All language subtitles for 38-PostProcessing1stTheaterShot.mp4

This gives me what the image

starts, as

this is where the perspective of the
image is.

So what do I do to an image like this?

How do I really fine tune

the development process here?

I'm going to spend most of my time

up in this basic module.

There are obviously a few things I'd
want to retouch on this.

Like, I'd want to clean up the edges of
the hair, which are illuminated by the rimlight,

like, I've got this thing right here
that's showing, which I don't want to show,

kind of get rid of that highlight on
the arm.

And

those are easy enough retouching things.

So we're going to concentrate on how we
can make a

few adjustments

here pretty easily.

So

I'm going to start by flipping on my
guides to see where my clipping is.

And I have clipping in, like, the dead
center of the lights that are flaring

at camera.

That's not the most offensive thing in
the world.

I can obviously bring that down if I
want.

But this a haze in the air.

So you can kind of see that it's
affecting contrast overall.

Anyway,

one of my favorite things to start off
with

when I'm processing an image is to see
about getting an auto setting

on

my limits

of the range of the histogram.

So I like to stretch out the information

to the best of my ability.

And so quick and easy way to do this is
to come to your whites and blacks here,

and hold down the shift key.

And when you hold down the shift key,
and you double click on the word,

it will stretch out

to what it believes is the auto setting
for that.

And you can do this obviously across
the board.

But

it's not always right.

It's not always right.

In fact, the blown out white values
tend to mess with us quite a bit.

It's not always right.

And,

you know, it sometimes

can go a bit too far.

It's nice to have as an about.

So I'm going to back that black off
just a little bit.

I actually liked where the whites were
a little bit more glowy and ethereal.

So I'm going to bring them back.

And so that be kind of where I begin.

So I now have

a pretty real black value, and I have a
full white value.

So my histogram runs that entire
spectrum.

And that

makes me happy.

When you are shooting black promists,
when you are shooting haze machine, it

regularly will affect your overall
contrast.

And so one of the ways you can make it
not look

as hazy is by bringing the shadows
down, or the blacks down.

And it stretches out the histogram a
little bit more, and it gives your

environment a little bit more of it,
brings it back to the real world, a

little bit like the actual contrast of
the world, but you still get the flare,

and the appearance of lights

just becomes a way that you can move
around it.

Ok?

So I'm going to come in here to the
shadow slider a little bit, and again,

I'm going to bring that down, because I
actually like this darker edge to

everything.

I think it helps with framing.

It gives me a little bit of

staggering of depth.

So if you remember when we were talking
about,

we're talking about staggering depth,
when we were creating that cinematic

look, it's that varying the lightness
and the darkness throughout the

foreground, midground in background.

And in an image like this, she is my
foreground.

The edge of the stage is my midground,
and what's happening.

Here is the background, and she is
light.

And this is dark, and this is light,
light, dark, light.

That's how you create the appearance of
depth

ok.

And so it's giving me a little bit of
even an optic.

It almost looks like a vignette as
well.

Like, get the dark edge over here, to
the dark over here.

This is dark, and then it just kind of
creates this cool vignette.

But we have a little bit of added
visual interest over here in the corner.

Ok.

So let's take a look

at, maybe recovering

the

lamp values ever so slightly.

I think that looks really good.

Yeah, like a little bit brighter.

Okay, cool.

That looks nice.

So here we are before and after.

So far, not a huge difference, but
we've brought a nice bit of contrast

back to that image.

You can mess with the overall contrast
as well, but that's totally up to you.

I find that I mess with it very
minimally

I've messed with all this other stuff.

But sometimes I will,

exposure,

I is one of the first things i'll
adjust if I have problems with it.

But since I felt like this was about
where I wanted it and have to tweak it

too much, I want to go to methods for
manipulating exposure

is using the plus or the minus keys.

And so based on

which of these sliders you have
selected plus or minus will change it.

And the way you toggle through your
different sliders is by using the comma

and the period key

that toggles through these.

And so I leave it on exposure.

And so that plus or minus

changes you in one tents off increments.

And it just allows me a very quick and
easy way to dial in that exposure.

I find that to be really useful.

That's my quick way to just equalize out

brightness and darkness of images.

So it's looking pretty good.

Now I'm going to

kind of change the color temperature of
what's happening here a little bit.

I actually think that this particular
light over here could have been a

little bit warmer.

It wasn't warm enough.

So what I'm going to do is add a radio
gradient

over here,

something that looks like this,

because light emits like a circle,
right?

And I'm going to come to my effect, and
I'm going to increase the warmth,

and I'm going to increase a little bit
of magenta

to add me that reddish color.

So it's a combining of, like a reddish
color and a yellow, which makes orange.

Everything is orange.

Here it is without.

Here it is with.

And you can make it as flairy as you
want you can saturate it if you want.

You really have a lot more play in
something like this than you might

think.

But I also believe that

the difference

makes the light

a little bit more harmonious with
everything else.

All right.

Now, another thing that I probably
tweak is I would really mess with the

vibrance and the saturation.

I would also come in and mess with the
color here.

Now this is

a very constrained color palette.

There is yellow, orange and red

that's pretty much all there is in.

So all I want to do is balance what
that looks like.

So vibrance tends to work around skin
tones.

So unfortunately,

orange, red and yellow are all skin
tones.

So affecting, vibrance and saturation
are going to be a relatively similar

thing in this particular image.

Clarity didn't do anything for me too
too much.

And so

I didn't really change those values all
that much.

But I am going to come down

and take a look

here at my hsl section a little bit.

And it doesn't hugely matter which of
these you start on.

It really is entirely up to you.

And I regularly bounce back

throughout all of these.

But I'm going to be dealing with the
first three colors here.

And so what I generally do is I just
grab my slider

and I rock it back and forth, and I see
how I like that.

It affects the image.

I think maybe if I go a little bit
brighter, it looks good.

Same with the orange, a little bit
brighter,

and then the yellow?

Yeah, I think a bit brighter, I think
that looks better.

And that's just the brightness.

Then maybe i'll come to the saturation
and i'll do the same thing.

I rock it back and forth.

Where do I like it to be?

Is the color too saturated?

Is it not saturated enough?

I'll regularly come back through.

And i'll also maybe do the hue next.

So don't feel like ongoing luminate
saturation.

Here is the order you have to go.

But here's where, if you want to make
the color look really different, you

can.

Or do you want to make the color look
really the same?

You can.

This is kind of the idea of where
production design comes into play, what

you want your colors to look like.

I like a little bit of variation.

Orange is usually where the skin tones
are.

So if you need to do a tweak to

the orange skin tones,

that would be, that would be the place
to do it.

I think this looks pretty good.

It's a pretty subtle change,

but I've left everything in kind of
that reddish gold color.

All right.

So I'm going to bring this into
Photoshop.

I think this is a really good place.

I think it's in a really good place.

Before and after, and again.

It's not a huge difference, but it is
definitely better.