All language subtitles for 27. Watch me color grade Clip #2 Land rover sunset Color Tab Kol

All right, guys.

So with our first clip
successfully graded, let's head over.

To our next clip,

which is this clip of me and my friend Ben
next to his really cool Land Rover.

The sun was setting

and there's a couple of different things
that I would want to do to this image.

The main one being just to intensify
the sunset, make it look more intense,

because right now it looks kind of chill,
mellow, not too crazy.

But I think we can bring a lot more color
and life to this.

So the first thing that we can do
is just to.

Experiment,
just to see what things look. Like.

We can head over to this first clip
over here and just middle.

Mouse click on it.

To apply that same grade to this clip.

And right away
it looks okay, doesn't look too bad.

And we can use this as a base.

If we want to. There's
nothing wrong with that.

If we head over to our nodes,
we can see that we have that same.

Node tree
that we just created in that first.

Clip applied to this.

One just by middle mouse clicking on it.

Now the middle mouse click button.

It's really just a shortcut
to apply grade.

So if.

You don't have a mouse,
you can just right click on the other clip

and select apply grade and it will apply
that grade that was on that first.

Clip to the other clip that selected,
which.

Has that red border around it here.

So why don't we just reset this

so we can go up to color,
reset all grades, nodes

and let's take a look at our lots again.

So we'll head over to our let's
over here to the left, the Casey jetpack.

Why don't we.

Enable split screen selected lots and
let's just go through these, see which.

Ones look good.

And a lot of these have a cool,
unique style.

Okay, eight looks pretty cool.

Nine looks good too.

So we'll just.

Remember nine is a good light and.

Let's apply that base. Node three.

And we can do that
by going into the gallery.

Over here.

That's that's obviously
one quick way to do it.

Or I can also just.

Apply the previous grade over here.

And then go up. To color.

Reset grades and keep nodes.

So it reset all of the grades, but.

It kept the nodes.

Now, remember.

The base node tree that I have.

Here in my skills.

Is just the base node tree.

The first clip that we graded over here,
we added a couple different nodes to

it, right?

We added these two nodes over here
for the sky.

And the ground, right?

So those are. Additional nodes
that we've added.

So we've already.
Expanded our base. Node tree.

So what we can do is with this new base
node tree over here, because we've reset.

It right by going up.

To color and reset.

So grades, we've reset all.

The grades on each one of the nodes,
but we've kept all the nodes.

So what we could do
is save this as another base node tree.

So what we could do is right
click over here, grab still.

So what we could do with this
new still is right, click.

On it and select change label.

And we can.

Call this base.

Node tree number two.

Cool.

So now we have another base node.

Tree and this is the natural.

Progression of your. Base node trees.

The more you grade, the more you'll.

Understand what you want in your base
node tree.

So as you grade more and more,
your base node trees are going to develop,

your style is.

Going to develop,
and you're going to be like,

you know, oh, maybe instead of
just the top and bottom windows.

Over here.

You'll want a right and left
window as well to, you know,

focus on the right side of the image
in the left side of the image.

And you might want to add another node
that focuses on

maybe like the center.

So it might be like a window
for just a circle in the center.

Your base node trees are.

Going to evolve
as you continue to color grid.

The one that we've created in the base
node tree window is very simple

and it's just kind.

Of a base really to start. For anyone.

And depending on what it is
that you're doing,

you will develop your node tree
from there.

So let's close split screen over here
and let's apply that a lot.

That caught our eye KC nine to the node
over here and we'll close off lights.

And now let's start playing around.

So let's go into. Primaries.

And see if we want to make any changes
to our primaries.

Now, depending on the look that you want,
you might want to

bring up the temperature.

Maybe a little bit. Even that

goes.

A long way.

Command Z It just a bit.

It gives it a bit more pop. I like it.

I like it.

I also like the cooler look, too.

So it's subjective.

It's really what makes you feel
what feels right to you.

