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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,033 --> 00:00:03,103 Let's take a second and explore some of the pro techniques when it comes 2 00:00:03,103 --> 00:00:06,639 to combining secondaries on a shot, 3 00:00:06,740 --> 00:00:09,909 on a move over to shot 73. 4 00:00:10,010 --> 00:00:13,680 I just have a color space transform after this. 5 00:00:13,747 --> 00:00:17,917 Maybe we'll add just a little bit of contrast and a little saturation 6 00:00:18,018 --> 00:00:19,319 here. Just a little exposure. 7 00:00:19,319 --> 00:00:22,722 Just real quick to kind of get this to a place that we like. 8 00:00:22,822 --> 00:00:25,825 We call this primaries, 9 00:00:25,892 --> 00:00:28,028 and we'll make a new node here 10 00:00:28,028 --> 00:00:30,663 and we'll call this alien. 11 00:00:30,663 --> 00:00:34,634 So now let's say that we want to adjust the fur on this alien. 12 00:00:34,734 --> 00:00:38,772 Maybe we want to make him green for whatever reason. 13 00:00:38,872 --> 00:00:40,707 Close some stuff here. 14 00:00:40,707 --> 00:00:44,377 We could select him using the qualifier or the hassle curves. 15 00:00:44,444 --> 00:00:48,181 I generally like to use the SL curves whenever possible because it usually gives 16 00:00:48,181 --> 00:00:51,885 a more natural looking result and it's a little bit easier to refine. 17 00:00:51,985 --> 00:00:54,721 So I'll just click on this blue fur right here. 18 00:00:54,721 --> 00:00:59,993 And unsurprisingly, it's about where the spike is here on our graph. 19 00:01:00,060 --> 00:01:02,595 And let's move this around. 20 00:01:02,595 --> 00:01:05,598 Let's make him a little more green like this 21 00:01:05,699 --> 00:01:11,438 or widen this out a little. 22 00:01:11,504 --> 00:01:13,273 Now we're getting a pretty good selection on him. 23 00:01:13,273 --> 00:01:15,942 There's a little bit of fringe here that's blue, 24 00:01:15,942 --> 00:01:17,844 which we could refine if we want to. 25 00:01:17,844 --> 00:01:19,346 But let's say we like that, right? 26 00:01:19,346 --> 00:01:20,747 It's good enough. 27 00:01:20,747 --> 00:01:22,949 Well, there's a big problem here. 28 00:01:22,949 --> 00:01:26,219 We're selecting this blue, but look at all this other stuff 29 00:01:26,286 --> 00:01:30,557 that's adjusted when we change that hue, we have the stuff in the poster. 30 00:01:30,557 --> 00:01:34,794 We have the kind of blue tone that's in the room, 31 00:01:34,861 --> 00:01:37,864 and it's not really ideal. 32 00:01:38,098 --> 00:01:41,768 Well, we can actually combine both of these secondary techniques 33 00:01:41,835 --> 00:01:43,703 to kind of limit each other. 34 00:01:43,703 --> 00:01:49,275 So with this hue transformation in the cell curves active in the same node, 35 00:01:49,275 --> 00:01:54,381 I can go over to our windows and I can add a window, 36 00:01:54,447 --> 00:02:00,120 and that will make that adjustment only in the window 37 00:02:00,186 --> 00:02:00,487 so I can 38 00:02:00,487 --> 00:02:03,490 do something like limit our little alien guy 39 00:02:03,656 --> 00:02:06,526 to be the only thing that's affected by that 40 00:02:06,526 --> 00:02:10,597 h cell curve. 41 00:02:10,663 --> 00:02:12,632 And it's important to, while you're doing this, 42 00:02:12,632 --> 00:02:15,835 to think outside of the box because he moves this alien around a lot. 43 00:02:15,902 --> 00:02:19,739 And so it might actually be better to not select the alien, but to grab 44 00:02:19,739 --> 00:02:24,277 another window, maybe like our power curve here, 45 00:02:24,344 --> 00:02:26,579 which lets us draw 46 00:02:26,579 --> 00:02:31,284 our own little shape 47 00:02:31,351 --> 00:02:35,955 and we can select everything, 48 00:02:36,056 --> 00:02:37,857 everything but the monster. 