All language subtitles for 43-AdjustingColorForCinematicLighting.mp4

We're going to go back into light room.

Now I'm going to take a look at this
image right here.

And

I really liked the tones of this image
as is.

But take a look

where it begins.

Let's reset it.

There we go.

Ok.

So this image

that's not right now.

We go, ok,

this image looked quite a bit different
where it began,

quite a bit different.

we're going to go into the developed
module on this.

It's pretty dark.

But again, it was about atmosphere in
this particular case.

And I wanted to make sure, because I
was dealing with a bright dress that

was getting hit by a lot of direct
light, I want to make sure I expose for

it.

And I also know what

the latitude of these files is.

I know that you can push this file
quite a bit more.

And you know,

the shot at iso 640.

So

it's got some range in it.

And so the first thing that I'm going
to do here, as opposed to the other

ones, that I'm actually going to come
in and mess with exposure first.

Ok.

And so I've got my exposure.

I can kind of see if I zoom in here.

I'm losing a bit of detail in here,
especially on the skin.

And I'm not a huge fan of that.

So what I'm going to do

is try to equalize this image out a
little bit.

So let me double click on the blacks
and the whites.

That helps a little bit.

It brought the whites down, I think too
much.

But let's bring the highlights down, I
think that's a little bit better,

and bring the shadows up.

I think that looks pretty good.

Ok?

this, I think looks nice in terms of an
overall tonal adjustment,

but it loses a lot of the richness of
the theater.

I really liked the other tones to it.

I think this just looks

kind of boring.

And so I was looking for

a way that I could bring in, like, more
bluish color to the shadows, give me a

little bit more of a purple feel to
those tones.

And so that is what I'm going to do
here.

I'm going to start by cooling the white
balance down a little bit, but I have

to really be

aware of

what that skin tone is looking like.

I think it's a little bit too blue, but
the time I get here.

So I think this is about as close as I
can get it.

And this is a little bit

cool

for the overall image, but you can see,
because we jelled that light it's

helping kind of sell it somewhere in
the middle.

But I think that looks pretty good.

Now, a way that I will sometimes

mess with color in light room is by
using this thing called split toning.

And split toning can be pretty
effective at

color grading.

It's really not so much about

the manner in which you add color.

It's more about

what kind of color.

And how much color you add is usually
the Greater issue, like which colors

you choose.

So because I have this yellow, this
warm color, I'm going to push the

shadows into something closer to a blue.

So I'm going to use that very obvious
choice of

cinematic color grading

of the blue and orange.

And so I find that if you leave
everything as is and you just pick, I'm

just going to pick the orange at random.

I'm going to turn the color up.

Obviously, we can see orange in the
highlights.

And if I grab a blue and I increase the
shadow

that's it zeroed out.

I don't think that ever gives me the
control that I want.

So what I usually do

is I take the balance and I push it way
over the right,

like almost all, if it's not all the
way over, it's

a little bit off the end.

And that means I'm going to use a whole
lot less of my highlight color.

This is a lot more dictated by the
white balance.

And what this is going to do is it's
going to put a really nice blue color

into just the smallest portion of my
shadows.

And it makes the skin

like a lot more,

do this,

closer in

unbelievability

to the final tones of the image.

And so when I reset it

it's here.

And now it's

here.

I have these really nice,

kind of blue color tones

to the image.

You can really push that up.

You can obviously tweak it after the
fact, like if you want to kind of push

it into more, that magenta realm, that
more purpley realm, that works too.

And then if you want to kind of warm up
the whole thing, you can do it here or

not.

That's what I like about

using this method.

I think it's really, really cool.

So the reason I went with this bluish,
purplish color

is blue and orange is kind of the

most obvious color.

Gray that's used in movies that use the
blue and orange

Ops, you know, very, very common to
create that complement.

The theater has these

dark red, Burgundy kind of looking
seeds.

When you mix

blue and Burgundy, you get

purple.

So that's kind of why I pushed it into
a little bit more of a purplish blue range,

because it played on the colors that
were already there.

And so it helped seal everything
together without looking like a heavy

handed color grade.

If you look at the background lights,
these things over here are orange.

These

are in that purplish color.

