IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hi there, I'm Simon Walker and welcome to
the art of color correction, artistic
| | 00:09 |
color grading on the timeline.
In this course, we are going to approach
| | 00:12 |
the subject of color grading using
observations of the color techniques of
| | 00:17 |
the most famous artists in history.
We're going to look at the methods these
| | 00:21 |
painters used, reference their signature
styles.
| | 00:25 |
And apply their color techniques to
modern video footage using off the shelf
| | 00:29 |
editing software.
We'll start with inspiration from
| | 00:33 |
frescoes of the early renaissance to
treat our video with vibrant yet muted colors.
| | 00:39 |
Next, we'll use the color blending
techniques in careful shading of
| | 00:43 |
renaissance paintings like Di Vinci and
Reubens, to create three dimensional forms.
| | 00:49 |
We'll use the light and shading technique
also known as chiaroscuro, made famous by
| | 00:53 |
Rembrandt and Vermeer, for creating
dramatic scenes and focusing attention on
| | 00:58 |
areas in the image.
I'll look at the way that impressionists
| | 01:02 |
accented the effects of sunlight with
color and were able to use light to
| | 01:06 |
identify different times of day.
Finally, we'll look at the work of the
| | 01:11 |
colorists, Picasso, Gauguin and Hopper to
experiment with the relationship between
| | 01:16 |
colors to create mood, drama and
intensity.
| | 01:20 |
During this course, I'll be using Adobe
Premiere Pro with Red Giant's popular
| | 01:25 |
grading plugins, Magic Bullet and
Colorista to demonstrate these techniques.
| | 01:30 |
But many of these color corrections can
be achieved using a wide range of
| | 01:34 |
different software applications.
So, it doesn't matter if you haven't got
| | 01:37 |
these programs.
You can still watch the course, learn
| | 01:40 |
from the techniques I'm going to show you
and then apply them to your own work.
| | 01:44 |
So, let's get started with artistic color
grading on the timeline.
| | 01:48 |
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| Observing the light and color in paintings| 00:00 |
Classical painters, who spent their lives
investigating light, color and form have
| | 00:05 |
taught us a great deal about composition,
color and lighting in video.
| | 00:09 |
It's really interesting to see how the
colors in a painting work together to
| | 00:14 |
tell a certain story.
When painting artists regularly use
| | 00:18 |
complementary colors that work well
together.
| | 00:20 |
Complementary colors are essentially
opposite contrasting colors.
| | 00:25 |
This means that they are generally colors
on the opposite side of the color wheel.
| | 00:29 |
When placed next to each other in an
image, complimentary colors cab be
| | 00:33 |
aesthetically pleasing.
The way our eyes process a certain color
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changes when two colors interact with
each other.
| | 00:40 |
You can bring out or accentuate one color
by adding in it's contrasting color
| | 00:44 |
somewhere else in the shot.
So this idea of complimentary colors can
| | 00:48 |
help separate a subject from their
background.
| | 00:51 |
It means that adding a contrasting color
in the background or shadows can help the
| | 00:55 |
fore ground stand out.
It makes it easier for the viewer to see
| | 00:58 |
whats going on in the shot, and it's
easier for them to interpret the image.
| | 01:03 |
This combination of colors is also
satisfying to look at, and is pleasing to
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the eye.
Lighting a scene is, of course, one of
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the most essential parts of setting up a
shot, and is another way of making your
| | 01:15 |
subject stand out.
In grading, as well as in painting, we
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can simulate lighting effects and
highlight specific parts of an image by
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enhancing the lume levels, or brightness
levels, of a specific part of the image.
| | 01:29 |
A really interesting part of observing
paintings is to look at the way artists
| | 01:33 |
used brush strokes to create effects like
softening and blurring.
| | 01:38 |
Which is very flattering for their
subject's skin tone, but we can simulate
| | 01:42 |
these softening techniques and apply them
to video.
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This is especially useful when smoothing
skin and softening the harsh lines that
| | 01:50 |
can appear in digital video.
Similarly, detailed and textured brush
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strokes can also be simulated in
post-production with sharpening
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techniques to make objects stand out and
also to give character and mood to images.
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We're going to be investigating these
methods during the course and looking at
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how we can translate them into color
correction and grading techniques for video.
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There is, of course, no substitute for
seeing paintings in the flesh, though.
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You can get up close and personal, and
see the brush work and the layering.
| | 02:21 |
And how the colors interact with each
other.
| | 02:23 |
And then, when you stand back, you can
see how all these elements combine together.
| | 02:28 |
Which can really inspire your own work in
post production.
| | 02:31 |
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| Using the exercise files| 00:00 |
If you're a premium member of lynda.com,
you have access to the exercise files
| | 00:05 |
used throughout this course.
For this course, we setup and filmed a
| | 00:09 |
variety of scenarios in different
locations.
| | 00:12 |
And with different color schemes,
specifically to be able to demonstrate
| | 00:16 |
these color techniques.
The exercise files for the course are
| | 00:19 |
provided in a downloadable zip file.
Once you've downloaded and expanded the
| | 00:24 |
file, you'll find the folders for each
chapter.
| | 00:28 |
And inside the folder, there are the
project files for each chapter for the
| | 00:32 |
movies you'll be watching.
There's also a media folder, which
| | 00:36 |
contains all the source material for each
chapter.
| | 00:40 |
When you open a chapter, Premier Pro may
ask you to re-link to the location of the media.
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If this is the case, then make sure you
access the files inside the media folder,
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and follow the instructions inside
Premier Pro.
| | 00:54 |
In each project, there is a separate
sequence for each movie in the course.
| | 01:01 |
So, for example, we start off with
contrast and color.
| | 01:05 |
And when we move them to each movie, I'll
point out which particular sequence that
| | 01:09 |
we're working on.
If you are not a Premium subscriber to
| | 01:12 |
lynda.com, you won't have access to the
exercise files.
| | 01:16 |
But you can still follow along from
scratch with all your own material.
| | 01:20 |
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| The Art Reference PDF| 00:00 |
Accompanying this course is an art
reference PDF that is available to both
| | 00:04 |
standard and premium members of
lynda.com.
| | 00:08 |
It's located in both the exercise files
and also in the free exercise files.
| | 00:15 |
The art reference PDF provides links to
the paintings discussed in the course.
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You can download the free exercise files
folder from the course page.
| | 00:24 |
Viewing each painting is really essential
to following along with the course,
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because we discuss the techniques that
the artist used and how they inspire,
| | 00:32 |
color correction techniques that you can
use for your video.
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|
|
1. Starting a GradeWhat is a grade?| 00:00 |
So what is a grade?
Well, it's a series of color corrections
| | 00:04 |
which combine to form a look.
Each adjustment can be termed a
| | 00:08 |
correction, and when you've got several
corrections together that change the look
| | 00:12 |
and mood of a shot, typically this is
called a grade.
| | 00:16 |
The tonal range of an image refers to the
distance between the darkest and the
| | 00:20 |
lightest points in that image.
And how those values are spread out over
| | 00:24 |
the whole image.
The amount that these values are spread
| | 00:27 |
out is referred to as the contrast.
So for example, when an image has very
| | 00:32 |
dark sections, as well as having some
very bright sections, it is said to have
| | 00:36 |
high contrast.
Typically, when you are grading, you make
| | 00:41 |
decisions on how bright the highlights
should be and how dark the shadows should be.
| | 00:46 |
Including making adjustments for exposure
changes.
| | 00:49 |
We'll see that these decisions affect the
look of your image.
| | 00:52 |
And in turn, affect the story that you
are telling visually.
| | 00:56 |
As well as effect in the contrast we can
apply color changes to the image to
| | 00:59 |
creatively alter the mood of the shot.
These are changes to the overall image,
| | 01:04 |
and are called primary color corrections.
Once you've adjusted the overall image,
| | 01:10 |
there will probably be small elements or
specific colors in the shot you'd like to
| | 01:14 |
fix or to focus the viewers attention on.
These are called secondary corrections.
| | 01:19 |
So, this combination of adjustments
combines together to create a grade or
| | 01:23 |
the look of your shot.
| | 01:24 |
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| Starting with contrast and color| 00:00 |
In general, there is a correct order in
which to apply color correction adjustments.
| | 00:06 |
You adjust the contrast first and then
you go on to adjust the color.
| | 00:10 |
I'll be showing you how to do this as
well as how to set your workspace up in
| | 00:14 |
Premiere Pro to work more quickly.
I just wanted to show you some of these
| | 00:18 |
clips on the timeline.
We planned and shot a series of scenes
| | 00:22 |
specifically for this course.
Now these scenes help demonstrate a
| | 00:25 |
variety of different grading techniques.
They help demonstrate working with
| | 00:29 |
different colors, but they are also
standard shots and the sort of
| | 00:33 |
compositions that you come across when
shooting video.
| | 00:35 |
So here's the first scene with several
camera angles and cutaways.
| | 00:44 |
So, I'm going to work on this first clip.
And in order to show you adjusting the
| | 00:48 |
color I'm going to switch my work space
over to the color correction workspace.
| | 00:53 |
And this is very useful because it allows
you to see the scopes.
| | 00:56 |
And in arranging all the panels in a
format which makes it easy to make color
| | 01:02 |
corrections but it hasn't actually
affected your Editor tool and it has just
| | 01:05 |
changed the panels.
And it allows you to see the reference monitor.
| | 01:10 |
And if you can't see the reference
monitor here, you can always click on the
| | 01:14 |
setting buttons and you can bring up RGB
parade and in fact, all the scopes together.
| | 01:19 |
And the scopes do a different job, each
one of them.
| | 01:23 |
So the vector scope, shows you
saturation.
| | 01:27 |
And, any trace on this scope, which
points towards the edge of the scope is
| | 01:32 |
more saturated, and the more it's
centered in the middle it's less saturated.
| | 01:36 |
And, there's also, the YC Waveform, which
shows the luma and the chroma.
| | 01:42 |
I'm going to switch off the chroma for a
second.
| | 01:44 |
And this is the luma trace.
So this reflects how dark in the images
| | 01:50 |
and how bright it is.
But most of the time, when color grading,
| | 01:54 |
I find the most useful scope is the RGB
parade.
| | 01:58 |
And I'm just going to hit the tilde key
on my keyboard to maximize this panel.
| | 02:02 |
And this represents the darkest areas of
the image.
| | 02:08 |
And then 100% digital represents the
lightest areas.
| | 02:12 |
And the good idea or the general plan is
not to push your bright highlights, which
| | 02:17 |
is this area over 100 because then
they'll now start to clip and you'll lose detail.
| | 02:21 |
And also not to reduce your shadow detail
too much towards the zero bar here
| | 02:27 |
because you'll also lose detail in the
shadows.
| | 02:29 |
The general area in the middle is called
the midtones.
| | 02:34 |
So this is why we're talking about the
shadows, the midtones and the highlights.
| | 02:38 |
And this is what they represent.
Just going to hit the tilde key to get
| | 02:42 |
back to my normal layout.
And I'm going to apply a classic effect,
| | 02:47 |
the three-way color corrector, to this
clip.
| | 02:51 |
And the three-way color corrector in
Premiere Pro lives in the video effects,
| | 02:55 |
inside Color Correction.
But it's so much faster to apply it, to
| | 02:59 |
just type in here, three.
And then, you can apply the three-way
| | 03:03 |
color corrector to a clip directly.
And then when you've applied it, you need
| | 03:07 |
to hit the effect controls tab, so that
you can see the color wheels and the
| | 03:13 |
sliders that affect the contrast.
In Premiere Pro, you use the input levels
| | 03:17 |
and output level sliders to actually
affect the contrast of an image.
| | 03:22 |
So I'm going to grab the slider on the
right, the white slider, which represents
| | 03:26 |
the highlights.
And as I drag it to the left, I'm
| | 03:29 |
increasing the trace in the scopes here
and I'm making the image brighter.
| | 03:34 |
Conversely, if I drag on the black and
put slider control, I'm reducing or
| | 03:40 |
darkening the shadows.
And a classic way of increasing the
| | 03:46 |
contrast of an image is to both increase
the highlights..
| | 03:50 |
And to reduce the shadows.
And this is what's called a high contrast image.
| | 03:55 |
Here's the before and after.
Here's the normal untreated image and
| | 04:00 |
here's the high contrast image.
The effect the high contrast image has,
| | 04:05 |
as it brings out the detail in the shot.
Our eyes like looking at high contrast images.
| | 04:09 |
That's how there made.
And so in this case, the dark shadows
| | 04:12 |
jump out at us, as do the bright
highlights.
| | 04:15 |
The central slider here controls the mid
tones so I can move the general midtone area.
| | 04:21 |
You can see most of the information here.
And the midtones is moving up and down as
| | 04:25 |
I drag this slider.
So, in order to create a low contrast
| | 04:31 |
image, I can drag out these sliders
(SOUND) or, in fact, reset the whole
| | 04:37 |
filter by hitting on the reset button.
(SOUND) And I can use the output levels
| | 04:42 |
to actually reduce the highlights.
This setting here reduces the maximum
| | 04:47 |
brightness that's allowed of any
highlights.
| | 04:50 |
And so by dragging it to the left, I'm
reducing the highlights.
| | 04:55 |
And the shadow output control limits the
shadows and it remits the darkest pixel
| | 05:00 |
in the image.
So the more you drag it to the right
| | 05:03 |
here, oops, if I can just grab it, then
the more you reduce the contrast.
| | 05:08 |
So in this shot, I've got a much lower
contrast image, sometimes called flat contrast.
| | 05:14 |
And this means that you get a much more
washed out image.
| | 05:17 |
And there are different stories that you
can tell with high contrast images and
| | 05:21 |
low contrast images.
And those are the sorts of things that
| | 05:23 |
we're going to go into during this
course.
| | 05:26 |
Once you've set up your contract, I'm
just going to reset this filter and just
| | 05:31 |
give it a slight boost on the highlights
there and also drop the shadows down slightly.
| | 05:37 |
Once you've adjusted your contrast, then
you can go on and adjust the color.
| | 05:42 |
And you do that by clicking on a color
wheel and dragging the color wheel to a
| | 05:46 |
certain color.
So, if I drag this shadow color wheel
| | 05:49 |
towards blue, then the shadows begin to
turn blue.
| | 05:52 |
Watch the image again.
As I drag this you'll see that the blues
| | 05:59 |
in the image start to get more
exaggerated.
| | 06:02 |
So here's it before and here's afterward.
You can see the change in the scopes as I
| | 06:06 |
drag this pin.
Here's the before and after.
| | 06:13 |
And you're beginning to get a blue tinge
in the shadows there.
| | 06:16 |
And usually we balance this when we're
grading with a color correction in the
| | 06:23 |
opposite direction.
So, if I drag the midtones towards
| | 06:26 |
orange, then you begin to get an orange
tint on the midtones.
| | 06:30 |
I dragged this too far for effect, but
you can begin to see the effect of
| | 06:35 |
introducing more orange into a certain
area of the image, has a nice balancing
| | 06:40 |
effect with introducing blue.
And this is one of the cool concepts that
| | 06:44 |
we'll be getting into later.
The concept of complementary colors.
| | 06:48 |
Colors that live on the opposite sides of
the color wheels work well together when
| | 06:52 |
you add them in a grave.
So, you probably wouldn't exaggerate them
| | 06:55 |
quite as much as I've done.
But a standard thing to do is to make
| | 06:59 |
sure that you've got a balance the colors
that work well visually together.
| | 07:03 |
There are some situations though in which
you don't want to effect the contrasts.
| | 07:08 |
I'm going to reset this filter.
Now, might be that I'm quite happy.
| | 07:13 |
With the contrast in this shot, I'm quite
happy with the way the characters are
| | 07:18 |
sitting in the image, and I don't need to
increase, the highlights.
| | 07:22 |
I don't need a more dramatic image.
And so, keep an eye on the scopes, and
| | 07:27 |
also keep an eye on the image itself.
And a lot of grading is subjective, as
| | 07:32 |
well as technical.
If something is under exposed and you
| | 07:35 |
need to see more detail, then you need to
make a technical correction.
| | 07:38 |
But if you're quite happy with the way
that the original footage has been
| | 07:42 |
exposed, and in this case it's been
exposed quite well, then you don't have
| | 07:46 |
to make a color correction every time,
and you have to make a judgement call
| | 07:50 |
based on the story you're telling.
So this ability to adjust the contrast
| | 07:55 |
with these sliders, and also the ability
to change the tints or the color in
| | 08:01 |
certain areas of the image, is something
that we'll be looking at multiple times
| | 08:05 |
during the course.
But I think it's really interesting that
| | 08:08 |
by changing the contrast and changing the
color, you can completely change the
| | 08:12 |
story that you're showing the viewer.
| | 08:13 |
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| Working with Colorista II| 00:00 |
During the course, I'll be talking about
the plugin Colorista that is made by Red Giant.
| | 00:06 |
And so, I just wanted to show you some of
its settings and how to apply it to a clip.
| | 00:10 |
I'm still in the Starting a Grade
project, and I'm working on the Working
| | 00:14 |
with Colorista II sequence.
And you apply Colorista II in a very
| | 00:18 |
similar way that you would apply any
other video effect.
| | 00:22 |
Once you've installed Colorista, it lives
in the video effect folder inside the
| | 00:29 |
video effects panel and you can just drag
it onto a clip.
| | 00:35 |
Select that clip and then the controls
shows up in the Effects Control panel.
| | 00:40 |
By the way, I find it useful to close
this mini timeline button.
| | 00:44 |
Because that means, then, you've got a
wider area to be able to control these
| | 00:47 |
color wheels.
When you are making color corrections,
| | 00:50 |
you can of course, use the in built tools
that ship with Premiere Pro to make color corrections.
| | 00:54 |
I found, though, that many editors like
to use Colorista because of its tools and
| | 00:59 |
its interface.
I know quite a few final cut pro editors
| | 01:03 |
who have moved to Premiere Pro.
I use Colorista because it's similar to
| | 01:06 |
the way that final cut pro works.
In that it's got these three wheels,
| | 01:10 |
you've got these Shadow Mid Toner
Highlight wheels, and the Luma controls,
| | 01:15 |
on next to each wheel.
So if I wanted to increase the contrast
| | 01:19 |
in this image I can bring down the
shadows slightly, and then bring up the highlights.
| | 01:26 |
And I'll just toggle this on off.
This is the before and after, and it's a
| | 01:32 |
very organic, very intuitive way of
working.
| | 01:34 |
If you've ever used Apple's Color, you'll
recognize the fact that Colorista is
| | 01:39 |
broken into a number of sections or rooms
if you like where you can adjust your
| | 01:44 |
primary corrections and go on to make
secondary corrections.
| | 01:47 |
And then tweak anything else that you
need to in the Master section.
| | 01:51 |
And you can make corrections to specific
colors using the ranged HSL tools.
| | 01:58 |
So if I wanted to saturate just the skin
tone in this shot, I can use.
| | 02:03 |
This button here, drag it outside the
wheel.
| | 02:05 |
And the more I drag it, the more that
particular color, the orange is saturated.
| | 02:10 |
And when you're color grading, orange is
the color of skin tone.
| | 02:15 |
It doesn't matter what race you are, or
what skin tone you have.
| | 02:18 |
If you exaggerate the saturation of
orange, you can use this button to target
| | 02:22 |
just the skin tones to either saturate or
desaturate.
| | 02:25 |
Or even move them towards the red or away
from red, which is much easier than
| | 02:30 |
having to key out a particular color and
then adjust that with the color wheels.
| | 02:34 |
That's why these tools were created, to
speed up your work flow and that's the
| | 02:40 |
basic idea behind plug ins.
They rather extend the functionality of
| | 02:44 |
the host software or they let you do
stuff quicker.
| | 02:47 |
They actually speed up your work flow.
This is the hue and saturation wheel and
| | 02:52 |
this is the hue and lightness wheel.
So if I want to do just the same orange
| | 02:55 |
and make it darker if I drag it inside
the wheel here it reduces the lumi
| | 03:00 |
levels, if I drag it outside it increases
it.
| | 03:03 |
These tools turn up in Magic Bullet looks
as well, and they're used in some of
| | 03:07 |
techniques that we're looking at over the
rest of the course.
| | 03:11 |
But they're very useful for making quick
fixes on colors.
| | 03:13 |
Colorista also has the ability to control
the curves, to increase the contrast of
| | 03:20 |
your image by dragging on the curve
slider.
| | 03:23 |
And it's also got the ability to create
masks and to mask out an area of your image.
| | 03:28 |
But one of the most important things to
remember, or consider, about Colorista is
| | 03:34 |
that it operates in a slightly different
way to the native Adobe Premiere Pro 3
| | 03:39 |
way color corrector.
