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Let's dive into some of the specific tools
that we use to adjust
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the kind of major parts of thinking
about exposure, saturation, color casts.
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Contrast.
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And after that, we're going to get
a little bit more detailed.
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So most of the adjustments for our image
as a whole are going to happen here
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right in the primaries palette
or in the curves palette.
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I think it's pretty safe to say
that about 90% of what
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you need to do to an image
you can do just in these two palettes.
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If you need to make an image brighter
or darker, the primary color,
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we'll give you a whole bunch
of different adjustments from
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brightness adjustments
down here in these master reels.
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I can grab the gain and move that up
and down to make the brighter
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parts brighter or darker.
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I can move the gamma up and down
to make the midtown's brighter or darker
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and the left up and down to make
the darker parts brighter or darker.
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I can reset everything by clicking
this little reset
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all button up here in the upper right
and I can move the brightness of the image
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as a whole by grabbing the master wheel
under the offset right here.
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I also have quite a few different
controls up here above the wheels as well
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as below things like color temperature
and tint
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contrast adjustments, saturation.
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I can even change the hue,
which is the actual color of things,
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and I can adjust the color
casts of each tonal range
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by moving these color wheels around
the brightest parts
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of the image with the gain,
the midtown's with the gamma,
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the darkest parts, with the lift
and the entire image with offset.
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You can do so much with just this panel.
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You can just about color
grade your entire project with only this.
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So if you're going to learn one palette,
I would recommend the primaries
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color wheels.
Now, behind the primary color wheels.
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If we click on this little bar button
right here, we have our primary bars.
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These are the exact same adjustments,
but with a different interface.
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So if I grab this green bar
and I push it up, we have a green image.
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And actually,
if I switch back over to the color wheel,
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we'll see that the center of this
has been moved right towards green.
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So this is just a different way
of looking at the same adjustment.
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And depending on your preference
and how exact you want to be
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with each color channel,
this can be a really good tool.
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I'll find myself doing this
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to adjust white balance sometimes
if I think something is too cool.
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I can just go to the blue bar
and kind of bring it down a little bit.
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Just rolling with my scroll wheel
to make really subtle adjustments.
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Behind the primary bars,
we have the primary log wheels.
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These are very similar
to the primary color wheels,
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and they target
specific tones of the image.
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And you have the wheel that changes
your color cast and your saturation.
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And the master wheel
that adjusts your brightness.
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The big difference here
is that the highlights and the shadows
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are kind of limited to a smaller range,
which you can actually adjust.
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So if I were to go back to my gain
and I were to push this towards pink,
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I can make basically everything
look really pink and do that
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and go to my log wheels.
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And if I do the same thing
and push it really pink,
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almost nothing turns pink.
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The reason is
that nothing is really in the range
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of this highlights wheel
because this is kind of a darker image
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and it has a cutoff point
where it only adjusts
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things that are brighter than a certain
threshold, which is right here.
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This upper range, if I were to take this
and bring this down,
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we can see it's starting to affect
the darker parts of the image.
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Anything that's over about 25% brightness,
it's actually turning pink now.
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The same thing happens for the shadows.
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If I were to push those really pink,
we'll see.
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It's adjusting just the darkest parts
of the shadows, and I can adjust
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that range with this lower range control.
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I can push that down just so it's barely
touching the very, very darkest parts.
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Or I can push it up to where it adjusts
nearly everything.
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So you can think of it like this
your primary color wheels.
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These are really big soft adjustments
that are stronger in their tonal range.
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So gain is stronger
for the brightest parts.
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Lift is stronger for the darkest parts.
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But any time that you move the left
or the gain,
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it will move everything
in the entire image.
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It just moves a little bit slower
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than the darkest parts for the left
or the brightest parts for the gain.
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The log wheels actually have that limiter
to where it will not affect things
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that are outside of its range.
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Now, kind of an even more advanced version
of the log wheels are the HDR wheels.
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HDR wheels are almost the exact same idea,
except for you also have a saturation
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slider for each tonal range and it's
split up into six ranges instead of three.
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So you can have specular,
which is the really, really bright stuff.
