All language subtitles for Procolor_C12_L1B_Proj_Overview

In the next couple of chapters,
we're going to have a lot of fun.

We're going to ride along together
in greeting a couple beginning to end.

And I'm really excited to dive deep
into these techniques and kind of see how

everything comes together
in a practical way.

This is going to be the most helpful
if you actually follow along

and you kind of do this with me.

What I like to do with training like
this is watch a section

from beginning to end
and then try and do it myself from memory.

That will help you kind of build
these concepts into your long term memory.

That said,
if you want to follow along step by step,

you should totally be able to.

Let's get started.

The very first thing that I'm going to do,
just so that we're all on the same page,

is to open up
our project manager right click

and let's restore Project Archive

and open up our pro color work files.

Dot Drey.

I'm going to add a little three
eight to the end of mine.

You can name yours however you want.

This is just a way for me to know
that this is the latest version

of what we're working on.

The other thing I'm going to do
is go up to our workspace

and we're going to reset UI layout

and I'm
going to switch mine back to full screen.

So now we should all be looking
at the exact same thing.

And now let's open up the timeline
for smoke cheesecake.

Let's go to the media pool.

And here in our beans under smoked
cheesecake, there should be two sequences.

One of them is going to be smoke
cheesecake start.

The other one will be cases. Grade cases.

Grade is actually going to be the project
that I'm about to work through right now.

So I want you to start on smoked
cheesecake.

Start just like this. Double click on it.

And what you should have
is a completely ungraded project.

And if for whatever reason,
something doesn't connect,

you can right click find in Media pool.

For some reason,
our corn logo isn't connecting,

which sometimes happens with PGS.

I don't know why.

Under our DRE, under media
files, our films

Smoke,
Cheesecake, VFX should be right there

and there it will reconnect.

I don't know why
it doesn't like it sometimes, but it does.

Once everything is reconnected
and beautiful,

let's switch
back to our smoked cheesecake folder here.

Right click on smoked cheesecake
and under timelines.

Let's go to timeline settings and
make sure everything is all good for that.

1920 by 800.

Everything seems to be good there.

Let's also go down to our project
settings here

and look under our color management.

Make sure everything's set up there.

We're setting our color science
to DaVinci.

Why our GP

and our timeline color space.

We're going to have black magic design
film Gen five.

That's really all that we need to do.

And I'll click on Save

and everything should be good.

Let's go to the upper right
hand corner and click on LightBox.

And now if we take this little

slider to the right,

we can see a thumbnail
of every shot in our project.

This was a really fun little project
that we shot in an afternoon,

and honestly,
I wanted to include this in the training

because this is an example of what
sometimes happens for a typical shoot.

This was shot on a weekend
where we had to kind of shoot it

because it was a bright day.

We wanted to have a sunny day
and the weather was quickly getting bad.

As the weeks went on,

we didn't have a huge crew to help us
and we were a little bit rushed for time.

So what we ended up with is a decent
looking film with a funny story,

but some of these shots

I definitely would have approached
differently

if we had the time and resources to do so.

And I say all this

because it's pretty important to kind of
think about this when you start a grade,

whether it's for your own project
or for somebody else.

Considering the things that you do
like from production

and the things that you think maybe
could be better is kind of a great way

to start out with kind of making
some decisions for your color grades.

Let's make a little bit of room here.

I'm going to turn off our media pool
and our timeline.

So we just have the clips
and we have just a few basic shots here.

We have our wide shot

close up of me, a close

up of our buddy Sam,
and a couple of cutaways of close

ups of food, close ups of the grill,
and then the product shot at the end.

My angle,
I would say, turned out pretty well.

I think the framing
and the lighting are pretty consistent.

Nothing's blown out there aren't
a whole bunch of problems, really.

However, on Sam's angle, we happen to kind
of miss a few things during production.

One of them is
we have these kind of sunlight spots.

We actually had to zoom in

on a couple of these because we had
a shadow of the boom mic on his head.

And this wide shot I would really like

ideally to have been with
a little more shallow depth of field shot

with an end or something, but we didn't
have an Andy Filter with us that day.

And so we have this kind of really
stopped down big wide depth of field.

Again, none of these are the very worst,

but something I'm
definitely going to want to look into

is how to separate this foreground
from the background a little bit,

because we weren't able to do that
in production as much.

How do we enhance the light on his face
a little bit

while not blowing out
these parts of his skin?

How do we maybe toned

down this right side of the frame
that's a little bit bright?

And of course, for the product shot,
how do we make this

look as delicious
as well as a can of corn could look?

So those are some of our goals and kind of
a bird's eye view of the project.