In that it operates in RGB space.
| | 03:43 |
It processes its color in RGB rather than
YUV.
| | 03:47 |
Let me show you what this means.
I'm going to reset colorista.
| | 03:52 |
Because this is working in RGB space,
increases in contrast gives a perceived
| | 03:58 |
increase in saturation.
So the more I increase the contrast, the
| | 04:03 |
more the saturation seems to be
increased.
| | 04:06 |
And this is especially noticeable here,
on this cloth.
| | 04:09 |
Here's the before and after effect.
So as well as increasing the highlights
| | 04:17 |
and deepening the shadows.
I might have to make an adjustment on the
| | 04:21 |
master saturation to adjust for this.
Now this is the same way that the three
| | 04:26 |
way color corrector works in Final Cut
Pro.
| | 04:29 |
But in premier pro, I am just going to
delete Colorista, and apply the three way
| | 04:34 |
color corrector from premier pro.
If I do the same correction inside
| | 04:41 |
premier pro, increase the contrast, the
saturation isn't increased, because it's
| | 04:47 |
operating in the YCBCR, color space.
It's one of the fundamental differences
| | 04:52 |
between Colorista and the three way color
corrector in premier pro.
| | 04:56 |
In fact, you can see the filters that use
this particular space inside Premier Pro,
| | 05:01 |
by clicking on the YUV button here, and
it shows you all the native filters that
| | 05:06 |
premier pro has that deal with this YUV
space.
| | 05:10 |
They've called it YUV, which is
technically an analog reference.
| | 05:13 |
If you wanted to be absolutely correct
it's YCBCR.
| | 05:16 |
But YUV fits more nicely onto a button
but it's an important difference between
| | 05:21 |
the way the different processes work.
If you are making an adjustment in final
| | 05:26 |
cut pro, final cut pro seven and then you
bring those files via xml into Premier
| | 05:30 |
pro you'll see a different color from
your three way color corrector because
| | 05:34 |
our final cut pro one operates in RGB
space.
| | 05:37 |
You can still see the end result, so it
doesn't really matter which tool you use,
| | 05:41 |
as long as you're aware of its
implications.
| | 05:44 |
This is another reason reason why it's
important to adjust contrast first.
| | 05:47 |
As lume adjustments can change the color
in a shot.
| | 05:51 |
Especially, if you're using Colorista to
make those contrast adjustments.
| | 05:55 |
| | Collapse this transcript |
| Working with Magic Bullet Looks| 00:00 |
A tool I use a lot during this course is
the plug-in Magic Bullet Looks.
| | 00:05 |
And this is because it's my favorite
color grading tool, but also you can do
| | 00:10 |
stuff in Magic Bullet Looks that I
couldn't do in Premiere Pro natively.
| | 00:16 |
So I'm working in the Working with Magic
Bullet Looks sequence.
| | 00:20 |
And you probably looks to a clip in a
pretty much the same way that you would
| | 00:24 |
apply a normal filter.
You select a clip and then over in the
| | 00:28 |
effects panel, I can twirl down the
effect and go and find looks which hide
| | 00:34 |
out in this folder.
But don't forget, it's so much quicker
| | 00:38 |
just to type looks in the search field
and then whatever filter you're searching
| | 00:43 |
for shows up here.
So I'm going to drag it onto this clip.
| | 00:47 |
And it looks like this on a clip.
The looks filter has been applied and you
| | 00:51 |
need to hit edit, look.
And sometimes you need to hit Edit Look a
| | 00:55 |
couple of times.
And this brings up the Magic Bullet Looks
| | 00:59 |
interface or the Looks Builder.
And the really nice thing about this
| | 01:03 |
interface, as well as the scopes.
And you've got a nice RGP scope, and also
| | 01:08 |
a very useful hue and saturation scope
here.
| | 01:11 |
Is that you've got a whole host of
different tools under these different
| | 01:16 |
sections when you move your mouse to the
right hand side of the screen.
| | 01:19 |
So, if I move my mouse away, it then
disappears again.
| | 01:24 |
So just move it over tools and then the
tools drawer pops out.
| | 01:28 |
And these are a whole range of different
tools, processed in the same Order, as
| | 01:33 |
you would, setup a normal, real life
shoot.
| | 01:37 |
So for example, you might, at the
beginning of a shoot, adjust your exposure.
| | 01:41 |
I can drag on the exposure tool, and then
increase or decrease the exposure.
| | 01:45 |
Then I can, delete the tool, by selecting
it, and hitting Delete.
| | 01:50 |
Or I can just drag it on again.
I can delete it by, just dragging it off
| | 01:54 |
towards the tool drawer.
And I can also then choose tools, like,
| | 01:59 |
Colorista 3-way, you'll recognize this
from Colorista, which has the same
| | 02:04 |
ability to increase the highlights and to
reduce the shadows to increase the contrast.
| | 02:09 |
And, I can also add in other tools, like
a vignette.
| | 02:14 |
Which has a really nice ability to drag
the controls on screen.
| | 02:19 |
Or also allows me to adjust their size in
the controls panel over here and then
| | 02:27 |
continue to drag them on screen.
The vignette, probably one of my most
| | 02:30 |
favorite tools allows you to focus the
viewers attention on an area of the
| | 02:35 |
screen that you want them to be looking
at.
| | 02:37 |
And, the nice thing is that you can
switch these tools on and off using this
| | 02:41 |
little button on each tool.
And this is the one for the color 3 way.
| | 02:46 |
So you can interview or audition your
effect before and after.
| | 02:51 |
And you can also turn off the entire the
entire tool chain by clicking on the tool
| | 02:55 |
chain button like so.
And there's a shortcut for this, which is
| | 02:59 |
the backslash key.
Which I'm pressing now.
| | 03:02 |
Which you can find on your keyboard near
the return key.
| | 03:06 |
This is very useful for just seeing what
effect the entire tool chain is adding to
| | 03:11 |
your image.
Now lots and lots of different tools in
| | 03:16 |
here like the Diffusion tool.
I can add a Diffusion and then control
| | 03:22 |
the amount of diffusion according to
these settings.
| | 03:26 |
And I can do this crucially in a way
that's much faster than combining a
| | 03:32 |
series of other filters within Premier
Pro on the Premier Pro timeline.
| | 03:36 |
So look allows me to do things more
quickly, which is the basis premise of
| | 03:40 |
the plug-in really.
Plug-ins either extend the functionality
| | 03:44 |
of the host software or they allow you to
do stuff more quickly, which as an editor
| | 03:49 |
is a hugely important part of your
workflow to be able to get through your
| | 03:52 |
edit more quickly so you got time for,
well, more work.
| | 03:55 |
Anyway, the secret ingredient or the
magic secret weapon, if you'd like, of look.
| | 04:03 |
Is it's set of presets.
Looks shipped with 9 sets of presets.
| | 04:08 |
Lets start off in the basic category.
And by clicking a preset it then applies
| | 04:14 |
all the tools that make up that preset
into the tool chain which you can then go
| | 04:20 |
on and adjust, so I hit the Warm Cool
tool.
| | 04:23 |
I then can drag, these settings over
towards me; more romantic purple, or, a,
| | 04:29 |
more threatening green, if you like.
But the idea is, once you've set
| | 04:35 |
something up, you can adjust it.
And, then when you hit Finished, it then
| | 04:41 |
is applied, to the entire clip.
So although in looks you work with one
| | 04:46 |
preview image Is the whole clip that
benefits from the effect.
| | 04:50 |
And you can go ahead and change your mind
again.
| | 04:52 |
I can go back and click the look builder
and I decided that I did want that cool
| | 04:58 |
look after all.
So you can then change your mind and
| | 05:01 |
apply it to the tool chain.
I designed all these presets, all these 9
| | 05:06 |
major sets of presets for red giants for
this release of looks.
| | 05:11 |
And for example, they have settings which
have built up for film makers.
| | 05:17 |
In the basic setting you can have a cool,
or a warm look, but there are a series of
| | 05:21 |
controls here Contrast, and Sharpen,
which allow you to add an effect to
| | 05:27 |
improve your clip without advertising
that you've added a grade to it.
| | 05:32 |
So for the contrast effect, I'll just
turn these tools off, one by one to show
| | 05:37 |
their effect.
The Curves tool has a slight S curve,
| | 05:41 |
which is increasing the highlights and
reducing the shadows.
| | 05:45 |
Which means it slightly increases the
contrast.
| | 05:48 |
And you can see up on the scopes here the
before and after difference of the contrast.
| | 05:54 |
Remember the wider the range, the total
range, then the higher the contrast.
| | 05:59 |
And, this has the effect of bringing out
some of the detail in that shadow.
| | 06:02 |
And, it makes the image pop slightly.
I've added a slight reduction on the
| | 06:12 |
saturation tool here.
Remember that increasing contrast in an
| | 06:16 |
RGB color space means that you are
increasing the perceived saturation.
| | 06:21 |
So, along with the increase of detail
I've got a Saturation tool, which adjusts
| | 06:27 |
for that slight increase in saturation,
so it keeps the image looking more natural.
| | 06:31 |
And in this case, I've added in a Pop
tool.
| | 06:34 |
Now, this is one of the reasons why I
like Looks, because it has a series of
| | 06:38 |
tools that you don't typically find in
the host software.
| | 06:41 |
The Pop tool acts as a Sharpening tool.
It looks for the local contrast and then
| | 06:47 |
lets you adjust that.
So if I slide the Pop Tool slider to the
| | 06:52 |
right, I'm increasing the local contrast,
it's looking for the lines in the image
| | 06:57 |
and exaggerating those.
Not dissimilar from the way the sharpen
| | 07:00 |
filter works in PhotoShop.
And so here's the before and after, its
| | 07:05 |
bringing out detail in the image without
effecting the saturation.
| | 07:11 |
Interestingly, you can slide it into the
negative values.
| | 07:14 |
And it softens the image.
And this is one of the core filters or
| | 07:20 |
the core effects that I use for a variety
of the painterly effects, which we'll see
| | 07:24 |
over the next few movies.
The ability to soften some elements of
| | 07:28 |
the screen without blurring.
Just slightly soften those harsh lines.
| | 07:33 |
In any case, because I've adjusted these
three tools, the name of the Look has
| | 07:38 |
been set to Untitled.
And you can double click in here and set
| | 07:42 |
your own custom Look.
I can type in Custom Simon.
| | 07:47 |
And then hit Return and then that turns
up in the Custom section here.
| | 07:51 |
But I wanted to hit back on Contrast to
re-set these tools to their original positions.
| | 07:57 |
And the Look name is turned into the same
name as that particular pre-set.
| | 08:02 |
So these pre-sets were designed for
filmmakers.
| | 08:05 |
Sharpen just sharpens without adding
contrast.
| | 08:08 |
Vibrant adds a little bit of saturation
in there as well, I'll just switch the
| | 08:13 |
tool on and off, makes it slightly more
contrasty, and slightly more saturated
| | 08:20 |
without advertising the fact that it's an
effect.
| | 08:23 |
And there's also one called shadow lift
here.
| | 08:26 |
The reason I know this so well is Red
John asked me to design all of these
| | 08:30 |
filters, all of these presets for this
version of Magic Bullet look.
| | 08:34 |
And so I went through and chose sections
and reconfigured these presets to ones I
| | 08:40 |
would find most useful as a filmmaker.
So in the case of the lights, the fill
| | 08:45 |
light tool is increasing the shadows
slightly.
| | 08:48 |
It's targeting just the darkest areas of
the image and increasing those.
| | 08:52 |
And the telecine net tool, has the effect
of slightly softening.
| | 08:58 |
The black areas in the image and that's
useful.
| | 09:00 |
Because if you raise the shadows in shot
you also risk raising any underlying
| | 09:05 |
noise that is in that video format.
So two small little tools like this can
| | 09:10 |
not only help to boost the shadows on a
dark image, but also slightly soften them.
| | 09:15 |
And to suppress the noise as well.
Or as much as possible without
| | 09:19 |
advertising the fact that you're adding a
look and some of the other sections for
| | 09:23 |
example cinematic have more dramatic
looks.
| | 09:26 |
Here's the blockbuster one and here's the
before and after and if I hit finished
| | 09:32 |
this effect has been added to this clip.
You can then Click that effect.
| | 09:41 |
Righ-click an hit copy, an then paste it,
onto, the; here we go, paste, into the
| | 09:47 |
effects controls panel, an you've got the
same effect on multiple clips.
| | 09:51 |
I just wanted to show you though If you
apply magic bullet looks to an adjustment layer.
| | 09:57 |
Then you can have that layer spread out
over multiple clips.
| | 10:01 |
And then that same effect is applied over
those clips without having to copy and
| | 10:05 |
paste it several times.
So, on this shot, I'm going to select the
| | 10:10 |
adjustment layer.
Drag on looks, open up the looks
| | 10:15 |
interface, and let's choose something
flattering.
| | 10:19 |
Let's go into the people section, here we
go and I know that there's one here
| | 10:26 |
called beauty shot.
And this has added a lot's of diffusion's
| | 10:30 |
so I can change my mind if I didn't want
that amount of diffusion by turning the
| | 10:34 |
tool off Or just reduce how much of that
glow is being added.
| | 10:38 |
So if I wanted to go with this particular
look, I hit finished and that's applied
| | 10:46 |
to all of these clips.
So in this particular case that might be
| | 10:50 |
useful for a flashback.
But the extra reason why this is good to
| | 10:55 |
apply it to an adjustment layer Is that
you can adjust the opacity of your
| | 11:01 |
adjustment layer by expanding the track
and dragging on this opacity.
| | 11:06 |
So you can mix in how much of the effect
you want to apply with the underlying shot.
| | 11:11 |
In the effects control tap, the opacity
is also controllable from this slider here.
| | 11:17 |
But it's just as easy to click on it and
because I've adjusted it in the opacity section.
| | 11:24 |
I've added the key frame.
So I'm going to click that key frame and
| | 11:27 |
just hit delete.
It's just as easy to slide this up and
| | 11:30 |
down so you mixing in how much of an
effect you want.
| | 11:35 |
Over your original clip, which I find is
a very useful time saver.
| | 11:39 |
But the major reason I like Looks is
because it has the ability to access
| | 11:43 |
multiple tools all in one interface,
which I find a real time saver.
| | 11:48 |
| | Collapse this transcript |
| Understanding how different colors affect the mood of shots| 00:00 |
What I like, perhaps, the most about
color correction and grading, is that you
| | 00:04 |
can completely change the mood by
changing the color.
| | 00:08 |
I'm using the, how different colors
affect the mood of shots sequence here.
| | 00:12 |
And I'm going to open up Magic Palette
Looks, which is applied to this
| | 00:16 |
adjustment layer.
And in this case, I'm going to apply one
| | 00:20 |
of the presets.
I mentioned before that looks ships with
| | 00:24 |
these nine categories of presets but, you
can also get extra presets from the Red
| | 00:30 |
Giant website.
And I created a series of presets called
| | 00:35 |
The Master Artists and these are based on
the signature styles of the most famous
| | 00:40 |
artists in history.
This is from observing many, many of
| | 00:45 |
their paintings.
And seeing which colors they tended to
| | 00:47 |
use, what was their signature style, and
how those colors could be applied to
| | 00:52 |
video in post-production.
This is why I've got these extra folders here.
| | 00:57 |
So I've installed master artists, and you
also get to be able to download.
| | 01:01 |
Some free presets, from reagant people,
the reagant sharing site, which I'll give
| | 01:06 |
a link at the end of the course, and
these are additional artists that have
| | 01:11 |
been added to the collection.
But, the whole point about color is that
| | 01:16 |
what story is being told?
Here we can go from wistful to say,
| | 01:23 |
dramatic all in a single click.
Here she is, she's waiting for her
| | 01:30 |
boyfriend, but he's late.
An we're not changing anything else
| | 01:34 |
except the color.
She isn't changing, an the shot's still
| | 01:37 |
the same.
And in fact, we could go down to the
| | 01:41 |
looks chain, an turn it off.
An here's the original shot.
| | 01:45 |
So this is the really exciting thing
about color grading.
| | 01:49 |
An I'll be going more into, these presets
an the sorts of colors, that's the artist
| | 01:54 |
we're using, as we go through the next
few movies.
| | 01:57 |
But I just wanted to pick out a couple of
them.
| | 02:00 |
Here is the, preset based on the painting
of Degas.
| | 02:05 |
And it's interesting, in here we got some
purple in the shadow and we also got some
| | 02:12 |
orange diffusion going on.
I'll turn these two off and turn them
| | 02:16 |
back on.
You can see the subtle effect that those
| | 02:19 |
color changing are adding.
Degas was making many paintings indoors
| | 02:24 |
of female subjects, and I like the way
that the colors he chose suited the
| | 02:29 |
subject, which was nearly always
feminine.
| | 02:32 |
Hopper, on the other hand, had a
completely different look, and here we've
| | 02:38 |
got a variety of techniques Here is the
contrast and the shadows are being
| | 02:43 |
deepened and we've also got some green
added into the shadow.
| | 02:48 |
Here's the before and after for both the
three way color ranges and the shadows here.
| | 02:55 |
And those subtle changes combine together
in the tool chain.
| | 03:01 |
Allow the look to seem more gritty.
These are the sorts of colors that Hopper
| | 03:06 |
regularly used in his painting to
complement each other.
| | 03:09 |
The colors work together to create a
mood.
| | 03:11 |
This preset also has a degree of
sharpening to exaggerate the gritty mood
| | 03:15 |
being portrayed.
And this is our friend, the pop tool,
| | 03:18 |
being used with a positive setting.
Here it is before and after.
| | 03:22 |
(SOUND) I'm using the presets that I
created, and you don't have to own these
| | 03:29 |
to work with them during the course,
because they are baked into the clips in
| | 03:32 |
the source files.
And you also don't have to own Magic
| | 03:36 |
Bullet looks to do most of these
corrections.
| | 03:38 |
These are generic color corrections.
These techniques are standard color
| | 03:41 |
correction adjustments.
So you can use your own software and
| | 03:45 |
your, your own favorite software to make
these adjustments.
| | 03:47 |
But what I do find fascinating by just
changing the color changes our perception
| | 03:54 |
of the mood of the image.
And this is the foundation of changing
| | 03:57 |
the color in post production, being able
to communicate with your audience without
| | 04:02 |
using dialog.
| | 04:02 |
| | Collapse this transcript |
|
|
2. Fresco and Early RenaissanceIntroducing fresco and Early Renaissance| 00:00 |
The technique known as fresco, which
originated in the early Renaissance, was
| | 00:05 |
a way of painting onto wet, white
plaster, of which, the most famous
| | 00:10 |
example is the ceiling of the Sistine
Chapel of the Vatican in Rome, which was
| | 00:15 |
painted by Michelangelo.
We can see this effect by having a look
| | 00:19 |
at the painting itself.
Included with the course, there is a PDF
| | 00:23 |
which contains online links to the
paintings I am going to be talking about.
| | 00:27 |
So, I encourage you to open up the PDF,
follow the links and have a look at them.
| | 00:33 |
So, in this section of movie is about the
early Renaissance, as well as looking at
| | 00:37 |
details from Michelangelo's Sistine
Chapel.
| | 00:39 |
I'll be talking about Fra Angelico's the
Annunciation and the famous The Birth of
| | 00:45 |
Venus by Botticelli.
Looking at frescos can help us see how
| | 00:50 |
the artist of the early renaissance were
aiming to produce an image with vibrant
| | 00:55 |
color, but with a muted look, which often
enhances the religious nature of the images.
| | 00:59 |
So how can this help when preparing to
shoot video.
| | 01:03 |
Well, shooting flat with even contrast
and lifted shadows, we'll give a perfect
| | 01:08 |
base to then apply color correction
adjustments.
| | 01:11 |
Flat contrast gives you more options when
grading.
| | 01:15 |
You can, of course, adjust your camera
settings to shoot with lower contrast,
| | 01:19 |
but some cameras are set up to increase
the contrast automatically when you
| | 01:22 |
shoot, creating darker shadows and
brighter highlights.
| | 01:26 |
You can switch this off in the camera
settings, but even if you've shot with
| | 01:29 |
high contrast, or your dealing with
footage that you didn't shoot yourself,
| | 01:33 |
you can still adjust and smooth out the
contrast as part of the grading process.
| | 01:39 |
Over the next three movies, we'll have a
look at what sort of moods are suggested
| | 01:42 |
by low and high contrast, how to simulate
shimmering light, and how saturation can
| | 01:48 |
have an impact on the story you're
telling.
| | 01:49 |
| | Collapse this transcript |
| Observing Michelangelo to understand high and low contrast| 00:01 |
So, what sort of stories can we tell with
high contrast and low contrast images?
| | 00:06 |
We can get a good indication of a low
contrast story by looking at
| | 00:10 |
Michelangelo's Sistine Chapel painting.