I'm reinforcing the colors that are
there

to make the color grade

more believable and more subtle and not
feel like I'm just taking color on top

of the image,

ok?

And so that's how I would

start

getting the color going in

light room.

And then chances are I would probably
finesse it

in Photoshop.

I'd use alien skin, for example, to
give me a base color grade.

That's supernormal.

And then what I would usually do is do
some fine color grading work with

something like luminance masks, channel
masks,

or blend.

If I also have one of those here, I
think we did it for photo week last

year.

I love blend, if I think it's super,
super cool, just to show you what this

might look like,

I'm going to grab a really quick,

quick color grade on this.

I usually like to use some of the more
subtle ones, something like

something like this.

Maybe

see the before and after.

As I mentioned

before,

I usually like to separate some of the

color versus the tone on this, because

I like that level of control.

But you can also come in, and you can

do it this way too.

Looks pretty good.

So just increase the saturation of the
shadows and the highlights a little bit,

to give me

think.

Looks really nice.

And obviously you can back that off a
little bit.

Pretty happy with that.

But what happens if you want to tweak
this just

a little bit more?

I'm going to show you the blendif trick
really quickly,

because

it's a very useful

way to color grade and it's very quick.

And it also is very easy to drag and
drop across images.

If you have images that look similar,
same lighting, same environment, this

works really well.

You get a very specific mask without
having to

spend a whole lot of time refining it.

So if you ever, like, use a channel
mask or a luminous mask on an image,

brought it into another image,

you have to redo it, and it's a pain.

This is way better.

So the matter the color, the way you
pick color, doesn't matter.

I'm just going to do a

solid color fill.

Just to make this really obvious,

if I were to change the blend mode on
to this, something like color, it

obviously makes the whole thing blue,
right?

Whatever?

It's fine.

Everything's blue.

Not what I wanted to do.

I make this

full 100 percent opacity.

What I was.

If you just want to put this to the
shadows, sort of blendif

really,

really comes into play.

So you want to open up the blending
options on your layer

by double clicking on it,

ok?

You've ever seen this?

The layer style blending options?

Yati addiotic.

Down here

is the blendif.

And we're paying attention to this
bottom slider, right here, the

underlying layer.

And what I'm going to do

is bring

the color

off the highlights.

So this is the highlights.

And I go,

and now you can see exactly where the
color is appearing.

Ok,

but

this is too harsh.

It's a harsh edge.

Hold down option

on Mac or alt on pc,

and it splits the slider.

So you hold down option, and you click
and drag off the slider, and it splits it.

And this split

is the feather.

And so now

I have the feather roughly in place.

Change that blend mode back to color,

lower the opacity

and this color can be anything you want,

and it keeps it so that it's not
affecting anything.

You don't want it to be

super, super cool.

Same thing,

I'm going to do it on the highlights.

I'm going to do that opposite color.

Do the orange.

Let me open up the blend.

If

where do I want it to be?

Not on those shadows.

That looks pretty good.

Feather it

option,

click, split it.

Change the blend mode to color,

lower the opacity.

Now, what happens if you say, oh, you
know, I really like that, but I don't

want it to be on the whitest stuff.

I just want to be a little bit more
into the skin tone.

The great thing about a blend, if

you can feather it the other direction
too.

And now it's just on the midtones.

And so that'll, you just target the
skin tone

if you want it to be, or, you know, not
the super bright highlights,

turn it down just a little bit more.

And then there we go.

Now it's kind of off the dress,

and it's going to be more in the skin.

See that

cool, right?

Blendif is crazy cool.

And so this gives you just a whole lot
more flexibility

in what you end up

doing with your color grade.

And the great thing is is you have an
image at similar, you just drag it

right across, because it's based on
value, not the image.

And so the whole thing translates

really

beautifully.

All right, so those are just my quick
little tips and tricks to kind of get

us going

with

this

particular set of images we've looked
at content to wear fill, stitching the

panoramas together,

a few little clean up things, some
basic color and tonal grading options

and some more advanced color and tonal
grading options.

When we get into the airfield shoot,
I'm actually going to take that panorama

stuff and ramp it up a notch.

We're actually going to merge multiple
panoramas together, and we're going to

play around a little bit with some
other color grading and intonal

different things that we can do