All language subtitles for Procolor_C11_L1c_Pro_2Ndary_Tech

Let's take a second and explore
some of the pro techniques when it comes

to combining secondaries on a shot,

on a move over to shot 73.

I just have a color space transform
after this.

Maybe we'll add just a little bit
of contrast and a little saturation

here. Just a little exposure.

Just real quick to kind of
get this to a place that we like.

We call this primaries,

and we'll make a new node here

and we'll call this alien.

So now let's say that
we want to adjust the fur on this alien.

Maybe we want to make him green
for whatever reason.

Close some stuff here.

We could select him using the qualifier
or the hassle curves.

I generally like to use the SL curves
whenever possible because it usually gives

a more natural looking result
and it's a little bit easier to refine.

So I'll just click on this blue
fur right here.

And unsurprisingly, it's about
where the spike is here on our graph.

And let's move this around.

Let's make him a little more
green like this

or widen this out a little.

Now we're getting a pretty good selection
on him.

There's a little bit of fringe here
that's blue,

which we could refine if we want to.

But let's say we like that, right?

It's good enough.

Well, there's a big problem here.

We're selecting this blue,
but look at all this other stuff

that's adjusted when we change that hue,
we have the stuff in the poster.

We have the kind of blue tone
that's in the room,

and it's not really ideal.

Well, we can actually combine
both of these secondary techniques

to kind of limit each other.

So with this hue transformation in
the cell curves active in the same node,

I can go over to our windows
and I can add a window,

and that will make that
adjustment only in the window

so I can

do something like limit
our little alien guy

to be
the only thing that's affected by that

h cell curve.

And it's important to,
while you're doing this,

to think outside of the box
because he moves this alien around a lot.

And so it might actually be better
to not select the alien, but to grab

another window,
maybe like our power curve here,

which lets us draw

our own little shape

and we can select everything,

everything but the monster.

And then click this little button
right here to invert our selection.

Then we can feather this out
using the inside and outside parameters.

Here,

do something like this

and really adjust

what parts of the image are allowed

to have that adjustment
and what parts aren't.

And now we

have him coming in the doorway
and he can move the alien around

and it doesn't affect the rest of the shot
as much.

Now, at the end of this, we do
see kind of this green bit right here.

So we would have to grab this window
and animate it,

which we could actually do if we want to.

I'm just going to stop at the last frame
where this is actually useful.

Something like this.

And I'll go over here behind our scopes,

and this is our keyframes palette.

Now, this is where you can see anything
that's animated

and you can also keyframe things.

When you keyframe something, you're
basically telling it that you want to be

at a certain place at a certain time,
kind of just passing it around.

So what we want to do is for node
number two,

we want to tell it
to be exactly like this at this time.

So I go to correct or two and I'll click
this little orange diamond right here.

What that is going to do is add a keyframe
to anything that I touch right here.

So I'm just going
to grab this and wiggle it.

And what that's going to do

is add a little keyframe
here to my power curve.

Now I can move this over

and make sure that I have a good selection

on my little dude.

And now we don't need
that adjustment at all anymore.

So the very next frame,
let's just take this whole thing

and just move this down.

That's not going to matter at all.

We'll just hack that really bad.

Doesn't matter because this is

going to be set on this frame
and then the frame before

is going to have
our little green guy there

and now

we can animate that change as he closes
the door.

Let's not forget to go over and turn off

our little corrector to

now he closes that
and it works pretty well.

There is still some green here

which we could adjust,
but you get the idea.

The windows and the qualifiers
and the curves can all work together

to get you a really advanced selection
and you can even animate the windows

over time.