So, make sure you're having a look at the
| | 00:14 |
Art Reference PDF and click on the link
to Michelangelo's Libyan Sibyl, which is
| | 00:19 |
a detail from the Sistine Chapel.
In this painting, we can see a subtle use
| | 00:24 |
of pastel oranges, mauves, and greens,
set against a neutral stone effect background.
| | 00:31 |
The colors aren't overly saturated, but
they still appear to be vibrant.
| | 00:35 |
This is because the contrast is flat, in
that the highlights aren't too bright,
| | 00:39 |
and the shadows on the main area where
the figures are, are too dark.
| | 00:44 |
I'm sure these artists didn't think of
terms of shadows, mid tones, and
| | 00:47 |
highlights in the same way as we do, when
we're considering color corrections.
| | 00:51 |
We're guided to these terns by the
controls we use on the color wheels and
| | 00:54 |
the software.
So let's have a look at how we can
| | 00:57 |
interpret and assimilate this kind of
approach using low contrast to make the
| | 01:02 |
colors still seem vibrant.
And I'm going to work with the adjusting
| | 01:09 |
contrast sequence in Premiere Pro.
And I'm just going to start by
| | 01:12 |
illustrating a core concept integrating,
which is making a technical correction to
| | 01:17 |
a clip and then going on to make a
stylistic adjustment usually on an
| | 01:20 |
adjustment layer.
So on this first clip, I'm going to apply
| | 01:26 |
(SOUND) the three-way color collector,
from Premiere Pro.
| | 01:31 |
And I'm also going to switch over to my,
color correction work space, to show the,
| | 01:36 |
RGB parade.
And, I'm going to, increase these highlights.
| | 01:42 |
I've seen that the original shot is quite
well balanced.
| | 01:45 |
The shadows aren't too dark, and also the
different patterns match.
| | 01:50 |
And they have a reasonable matching
shape.
| | 01:52 |
So the highlights the match and the
midtone color shapes also are quite balanced.
| | 01:57 |
So the camera operator did their job
well.
| | 01:59 |
But what I want to do is just to increase
these highlights, up to around about this
| | 02:04 |
90% digital line.
And I'm going to do this using the input levels.
| | 02:10 |
I gotta drag on the Highlight slider and
just bring them up slightly.
| | 02:16 |
So now I've got a spread of contrast over
this image.
| | 02:20 |
Here's the before (SOUND) and after.
(SOUND) And this is a standard thing that
| | 02:26 |
you do on any particular edit.
Correct for an exposure and then move on
| | 02:31 |
to (INAUDIBLE) grade.
So my next step is to add a stylistic element.
| | 02:36 |
So I'm going to add an adjustment layer
onto this shot, and just to remind you
| | 02:41 |
about adjustment layers in Premiere Pro.
You can create them from the File > New
| | 02:47 |
Adjustment Layer, or you can click on New
Item icon (SOUND) and go from here.
| | 02:53 |
So, New adjustment layer.
It automatically recognizes the
| | 02:56 |
resolution and the frame rate of your
selected sequence.
| | 03:00 |
And if you hit OK, then it turns up in
the Project panel, and you can just drag
| | 03:05 |
it onto your clip and drag it out.
And then you can select it and add an
| | 03:11 |
instance of looks onto this clip.
And then launch the Looks Builder.
| | 03:22 |
If you ever get a different frame in your
preview window than you're expecting,
| | 03:26 |
this is to do with the relationship of
how plugins talk to Premiere Pro, and
| | 03:30 |
it's easy to fix.
All you need to do is to go back to
| | 03:34 |
Premiere Pro.
Scrub your timeline, just to update it,
| | 03:38 |
and then go back and re-launch the Looks
Builder.
| | 03:42 |
A really useful tool, for being able to
adjust contrast is the Curves tool.
| | 03:46 |
And there's a Curves tool, inside the
subjects section, inside looks.
| | 03:51 |
I'm going to drag the curves on here.
And notice that our RGB levels are the
| | 03:56 |
same ones that have been corrected with
the three-way Color Corrector in Premiere Pro.
| | 04:02 |
So we can stack up layers of filters and
those previous corrections are honored in Looks.
| | 04:08 |
And in the Luma Curve controls, we can
adjust the shadows and the midtones and
| | 04:13 |
the highlights by dragging on the control
here, or actually dragging on one of
| | 04:18 |
these points.
But to correct the contrast it's just as
| | 04:22 |
quick to drag on the contrast slider.
The classic way of increasing contrast is
| | 04:27 |
to boost the highlights and to slightly
deepen the shadows.
| | 04:31 |
And this has the automatic effect of
boosting the saturation.
| | 04:36 |
Here's the before and after.
But, what we want to do, we want to boost
| | 04:39 |
the saturation, but still keep a muted
look.
| | 04:43 |
Michelangelo's muted look really suited
the religious material he was depicting.
| | 04:49 |
So, to get to low contrast, I can drag
the contrast in the negative direction.
| | 04:55 |
And notice as I'm dragging it that the
RGB channels are flattening.
| | 05:01 |
The more I increase the brightness of the
shadows and decrease the brightness of
| | 05:05 |
the highlights, the more you get a flat
image the lower contrast you've got.
| | 05:10 |
I'm not going to do it quite this much.
I'm going to reduce a little bit just to
| | 05:14 |
bring down the contrast.
Here's the before and after.
| | 05:19 |
(SOUND) So this is Step 1.
This is also having the effect of
| | 05:25 |
reducing he saturation.
So you can see on the vector scope that
| | 05:29 |
with the effect applied, the saturation
is spreading less far towards the edge
| | 05:34 |
the without the effect applied.
And the closer it reaches the edge the
| | 05:38 |
more saturated it is.
So we want to add another couple of tools
| | 05:42 |
in here.
The next tool is in the Subject section.
| | 05:45 |
And it's the Fill Light tool.
And the Fill Light targets just the
| | 05:52 |
shadows in the image.
So if I drag this up, it's going to
| | 05:56 |
predominantly affect the shadows but also
impinges on the mid tones, which is the
| | 06:00 |
nature of making color corrections.
But what I want to do is to exaggerate
| | 06:05 |
this flatness even more.
Then I can apply the rain saturation in
| | 06:08 |
the subject area.
And the nice thing about this tool is
| | 06:12 |
that you can reduce and increase the
saturation in the mid tones or the
| | 06:17 |
highlights, or the shadows.
So If I reduce the highlights down,
| | 06:20 |
around say 60 or so, And then, leave the
mid tones at 100% saturation.
| | 06:27 |
And then bring down the shadow saturation
to say only 25% or so.
| | 06:35 |
This is now becoming quite a desaturated
and flattened image.
| | 06:39 |
The next step would then be to try and
put in some of the colors that
| | 06:43 |
Michelangelo was using.
And he was using pastel burnt oranges and golds.
| | 06:50 |
So, I'm going to apply a 3 way color
corrector.
| | 06:54 |
And I'm going to push the highlights up
towards, kind of burnt orange there.
| | 07:03 |
And, also, because these artists were
painting on wet plaster, there were very
| | 07:10 |
few shadows, and so there's very little
black in the image, and they would be
| | 07:14 |
adding color to a white base.
So, in this case, I'm going to add a tiny
| | 07:20 |
little bit of yellow into the shadow area
there.
| | 07:23 |
And, there's one more correction I think
that this image needs.
| | 07:27 |
And I'm going to use it from the Post
section, so it's processed last in the
| | 07:31 |
tool chain.
And what I want to do is just to bring
| | 07:34 |
down the midtone slightly, because, we
are losing definition here.
| | 07:39 |
The colors aren't looking saturated, but
if you bring down the midtones here We
| | 07:44 |
begin to make the colors stand out.
If you bring it down too much then it
| | 07:49 |
begins to make the image much too dark.
But just a little adjustment like so.
| | 07:54 |
I'll just give you the before and after.
Then means that these colors are still
| | 08:01 |
muted, but they're jumping out at you.
If I turn off the entire tool chain.
| | 08:06 |
Then we'll see a higher contrast image,
and although those colors are saturated
| | 08:12 |
it has a completely different mood.
(SOUND) To this image, where you can
| | 08:17 |
still see the color, this color is still
jumping out at you, it's still quite vibrant.
| | 08:22 |
I'd like to just show you a more finished
version of this effect.
| | 08:27 |
I've applied a preset, based on the works
of Michelangelo, to the adjustment layer
| | 08:32 |
on the second clip, and the underlying
clip itself has this same three-way
| | 08:36 |
correction to adjust for the brightness
levels that we set up on the first clip.
| | 08:42 |
So I'm going to select the adjustment
layer.
| | 08:44 |
And that lets me click the edit look
button to look at the preset applied to
| | 08:49 |
this second adjustment layer.
And I'm using here a preset from the
| | 08:54 |
master artist collection of presets, and
I'm using the Michelangelo preset.
| | 09:01 |
And this was set up to simulate the sorts
of colors and the sorts of effect that
| | 09:05 |
Michelangelo was achieving with this
paintings.
| | 09:08 |
So we've got a very similar set of tools,
other ones that we were just building up.
| | 09:13 |
But there are an additional few tools
here to actually slightly tweak the image
| | 09:17 |
a bit more.
The ranged Ranged HSL tool brings out the
| | 09:21 |
red slightly, if I turn this off.
And that has a very subtle effect by
| | 09:25 |
slightly saturating the color.
And there's a similar job being done by
| | 09:30 |
the saturation tool, which is being set
to 110%.
| | 09:34 |
Now these are all in the post section, so
they are being processed after these
| | 09:38 |
other corrections.
So remember magic bullet looks processes
| | 09:42 |
these tools in order.
But it also processes these colors in a
| | 09:46 |
high dynamic range.
So if you boosted highlights and then
| | 09:50 |
wanted to get some of them back, still
within looks you can do that because it
| | 09:53 |
doesn't clip the image.
And here's that second curves tool where
| | 09:58 |
I'm adjusting the contrast of the
midtones.
| | 10:02 |
And there is one more piece of the puzzle
here the pop tool.
| | 10:05 |
The pop tool adds the local contrast or
the slight sharpening effect.
| | 10:10 |
And here it is before and after.
And this is really in here to adjust for
| | 10:16 |
the fact that we have low contrast.
Low contrast means that there aren't many
| | 10:19 |
dark shadows.
And I know we're not painting in this
| | 10:22 |
particular example, we're actually using
video footage.
| | 10:25 |
So although we're being inspired by the
techniques of these famous artists, we
| | 10:29 |
have to translate this into modern
techniques.
| | 10:32 |
So I've added Pop here at a 50%
sharpening setting, so let's just bring
| | 10:38 |
out some of that little detail so the
audience can see what's happening in the
| | 10:42 |
image bit more clearly.
The nice thing about presets is that you
| | 10:45 |
don't have to go with any particular
preset.
| | 10:48 |
You can still adjust it.
So if I turn off the curves tool at the
| | 10:52 |
end of the tool chain here.
Here's the before and after.
| | 10:55 |
You may prefer this particular muted
look, which still has a reasonably flat contrast.
| | 11:03 |
It's not quite as flat as with the curves
tool.
| | 11:06 |
But it's more muted than the original
shot.
| | 11:11 |
And lots of these color corrections,
especially the stylistic ones, are subjective.
| | 11:15 |
And they're cross referenced with the
mood of the story that you're portraying
| | 11:18 |
on screen.
But the point of this particular preset
| | 11:22 |
is that I find it's really interesting
that you can still get reasonably vibrant
| | 11:26 |
colors or colors that jump out with a
muted flat contrast.
| | 11:31 |
| | Collapse this transcript |
| Using diffusion and accentuating highlights in the style of Fra Angelico| 00:00 |
Fresco's also had the ability to bring
out a shimmering light quality, and on
| | 00:06 |
the Art Reference PDF to another Fresco,
The Annunciation by Fra Angelico, and
| | 00:13 |
this has a use of Whites and Golds in the
highlights to Generate this shimmering quality.
| | 00:19 |
Something which impressionists picked up
on centuries later.
| | 00:22 |
The fact that frescos were painted on
white surface, helps to keep the overall
| | 00:27 |
look quite bright, with very few dark
shadows.
| | 00:30 |
The contrast between the muted soft gold
colors, has the effect of enhancing the
| | 00:34 |
bolder pink and especially the blue of
the dresses.
| | 00:38 |
And makes them stand out, even though
they're not highly saturated.
| | 00:41 |
We can simulate the gold and the gentle
nature of this painting in post.
| | 00:45 |
I'm using the Shimmering light sequence
inside the Fresco project.
| | 00:51 |
And I'm going to select the first clip
and apply an instance of magic looks onto
| | 00:56 |
the clip.
And then launch the looks builder.
| | 01:01 |
This look as a lower contrast, and it
also has a lower saturation.
| | 01:05 |
So now I'm going to start off with the
saturation tool in the subject area.
| | 01:11 |
And bringing down the saturation to
around about 80% or so.
| | 01:15 |
And then, although this image does not
have a huge high contrast, I want to
| | 01:21 |
bring down some of the contrast anyway,
to match some of the Frau Angelika look.
| | 01:26 |
So, on a curves tool, which I've got also
from the subject area, I'm going to bring
| | 01:31 |
down the midtones a little bit, and also
the highlights.
| | 01:36 |
And as I'm bringing them down, you can
see them being brought down inside the
| | 01:41 |
rgb parade.
Now, here's the secret weapon of this
| | 01:46 |
particular look.
It is the star filter which hides out in,
| | 01:53 |
here we go.
Inside the matte section.
| | 01:58 |
And the Star Filter, if I just drag it on
here, and then reduce the threshold, a
| | 02:04 |
little bit.
This is what the Star Filter does to an image.
| | 02:07 |
It adds these star shapes and it picks up
on the colors in the underlying image.
| | 02:12 |
So this isn't what we want to do but it's
nice that you can set up the controls to
| | 02:16 |
target just the brightest areas in the
image.
| | 02:19 |
So I'm going to reset this tool, and I'm
going to bring the size down of the
| | 02:26 |
actual stars to around about 1%.
And I'm going to show the threshold.
| | 02:32 |
I'll click the Show Threshold to On.
Which means then when I drag the
| | 02:36 |
Threshold slider, then.
I can actually see some of what I'm
| | 02:43 |
applying the effect to.
And what you can see in the mat here are
| | 02:47 |
just the brightest section that I'm
going to be applying this effect to.
| | 02:52 |
I also bring down the boost a little bit.
If you don't bring down the boost, this
| | 02:56 |
is what happens, you'll get an
exaggerated color.
| | 02:57 |
If I bring down the boost to minus 1 or
so.
| | 03:01 |
Here we go, this is the before and after,
and I think I'll drag down the thresh
| | 03:07 |
hold a little bit more even say something
like this here.
| | 03:13 |
So it just sees the brighter spots of the
image, maybe even a little more.
| | 03:17 |
And a touch more because I don't want too
much of that boost in there.
| | 03:22 |
There we go, there's an additional step
that helps this technique and that's
| | 03:27 |
dragging the color wheel over towards
this lovely gold shimmering light.
| | 03:35 |
That was echoed in the painting.
Here's the before and after.
| | 03:40 |
Maybe I'll just adjust this threshold a
little bit, to give it a little bit more,
| | 03:44 |
right about, there.
There we go, what we're doing is we're
| | 03:49 |
simulating a nice shimmering light, like
an artificial light.
| | 03:55 |
Here's the before and after again.
To extend this effect even more we can
| | 04:00 |
add on a diffusion tool.
And diffusion tools have lots of variety
| | 04:05 |
of tools inside.
The matte section, I'm going to choose, a
| | 04:10 |
standard diffusion tool.
Which is up here, and what I'm going to
| | 04:16 |
do is, I'm going to reduce down the grade
a little bit.
| | 04:22 |
To around so, the trick here is to bring
down the highlights only control to round
| | 04:28 |
about 25% or so.
And I'm also going to bring down the
| | 04:33 |
exposure compensation, just to flatten
image slightly more.
| | 04:37 |
There's another addition I can make here.
I can drag on a three-way color corrector.
| | 04:43 |
And what I'm going to do is, I'm going to
add to the Nice gold lighting a little bit.
| | 04:55 |
But also in the shadows I'm going to add
in a little blue, which is the
| | 05:00 |
complimentary color to the highlights and
the gold shimmering light we've got
| | 05:06 |
introduced by the previous tools.
And introducing this blue either by just
| | 05:11 |
dragging this pin towards blue or
selecting a blue and dragging the
| | 05:15 |
saturation control here.
What it does it introduces a little bit
| | 05:20 |
of blue into the shadows which then
stands out against the complementary color.
| | 05:25 |
In the highlights, the more you
exaggerate the blue, the more these
| | 05:30 |
shadows get darker.
So this is a matter to taste, to see what
| | 05:34 |
kind of effect you want to get.
But it's interesting that just adding a
| | 05:39 |
little bit of complimentary color, brings
up a nice visual pop and it balances
| | 05:46 |
against the yellows in the image.
I'm going to hit Enter to apply this
| | 05:50 |
effect and I've applied the Fra Angelico
preset from the master artists set of
| | 05:58 |
presets onto this second clip here.
So, let's have a comparison to see what.
| | 06:02 |
This one looks like with a few extra
tweaks.
| | 06:04 |
I'm just going to jump to this next clip,
select it and open up the Looks Builder.
| | 06:09 |
So, I've used the Fra Angelico preset and
the name Fra Angelico turns up in the
| | 06:18 |
Look Name here.
But, you don't have to have these presets
| | 06:21 |
installed if you are just using Looks in
Premier Pro.
| | 06:24 |
The preset is baked into the project file
that you're working one.
| | 06:29 |
And it will just give you an untitle look
name.
| | 06:32 |
So in this preset we've got the same
tools that I was using to build up the effect.
| | 06:36 |
I've added in a curves tool here, which
has the effect of bringing up the shadows
| | 06:43 |
slightly, to kind of extend this low
contrast look.
| | 06:48 |
But it's a matter of taste, you don't
have to have this in there.
| | 06:50 |
And I've also added in an instance of the
Pop Tool, which is over in the Post
| | 06:57 |
section, over here.
And the Pop Tool with a little bit of
| | 07:02 |
negative value Adds a slight softness
onto this whole look.
| | 07:06 |
So the idea behind this is that it's a
soft ethereal look, which is very
| | 07:11 |
flattering for skin and hair.
It's very feminine, and it can be used
| | 07:15 |
for dreamy, memory based footage.
And it's less flat than the Michelangelo
| | 07:20 |
preset, but the diffusion and gold in the
highlights creates really nice Shimmering
| | 07:26 |
light effect.
Almost like it's a dream sequence or it
| | 07:29 |
could be used as a flashback.
| | 07:30 |
| | Collapse this transcript |
| Working with "The Birth of Venus" to create high contrast and high saturation| 00:00 |
In the previous movie, we were looking at
the shimmering quality and the bright
| | 00:04 |
highlights that you can simulate in post.
But, let's consider one of the most
| | 00:09 |
famous paintings of all time,
BotticellI's The Birth of Venus.
| | 00:13 |
Because this painting gives us an idea
how we can introduce a similar shimmering quality.
| | 00:19 |
But with higher contrast and saturated
colors.
| | 00:23 |
In the art reference PDF there's a link
to the birth of Venus for you to have a
| | 00:26 |
look at.
In this painting there is more contrast.
| | 00:30 |
This contrast is achieved by the addition
of pattern and texture in the clothing.
| | 00:35 |
This is an oil painting and not a fresco,
but the painting technique is very similar.
| | 00:40 |
It's got a base of white and has pastel
colors creating a soft diffused look,
| | 00:45 |
especially on the skin tone.
But the higher contrast creates a
| | 00:50 |
striking image.
Let's have a look to see how we can do
| | 00:53 |
this and post.