This is with the primaries turned on.

This is with primaries turned off.

So we're giving it a bit more warmth.

I do like that. I think it's good.

So let's stick with the. Warmer. Look.

Now, in this case, we.

Don't need any noise reduction,
so we don't have to worry about that.

And I would say the contrast looks good.

I wouldn't want to add any more contrast.

I feel good about that.

Now let's start.

Focusing on different areas of our image.

Here.

So first things first,
let's try to give this sky.

A bit more pop.

I want to make. It look juicy.

I want to make it look like this is really
like one of the craziest sunsets ever.

And thankfully with DaVinci, it's
not that hard to do that.

So let's go to our parallel nodes here.

Let's select the sky.

So I'll grab the qualifier.

I'll make a selection of the sky, shift
A to show me what I'm selecting.

And that's looking pretty good.

The sky has.

A much greater luminance
than a lot of the other things around.

So just from the luminance alone, it's
able to make a really good selection here

and even the mountains,

it's selecting a little bit
of the mountains here and there.

But what we could do is play around
with the map finesse over here

so we can bring up the clean black
and we can see that already

we've eliminated those little spots
that were in the mountains over there.

And don't worry.

About a little bit of leakage.

We're going to be combining this
with the window

to refine our selection area even more.

Make sure to zoom out.

Looks good to me.

Cool. Cool.

Yeah, I'm stoked with that.

We want to make sure that we're not
selecting this car for this one.

We might want to make individual changes
to that later on.

So that looks. Good to me.

So why don't we go over to our para
window, grab the curve

and just draw a line
along the mountain over here,

Just making
sure that I'm not going too low.

So I'm not, you know, accidentally
including any of these spots over here.

I really just want to select the sky.

That's it.

And I'll do a big

loop around like that.

So we have that additional. Space.

And I'm going to hit command T on my.

Keyboard to. Automatically start tracking.

And because it's a short clip,
we don't have any issues.

That was really. Easy.

That's awesome how easy that is.

And of course,
if we want to blur out the inside

or outside of that window
that we just created, we can as well.

It's usually smart to do that.

So just a tiny bit will do for this
and course.

So now we have a really good.
Selection of. Just the sky.

So if I hit shift or shift H we could.

Turn off highlight and now let's start
playing around with just.

The sky.

So with that selected, let's go over.

To our primaries
and I want to make it more pink.

I probably want to make it
a bit more warm as well.

So I'm just making it warmer
and making it a bit more pink as well.

The combination of the two
and you could play around

with these colors really taking
in any direction that you want,

command D to turn that on and off
and that looks.

Beautiful just like that. We've added.

So much more color. To the sky. And it.

Looks like it's
a completely different vibe, right?

Like this looks pretty chill.

Same color as.

The ocean doesn't catch your eye as much.

And then all of a sudden, we've
we've added this pop to it.

We've brought so much life to this image.

And again,
this. Is eight bit phone. Footage.

So that just excites.

Me that if this doesn't excite you, then.

You've got to check yourself
because we're.

Living in a pretty awesome time
where we can

make these kind of adjustments
to phone footage.

You know, it's awesome and it looks good.

We're not getting any banding.

The edge looks crisp over there
on the mountains.

We don't really have that color
seeping through onto the mountains at all.

We've made a really good selection
with the qualifier.

I really like that.

I think it looks great.

So next thing I want to. Do to just.

Bring. Our viewers.

Attention to the subjects over here
is darken the bottom part of the image.

Here. So head over to these other.

Two parallel nodes
that we've created earlier.

And with this top
one or bottom one actually over here

selected, let's go and create
a new gradient window

shift.

A And remember I.

Added the shortcut shift
a to show highlight because.

I don't want to have tendinitis
when I'm older because going over

and hitting shift H requires you to do
a lot more work with your hand

and I'm not down.

That's going to cause tendinitis later on.

So Shift
A is also an option on Raven Ravenclaw.