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The highlight, which are pretty bright
light, which is basically anything over
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like half brightness shadows,
like anything under half brightness.
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Dark is really dark
and black is really, really, really dark.
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So it's kind of the same idea
as the log wheels.
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So if I were to take my highlights again
like this and I can adjust the range
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with this little slider here,
and as I bring this down,
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I can start to affect the image
a little bit more.
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You can actually get a really good idea
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of each controls range
by clicking this little HDR zones button
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and it will show you visually on a graph
where your little cut off point is.
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So I can decide that my highlights
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are going to be anything
to the right of this zone.
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My specular are going to be anything
to the right of this zone
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and I can tailor that to the tones
that are available in my image.
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If I want to kind of spread these out
so that each of these zones controls
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an actual part of my image.
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I can even hit this little button
to move the zones over here to the right.
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And then I have my HDR wheels over here
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and now my specular just adjust
the very brightest parts of the image.
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The highlights are kind
of the next zone down
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light is the next zone down
from that shadows a little darker,
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darks
a little darker, and blacks the darkest.
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So you can see you can get really,
really detailed this way.
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A very cool tool to use, but
it's also really easy to trip yourself up
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with because if you're used to how things
work with the Gain gamma and left
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and you switch over to the HDR palette,
it doesn't quite act the same.
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We're going to touch more on
the HDR wheels in a little bit,
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but that's the big idea of the color
wheels.
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The next major palette we're going to be
using is the curves.
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The curves are very powerful
and you can actually do a lot
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of the same adjustments that you'd be able
to do in the primary wheels.
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In fact, this little dot up here
is essentially your gain
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and what we're doing
is affecting points on this graph.
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The bottom axis would be the input image
and the y axis would be the output image.
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So if I want my blackest blacks to be
gray, I can push those up like this,
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and anything
that's black will be mapped as gray.
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So now we have a little bit brighter
image.
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This is the exact same thing
as taking our lift master wheel
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and pushing it to the right.
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Same thing, Same thing for the gain.
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I can take the brightest part of my image
right now.
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Only the very whitest things look white.
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But if I push this to the left,
this more and more of
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the image
will actually be mapped as bright white.
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And that means that
we get a lighter image.
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So if you've never used curves before,
it's definitely worth
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playing around with this
and getting an idea of how it works.
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You can actually add
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control points to the middle here
and you can get really detailed
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of how you kind of remap the brightness
of all of the tones in the image.
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You can right
click the points to get rid of them.
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And what people will often do with the
curves is make what's called an S-curve.
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We take a little point at the bottom
and bring it this way
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and a little point at the top
and bring it this way.
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So it makes a really subtle s.
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What that's really doing
is taking the darkest parts
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and making them darker
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and the brightest parts and making them
brighter, which increases our contrast.
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So now we have a much more contrasty image
which for an underexposed image,
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just kind of makes it darker.
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So one useful thing is we have
the histogram here was just shows you
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the amount of pixels
that are each brightness
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and we can put our darkest part down here
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where there's a little bit
and our lightest part here.
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And when we boost that up
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now we're boosting the contrast of just
the image without darkening it as much.
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So that might be a good way
to adjust things.
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Right now, by default, we are moving
all of the color channels at once,
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but if we go over here to edit and uncheck
this little chain link,
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we can adjust just one channel at a time.
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So I'll reset everything and let's say
we just want to grab our red channel
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and bring the mid tones of our red
channel down.
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We get more of a cyan looking image.
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We can even do that just in the lower
parts and add a little control point
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to the middle here and then we get just
kind of the more cyan type of shadows.
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This again, is a really nice way
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to get really detailed
with how you map your colors.
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We can even just affect the luminance
without affecting the saturation
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and we can put in a bunch of contrast here
and we can go really, really crazy
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and we get a much different
look than we would if we did this
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with all the channels linked.
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That's before. That's after.
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This is just the white channel and
this is all the channels linked together.
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So you have a lot of control in
just the custom curves here.
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That's a good overview of the main tools
that we're going to be using
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to adjust the image as a whole.
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