I'm using the Color Contrast sequence and
| | 01:00 |
I'm going to select the first clip here.
And I've already applied an instant of
| | 01:04 |
looks to it, and I'm going to go up and
edit the look.
| | 01:08 |
The first thing I want to do is reference
the soft look of the painting.
| | 01:13 |
And I can do this using the Cosmo tool in
the subject area Which has the ability of
| | 01:19 |
targeting the skin tones and softening
them.
| | 01:22 |
It recognizes what are skin tones.
And so if I drag up the softening slider here.
| | 01:29 |
And then turn this off and on.
It has the effect of just slightly
| | 01:34 |
softening the face.
The next thing I want to do is slightly
| | 01:39 |
increase the contrast.
And if I drag on the contrast, control of
| | 01:45 |
the curves tool.
Which I've got from the subject section.
| | 01:50 |
Then look at the RGB parade.
I'm increasing the highlights and
| | 01:55 |
deepening the shadows.
And as I continue to do this, I can
| | 01:58 |
overdo it.
But what I'm wanting to do is just
| | 02:00 |
slightly increase the contrast.
And I'm going to turn the whole tool
| | 02:05 |
chain off and on.
So those 2 combined are already making
| | 02:09 |
the image pop out slightly.
The next thing I need to add is a bit of
| | 02:15 |
color contrast.
I'm going to choose.
| | 02:19 |
A 3-way color corrector.
And you can grab the 3-way color
| | 02:24 |
corrector from any of the sections.
It appears in several of them.
| | 02:27 |
For example here it is in the subject.
And I can grab it and position it after
| | 02:32 |
the Curves tool.
And what I'm going to do here is I'm
| | 02:35 |
going to add some blue into the
mid-tones.
| | 02:40 |
Because this balances out the sorts of
colors that you find in everybody's skin.
| | 02:46 |
And it's the opposite color of skin tone.
Skin tone usually arrives around about
| | 02:51 |
here on the color wheel.
And this has the effect of introducing a
| | 02:55 |
color contrast into the image.
So, I've only adjusted this very little
| | 03:00 |
But even just turning this tool off and
on shows that you get a little bit of a
| | 03:06 |
contrast of the background, especially
because it's gray and this helped by the
| | 03:10 |
fact that we've got some blue items in
the foreground here.
| | 03:13 |
But these subtle changes can help really
bring out the detail in an image.
| | 03:18 |
I'm also gong to add another Curves tool.
And, using the Red curve, I'm just going
| | 03:25 |
to remove some red from the shadows.
So, I can just drag down these points, or
| | 03:31 |
in fact just drag on the curve, here.
Adding blue in the shadows enhances skin
| | 03:40 |
of all types.
Because it's the contrasting color to the
| | 03:42 |
natural reds, pinks, and oranges that
turn up in skin tone.
| | 03:48 |
Here's the image before and after, and
we're already beginning to get quite a
| | 03:52 |
striking interesting look.
The effect of deepening the shadows
| | 03:56 |
brings out detail in the image in the
eye, in the eyebrows, under the chin, and
| | 04:02 |
around the hairline.
It just makes it more interesting to look
| | 04:05 |
at, and it's a very flattering look.
I'm going to hit "Finished" here, and
| | 04:10 |
show you what this looks like when
applied to the adjustment layer on the
| | 04:14 |
same clip.
I've duplicated this clip on the timeline.
| | 04:17 |
And on this adjustment layer, I've added
an instance of Looks, and I've used the
| | 04:22 |
Botticelli preset from the Master Artists
presets.
| | 04:26 |
So I'll just select it here.
And here we've got same four tools plus
| | 04:33 |
there's a couple of extras here.
The ranged HSL tool, which you can find
| | 04:38 |
over in the post section, here it is,
that allows me to target a single color
| | 04:45 |
and exaggerated by dragging it out of the
color wheel.
| | 04:48 |
So the more it's dragged over here And
more the saturation has increased.
| | 04:53 |
Now this pink is playing with the blue in
the shadows and contrasting against it.
| | 04:59 |
And if I really overdo it you can see the
effect here is quite dramatic.
| | 05:03 |
So I'm going to drag it out ever so
slightly here and I've slightly reduced
| | 05:09 |
the orange saturation here so it makes
the image slightly more stylized.
| | 05:14 |
And the instance of the pop tool at a
minus 20 setting, softens the overall
| | 05:21 |
image ever so slightly.
So if you want to make your actors happy,
| | 05:25 |
you can throw on a preset like this.
And it will instantly make them very
| | 05:29 |
attractive to look at.
Let's have a look at the difference
| | 05:32 |
between the sorts of effects you can get
from the shimmering light precept, the
| | 05:35 |
Fra Angelico, and the Botticelli preset.
They're both borne out of the early
| | 05:41 |
Renaissance techniques, but they are
very, very different looks.
| | 05:48 |
But both appealing in their own way, from
the flattened poetic look of Fra Angelico
| | 05:54 |
To the striking, attractive look of
Botticelli.
| | 05:58 |
And this works with a variety of skin
tones.
| | 06:00 |
I'm going to hit finished here.
And the nice thing about adjustment
| | 06:03 |
layers is that you can drag them over
other shots.
| | 06:06 |
So here's an additional shot from the
sequence.
| | 06:09 |
And if I drag the adjustment layer over
this one, you can then see how well this
| | 06:14 |
works on a different skin tone.
And in fact I'm going to find the right
| | 06:20 |
frame here.
A smiley.
| | 06:23 |
There we go.
And then launch the looks builder.
| | 06:26 |
And here's the effect applied to this
shot.
| | 06:30 |
Here's the before And after using the
same tools which brings out the detail by
| | 06:37 |
deepening the shadows, One last thing to
mention is that this does increase the
| | 06:42 |
contrast and so if you drag in the
(UNKNOWN) tool, the shadows down to
| | 06:48 |
really Deepen them you began to loose
detail as they impact at the bottom of
| | 06:55 |
the scope.
So a good thing to do is just to keep an
| | 06:57 |
eye on the shadow level depending on how
much contrast you want to introduce into
| | 07:01 |
your image.
So we've got several different concepts combing.
| | 07:06 |
Here we got high contrast which makes an
image attractive, plus we've got color
| | 07:10 |
contrast with the Pinks and the blues,
working well together when applied to
| | 07:20 |
skin tone in a shot.
| | 07:21 |
| | Collapse this transcript |
|
|
3. RenaissanceIntroducing the Renaissance| 00:00 |
The painting style of the Renaissance
emerged as artists began to use their
| | 00:05 |
talents for observation, to create
lifelike portraits and figures.
| | 00:09 |
With acute detention to details, such as
skin, hair, facial features, and
| | 00:15 |
clothing, Renaissance painters were known
for creating dramatic lifelike images.
| | 00:21 |
Painting by candlelight or in diffused
light on brown canvases gave rise to a
| | 00:25 |
dominance of browns and reds in their
paintings.
| | 00:28 |
Also, many of the modern pigments we have
access today weren't as readily available
| | 00:33 |
500 years ago.
So these artists often use a limited
| | 00:37 |
palette of mainly earthy-broad tones,
which helped to define their signature style.
| | 00:43 |
In the Art Reference PDF, there are links
to paintings by four of the most famous
| | 00:47 |
Renaissance painters, Da Vinci, Titian,
Rubens, and Caravaggio, which show this
| | 00:53 |
style of painting.
High Renaissance painting was all about
| | 00:57 |
blending colors together, and carefully
shading the different levels of
| | 01:01 |
brightness and darkness so that they
interact together.
| | 01:04 |
Artists call this technique modeling,
where the blended colors and shades
| | 01:09 |
combine to create a lifelike realistic
sense of perspective.
| | 01:13 |
This means that the paintings have a
perceivable depth to them, and objects
| | 01:17 |
seem to have volume and appear to be
placed in three dimensional space.
| | 01:22 |
The artists were working from a darker
base, and then adding in the highlights
| | 01:26 |
as they went along.
This means that they could add in more
| | 01:29 |
detail and texture, and crucially, add in
mixture of color, especially in the
| | 01:34 |
mid-tones, which creates this modeled
three dimensional look.
| | 01:38 |
The figures in the paintings also seemed
to have a weight and solidity, which
| | 01:42 |
typifies this genre.
This blended and modeled technique relies
| | 01:47 |
on the deep contrast between the
highlights and the dark shadows.
| | 01:50 |
But the key element is the amount of
detail and color blending in the midtones.
| | 01:56 |
And the exciting thing is that you can
simulate this approach in video
| | 01:59 |
post-production, which we'll be having a
look at over the next few movies.
| | 02:03 |
The painters also used the technique of
glazing, layering thin oily film of paint
| | 02:09 |
over each other.
This created a soft blurred feel to the
| | 02:13 |
image know as Sfumato, which was
especially useful in smoothing out skin tones.
| | 02:18 |
This term Sfumato literally means gone up
in smoke.
| | 02:23 |
So think of a soft image without harsh
lines.
| | 02:26 |
And yes we can also simulate this Sfumato
effect, and apply it to video footage.
| | 02:31 |
So over the next three movies, we'll have
a look at creating a sense of perspective
| | 02:35 |
in depth with color, smoothing out skin
tones, and how to create a rich
| | 02:41 |
theatrical saturated look.
| | 02:42 |
| | Collapse this transcript |
| Working with limited palettes and three-dimensional space in the style of Da Vinci| 00:00 |
The artists of the Renaissance had begun
to create a three-dimensional space in
| | 00:05 |
their paintings.
An important factor in their technique
| | 00:09 |
was observing the way light fell upon
their subjects.
| | 00:13 |
And also, where and how they placed the
light themselves, and the kind of light
| | 00:17 |
in which they were painting.
We're going to have a look at a detail of
| | 00:20 |
Da VincI's, the Virgin of the Rocks
painting.
| | 00:23 |
So have a look at the Art Reference PDF,
and make sure you click on the link, so
| | 00:27 |
you can see the painting.
But in general what I want to talk about
| | 00:30 |
is the modeling, the blending of the
colors from the shadows to the mid tones,
| | 00:35 |
that really brings out the
three-dimensional aspects of this painting.
| | 00:40 |
The tones range from black in the
background through to the highlights on
| | 00:44 |
the face, the forehead, and the neck.
The colors blend together to create this
| | 00:49 |
three-dimensional effect.
The hand reaching out from the left of
| | 00:53 |
the image also shows us the attention to
detail of perspective.
| | 00:56 |
And the image seems to have layers or
planes defining space in and around the figures.
| | 01:03 |
Da Vinci is also using a limited palette.
The Renaissance artists were pioneers
| | 01:08 |
working with this limited palette
technique, keeping those reddish warm
| | 01:12 |
browns in the shadows, and then letting
them drift towards the midtones.
| | 01:17 |
This concentrates our attention to the
brighter items in the image which is the
| | 01:21 |
face in this case.
So how do we represent this in a color
| | 01:25 |
grading package?
I'm using the Renaissance light and color
| | 01:31 |
sequence and I've got magic bullet looks
applied to an adjustment layer here.
| | 01:36 |
So I'll select the adjustment layer and
then launch looks.
| | 01:40 |
So we can build up this look from scratch
with a number of tools.
| | 01:45 |
I'm going to grab the Colorista 3-way,
and we're interested in red, russet,
| | 01:50 |
browns ocher colors.
So I'm going to push some of the shadows
| | 02:01 |
towards yellow.
And there's lots of experimentation that
| | 02:05 |
goes on when you build up presets based
on artists, looks, or signature styles.
| | 02:10 |
So what I found is that mixing several of
these different colors together with
| | 02:15 |
slightly different colors of orange,
really helped to bring out this look.
| | 02:23 |
So, I've got a slightly more reddy orange
in the highlights than I have in the Midtones.
| | 02:32 |
And I'm also going to bring down the
Midtones' Luma level slightly.
| | 02:38 |
And one of the other facets if you like,
of making up this core concept or this
| | 02:42 |
look is the large amount of lighting
that's going on.
| | 02:47 |
So we can replicate this with a vignette.
And although we can just darken the edges
| | 02:52 |
with a vignette, it would be nice to
actually push the edge vignette towards
| | 02:57 |
this kind of brown color at the edge.
And then add another vignette after it to
| | 03:05 |
make that slightly darker.
So we can bring that in a little bit.
| | 03:11 |
So this is the before and after, that
we've got so far.
| | 03:14 |
Because we had so many heavy deep reds in
the shadows this is a good use for the
| | 03:20 |
Curves tool.
So I'm going to bring the Curves tool in
| | 03:23 |
from the post section.
And, in fact, you can switch the order of
| | 03:29 |
tools if you want to, from section to
section because the Curves tool exists in
| | 03:34 |
the subject area, you can drag it from
there.
| | 03:36 |
But, if you wanted to put it in between
the two vignettes, for example, there is
| | 03:41 |
a secret of Magic Bullet Looks shortcut,
which is the Option key or the Ctrl key
| | 03:47 |
on Windows.
Just hold down the Option key, and then
| | 03:49 |
you can position it pretty much where you
want.
| | 03:51 |
But I only want to position it here, just
before the vignettes because I want to,
| | 03:55 |
target the red, shadows and really, boost
up the red, and the darker areas, of the image.
| | 04:04 |
So we're beginning to get there but there
was a russety, orangy, red, an ocher to
| | 04:10 |
this look.
So I'm going to bring up the, the Ranged
| | 04:16 |
HSL tool, which allows to target
individual colors but also to move them
| | 04:22 |
towards their neighbors.
So I'm going to move the red towards orange.
| | 04:26 |
If I move it too much then everything
goes orange but I still want some of that
| | 04:30 |
red in there.
And there we go.
| | 04:33 |
Round about there.
So here's the before and after.
| | 04:39 |
And so, we're beginning to get that Da
Vinci-esque look which is bringing out
| | 04:44 |
some of the detail in her flesh, if you
like, and her body shape.
| | 04:50 |
But it's also accentuating our attention
on her face.
| | 04:54 |
Helped by the vignettes, to some extent,
but also the fact that we're limiting the palette.
| | 05:00 |
Tweaking these effects takes quite a bit
of time to generate the original, so I'm
| | 05:05 |
just going to jump onto this next clip
which is the Da Vinci preset applied.
| | 05:13 |
And just to show you that it has the
Colorista 3-Way and the vignettes and the curves.
| | 05:17 |
But there are also a number of other
elements which combine to help this image.
| | 05:22 |
One of which is the Diffusion tool, with
a very soft, subtle diffusion.
| | 05:27 |
Interestingly, pushed to blue in the
highlights and if you push this too much
| | 05:34 |
you then you begin to get a different
kind of effect then, especially if I
| | 05:38 |
increase the Exposure composition.
Then that brings up the highlights, which
| | 05:42 |
are much too bright for the Da Vinci
style, if you like.
| | 05:46 |
So I'm just going to reset the whole
Preset here.
| | 05:49 |
So there's a little bit of blue in the
highlights on the diffusion.
| | 05:54 |
And also (SOUND) I'm using the Pop tool
to give a slight bit of definition into
| | 06:00 |
the image to balance some of the
diffusion that I've added.
| | 06:03 |
So I'm mixing all these items together in
the Tool Chain.
| | 06:06 |
Here's the Pop before and after, and it's
only on 20%.
| | 06:10 |
So it's adding a very subtle bit of
detail but enough just to bring out the
| | 06:15 |
detail around her eyes.
And the super useful thing about applying
| | 06:21 |
looks to an adjustment layer is that you
can see what it looks like on other clips
| | 06:25 |
just by dragging out the adjustment
layer.
| | 06:28 |
And so we can drag over and just see what
the effect is on this shot as well as
| | 06:35 |
this one.
Keeping the highlights not too bright but
| | 06:39 |
also making sure we've got those rich
russet ocher tones.
| | 06:43 |
So the grade is a combination of
elements.
| | 06:46 |
Now, we set up these scenes especially
for this course.
| | 06:48 |
So, in this example, now we have control
over the set dressing, the color of the
| | 06:53 |
walls and the choice of clothing and all
these things mean that it's relatively
| | 06:57 |
easy to push the colors towards the ones
that we're after.
| | 07:00 |
So the grade, when you're grading is a
combination of lots of elements,
| | 07:04 |
including the set design, the actors, the
costumes, the lighting, the camera style
| | 07:09 |
and, of course, the color correction.
| | 07:11 |
| | Collapse this transcript |
| Observing the sfumato technique to smooth skin| 00:00 |
Soft skin tones suggest painterly images,
because they invoke classic painting
| | 00:06 |
technique, sfumato, the technique of
layering paint to smooth out the surface
| | 00:12 |
and to make sure that you can't see any
brushwork.
| | 00:15 |
So this glazing technique, which
eradicated brushworks, can be simulated
| | 00:20 |
in post-production.
so firstly let's have a look at this in practice.
| | 00:25 |
So, make sure you follow the link on the
art reference PDF to Tishon's Flora
| | 00:31 |
painting and we can see a construction
with lots of soft skin tone.
| | 00:36 |
It also has quite a dark background so,
there's this contrast of lightness as
| | 00:42 |
well which is focusing out attention on
the subject.
| | 00:45 |
But there's very, very subtle modeling
and fine detail in the figure with
| | 00:50 |
smooth, smooth skin.
I almost seems as though the figure has
| | 00:53 |
been lit with soft fill light.
Tischen used this technique to create
| | 00:58 |
this flattering look for skin and for
hair.
| | 01:01 |
So, how do we recreate this skin
smoothing technique in post production?
| | 01:05 |
Well, I'm in the Renaissance Premiere Pro
project, and I'm looking at the smoothing
| | 01:09 |
skin sequence.
I'm going to add looks to this clip and
| | 01:15 |
launch the looks interface.
There is a tool inside looks, called
| | 01:23 |
cosmo, which allows you to soften just
the skin tone.
| | 01:27 |
It works in a very similar way to the pop
tool.
| | 01:29 |
Let me just remind you what the pop tool
does.
| | 01:31 |
And the pop tool exaggerates if you drag
to a positive value, the edges are in the
| | 01:36 |
image, but it also smooths out icons in
the shot according to how much she drank accessing.
| | 01:41 |
But it's smoothing out everything,
including the background.
| | 01:45 |
So what we ought to do is target just her
skin tone.
| | 01:48 |
And that's what the cosmo tool does.
It has enough intelligence to recognize
| | 01:54 |
skin tone and only apply smoothing to
that.
| | 01:57 |
So, if I drag up the skin softening here
and then switch it on and off, and you
| | 02:02 |
see we're largely just targeting Her skin
tone.
| | 02:06 |
We can test how accurate this is by using
the skin finder by just dragging on this.
| | 02:11 |
And what we can do is, we can set the
matte up to select less of the background.
| | 02:18 |
So anything that's grey isn't being
selected.
| | 02:20 |
And then use this in tandem with the skin
tolerance setting.
| | 02:24 |
And you can go to and fro to try and
maximize.
| | 02:28 |
And as much, of the skin tone as
possible, and then apply the smoothing to this.
| | 02:33 |
So this is a very quick tool to use.
If I hit Finished here, and then Scrub on
| | 02:38 |
the rest of the clip, you can see that
this smoothing effect is being applied
| | 02:44 |
just to her skin.
I'm switching the looks tool off and on here.
| | 02:48 |
So, that's fine, but there is a way to be
more accurate with this effect.
| | 02:54 |
I'm going to remove looks and apply an
instance of colorista.
| | 03:02 |
And the magic happens in the secondary
section of Colorista, with the keyer.
| | 03:08 |
This is one of the best keyers I've found
for Premiere Pro, and it enables you to
| | 03:13 |
target very specifically a certain color.
So the procedure is that you use the
| | 03:18 |
rectangle selection tool to target a skin
Tone, and then you use the plus and minus
| | 03:24 |
tools to add and then subtract more and
more of that color.
| | 03:28 |
I found a faster way of working is to
start off with reducing the clip of the
| | 03:35 |
color and then Increase the softness
here.
| | 03:39 |
And the key, no pun intended, in these
key effects, is to make sure that it has
| | 03:44 |
softness, so it blends in with the
background.
| | 03:47 |
So that the effect isn't obvious, or
isn't made obvious by a jagged edge.
| | 03:51 |
Once you've done this, you can then carry
on, just with the plus button.
| | 03:56 |
Dragging on the areas that you want to
select until you've got a reasonable mat,
| | 04:04 |
can actually drag on the mat as well.