So shift a turn the highlight off

and let's darken
the bottom of our image over here.

I want to bring the viewers attention

to the center of the image

and I want the viewer to be focusing on
what's happening down there.

Not as interesting,

minimal, minimal.

Actually,
we did bring this curve down quite a bit.

And if we turn that node on and off,

we could see the difference that it's made

looks pretty good.

And to be.

Honest, like this is a commercial shoe.

If I was wanting to make things
like perfect pristine,

I would probably just clean up
these little things in here to clean up

this as well, either in fusion
or with object removal in the color tab.

But that would be reserved
for another video.

And I think I might play around
with the sky,

with the luminance of the sky here too.

So with this other node
selected over here, the parallel node,

let's go over,
create a new window for the sky.

Let's bring it over here

and let's

break it up a tiny bit,
just a tad a smidge.

And let's see with both of these nodes
selected command D

to see what they're doing, it's minimal,
but it goes a long way.

And of course, it's subjective.

This is what looks good to me.

Maybe you would like to
to keep. The image.

Without. Those windows.

It's totally fine.

You know, there's no right or wrong.

I personally do like the windows
a little bit.

I feel like.

Maybe the.

Top window here is a bit too intense,

so I'll bring it down a tiny bit.

But it is minimal changes.
Minimal changes.

Cool. That all looks good to me.

Let's go back to these.

Parallel nodes here and why don't we do
something with the car as well?

So I'll grab the qualifier and see.

Right now, like this is just me
experimenting.

Like, I don't actually know
if I want to change the car.

I think the car looks fine,
but maybe I can do something to it to make

it stand out a bit more or make the scene
look a bit more interesting.

This is the experimentation
process, right?

So that looks good to me.

Why don't we combine that with a window

cool command t.

To track It should be an easy track.

Get over to the tracker over here

and we'll you will track backwards.

Easy.

No problem.

I'll go back into here inside feather
a tiny bit.

Increase that softness shift a
to turn it on and off

and now we can make some adjustments
to just the car

if we wanted to
so maybe we can brighten it up.

That actually does look good to me.

I like it a bit brighter
there, gives it a bit more pop.

We can turn that on and off
and we can rename it.

So here we can call this car.

And that's the thing
with these parallel nodes.

They don't really
just have to be like color changes.

I know some colorists like to do that,
where this will be greens.

This will be red, this will be blues.

You can also just isolate
individual items.

You are the one in control.

You can do whatever you want.

This one up here, we can call it Sky.

And this bottom one, I don't really know

if we're going to want
to make any more adjustments.

I feel pretty good about this.

So shift.

Let's turn. Everything on and. Off.

Crazy guys.

Look at how far.

We've taken this image.

I'm going to expand this.

Let's just really let.

Let's let this sink in.

So this is what we were dealing with
at the start.

Pretty simple.

Not much going on.

And we've added so much life to this.

It looks beautiful, raw.

And slapping

some film grain on at the end of this
will just make it look even.

Wider.

Film grain is typically added.

I like to add it on the timeline nodes.

So then there's just film grain
sitting on top of everything.

But yeah, guys, I'm stoked on this.

This looks great.

I think we've successfully calibrated.

Clip number two and of course what we can
do is right click on this, grab.

The still that way.

We have this look.

Within our gallery as well.

And if at any point we want to.

Apply this same grade to any other clips,
we have it right.

Here and we can do that very easily.

Now it's added to the Power.

Grade album
because we had a great album selected.

We can simply just take this,

drag it into Stills
one into the other album over here.

But it's also chill to just.

Keep it in power grids
so that it's easily accessible

within all the other project files
within the same database.

But that is clip number two.

I hope you guys enjoyed this lesson.

This was a fun one.

We definitely took this clip a long way.

I definitely recommend
you guys download these clips.

Try these out yourselves.

Experiment and just have fun with them.

But that's it for this lesson.
I'll see you guys in the next.