the last clip in the color timeline.
| | 05:46 |
On this clip I have quite a few key frames.
| | 05:48 |
But let's start in the Geometry room.
| | 05:52 |
In the Geometry room, we can key frame
Pan&Scan corrections and we can also key
| | 05:56 |
frame shapes on the Shapes tab.
| | 05:59 |
As I drag through this clip, notice
here on the Shapes tab that the shape
| | 06:02 |
animates and if I click back to the
Pan&Scan tab, notice that the Pan&Scan
| | 06:08 |
correction I have also animates.
| | 06:11 |
Finally the last room that we can
key frame in is the Primary Out room.
| | 06:15 |
I've gone ahead and animated a primary out
correction on this clip to perform a lighting change.
| | 06:22 |
The Primary Out room key frame track
is just labeled PO on the timeline.
| | 06:26 |
So we've discussed how key frames
work in each one of Color's rooms, let's
| | 06:29 |
briefly talk about how key
frames work on the timeline.
| | 06:31 |
I am going to go ahead and go back to
the first clip on this color timeline and
| | 06:35 |
then I am going to zoom in quite a bit, so we
can get a better look at these two key frames.
| | 06:39 |
I will also click underneath the Primary
In key frame track and resize this just
| | 06:44 |
a bit, so we can get a
better view of the key frames.
| | 06:47 |
If you are not currently in the room
that a key frame was applied to, you can't
| | 06:51 |
actually select the key frame.
| | 06:53 |
Notice if I try to select the key
frame and move it, it doesn't go anywhere.
| | 06:56 |
But if you double-click on an
existing key frame, you'll automatically be
| | 07:00 |
navigated back into that room.
| | 07:03 |
Then you can select a key frame
and move it around as you see fit.
| | 07:06 |
Speaking of repositioning key frames, if
I want to reposition a key frame, I can
| | 07:11 |
hold down the Command key and drag the
key frame and my playhead will also move
| | 07:16 |
with that key frame.
| | 07:18 |
This is great when you need to be very
precise about the position of a key frame.
| | 07:22 |
I can navigate back and forth between
existing key frames very easily by using
| | 07:26 |
a keyboard shortcut.
| | 07:27 |
If I hold down the Option key and
then press either the left or right arrow
| | 07:31 |
keys, I can navigate between two key
frames, the left arrow to go to the
| | 07:34 |
previous key frame and the right
arrow to go to the next key frame.
| | 07:38 |
I can delete an individual key frame
by coming up to the Timeline menu and
| | 07:42 |
choosing Remove Key Frame or I can
use the keyboard shortcut Ctrl+0 when my
| | 07:47 |
playhead is on a key frame.
| | 07:49 |
Furthermore, I can delete all the key
frames for a given room by right clicking
| | 07:52 |
in the room's key frame track
and choosing Delete All Key Frames.
| | 07:57 |
Finally, the last thing we need to
know about key frames is how an animation
| | 08:00 |
happens between two key frames.
| | 08:02 |
How an animation happens between two key
frames is known as interpolation and we
| | 08:06 |
can change key frame
interpolation in Color very easily.
| | 08:10 |
To be able to change key frame
interpolation, I need to make sure that I have
| | 08:13 |
the leftmost key frame selected
out of a group of two key frames.
| | 08:17 |
So let me position my playhead
back to this first key frame.
| | 08:20 |
I could not change key frame
interpolation if I have this key frame selected.
| | 08:25 |
So with the first key frame selected,
if I come up to the Timeline menu, I can
| | 08:29 |
choose Change Key Frame or I can use
the keyboard shortcut Ctrl+8.The default
| | 08:34 |
type of key frame interpolation
between two key frames is called Smooth.
| | 08:39 |
So I will press Ctrl+8 on the
keyboard, and the next type of key frame
| | 08:42 |
interpolation I have is called Linear,
notice this straight line, I have a
| | 08:46 |
linear change between these two key frames.
| | 08:48 |
There is a third way to interpolate
key frames, I will press Ctrl+8 again and
| | 08:53 |
the straight line between the two
clips means that the interpolation is set
| | 08:56 |
to constant, meaning I actually won't see
an animation between these two key frames.
| | 09:01 |
But rather, when the playhead arrives in the
next key frame the change will be instantaneous.
| | 09:06 |
So now that we have the background info
on key frames, let's jump in, in the next
| | 09:10 |
few movies, and put that knowledge to work,
key framing different corrections.
| | 09:15 |
| | Collapse this transcript |
| Keyframing exposure changes| 00:00 | A common situation that you'll often
encounter as a colorist is having to
| | 00:04 | compensate for an IREs change in a shot.
| | 00:07 | In this Color project, let's select
the Color Timeline and then press the
| | 00:10 | Spacebar to begin playback.
| | 00:16 | You'll notice, at the beginning of
the clip, there is a very evident IREs
| | 00:19 | change, right here, in this part of the clip.
| | 00:24 | We can fix this pretty easily
though with a couple of keyframes.
| | 00:27 | Let's navigate back to after
the exposure change happens.
| | 00:30 | I think that's right around here.
| | 00:33 | Because I know that I need two keyframes
for any change to happen, this is where
| | 00:37 | I'm going to make the first keyframe.
| | 00:39 | To make this keyframe, I have a couple
of options, I can come up to the Timeline
| | 00:43 | menu and choose Add Key Frame, or I
can use the keyboard shortcut, Ctrl+9.
| | 00:48 | But because I'm already in this
menu, I'll just choose Add Key Frame.
| | 00:52 | Remember, that keyframes are added to
the current room that you're working in.
| | 00:56 |
|
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