And if you get any areas that you don't
| | 04:08 |
want selected you can just click the
minus button and remove those.
| | 04:12 |
You can go to and fro.
A more accurate way of working is to also
| | 04:16 |
drag this control here on the scope.
And you can limit the hue saturation and
| | 04:23 |
luma, according to which of these
controls you drag.
| | 04:28 |
So what I want to do is not select any of
her shoulder or the background, just have
| | 04:31 |
enough of her face, and, her neck.
To apply the smoothing too.
| | 04:39 |
Great, there's this (UNKNOWN) tiny bit
there which I'll get rid of.
| | 04:42 |
There we go.
So, if I hit OK, I can go up to the
| | 04:47 |
secondary selection here and just
demonstrate that I've actually got her
| | 04:52 |
skin tone targeted.
So if I adjust the mid-tone slider, it's
| | 04:55 |
just affecting her skin tone only.
So the last piece of this puzzle is to
| | 05:00 |
use the pop slider, yes the pop slider
exist, in color esta as well.
| | 05:05 |
So if I drag this to the left, I can
really smooth just her skin tone.
| | 05:11 |
Here's a before and after.
And because this is a color effect, I'm
| | 05:17 |
tracking this through the shots, based on
this color.
| | 05:20 |
Without having to use any keyframes which
is also a time saver.
| | 05:23 |
So that's one way of simulating a smooth
skin tone.
| | 05:29 |
But there are additional tools and looks
that can help you do this as well.
| | 05:34 |
So I'm going to apply looks to this clip,
and use a Defusion tool to demonstrate this.
| | 05:42 |
And open up the looks builder so here we
go.
| | 05:44 |
What I want to do is target one of the
diffusion tools drag this on here.
| | 05:49 |
And the summer sun diffusion tool enables
me to limit or increase the size of the
| | 05:57 |
glow so I can target the image.
And reduce the glow until I'm getting
| | 06:06 |
this smoothing effect that I'm after.
the interesting thing is that you can
| | 06:12 |
target this to affect only the
highlights.
| | 06:15 |
So just by manipulating some of these
settings, I'm getting quite a subtle glow
| | 06:21 |
on the highlights here.
Here is the before and after.
| | 06:24 |
And it's also softening some of her skin.
So these effects combined, can simulate
| | 06:33 |
the sort of brush work that artists like
Titian were executing on their paintings.
| | 06:39 |
So as well as flattering your subjects,
these smoothing effects can be very paintily.
| | 06:44 |
And they reference the original layering
techniques that these renesaince artists used.
| | 06:50 |
| | Collapse this transcript |
| Creating a rich, saturated, theatrical look in the Renaissance style| 00:01 |
As the techniques of the Renaissance were
developed, artists like Rubens and
| | 00:05 |
Caravaggio began to make highly
theatrical set pieces.
| | 00:09 |
High in contrast and dense in color.
Have a look at the link in the Art
| | 00:14 |
Reference PDF at the Rubens' painting,
Samson and Delilah.
| | 00:19 |
So, what makes this painting so dramatic
and theatrical?
| | 00:23 |
Well, it's got high contrast with pools
of light demanding your attention
| | 00:27 |
contrasted with large areas of dark
shadows.
| | 00:30 |
It's got that light and dark contrast
we're used to seeing in Renaissance
| | 00:34 |
paintings but, in the middle of all this,
the red and the gold in the skin tone on
| | 00:39 |
Samson's torso.
Contrasts with the dark shadows in the
| | 00:43 |
red of the dress.
It's theater, it's an exaggerated color
| | 00:47 |
scheme, painted for dramatic effect.
This is a standard theatrical look.
| | 00:52 |
Think of the rich red curtains in modern
theaters, and the artificial lighting.
| | 00:58 |
There's also an element of contrast with
the bright, white highlights on the
| | 01:01 |
woman's clothing.
The theater is created by the bright
| | 01:05 |
highlights and the warm shadows.
They both work together.
| | 01:09 |
So how can we create this in post
production on a video clip?
| | 01:15 |
I'm using the creating rich saturated
theatrical look sequence, and I'm going
| | 01:21 |
to open up an empty copy of looks.
So we can begin to simulate this effect
| | 01:27 |
starting off with the curves tool.
I'm going to choose the curves tool from
| | 01:32 |
the subject section, and what I want to
do first is to just bring down the
| | 01:38 |
shadows a little bit.
But at the same time, I don't want to
| | 01:41 |
bring them down too much.
And I'm going to then, bring up the reds,
| | 01:46 |
so that we got a little bit of red, in
the shadows there.
| | 01:52 |
And the thing about Ruben's is that the
colors he was choosing were more gold
| | 01:57 |
than the red russet of Da Vinci.
So I'm going to choose a Colorista 3-Way
| | 02:03 |
from the subject section, and I'm going
to push the highlights towards those
| | 02:08 |
gold, yellow, highlights.
And then also, warm the shadow slightly.
| | 02:17 |
Now there's another job for the curves
tool here, I'm going to put it after the
| | 02:24 |
3-way correction here to warm up some of
those mid-tones towards the highlights too.
| | 02:33 |
And this is the effect here, we're
brightening up this area of the painting,
| | 02:38 |
if you like, of the video.
And one other key correction, here, is to
| | 02:43 |
use the Ranged HSL tool.
Which allows us to target a single color
| | 02:48 |
from the post section here.
And to drag this towards orange.
| | 02:52 |
So we are losing the red of the
background and getting much more of a
| | 02:57 |
golden look.
So here's the before and after, and we're
| | 03:05 |
beginning to get a more of a theatrical
look.
| | 03:08 |
We're beginning to get the difference
between the highlights and the shadows.
| | 03:13 |
So I'm not exaggerating it too much,
because quite often in modern video we
| | 03:19 |
want to see the shadows.
If you want to exaggerate this a lot
| | 03:23 |
more, you can always just bring down the
shadows.
| | 03:26 |
And the more you do this the more
dramatic the effect.
| | 03:30 |
But let's have a comparison between what
I've built up with these tools and the
| | 03:35 |
preset for Rubens on the same clip.
I'm just going to jump over to the next
| | 03:40 |
marker and I'll open up the preset here.
We've got the same curves and the same
| | 03:47 |
gold adjustments that I was making in the
three way color corrector.
| | 03:52 |
But there's one interesting addition
which is the Star Filter tool, and you
| | 03:56 |
can find this in the Matt section.
Here it is, the Star Filter, and it's set
| | 04:03 |
to just boost the highlights just
slightly.
| | 04:08 |
If I switch it off, you can see the
subtle effect especially on the candle.
| | 04:13 |
And it's because this size of the Star
Filter is down to 1%, drag up the size
| | 04:18 |
and you can begin to see what the Star
Filter does.
| | 04:21 |
And that's an exaggerated Star Filter.
But if you bring it down to 1%, just
| | 04:26 |
brings up the highlights, just enough to
boost them.
| | 04:32 |
To give the image that extra sense of
theater through an additional contrast.
| | 04:38 |
And if you are adding elements that boost
the highlights it's always a good idea to
| | 04:43 |
use the Auto Shoulder tool at the end of
the chain.
| | 04:47 |
Let me show you what this does.
If I switch it off you can see that by
| | 04:50 |
boosting the highlights especially with
the Star Filter here, I'm turning it off
| | 04:55 |
and on.
I'm boosting the brightness way over the
| | 04:57 |
1.0 here which is the 100% digital we
were looking at in the scopes earlier on
| | 05:06 |
in Premiere Pro.
And the Auto Shoulder tool has a nice
| | 05:10 |
effective rounding down those over
brights.
| | 05:13 |
You'll find it over in the post section.
Here it is.
| | 05:18 |
And it works better than a clamping tool
because it rounds down the effect rather
| | 05:22 |
than just clamping.
So you don't get any odd color shift in
| | 05:25 |
the image.
It's especially useful if you are adding
| | 05:29 |
bright highlights to a shot.
So this look has deepened shadows with
| | 05:33 |
red, gold, yellow dominance in the
highlights for warm theatrical styles.
| | 05:38 |
And it's useful if you got lots of bodies
or skin in the shot and also, used to
| | 05:43 |
create a dramatic theme, especially
useful for interior shots.
| | 05:48 |
Or to create sumptuous artificial light
scenes.
| | 05:51 |
What I like about effects like this is
that it exaggerates muscle tone.
| | 05:56 |
If I switch this off and on, you can see
that the muscle tone of the girl here is
| | 06:01 |
being enhanced by the fact that we're
mixing these colors together especially
| | 06:08 |
the shadows and highlights being pushed
towards red combined with the Curves tool.
| | 06:12 |
And these terms are already in the
original image.
| | 06:16 |
It's just that we're bringing them up by
mixing in these different colors.
| | 06:21 |
So we're emulating the modeling technique
that the artists were using.
| | 06:25 |
I find that looking at the original
paintings can help me to consider the
| | 06:30 |
tone, and contrast, and depth in images,
especially with the different lighting
| | 06:34 |
techniques they were using.
So we can look to these works for ideas
| | 06:38 |
about creating these theatrical looks,
all the time remembering the color and
| | 06:42 |
the blending in the mid tones and the
shadows.
| | 06:44 |
| | Collapse this transcript |
|
|
4. Light and ShadeIntroducing light and shade| 00:01 |
The artists of the Renaissance had begun
to observe their subjects in a three
| | 00:05 |
dimensional space.
And an important factor in their
| | 00:08 |
technique was observing the way the light
fell upon the subject.
| | 00:13 |
Where and how they placed the light
themselves and the kind of light in which
| | 00:16 |
they were painting.
This approach inspired other artists to
| | 00:20 |
work in a similar way.
Developing painted images through the use
| | 00:24 |
of this tonal contrast became known as
chiaroscuro, which literally means light
| | 00:30 |
and shade.
Where the most important element is the
| | 00:33 |
contrast between the light and dark areas
of the image.
| | 00:36 |
Chiaroscuro is the signature style of the
famous Dutch painters like Rembrandt and Vermeer.
| | 00:43 |
On the art reference PDF there are links
to paintings by Rembrandt, and also the
| | 00:47 |
Spanish artist Goya, which demonstrate
this technique.
| | 00:52 |
Using chiaroscuro gave artists the
opportunity to look at their subject in
| | 00:56 |
the context of light, and how the light
was falling on the subject.
| | 01:00 |
So in a way, the artists are forming
there image by observing light, shade,
| | 01:04 |
tone and contrast.
It's interesting how looking at these
| | 01:09 |
paintings can help to inform our own use
for lighting.
| | 01:12 |
It can help us to understand light
sources and the way falls on a subject
| | 01:18 |
and help to inform us when to add
vignettes, fills and spot exposure
| | 01:23 |
effects in post production.
It also informs us of the story being
| | 01:27 |
told by the use of light.
These post production lighting techniques
| | 01:31 |
can be used as a compositional device for
dramatic effect or to create a stylized image.
| | 01:38 |
Over the next three movies, we'll
simulate these lighting effects by adding
| | 01:43 |
vignettes and areas of spot exposure,
investigate how these effects can change
| | 01:48 |
the story, and also look at how color
skew inspires the film noir genre of the
| | 01:54 |
1940's and 50's.
| | 01:57 |
| | Collapse this transcript |
| Using Rembrandt's chiaroscuro technique to increase tension| 00:01 |
Rembrandt is one of the world's greatest
story tellers.
| | 00:05 |
He somehow manages in his paintings to
reveal the inner secretes and the inner
| | 00:09 |
thoughts of the people sitting for him.
Have a look at the painting in the art
| | 00:14 |
reference pdf.
It's Rembrandt himself, leaning on a
| | 00:17 |
window sill.
In this self portrait, Rembrandt has used
| | 00:21 |
the light and dark technique, the
Coriscura technique, to emphasize the
| | 00:25 |
dark shadows around the figure as a
contrast to the lightness in the face and
| | 00:30 |
the hand.
There's very little midturn.
| | 00:33 |
Most of the image is dark or light, by
accentuating the dark shadows he pulls
| | 00:39 |
focus to the face.
There is much more detail in the brush
| | 00:42 |
work on the face than there is in the
rest of the painting.
| | 00:45 |
By limiting this detail he is creating a
virtual area of focus.
| | 00:50 |
He's showing us where he wants us to
look.
| | 00:52 |
We can interpret this with modern film
making techniques through the addition of
| | 00:57 |
soft-blurred edges.
Either by using a practical vignette on
| | 01:00 |
the lens or by adding a virtual vignette
in post production.
| | 01:05 |
We'll look at doing this in a second, but
firstly let's ask ourselves, why's he
| | 01:09 |
doing this?
What is he achieving with this technique?
| | 01:13 |
Is using these areas of virtual spot
exposure, highlighting the face and the
| | 01:18 |
hands in this case.
In a really dramatic way, as a
| | 01:21 |
storytelling device.
He's somehow enabling us to consider what
| | 01:25 |
the character may or may not be thinking.
So, how do we do this in post production?
| | 01:32 |
I've got a series of clips on a timer
here.
| | 01:34 |
I'm just going to turn off the audio for
a second, and this is two guys having a
| | 01:39 |
chat in the local coffee house.
And it's reasonably innocuous what
| | 01:44 |
they're talking about.
For example, I'll just play a few seconds
| | 01:47 |
of this clip:
>> And enchiladas most people,
| | 01:51 |
traditionally it's, it's you know,
there's always a meat in it.
| | 01:53 |
There's chicken, there's beef.
>> Mm-hmm.
| | 01:55 |
Yeah.
>> But this is her most famous dish, like.
| | 01:58 |
So, they're not talking about anything
dramatic.
| | 02:00 |
But what we're going to do, we're going
to apply color correction, which makes
| | 02:03 |
the whole scene change and.
Causes the tension to increase in the scene.
| | 02:07 |
I've got two clips here on the end of the
timeline.
| | 02:10 |
And on this first clip, I'm going to
apply an instance of magic bullet looks.
| | 02:16 |
In fact, I've really applied it to the
adjustment layer.
| | 02:19 |
And I'm going to show you how to build up
this light and dark technique.
| | 02:23 |
So I'll press edit look, and bring up the
looks interface.
| | 02:28 |
Right, the first thing about Rembrandt's
paintings were they were dark.
| | 02:32 |
So let's grab a Curves tool, and then
bring down the shadows and the mid tones
| | 02:36 |
to make it a bit darker.
This look tends to be quite dramatic.
| | 02:45 |
And Rembrandt was using lots of reds and
dark oranges in his image, so I'm going
| | 02:51 |
to use a 3-way color corrector and add in
a little bit of orange into the
| | 02:57 |
highlights, a bit more into the midtones,
and some in the shadow as well.
| | 03:04 |
Now when you're building up this sort of
a look you start to get an unnatural
| | 03:08 |
looking subject, and Rembrandt paintings
didn't have too much vibrant color.
| | 03:15 |
So I'm going to bring in a Range
Saturation from the Subject area.
| | 03:21 |
And the nice thing about range saturation
of course, is that you can change the
| | 03:25 |
saturation in the different areas.
So, I'm going to reduce the saturation in
| | 03:29 |
the highlights, to the mid 60's, and also
do a similar thing in the shadows,
| | 03:36 |
because we want a contrast between The
highlights and the mid tones or the
| | 03:43 |
shadows and the mid tones.
In fact, that can be desaturated ever so slightly.
| | 03:47 |
So, we're beginning to get a slightly
desaturated, slightly red-tinted image,
| | 03:52 |
and we need to make the background dark,
which we do by using My old friend the vignette.
| | 04:01 |
And I think on this example, we can use a
couple of vignettes.
| | 04:07 |
One to just make the edges slightly
darker, and another one to really.
| | 04:12 |
Bring out, or increase the shadow area.
Now an important thing to note is that
| | 04:20 |
Rembrandt was making these dramatic
paintings with very dark shadows.
| | 04:24 |
And in video making we're being inspired
by his techniques rather than just
| | 04:28 |
replicating them.
So our audience is expecting to see some
| | 04:32 |
detail in the shadows.
So how dark you make these vignettes, how
| | 04:35 |
dark you make the shadows, is a matter of
choice and also it reflects the story
| | 04:40 |
that you're telling in your particular
scene.
| | 04:42 |
One other detail I could do actually is I
could go back to the Curves tool and add in.
| | 04:47 |
Some red to bring out this particular
look.
| | 04:52 |
We're going for a reduced palette and we
also could do with a three-way color
| | 04:58 |
corrector at the end of the chain here.
And bring down some of the midtones and
| | 05:03 |
push those towards orange.
So, we're starting to get a similar feel.
| | 05:08 |
So Rembrandt's self-portrait.
But the key element here is the pool of
| | 05:16 |
light, or the virtual pool of light that
Rembrandt used in his paintings.
| | 05:20 |
And we can use a spot exposure tool to
replicate this.
| | 05:24 |
So I'm going to grab a spot exposure from
the post section And position it just
| | 05:30 |
before the last three-way and drag on the
screen controls to actually make an area
| | 05:37 |
of the light.
I get to increase.
| | 05:40 |
the exposure slightly on his face.
There we go.
| | 05:45 |
And it's this combination of dark shadows
and bright pools of light that echoes the
| | 05:51 |
light and shade (INAUDIBLE) technique.
Let's compare this build up of tools with
| | 05:58 |
the Rembrandt preset.
That have applied onto the second clip.
| | 06:02 |
So I'm going to jump over onto this next
clip here, and just use a down-arrow key
| | 06:06 |
to switch to the clip.
Click on the Adjustment layer.
| | 06:09 |
And then click Edit Look to bring up the
Rembrandt preset.
| | 06:14 |
So here I'm using the Rembrandt preset.
From the collection and most of the tools
| | 06:21 |
that we were just building up are
referenced here.
| | 06:24 |
There's an additional fill Light tool,
which brings up the shadows ever, so
| | 06:29 |
slightly because we're working with video
and we still need to see our subject.
| | 06:33 |
But this brings up an interesting point
about the story telling device that
| | 06:36 |
Rembrandt was using.
I'm going to switch off fill light.
| | 06:39 |
And I'm going to make this image a little
more dramatic by clicking on the spot
| | 06:43 |
exposure, making it much more narrow, and
moving it over one side of his face, like
| | 06:49 |
so, and bringing up the stops value, so
bringing up the exposure slightly, and
| | 06:56 |
then I'm going to go over to the curves
tool.
| | 06:59 |
And bring down these shadows even more,
and then go back to the spot exposure and
| | 07:05 |
play with the exposure there.
So this is the essential pulls of light
| | 07:12 |
technique that Rembrandt was using.
And he often highlighted One part of the
| | 07:20 |
person's face.
In his self-portrait, he's hiding his
| | 07:24 |
eyes, which is making us think, what is
he hiding?
| | 07:27 |
He's hiding behind his eyes.
He's not telling us something.
| | 07:30 |
The focus of our attention is on his
thoughts.
| | 07:33 |
And this is the effect of this technique.
By manipulating the spot exposure as we
| | 07:38 |
have, we're only highlighting half his
face.
| | 07:41 |
One side of the man's face is lit, the
other half is in shadow, so
| | 07:44 |
metaphorically we're only looking at half
the man.
| | 07:47 |
He's hiding something from us and we are
being asked to consider what may be being
| | 07:53 |
concealed in the shadows.
What is he hiding.
| | 07:57 |
And what is he thinking?
And, you can this visually, if I turn the
| | 08:01 |
whole tool chain off, here, he's
listening, now, he's thinking.
| | 08:05 |
He's listening, and he's thinking.
And that's what Rembrandt was doing with
| | 08:11 |
his paintings.
He was causing us to consider the thought
| | 08:15 |
process and the story behind the subject.
So, this color scura technique allows us
| | 08:20 |
to reveal to the audience the nature of
the subject.
| | 08:23 |
Their mood, and sometimes even their deep
seated attitudes.
| | 08:28 |
Rembrandt really was the champion of this
technique, which has a lot to do with the
| | 08:32 |
fact that he was interested in the story
or the humanity of his subjects.
| | 08:37 |
But it's so great that we can use this
same technique in our own video material.
| | 08:42 |
| | Collapse this transcript |
| Changing the mood of a scene using light and shade| 00:00 |
Another painter with a similar technique
of using light and shade to tell a story
| | 00:05 |
was Goya.
We've got one of Goya's self portraits in
| | 00:09 |
the art reference PDF.
So, click on the link and have a look at
| | 00:13 |
the painting.
Lots of Goya's paintings had a dark edge
| | 00:16 |
to them and they portrayed images without
much sunlight often showing the ravages
| | 00:22 |
of war.
In his self portrait here It still has
| | 00:26 |
the (UNKNOWN) technique of pools of light
but the shadows have a green tinge to them.
| | 00:30 |
The greenish tinge changes the mood.
The green makes the image seem more bleak.
| | 00:36 |
There's still some red in the face, hes
still got reasonably natural skin tone
| | 00:40 |
but the green in the shadows seems to
suggest an element of doom and its
| | 00:45 |
interesting that one color can suggest a
particular mood.
| | 00:49 |
So, let's have a look at how we could do
that with our clip in Premiere Pro.
| | 00:54 |
I've got two clips set up side by side.
The first one doesn't have an effect
| | 00:59 |
apply to the adjustment layer.
And I'm going to get a copy of looks and
| | 01:05 |
drag that onto this first shot.
And open up the Looks Builder.
| | 01:08 |
The process for building up this
Chiaroscuro painting is very similar to
| | 01:14 |
the one that we used for Rembrandt.
So, I'm going to start off with a curves
| | 01:20 |
tool and then I'm going to deepen the
shadows, and deepen some of the midtones
| | 01:26 |
as well.
So we got a quite dramatic dark feel
| | 01:29 |
going on.
By the way if you're dragging these and
| | 01:32 |
you want to get a more smooth curve you
can always just jump up and drag one of
| | 01:36 |
these control points.
I'm also going to throw on a three way
| | 01:41 |
color corrector.
And I'm going to honor some of the
| | 01:46 |
highlights, especially some of the skin
tones by pushing those towards RNGLO.
| | 01:50 |
And here is where the look of Goya's
painting comes in.
| | 01:54 |
I'm going to push the mid tones towards
green, and also the shadows.
| | 02:02 |
You can begin to see already, the more I
push this towards the shadow, the more.
| | 02:07 |
We're exaggerating the effect, and in
grading less is more.
| | 02:11 |
So, if you go too far, you can always
come back.
| | 02:14 |
It's a bit like focusing a camera,
grading.
| | 02:16 |
You know when you've gone too far, and
you can always just jump back to where
| | 02:20 |
You are happy so let's try it just about
there.
| | 02:24 |
And because this is a more somber mode,
it's not just the green that's telling
| | 02:28 |
the story, it's the lack of vibrant
green.
| | 02:31 |
So, what I'm going to do is put a ranged
saturation tool on this clip and I'm
| | 02:36 |
going to choose it from the subject
section and just like in Rembrant, I'm
| | 02:40 |
going to desaturate the highlights and
the shadows to around about 60% or 65%
| | 02:47 |
and then just bring down the midtones to
around about 80.
| | 02:52 |
Here's the before and after.
This has the effect of really reducing
| | 02:58 |
those reds in the painting and the
tablecloths.
| | 03:02 |
And because we are simulating a painting,
what I've found about Goya's paintings is
| | 03:08 |
that he had a very smooth brush work
technique.
| | 03:11 |
And so, we can simulate this with
diffusion.
| | 03:13 |
So, in the matte section, I'm going to
grab the diffusion tool.
| | 03:17 |
I'm going to bring the size of this way
down, because what I want to do, is
| | 03:22 |
simulate the slightly glowing effect that
he had in his painting on the white highlights.
| | 03:31 |
They seem to be slightly glowing, so, I
want to limit this to the highlights.
| | 03:35 |
So, first, I'll bring down the size.
And then I'll also bring down the glow a
| | 03:39 |
little bit to maybe about 20, and then
increase the highlights only value to mid 90s.
| | 03:46 |
And this has the effect (NOISE) of
limiting back glow to the bright
| | 03:51 |
highlights in the image.
So it's honoring the bright whites that
| | 03:56 |
are in the original image.
And because we're dealing with pools of light.
| | 04:00 |
We need a vignette on here, throw one of
these on.
| | 04:03 |
And you can adjust the strength to suit.
I like the fact that that, these little
| | 04:11 |
buttons means that you can change the
aspect and the shape of the vignette.
| | 04:17 |
And we also need a spot exposure to
highlight our characters.
| | 04:24 |
Now, the interesting thing about the spot
exposure is that you can use it more than once.
| | 04:31 |
So we'll highlight him and also bring
down another one, because our other
| | 04:36 |
subject Is lost in the shadow.
And so this is a way of bringing up
| | 04:46 |
detail in different areas of the image.
When I'm dragging tools in from the
| | 04:51 |
different sections, the tools then tend
to be located in their relative sections.
| | 04:56 |
In the Tool Chain, that's because in the
camera section, there is a spot exposure
| | 05:02 |
as well as in the post section, you can
actually have these two tools in
| | 05:06 |
different sections.
If I wanted to combine them, I could drag
| | 05:09 |
it in here and then extends the camera
section.
| | 05:11 |
And if you are just placing tools in
order, it doesn't really matter which
| | 05:15 |
section they go in It's just a helpful
reminder of where they came from.
| | 05:19 |
The most important thing to remember is
that these tools are processed in order
| | 05:23 |
from left to right.
And interestingly, they also interact.
| | 05:28 |
If I drag this spot exposure into the
middle, it's quite bright, but as I drag
| | 05:32 |
it to the edge of the image, it becomes
less bright.
| | 05:35 |
That's because it's interacting with this
vignette.
| | 05:39 |
That's the nice thing about looks.
You can build up these looks and then the
| | 05:42 |
tools combine to form that particular
mood.
| | 05:45 |
So let's have a look at the before and
after of this shot.
| | 05:49 |
Here they are just chatting and here they
are chatting about something much more serious.
| | 05:55 |
And I'd like to just compare this build
up of a grade with the Goya preset.
| | 06:00 |
So, I click Finished, and then I'm going
to jump to the second clip on which I've
| | 06:07 |
applied (UNKNOWN) preset onto this
adjustment layer.
| | 06:12 |
And the (UNKNOWN) preset only comes with
one spot exposure.
| | 06:15 |
But that's the nice thing about presets,
you can adjust them according to what you
| | 06:20 |
want to do and what you got on screen.
So, in this case, that probably needs to
| | 06:23 |
be a little brighter.
The other adjustments that this preset
| | 06:30 |
has is that in the diffusion tool, the
color is pushed towards this orangey
| | 06:36 |
yellow which matches the fact that we got
a correction in the highlights there.
| | 06:42 |
And also, I've added in a fill light
which brings up the shadow detail.
| | 06:46 |
And, of course, it's up to you which
particular tools you want to either
| | 06:50 |
disable or actually click and press
Delete, as grading is a subjective art
| | 06:57 |
and only you know the story that you're
telling.
| | 07:00 |
the other thing I added into the preset
was the Cosmo Tool.
| | 07:03 |
This softens any of those warm skin tones
which are left at the end of the Tool chain.
| | 07:11 |
Usually you put the Cosmo tool at the
beginning of the Tool Chain before you
| | 07:15 |
make any other corrections.
Because you want target skin tones first.
| | 07:18 |
Which is why the Cosmo Tool turns up in
the subject section over here, but
| | 07:23 |
there's also a copy of it in the post
section, so that if you have done some
| | 07:27 |
adjustments that have changed the skin
tone you can still have a change at
| | 07:31 |
softening them later on in the tool
chain.
| | 07:33 |
The other reason why the cosmo tool is
included here Is because it echoes the
| | 07:39 |
smooth brushwork that Goya had.
I'm just going to reset this preset and
| | 07:44 |
click on the Goya preset here.
And just make a comparison with another
| | 07:50 |
present that ships in the main set of
presets with looks, called Neo.
| | 07:54 |
And it's interesting, isn't it?
this idea that filmmakers can be inspired
| | 08:00 |
by the works of famous artists.
So, the neoprene set, if I click once
| | 08:04 |
here and then apply it, has a similar
green tinge.
| | 08:08 |
And this of course is inspired itself by
the movie the Matrix which had this green
| | 08:13 |
sheen to it.
and the majpr difference between thiese
| | 08:18 |
two looks is that the near preset still
has those green colorings, it's still got
| | 08:24 |
the midtones pushed over to green here,
but it has a more stark look.
| | 08:29 |
THe contrast is slightly higher.
The whites are brighter and the glare
| | 08:34 |
preset there is much more emphasis on the
pools of light of (UNKNOWN) and the
| | 08:39 |
softness that is brought in by the
diffusion and the Cosmo Tools.
| | 08:43 |
But there is a very similar parallel
between these 2 looks.
| | 08:47 |
Both of which suggest.
Dramatic tension and a bleak outlook,
| | 08:54 |
rather than a normal relaxed chat in a
coffee house.
| | 08:57 |
Just finally, I'd like to compare this
preset with the Rembrandt preset.
| | 09:02 |
So, I'm going to scroll up here and have
a look at.
| | 09:08 |
Rembrandt, and just Rembrandt versus
Goya.
| | 09:10 |
Rembrandt's coloring was much more
reddish, and so there's an interesting
| | 09:15 |
difference between these two colors.
The red limited pallette seems to suggest
| | 09:21 |
the thoughtful nature of the
Protagonists.
| | 09:24 |
Whereas, the green seems to suggest
attention or bleekness.
| | 09:28 |
Which both of the characters share.
I'm just going to click Finished here.
| | 09:32 |
And then compare these two presets on a
different shot.
| | 09:36 |
Here's the shot of the older character
with the Goya preset added.
| | 09:40 |
And I'm just going to use the up and down
arrow keys to jump between these 2 clips.
| | 09:44 |
And here's the one with Rembrandt.
So, does one color suggest a mood?
| | 09:49 |
Well, it's a combination of things.
It's the color, and it's the effect of
| | 09:52 |
the pools of light, the (INAUDIBLE), that
can change the mood and what the audience
| | 09:58 |
perceives to be going on in this scene.
Either something which is more thoughtful
| | 10:01 |
in nature, or something more sinister or
dramatic.
| | 10:04 |
| | Collapse this transcript |
| Creating a film noir look| 00:00 |
The Renaissance artists developed this
idea of light and shade.
| | 00:04 |
The Dutch masters like Rembrandt took it
on board and developed it, and even in
| | 00:09 |
the 20th century Hollywood was influenced
by chiaroscuro.
| | 00:13 |
So in this movie we're going have a look
at how we can recreate the film Noir look.
| | 00:19 |
With Magic Bullet Looks.
I've got an adjustment layer hovering
| | 00:22 |
over my main clip.
And I have applied Looks to this
| | 00:27 |
adjustment layer.
So I'm going to click Edit Look and bring
| | 00:31 |
up the Looks interface.
So what is Film Noir?
| | 00:34 |
Well, it refers to a style of filmmaking
that was a classic Hollywood period in
| | 00:40 |
the 1940s to 1950s.
Usually involving crime dramas with
| | 00:45 |
protagonists of jubious motivations.
And Itself was based in a black and white
| | 00:51 |
movie look, with really low key lighting
or low key and dramatic lighting.
| | 00:56 |
And it had really dramatic camera work
and odd angles as well.
| | 01:00 |
It was still based on this idea of light
and shade and pools of light.
| | 01:06 |
So let's see if we can recreate this film
neua look.
| | 01:09 |
From the Subject area I'm going to drag
the Saturation tool.
| | 01:14 |
And because we're dealing with black and
white film, I'm going to completely
| | 01:17 |
desaturate the colors, and then because
we've got dramatic lighting from the
| | 01:23 |
matte section, I'm going to choose a grad
exposure.
| | 01:27 |
This tool lets you angle a range of
exposure.
| | 01:32 |
So I'm going to angle these with the
on-screen tools here.
| | 01:34 |
And drop down the stops.
So it lets you create a gradient on screen.
| | 01:42 |
And you can control the gradient, and you
can control the fall-off and how dramatic
| | 01:46 |
that gradient is, with the settings here.
What I want to do is light it from the
| | 01:51 |
top right.
So, I'm going to drag these handles
| | 01:54 |
around the other way, and start to
simulate a quite dramatic lighting effect.
| | 01:59 |
I think I'm going to make this slightly
darker as well, there we go.
| | 02:04 |
I'm going to then grab a vingette from
the lens section, and then bring up the
| | 02:12 |
strength of the vignette, and then adjust
it on screen.
| | 02:21 |
And in fact that could be slightly darker
because what I want to then do is to
| | 02:25 |
create a pool of light with a spot
exposure.
| | 02:29 |
Make that a little thinner, a little
smaller to highlight our central character.
| | 02:35 |
And then exaggerate all these corrections
with a use of curves from the post
| | 02:40 |
section and increase the highlights, so
we've got plenty of room to increase the
| | 02:46 |
highlights here.
And, at the same time bring down the
| | 02:53 |
shadow slightly.
I'll move this exposure over slightly here.
| | 03:01 |
So this is beginning to simulate this
dramatic lighting effect.
| | 03:08 |
In fact these dramatic lighting effects
existed before the Film Noir movement.
| | 03:12 |
Film noir itself was heavily influenced
by the German expressionism movement of
| | 03:17 |
the 1920s and 30s, which also used high
contrast dramatic lighting together with
| | 03:22 |
quirky camera angles to enhance strong
emotions and dramatic tension on screen.
| | 03:26 |
In film noir, without the use of color,
they were using what they had available.
| | 03:30 |
Now we're using black and white film.
And then we're making a pallet out of
| | 03:34 |
black and white, and controlling the
intensity and angle of the light sources.
| | 03:38 |
Then Hollywood found the flattering
effect of diffused lighting and soft focus.
| | 03:43 |
And the style became very glamorous.
So, if we wanted to move from a German
| | 03:48 |
expressionist type of look with dramatic
lighting angles to a more Hollywood look,
| | 03:53 |
we can use two tools to do this.
I'm going to grab a pop tool from the
| | 03:58 |
post section.
Here it is, and I'm going to set the
| | 04:02 |
values to -15, and this has a smoothing
effect.
| | 04:07 |
This is smoothing over the sharp edges
and then I can also use a diffusion tool
| | 04:13 |
from the matte section.
But because it's in the matte section I
| | 04:17 |
can only drag it to the matte section
unless I press the Option key, which is
| | 04:21 |
the Control key in Windows, and then
let's me drop it in any particular
| | 04:25 |
section I like.
And I want to put it after the curves here.
| | 04:28 |
I'm going to reduce the size quite
significantly.
| | 04:33 |
And I'm also going to reduce the glow but
the key thing is that I'm going to
| | 04:39 |
increase the highlights only to 100%.
So here is the effect of the diffusion,
| | 04:45 |
it's very soft and subtle.
And so this is what soft focus was, a
| | 04:50 |
soft subtle effect that glamorizes the
subject.
| | 04:54 |
This stylizing effect adds mystery and
distance from the viewer and what's
| | 04:58 |
happening on the screen.
So let's have a look at what this looks
| | 05:02 |
like on another clip.
I'm going to extend the adjustment layer.
| | 05:05 |
Drag it over this clip.
So you can see why Hollywood used this effect.
| | 05:13 |
It's very glamorous and flattering.
So I felt Noah look could be one way to
| | 05:17 |
echo the mystery of a story with a grade,
especially with the highly stylized
| | 05:22 |
treatments given to the actors.
I wonder if people would have recognized
| | 05:25 |
Greta Garbo face or in the street in
everyday lighting conditions.
| | 05:29 |
Maybe not but they certainly recognize
her on screen because they were used to
| | 05:33 |
seeing her in this starlight treatment.
Just a quick word on shooting dark
| | 05:38 |
shadows, I'm going to turn the adjustment
layer off and on, so you can see how
| | 05:43 |
dramatic this effect is.
It's very useful to be able to apply
| | 05:46 |
shadows in post production.
Because as great as modern cameras are at
| | 05:50 |
dealing with low light situations, they
still introduce noise into the shadow areas.
| | 05:55 |
Of course, some cameras are better than
others, but if you shoot with a well lit
| | 05:59 |
seen like here, you can still apply
effects to get the shadowy look you're
| | 06:04 |
after, but your images will be cleaner.
There will be less noise in the shadow area.
| | 06:10 |
Plus, if you shot more neutrally, you'll
have more options to change the look or
| | 06:13 |
mood of the piece when the director or
client inevitably changes their mind.
| | 06:17 |
So it's just interesting to be able to go
back and look at the 1940s' films,
| | 06:21 |
analyze the camera angles and lighting,
and assess what the stories were about.
| | 06:26 |
And what they were trying to achieve just
through the use of lighting and soft focus.
| | 06:31 |
Without the use of any color whatsoever.
| | 06:33 |
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|
|
5. The ImpressionistsIntroducing the Impressionists| 00:01 |
The impressionist painters are so called
for there impressions of light.
| | 00:04 |
And the way it moves and changes to
create different moods at different times
| | 00:09 |
of day.
They were interested in painting outside
| | 00:12 |
in daylight, which also meant their paint
pallets were bathed in sunlight.
| | 00:18 |
This has the effect of all but
eliminating black from their work and the
| | 00:22 |
tonal shift and shutter, are built up
using complimentary colors, rather than
| | 00:26 |
with black paint.
They were painting on white canvasses,
| | 00:30 |
which also helps to introduce a light
airy fill in to their work.
| | 00:35 |
In the Art Reference PDF, there are links
to paintings by three of the most famous
| | 00:39 |
Impressionist painters.
Renoir, Monet, and Degas, which
| | 00:43 |
illustrate these approaches.
Looking at the work of the Impressionist
| | 00:47 |
painters can give us lots of useful
information about how natural light seems
| | 00:52 |
to affect color, especially with their
use of complementary color and their use
| | 00:56 |
of color in shadows.
Tonally or from a contrast perspective,
| | 01:01 |
impressionists paintings tend to be
dominated colorful midtones.
| | 01:06 |
But the affects of sunlight were very
important to the process.
| | 01:09 |
Over the next three movies, we'll look at
techniques to enhance sunlit scenes, how
| | 01:14 |
complimentary colors effect the image, as
well as, what sort of colors typically
| | 01:19 |
combined to form a romantic look.
| | 01:21 |
| | Collapse this transcript |
| Observing Renoir to enhance sunlit scenes using soft glows and pools of light| 00:00 |
The impressionist painters, even though
they were painting centuries after the
| | 00:05 |
renaissance artists, were still
fascinated with pools of light and how
| | 00:09 |
sunlight affected subjects.
Have a look at the Renoir painting inside
| | 00:14 |
the Art Reference PDF.
It's called The Reading.
| | 00:17 |
Renoir's fascination with the fall of
sunlight on an object can help us look at
| | 00:22 |
the affect of shadows and color under
sunlight.
| | 00:26 |
When he was painting outside, it helped
him to observe the mixing of colors in
| | 00:30 |
the shadows.
This has the effect of enhancing the
| | 00:33 |
dappled pools of sunlight on the skin.
If we look at a scene that was filmed in
| | 00:38 |
natural sunlight, and look at where the
pools of light are forming, and where the
| | 00:42 |
shadows are forming, you'll see the
shadows aren't very dark.
| | 00:46 |
They're not black.
They appear to be a combination of colors.
| | 00:50 |
Painting in this way was a very popular
theme amongst Impressionist artists.
| | 00:55 |
Renoir liked to create what we would now
call soft focus beauty shots.
| | 01:00 |
It's interesting that we can enhance a
scene and base it on the look of some of
| | 01:03 |
Renoir's paintings, replicate the pools
of light and even add a soft romantic glow.
| | 01:09 |
So let's have a look at how we do that in
post production.
| | 01:11 |
So in this sequence, which is Enhancing
sunlit scenes, I've got my original clip
| | 01:20 |
underneath an adjustment layer, and I've
applied Looks to this adjustment layer.
| | 01:25 |
So lets open up the Looks interface.
Because the shadows weren't dark in the
| | 01:31 |
Impressionist paintings.
I'm going to choose a curves tool from
| | 01:36 |
the subject area and I'm going to
increase the shadows that is to say I'm
| | 01:44 |
going to make them brighter.
And this can be seen on the RGB parade as
| | 01:49 |
I'm increasing the curve.
I'm then going to put on from the Mat
| | 01:57 |
section, a color filter, here we go.
And the color filter by default is set to
| | 02:03 |
be a little to strong, so I'm going to
back off that orange.
| | 02:10 |
And, because this is a sunlit scene, we
still want some orange in there.
| | 02:14 |
This is the before and after.
Always useful to see what effect a
| | 02:19 |
certain tool is having on your image.
So I can increase that a little more here.
| | 02:25 |
So this is making the whole image
slightly warmer.
| | 02:28 |
And what I want to do back in the curve
tool is to balance for this by going into
| | 02:33 |
the red curve, and then reducing he
amount of red in the shadows, and then
| | 02:39 |
reducing the amount of green in the
shadows.
| | 02:43 |
Now this has the effect of leaving some
blue in the shadows nicely balances the
| | 02:48 |
yellow that we've put in with the color
filter.
| | 02:52 |
Here's the before and after.
These are very subtle effects.
| | 02:57 |
If you look really closely, you can see
in the vegetation in the background.
| | 03:02 |
You can see that the blue is being
enhanced.
| | 03:04 |
Ever so slightly in those dark area.
And in this kind of study of color that
| | 03:10 |
the impressionist were interested in
replicating with their pallets.
| | 03:13 |
They were also interested in what makes a
romantic image, and what brings out and
| | 03:18 |
compliments the colors of their painting.
I'm going to choose a color, the three
| | 03:24 |
way here, and in many impressionists
paintings you'll find a gentle pink
| | 03:29 |
introduced into the highlights.
So, I'm going to drag the highlights here
| | 03:33 |
over towards pink.
And also add a little bit in the mid tone too.
| | 03:42 |
And because we're mixing light in the
same way that the artist used to make
| | 03:45 |
paint I'm going to grab another color to
three way, and then just push those
| | 03:50 |
highlight a little towards orange again.
And here's the before and after.
| | 03:59 |
This is what these tools are doing.
In combination to effect the image.
| | 04:05 |
They're exaggerating the outside nature
of this scene, and they're creating quite
| | 04:10 |
a romantic image.
It's interesting the relationship between
| | 04:14 |
the blue and the shadows in the curves
tool and the yellow introduced by the
| | 04:18 |
color filter and the colorista three-way.
Artists would often make marks or color
| | 04:23 |
marks on opposite sides of the canvas
with complimentary colors even if they
| | 04:28 |
didn't see the colors there.
Just to make things look more coherence
| | 04:32 |
so that their colors balanced together
when you are looking at whole painting.
| | 04:36 |
Let's have a look at the difference
between this basic grade and the grade
| | 04:41 |
that I set up in the Renoir preset, which
are applied to this adjustment layer, so
| | 04:48 |
opening up the looks builder.
(SOUND).
| | 04:53 |
And we've got the same basic tools which
are building up this effect.
| | 04:57 |
But there's a couple of other ones that
really help simulate what the
| | 05:01 |
impressionist artists were trying to do.
One of those is the star filter.
| | 05:06 |
Let's switch this off and on.
You can see on the brightest parts of the
| | 05:10 |
image, especially here on the hair.
The effect that it's having, if I boost
| | 05:15 |
up this slightly, I'll overdue the look.
So you'll begin to see that Star Filter
| | 05:24 |
and it set still to 1% size, so you can't
actually see the stars.
| | 05:31 |
And I'll reduce the size down a little
bit.
| | 05:34 |
But impressionist artists liked to create
a sense of movement, and they used free
| | 05:39 |
brush strokes to create these dapples of
light on their subject.
| | 05:43 |
So it helps that this subject is already
filmed within dapples of light, but you
| | 05:47 |
can exaggerate it with the star filter
set to a low star size, and also the
| | 05:54 |
threshold, I'll turn on the threshold
here.
| | 05:56 |
This is a threshold set to pick up just
the brightest areas of the image, as it
| | 06:03 |
before and after.
You also got the cosmotol, which is
| | 06:10 |
smoothing those flesh tone in the image.
And because we are working with lot of
| | 06:17 |
oranges and pinks, then it's picking up
more than just a flesh tone.
| | 06:21 |
It's acting as a softening tool.
For quite a lot of the image.
| | 06:25 |
And there's also an instance of the
ranged HSL tool which lets you target
| | 06:30 |
individual colors and either exaggerate
them by dragging outside of the wheel here.
| | 06:35 |
Or it lets you desaturate them by
dragging them inside the wheel.
| | 06:38 |
And this has the effect of slightly
reducing the reds in the shot.
| | 06:42 |
Here it is neutral level.
And here it is slightly reduced.
| | 06:46 |
You can of course exaggerate these things
and bring out lots more of the reds.
| | 06:50 |
And this creates a quite stylized
romantic image.
| | 06:53 |
I'm going to drag this back here.
In video of course we have shadows and
| | 06:59 |
dark areas, because we're dealing with
photographic material.
| | 07:03 |
Again, we're not translating everything
into an impressionist style, which is
| | 07:07 |
being influenced by some of their key
color observations.
| | 07:10 |
And this kind of look is useful for shots
which have light effects on skin And it
| | 07:16 |
gives a nice warmy, rosey, sunny,
daylight type of glow.
| | 07:19 |
It's a very flattering look for your
actors.
| | 07:22 |
| | Collapse this transcript |
| Using complementary colors in daylight shadows in the style of Monet| 00:01 |
One of the main things that the
impressionists were interested in doing
| | 00:04 |
was using complimentary colors that
enhance their scenes.
| | 00:09 |
Painters such as Monet often painted
outside in the open air, he began to
| | 00:13 |
notice how painting in daylight affected
his use of color in his paintings.
| | 00:17 |
He noticed that the shadows weren't
black, they were colorful.
| | 00:21 |
So he would introduce complimentary
colors into the shadows to enhance the
| | 00:25 |
light falling on the object he was
painting.
| | 00:29 |
Have a look at the Art Reference PDF and
click on the link from Monet's haystacks
| | 00:33 |
at sunset.
You can see that the shadows created by
| | 00:36 |
the setting sun have been painted using
blues and reds, but not black.
| | 00:41 |
Using a complimentary color in the shadow
will lift the color next to it.
| | 00:45 |
Monet would paint the same scene at
different times of the day on multiple
| | 00:49 |
canvases, so that he can capture on
canvas the life he was seeing.
| | 00:54 |
He would have multiple canvases on the go
because the light changed so quickly.
| | 00:59 |
He would abandon one canvas and paint on
another while still painting the same
| | 01:02 |
scene, so that he could record the light
at different times of day.
| | 01:07 |
It's so much easier for us now though.
We can change the color in post
| | 01:10 |
production with a few simple corrections.
I've got this clip, this outdoor clip of
| | 01:17 |
a model being shot by a photographer.
And I'm going to apply Looks to the
| | 01:23 |
adjustment layer.
(SOUND) And then open up the looks builder.
| | 01:31 |
So I'm going to simulate the sort of
colors that Monet was introducing into
| | 01:35 |
his paintings.
I'm going to choose a Curves tool from
| | 01:41 |
the subject area.
And in the Red Curve, I'm going to
| | 01:45 |
increase the shadows.
I'm going to make them less dark and
| | 01:50 |
introduce more red into the shadows.
Here's the before and after.
| | 01:55 |
And I'm also going to balance this with a
three-way color corrector.
| | 02:01 |
And I'm going to push the highlights
towards yellow to simulate the setting sun.
| | 02:09 |
And from the Matte section, I'm also
going to choose a color filter.
| | 02:13 |
Let's go up here (SOUND) and push that
towards an orangey yellow as well.
| | 02:20 |
So it's not just the highlights.
There's a subtle wash being introduced
| | 02:23 |
over the whole image.
Here's the before and after.
| | 02:27 |
(SOUND) And because colors in the
afternoon have different saturations, I'm
| | 02:34 |
going to choose a Ranged Saturation from,
here we go, from the camera section.
| | 02:41 |
And I'm going to reduce the Shadow
Saturation more than the Midtone and the Highlights.
| | 02:48 |
And one more effect here.
I'm going to add in a Diffusion tool and
| | 02:53 |
I'm going to position it by pressing the
Option key or the Ctrl key of Windows
| | 03:00 |
after the rain saturation.
And I (INAUDIBLE) push the Diffusion
| | 03:04 |
towards orange.
(SOUND) Bring down the size, way down to
| | 03:08 |
say, 0.1% (SOUND) and also bring down the
glow.
| | 03:14 |
Because what I want is just a subtle,
little glow over the whole image.
| | 03:18 |
So I'll bring down the highlights only to
0.2.
| | 03:23 |
(SOUND) And here's the subtle, little
glow which is simulating the sort of glow
| | 03:28 |
that you get from a setting sun.
So these are the main components but
| | 03:32 |
there's one missing element, and that's
in the colorista three-way correction here.
| | 03:36 |
This is the color of the shadows that
Monet was seeing.
| | 03:39 |
He was seeing purple in the shadows and
he painted purple in the shadows.
| | 03:43 |
So if I position this shadow color wheel
into purple and then extend it's
| | 03:50 |
saturation, the more I extend it, the
more we get a feeling that this is late afternoon.
| | 03:55 |
Here it is at zero, right in the middle
of the wheel.
| | 04:02 |
And then, I'll exaggerate it towards
purple.
| | 04:06 |
The more I drag it, actually that's not
quite purple (INAUDIBLE) up there.
| | 04:11 |
The more I drag it, the more the shadows
balance the yellows and the golds inside
| | 04:18 |
the highlights and the rest of the image
to suggest this late afternoon field.
| | 04:23 |
Let's have a look at turning Tool Chain
off and on.
| | 04:26 |
(SOUND) Before the effect and after the
effect seem to be shot at completely
| | 04:31 |
different times of day.
(SOUND) And it's very interesting that
| | 04:34 |
this one single correction, this is the
most important correction in this set of tools.
| | 04:39 |
The purple in the shadows can simulate
this late afternoon feel.
| | 04:44 |
Underpinned by this colorful shadow, the
rest of the yellows and the oranges in
| | 04:49 |
the brighter areas of the image really
pop out.
| | 04:53 |
And this is what Monet was experimenting
with when he was making all those
| | 04:56 |
haystack paintings.
These are the actual colors he was
| | 04:59 |
experimenting with.
I'm going to hit Finished here and
| | 05:03 |
compare this look with the preset that
I've previously created for Monet day.
| | 05:10 |
(SOUND) And it's got the same key
elements, especially the mauve in the
| | 05:14 |
shadows here.
But it's also got a small amount of
| | 05:18 |
negative pop.
(SOUND) Here is the before and after, and
| | 05:23 |
this subtly smooths out the image, giving
it more of that painterly feel.
| | 05:27 |
(SOUND) And I've also exaggerated the
saturation of these purples with the
| | 05:31 |
Ranged HSL tool.
Here it is, before and after.
| | 05:35 |
This is a very subtle effect.
(SOUND) You can see it moving the blues,
| | 05:40 |
ever so slightly, in the RGB parade.
(SOUND) So just kind of simulating, the
| | 05:45 |
sorts of colors Monet was using in his
paintings.
| | 05:48 |
I think it's really interesting to
convince the audience that your scene was
| | 05:52 |
shot at a different time of day, in this
case, late afternoon, just by changing a
| | 05:57 |
series of colors.
| | 05:58 |
| | Collapse this transcript |
| Creating a romantic look inspired by Degas| 00:00 |
What makes up a romantic image?
Can we break down a romantic look into
| | 00:05 |
specific categories?
I'm not suggesting a romantic look is as
| | 00:08 |
simplistic as that, but it's interesting
how a number of techniques combined can
| | 00:13 |
suggest a romantic mood.
Have a look at the Degas painting in the
| | 00:18 |
Art Reference PDF.
It's called Seated Bather.
| | 00:21 |
Degas painted a lot of feminine subjects,
and in this painting, Degas has added in
| | 00:28 |
a complimentary color, or several
complimentary colors into the shadows to
| | 00:32 |
help enhance the image.
He's added mauve and blue into the
| | 00:35 |
shadows, which you can see on the
subject's back.
| | 00:38 |
And in many paintings he also used a lot
of pink and light purple colors.
| | 00:43 |
So, as well as having a complementary
balance of color, these mauve and pinks
| | 00:48 |
have a natural feminine aspect.
So, how can we replicate this in an image?
| | 00:53 |
I've opened the creating a romantic look
sequence.
| | 00:56 |
And I've got my clip here of a young
woman brushing her hair, and here she is
| | 01:02 |
accompanied by her boyfriend.
So, so, romantic scene, really.
| | 01:07 |
And I'm going to add looks to the
adjustment layer, and to open up the
| | 01:13 |
Looks Builder.
(SOUND) There's a number of things that
| | 01:16 |
we can start to add.
I'm going to add a Curves tool into the
| | 01:22 |
subject area.
And I'm going to select the green curve
| | 01:27 |
and then reduce the midtones down
slightly so that the red and the blues
| | 01:33 |
are combining to form this mauve or this
purple.
| | 01:36 |
If I overdo it you can really see it
present in the image.
| | 01:39 |
But I just need to do a little tweak
here, like that and then I'm also going
| | 01:44 |
to select a three-way color corrector
(SOUND) and I'm going to add a little
| | 01:51 |
blue into the shadows.
This blue will nicely complement the sort
| | 01:57 |
of colors that turn up in skin tones.
And to extend this idea even further, I'm
| | 02:03 |
going to grab a Diffusion tool from the
matte section (SOUND) and I'm going to
| | 02:09 |
push that diffusion towards orange and
yellow (SOUND) and bring down the size
| | 02:17 |
because I only want a little hint of
diffusion.
| | 02:20 |
(SOUND) And bring down the glow to around
about 20 or so.
| | 02:25 |
(SOUND) And importantly bring up the
highlights only to 100% because I just
| | 02:28 |
want to affect the highlights.
So these subtle yellow highlights are now
| | 02:34 |
balanced against the blue in the shadow
and mauve that's being introduced by the
| | 02:40 |
reduced green Curve.
And there's one more element that really
| | 02:44 |
a painting like this, or other, a video
like this needs.
| | 02:48 |
And that is the Pop tool.
And I'm going to place that at the
| | 02:52 |
beginning of the chain and reduce the
settings so it's smoothing out the image slightly.
| | 03:01 |
Here's the before and after.
It's the subtle use of colors that help
| | 03:08 |
suggest a romantic environment.
Let's compare this to the Degas preset,
| | 03:14 |
which I've applied to this adjustment
layer.
| | 03:17 |
I'll bring up the Looks Builder.
I've used the Degas preset from the
| | 03:22 |
Master Artist set and it's got the same
four main color corrections.
| | 03:28 |
Plus the preset has an additional auto
shoulder which is very useful for
| | 03:32 |
rounding down over brights.
In fact, I have applied this effect to
| | 03:37 |
this extra clip on the timeline.
And it's interesting to see that the
| | 03:41 |
subtle diffusion and the Pop tool are
combining to create a very nice, soft,
| | 03:46 |
feminine image.
Here's the before and after.
| | 03:49 |
If I select the adjustment layer and turn
off looks.
| | 03:53 |
Here's before and after.
(SOUND) This effect is being helped by
| | 03:58 |
the purple rim of the mirror here.
But the added advantage of using and
| | 04:05 |
adjustment layer is that you can just
drag down the adjustment layer slightly
| | 04:09 |
to see how much of the effect you want to
apply to that particular clip.
| | 04:14 |
So as well as being able to drag an
adjustment layer over multiple clips,
| | 04:18 |
it's also useful to be able to experiment
with your grade by using the opacity of
| | 04:24 |
the adjustment layer as a virtual
strength slider.
| | 04:26 |
| | Collapse this transcript |
|
|
6. Effective Use of ColorIntroducing "colorist" painters| 00:01 |
The impressionist movement gave rise to a
new wave of artists called colorists,
| | 00:06 |
whose main preoccupation was with the way
color was used to make paintings.
| | 00:11 |
Artists such as Gauguin, Angra, Bonnard,
and Picasso were interested in the
| | 00:17 |
relationship between colors.
And made images which created mood,
| | 00:21 |
drama, and intensity by optimizing the
effect colors had on each other.
| | 00:26 |
You can have a look at some of these
paintings by these artists by following
| | 00:30 |
the link for this section on the Art
Reference PDF.
| | 00:32 |
So these colorists looked at the color
balance and color contrast in a
| | 00:38 |
particular scene and how the color
affected not only the image, but how it
| | 00:43 |
affected the story behind the image.
Instead of working with tones light and
| | 00:49 |
shade, they began to use color
instinctively to produce works which
| | 00:53 |
became more abstract in form and which
relied on the placement of color, hue,
| | 00:58 |
and saturation to impart a fresh angle
into image making.
| | 01:02 |
For example, Picasso's blue period in the
first few years of the twentieth century
| | 01:07 |
was in part a reaction to a desperately
traumatic event in his life, the sudden
| | 01:12 |
death of a very close friend.
This manifested in the intense blues and
| | 01:17 |
somber subject matter of his paintings at
that time.
| | 01:21 |
Over the next few years as he began to
come out of his fog of melancholy, there
| | 01:26 |
was a change to the colors that he was
painting.
| | 01:29 |
He began to add in more positive warm
colors like pink, which changed the
| | 01:33 |
perceived emotion of his work.
So over the next three movies, we'll have
| | 01:38 |
a look at the effect of different colors
on story.
| | 01:40 |
How to add in colors to compliment skin
tones?
| | 01:44 |
And a classic technique to add drama to a
scene.
| | 01:47 |
| | Collapse this transcript |
| Observing Picasso to study the effects of different colors on story| 00:00 |
Different colors can completely change
the story you are telling.
| | 00:04 |
The artist Picasso, for example, had two
clearly defined periods in his career.
| | 00:08 |
The blue period and the rose period.
Have a look at the art reference PDF.
| | 00:14 |
And look at the paintings La Celistine
and Girl and a Ball.
| | 00:18 |
His series of blue paintings were
effective in creating a somber mood with
| | 00:23 |
most of the subject matter connected to
sadness.
| | 00:26 |
Whilst the rose period was the opposite,
with paintings of groups of people
| | 00:30 |
suggesting a soft friendly atmosphere.
Using this color temperature technique we
| | 00:35 |
can achieve similar story-telling through
color.
| | 00:38 |
I'm using the Color and Story sequence in
Premier Pro.
| | 00:42 |
The footage we're using is specifically
shot to show how you can dress a scene or
| | 00:47 |
set it up.
To make it easy to push the colors
| | 00:50 |
towards a certain mood, while still
keeping the skin tone within an
| | 00:53 |
acceptable range.
So, in this case the actors are wearing
| | 00:56 |
black clothing and the sofa is
deliberately gray.
| | 01:00 |
I'm going to see if I can emulate with
the sort of colors that Picasso was using
| | 01:04 |
in his paintings.
I've added the Magic Bullet looks to
| | 01:08 |
Adjustment layer over this clip and I'll
open up this Looks Builder.
| | 01:12 |
To get that overriding blue tint, I can
use the Curve tools in the subject area.
| | 01:20 |
And select the Blue curve and really
extend and exaggerate the midtones and
| | 01:30 |
the shadows to create this overwhelming
blue.
| | 01:33 |
That's probably a little too much, but it
was a dramatic blue that Picasso was painting.
| | 01:40 |
I'm going to enhance this by using a
Colorista to 3-way and push some of the
| | 01:46 |
midtones towards blue as well as the
shadows.
| | 01:49 |
But the key to this is the contrasting
color.
| | 01:52 |
So I want to make sure that skin tones
stay reasonably acceptable, so I'm
| | 01:57 |
going to push the highlights towards
orange.
| | 02:00 |
And to avoid too much of a red look in
the highlights, I'm going to use a Curve
| | 02:06 |
tool from the Post area.
And I'm going to select the Red curve and
| | 02:12 |
just suddenly remove some of the red from
the highlights.
| | 02:17 |
As viewers we've been trained over the
years by watching movies, in how to
| | 02:21 |
interpret certain screen colors and
associate them with certain moods.
| | 02:25 |
For example, cool colors usually blue or
bluish tones, imply sense of cold
| | 02:30 |
temperature or negative emotion.
Whereas warm colors typically yellow
| | 02:35 |
oranges and reds imply warm temperature
comfortable surrounding and even positive emotions.
| | 02:42 |
So this particular grade, changes to some
extent what they're talking about.
| | 02:49 |
I can also use the Curves tool to drop
down the Luma levels on the shadows, to
| | 02:54 |
make this a little more dramatic, and
this is extending the contrast.
| | 03:01 |
So here's the before and after.
But the reason this works is because the
| | 03:08 |
darker blues in the shadows are being
balanced by the lighter yellows and
| | 03:13 |
oranges in the highlights.
Lets have a comparison with the preset
| | 03:18 |
that I've already setup which I've
applied to this Adjustment layer.
| | 03:23 |
And I'll open up the Looks Builder.
We've got the same three main components
| | 03:29 |
that make up this look, the two curves
and the Colorista 3-Way.
| | 03:31 |
But there's also a ranged HSL tool in
here.
| | 03:36 |
Which, if I show you the difference
before and after, it very subtly
| | 03:40 |
desaturates some of the reds and some of
the yellows.
| | 03:43 |
And the range saturation also desaturates
some of, well quite a bit of the shadow color.
| | 03:55 |
So the lack of saturation in the shadows
also helps to suggest a bit more of a
| | 04:00 |
gritty mood, here's the before and after.
This is a different color approach to
| | 04:05 |
Picasso's Rose Period.
On this clip I've got a sense of looks
| | 04:10 |
and I'm going to see if I can simulate
the rose colors that Picasso was using.
| | 04:15 |
So, I'm going to launch the Looks
Building again.
| | 04:19 |
And here, we're still using Curves and
3-Way color crater tools, but I'm going
| | 04:25 |
to select the Red curve.
And to get that rose hint into the image,
| | 04:30 |
I'm going to increase the highlights ever
so slightly.
| | 04:33 |
Notice how the red channel is increasing
as I increase this Curve here.
| | 04:39 |
And then I'm also going to add in
Colorista 3-Way, and exaggerate slightly
| | 04:49 |
the highlights, and some of the midtones.
But at the same time I gotta balance
| | 04:55 |
those against a push to blue in the
shadows.
| | 05:01 |
Probably a little more midtone rose tint
there and maybe a little more highlight.
| | 05:09 |
And another interesting thing to do would
be to go back to the Curves tool and then
| | 05:14 |
increase the blue in the shadows to
balance this image.
| | 05:19 |
And if you look back at the painting Girl
and a Ball you can see that Picasso's
| | 05:24 |
rose period wasn't just rose colors.
it was actually balanced against
| | 05:29 |
complimentary colors.
So there are pinks and blues in his painting.
| | 05:33 |
So here we got these rosy pinks and the
blues generated in the shadows.
| | 05:38 |
Here's the before and after.
And even though there's blue in the
| | 05:44 |
image, this pink gives a very positive
atmosphere.
| | 05:47 |
And the reason it works well is because
it's balanced against the blue as a
| | 05:51 |
complimentary color.
That is introduced as well as the pink,
| | 05:54 |
so that the image is still visually
interesting.
| | 05:57 |
So really, we're managing two things.
We're managing complementary colors,
| | 06:02 |
colors that work together to make
something appealing to look at.
| | 06:06 |
But we're also using colors to suggest
different types of moods.
| | 06:10 |
| | Collapse this transcript |
| Applying colors to complement skin tones| 00:00 |
Different artists use a variety of
different methods to replicate, or
| | 00:04 |
enhance, or compliment skin tones in
their paintings.
| | 00:07 |
And, I'd like to investigate a number of
different ways that some artists have
| | 00:12 |
done this.
So, on the timeline, I'm using the skin
| | 00:16 |
tone sequence.
I've got the actors in the original shot
| | 00:21 |
and I've applied an effect to an
adjustment there on a series of clips.
| | 00:26 |
So, what I want to show you is the before
and after, and these are based on the
| | 00:29 |
paintings of three artists.
So, have a look at the PDF reference file 4.
| | 00:34 |
Angres and his self-portrait, also
Gauguin and the Three Tahitians painting.
| | 00:40 |
And the artist Bonnard and his painting,
Grandmother and Child.
| | 00:45 |
And in the first painting by Angres, in
his self portrait, he has a very
| | 00:51 |
greeny-blue background, which contrasts
very nicely with the slight oranginess of
| | 00:58 |
his skin tone.
And does this effect seem familiar?
| | 01:01 |
Well, yes.
It's the orange and teal effect that
| | 01:04 |
we're used to seeing in TV and movies
over and over again.
| | 01:07 |
And this is the contrast between these
complimentary colors.
| | 01:11 |
On the tone line here, I'm going to just
scrub over this effect.
| | 01:16 |
And this is the before and this is the
after.
| | 01:19 |
So, let's have a look to see how this is
built up.
| | 01:21 |
I'll select the adjustment layer and open
up this instance of Magic Bullet Looks.
| | 01:26 |
(SOUND) I've already applied the presets
to this shot so I'm going to disable the
| | 01:32 |
tools one by one, and then run you
through what's going on here.
| | 01:36 |
These tools are similar to tools that you
find in a whole host of color grading applications.
| | 01:42 |
I've just used Magic Bullet Looks to lay
out and build these particular presets,
| | 01:46 |
but you can do it in a range of software.
So in the Curves tool, this is one of the
| | 01:51 |
two tools that are doing all of the work
in this preset.
| | 01:54 |
These are the two tools.
So in the Curves tool the red curve in
| | 01:59 |
the shadows has been decreased and that
is pushing the shadows towards this
| | 02:04 |
bluey-green because green and blue are
mixing together in the absence of red in
| | 02:09 |
the shadow curve.
And then with the colorista 3-way, we
| | 02:14 |
have the shadows being extended into this
blue here.
| | 02:18 |
And they're balanced by the midtones
being pushed towards orange and the
| | 02:22 |
highlights towards orange.
And these complimentary colors is what is
| | 02:27 |
making this effect work.
I'll just turn off the tool chain.
| | 02:31 |
Here's the before and after.
(SOUND) And we often see, quite a
| | 02:37 |
dramatic effect on the contrast as well.
So we quite often see that the shadows
| | 02:41 |
are quite dark in this effect.
And we're used to seeing this dramatic
| | 02:45 |
look in movies.
But you don't have to go that extreme.
| | 02:49 |
You can actually increase the curvature
of the red shadows, so you can hint at
| | 02:57 |
this effect.
That's the nice thing about presets, you
| | 03:01 |
don't have to go with them.
You can then configure your own settings.
| | 03:03 |
There are a couple of other little tweaks
on this preset.
| | 03:08 |
There's the Pop tool which set to a
slightly negative value, slightly softens
| | 03:13 |
the look.
(SOUND).
| | 03:13 |
And there's the colorist of three way
again, which pushes some of the
| | 03:18 |
highlights towards pink, which, on this
shot actually brings out some of their
| | 03:24 |
skin tone and makes them slightly warmer.
So this is more of an artistic version of
| | 03:29 |
the orange and teal effect.
And in this effect, not only does the
| | 03:33 |
teal make the skin look more orange.
The use of these colors together create a
| | 03:38 |
satisfying look to the eye.
A colorist painter would instinctively
| | 03:42 |
use these color complements in a way that
enhances the image, which creates balance
| | 03:47 |
and visual harmony.
And it's just more appealing to look it.
| | 03:51 |
I'm going to hit the Finish button and
then show you the second effect.
| | 03:56 |
This is the original clip and this is the
treatment.
| | 03:59 |
This is based on the paintings of
Gauguin.
| | 04:02 |
So I'll lengthen up the looks interface
for this clip.
| | 04:05 |
Gauguin spent a lot of time in French
Polynesia, where he made many paintings
| | 04:09 |
of native Tahitians.
And in this preset, I'll just switch off
| | 04:15 |
the tools to show you the effect.
In this effect, there are a lot of greens
| | 04:20 |
in the shadows.
Here in the colorista three-way, we've
| | 04:24 |
got a green shadow here mixing with a
warm yellow shadow, a golden shadow color.
| | 04:33 |
And in the Curves tool (SOUND) the reds
are pushed up in the shadows and the
| | 04:38 |
greens are slightly reduced.
So it's interesting we got three
| | 04:41 |
different treatments which are combining
together to form this greenie-goldie
| | 04:45 |
look, which is very flattering for darker
skin tones.
| | 04:50 |
These colors are also balanced against
orange in the midtones and a small bit of
| | 04:54 |
pink in the highlights to create this
effect.
| | 04:58 |
In the preset I've used here is a little
bit of a style filter bringing out just
| | 05:04 |
the brightest elements.
I'll exaggerate this.
| | 05:10 |
So any bright highlights will be
exaggerated by this filter here.
| | 05:14 |
So, check out the little shine on the
earring there as I switch the filter on
| | 05:19 |
and off.
And there are also some other adjustments
| | 05:24 |
which move the colors towards orange
rather than red.
| | 05:29 |
And also, there's a very subtle push
towards orange in the highlights.
| | 05:34 |
This is the effect of mixing all these
colors, in the same way that artists use
| | 05:37 |
to mix paints.
And in the last example, this is based on
| | 05:42 |
the paintings of Bonnard, and this is a
different type of look.
| | 05:45 |
Here's the treatment, and I'll click to
open the Looks Builder.
| | 05:51 |
(SOUND) This is a much flatter look, and
it's very soft and warm and very feminine.
| | 05:55 |
That's because there's lots of pink in
the midtones.
| | 05:58 |
I'll just turn off these tools and show
you how (SOUND) the effect is built up.
| | 06:03 |
So here in the colors, the three way,
this is the tool that's doing most of the work.
| | 06:09 |
We're pushing the midtones towards pink
whilst giving some orangy reds in the
| | 06:14 |
highlights, and then balancing this by
adding a small bit of green in the shadow.
| | 06:19 |
There is also the addition of a small bit
of blue diffusion just on the highlights,
| | 06:26 |
as well as some softening with the cosmo
tool and some fill light where I'm
| | 06:31 |
lifting up the shadows here.
(SOUND) So this all combines together
| | 06:36 |
with pushing the reds towards orange with
the ranged HSL tool.
| | 06:42 |
This is under the default settings.
This is pushing it slightly towards
| | 06:46 |
orange which has the effect of reducing
the pallet.
| | 06:50 |
And giving that final rose tinted look.
So you can use a variety of these
| | 06:55 |
techniques or these colors, to either
bring out and separate your characters
| | 07:00 |
from the background or suggest a
particular mood, or a particular location.
| | 07:05 |
| | Collapse this transcript |
| Creating a thriller look inspired by Hopper| 00:01 |
So, how do you suggest the mood of a
thriller or a dramatic scene in a shot
| | 00:05 |
just by using color?
Have a look at Hopper's painting Car
| | 00:09 |
Chair painted in 1965, which is linked to
in the Art Reference PDF.
| | 00:15 |
Many of Hopper's paintings had a stark,
contemplative nature.
| | 00:19 |
This dark feeling is brought about by the
contrast of darker shadows with brighter
| | 00:25 |
highlights, together with the color
contrast of greeny-blue, or teal in the
| | 00:30 |
shadows, with elements of orange in the
highlights or even, sometimes, a
| | 00:34 |
distinctive acid-yellow.
Let's have a look at replicating this in
| | 00:39 |
post production.
So I've got the Thriller timeline set up
| | 00:45 |
and I've got an adjustment layer sitting
over my original clip, and let's see if
| | 00:50 |
we can emulate this particular Hopper
look with Looks.
| | 00:54 |
(SOUND) First of all, I'm going to add a
Curves tool.
| | 01:00 |
And I'm going to make the shadows
slightly darker.
| | 01:03 |
So we're increasing the contrast to raise
the dramatic tension to make things a
| | 01:09 |
little more vibrant.
And then I'm going to Select the green
| | 01:13 |
Curve and push up on the mid tones a
little bit.
| | 01:16 |
Because, in Hoppers paintings the shadows
weren't too dark but they're a lot of
| | 01:21 |
greens in the shadows and also bleeding
into the midtones.
| | 01:25 |
And because of these colors here, I'm
going to add in a Ranged Saturation Tool
| | 01:31 |
from this Subject section.
And I'm going to reduce the Saturation of
| | 01:36 |
the Highlights to about two thirds, maybe
about 65 or so.
| | 01:41 |
And also in the Shadows.
So we've got more color in the midtones.
| | 01:47 |
Here's the before (SOUND) and after.
(SOUND) So you can begin to see a small
| | 01:53 |
amount of green (SOUND) and the midtones
there.
| | 01:59 |
Then the next stage would be to add a
three-way correction, which pushes the
| | 02:04 |
shadows more towards green.
So this is green rather than the bluey
| | 02:09 |
green of Angra.
This is more of a green, a Hopper green
| | 02:12 |
if you like.
If we overextend this, you can really see
| | 02:15 |
the shadows turning green.
So we just want a hint at this.
| | 02:19 |
So push it towards green a little bit.
And then also push the midtones towards a
| | 02:25 |
slightly blueyer green, like so.
And balance that with the highlights
| | 02:32 |
showing this yellow or this acid yellow
that is sometimes used.
| | 02:36 |
So, we're beginning to get that kind of
look and feel but, the secret weapon of
| | 02:41 |
this stylistic approach, the way that we
represent a gritty nature, is to actually
| | 02:46 |
sharpen the image.
Now we've been using the Pop tool (SOUND)
| | 02:50 |
over in the Post section here to soften
images.
| | 02:53 |
But this is one case where we can
actually use it to make the image seem
| | 02:59 |
more gritty.
So I'm going to drag this to a positive
| | 03:02 |
value of say 50% and this is sharpening
the image, it's increasing its local contrast.
| | 03:09 |
So it's looking at the lines in the image
and exaggerating them without effecting
| | 03:13 |
the saturation.
Here's the before and after.
| | 03:18 |
And in fact, you can really bring it up
to 100% and it exaggerates the effect.
| | 03:24 |
So that's too much because you begin to
see a halo around them.
| | 03:27 |
So let's bring it down a little bit.
(SOUND) And this gritty nature, I feel,
| | 03:34 |
reflects the brushwork that's Hopper used
in his paintings.
| | 03:38 |
He often let the texture of the canvass
show through and that seemed to imply a
| | 03:43 |
more of the stock environment.
His painting's often observed people
| | 03:48 |
operating within their own environments,
and their placement in the space of the
| | 03:52 |
paintings often suggests their isolation.
And it has us as viewers observing from a distance.
| | 03:59 |
So to some extent we are the voyeur, so
there's an extra tension within our just
| | 04:04 |
looking at the painting.
And the deeper shadows also seem to
| | 04:08 |
deepen the sense of the isolation of the
characters in the paintings, the acid
| | 04:12 |
yellow, by the way.
So, if you're looking back at the
| | 04:14 |
painting in the PDF reference, there's an
acid yellow on the floor of this carriage.
| | 04:19 |
And that was there to create a deliberate
clash, which kind of reflected the uneasy
| | 04:24 |
atmosphere that he was trying to create.
Hopper was quoted as saying that he built
| | 04:28 |
his paintings around light, trying paint
the light itself whilst also trying not
| | 04:33 |
to eliminate the form underneath.
As we'll look at this finished preset,
| | 04:38 |
we'll look at the finished preset in
comparison with the grave I've built.
| | 04:42 |
So, I've got the finished preset on this
Adjustment layer and I'll bring it up here.
| | 04:47 |
So, it's got the same ingredients, the
curves, the desaturated highlights and
| | 04:51 |
shadows, and the colors pushed towards
yellow and blue and green.
| | 04:56 |
With the Pop tool, as well, adding that
extra definition.
| | 05:01 |
(SOUND) But in this preset, I've added
the fill light which actually boosts the
| | 05:07 |
shadows, so you can see a little more
detail because we are in video after all,
| | 05:12 |
when we need to be able to show our
audience detail rather than in paintings,
| | 05:16 |
where you can get away with a lot darker
shadows.
| | 05:18 |
And the other change here, the other
major change is this curve here, where
| | 05:22 |
I've slightly reduced the midtones.
(SOUND) And so that gives a sense of
| | 05:28 |
extra definition but also it brings the
tone of the video down slightly, so that
| | 05:32 |
it changes the mood.
Here's the before (SOUND) and after.
| | 05:38 |
This approach echoes the approach that
Angra was taking 100 years before.
| | 05:45 |
So here's the anger preset which has got
much more of a green shadow tint and bias.
| | 05:51 |
That's because of this Curves tool.
Here it is before and after.
| | 05:56 |
That's the Red Curve that's removing the
red from the shadows, letting the green
| | 06:01 |
and blue mix together.
Whereas, Hopper's paintings were a little
| | 06:04 |
more stark, which is suggested by this
mix of the lighter yellows and most
| | 06:11 |
importantly, I think, by the ability to
introduce a texture into our grade.
| | 06:16 |
So I think it's really interesting that
this is something that we see all the time.
| | 06:20 |
This contrast between slightly blue or
green shadows and slightly orange or
| | 06:25 |
yellow highlights.
But it's a classic painting technique
| | 06:28 |
that has been around for centuries.
| | 06:30 |
| | Collapse this transcript |
|
|
ConclusionNext steps| 00:00 |
Well, thanks for watching the course.
I've just got a couple more details to
| | 00:03 |
share with you and also some useful
materials for further reading.
| | 00:07 |
But I'd just like to say that one thing
that you can do is to consider the grade
| | 00:13 |
before you start shooting.
And just think about who is responsible
| | 00:17 |
for the grade.
Is it the location scouts, the lighting
| | 00:20 |
department, the costume department, the
set dresser, the art director, the
| | 00:24 |
cinematographer or is it the colorist?
The answer is, of course, that's it's all
| | 00:29 |
of these disciplines.
And they all play a part in the final
| | 00:32 |
look of your movie or your film.
It's not just grading those that changes
| | 00:37 |
the story.
Camera angles and camera movement also
| | 00:40 |
suggest different genres and different
styles.
| | 00:43 |
Dramatic camera angles suggest film noir
and the constantly moving camera of
| | 00:49 |
action movies and science fiction movies.
Also tells that particular story, which
| | 00:53 |
leads me into my next comment which is
your homework is to watch TV.
| | 00:57 |
So, consider the color and the camera
angles used in different movies and
| | 01:02 |
consider how they combine to tell the
story.
| | 01:04 |
Also I think it's really good to visit
art galleries to see what sort of stories
| | 01:09 |
being told by the combination of colors
being used by the artists.
| | 01:13 |
There's no substitue for seeing art in
the flesh.
| | 01:16 |
Esspecially as you can see the brushwork
close up to investigate which colors
| | 01:20 |
combine to form certain effects.
If you want to know more about reagent
| | 01:24 |
software, and the programs that I've been
using during this course; Magic Bullet
| | 01:28 |
Looks and Magic Bullet Colorista.
Have a look at their website redgiantsoftware.com.
| | 01:33 |
And follow the information on the
products link.
| | 01:37 |
And they also have a very interesting
sharing site, Red Giant People, where you
| | 01:41 |
can download and share different presets
for looks.
| | 01:44 |
Which means that you can get inspiration
from other grades and other presets
| | 01:49 |
people have been experimenting with.
There are also some other great lynda
| | 01:53 |
courses that go into the technical detail
of color grading.
| | 01:56 |
I especially like this one by Jeff
Sengstack.
| | 02:00 |
And there are also a couple of other ones
that are good to look at.
| | 02:03 |
Fixing exposure problems by Richard
Harrington, and also migrating from final
| | 02:08 |
cut to premiere pro by Robbie Carman.
And these courses go into much more
| | 02:13 |
detail about the pragmatic nature of how
to work with the interface and the
| | 02:16 |
software to do certain corrections.
Also, if you are wanting to go into more
| | 02:21 |
detail about the theory and practice of
color grading I thoroughly recommend the
| | 02:26 |
Color Correction Handbook by Alexis Van
Hurkman.
| | 02:29 |
Alexis has both an artist's eye and a
scientist's investigation into what makes
| | 02:34 |
a successful grade.
So as well as suggesting some great
| | 02:37 |
aesthetic treatments, he delves into the
science and physics of light.
| | 02:42 |
And explains why certain colors look the
way they do.
| | 02:44 |
You also have some great information
about setting up a color grading room and
| | 02:48 |
choosing things like an external
reference monitor, and another excellent
| | 02:52 |
book is the art and technique of digital
color correction by Steve Hullfish.
| | 02:58 |
Many of the tips I've shown you are
classic color grading techniques, and
| | 03:02 |
these are explained in detail in these
books.
| | 03:04 |
I hope you've enjoyed this course as much
as I've enjoyed creating it.
| | 03:08 |
And hopefully you've been encouraged by
the fact that you can get inspiration
| | 03:12 |
from a variety of sources to help you
consider multiple color grading
| | 03:15 |
techniques to help you tell your story.
I think that grading is the most
| | 03:19 |
rewarding and fun part of the whole
production process.
| | 03:23 |
So, good luck and have fun.
| | 03:26 |
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