49 00:02:37,857 --> 00:02:42,062 And then click this little button right here to invert our selection. 50 00:02:42,128 --> 00:02:46,099 Then we can feather this out using the inside and outside parameters. 51 00:02:46,099 --> 00:02:47,500 Here, 52 00:02:47,500 --> 00:02:50,870 do something like this 53 00:02:50,937 --> 00:02:55,642 and really adjust 54 00:02:55,709 --> 00:02:57,344 what parts of the image are allowed 55 00:02:57,344 --> 00:03:10,056 to have that adjustment and what parts aren't. 56 00:03:10,156 --> 00:03:10,523 And now we 57 00:03:10,523 --> 00:03:14,227 have him coming in the doorway and he can move the alien around 58 00:03:14,327 --> 00:03:17,030 and it doesn't affect the rest of the shot as much. 59 00:03:17,030 --> 00:03:21,201 Now, at the end of this, we do see kind of this green bit right here. 60 00:03:21,267 --> 00:03:24,270 So we would have to grab this window and animate it, 61 00:03:24,537 --> 00:03:26,439 which we could actually do if we want to. 62 00:03:26,439 --> 00:03:29,776 I'm just going to stop at the last frame where this is actually useful. 63 00:03:29,776 --> 00:03:33,780 Something like this. 64 00:03:33,847 --> 00:03:36,783 And I'll go over here behind our scopes, 65 00:03:36,783 --> 00:03:38,718 and this is our keyframes palette. 66 00:03:38,718 --> 00:03:42,088 Now, this is where you can see anything that's animated 67 00:03:42,088 --> 00:03:44,157 and you can also keyframe things. 68 00:03:44,157 --> 00:03:47,227 When you keyframe something, you're basically telling it that you want to be 69 00:03:47,227 --> 00:03:51,264 at a certain place at a certain time, kind of just passing it around. 70 00:03:51,331 --> 00:03:55,535 So what we want to do is for node number two, 71 00:03:55,602 --> 00:03:58,438 we want to tell it to be exactly like this at this time. 72 00:03:58,438 --> 00:04:02,809 So I go to correct or two and I'll click this little orange diamond right here. 73 00:04:02,909 --> 00:04:07,180 What that is going to do is add a keyframe to anything that I touch right here. 74 00:04:07,180 --> 00:04:09,849 So I'm just going to grab this and wiggle it. 75 00:04:09,916 --> 00:04:11,518 And what that's going to do 76 00:04:11,518 --> 00:04:17,957 is add a little keyframe here to my power curve. 77 00:04:18,058 --> 00:04:21,027 Now I can move this over 78 00:04:21,027 --> 00:04:25,398 and make sure that I have a good selection 79 00:04:25,498 --> 00:04:32,072 on my little dude. 80 00:04:32,138 --> 00:04:35,575 And now we don't need that adjustment at all anymore. 81 00:04:35,642 --> 00:04:40,513 So the very next frame, let's just take this whole thing 82 00:04:40,613 --> 00:04:44,551 and just move this down. 83 00:04:44,617 --> 00:04:47,554 That's not going to matter at all. 84 00:04:47,554 --> 00:04:49,289 We'll just hack that really bad. 85 00:04:49,289 --> 00:04:50,724 Doesn't matter because this is 86 00:04:50,724 --> 00:04:54,461 going to be set on this frame and then the frame before 87 00:04:54,561 --> 00:04:58,732 is going to have our little green guy there 88 00:04:58,798 --> 00:04:59,099 and now 89 00:04:59,099 --> 00:05:03,403 we can animate that change as he closes the door. 90 00:05:03,503 --> 00:05:05,071 Let's not forget to go over and turn off 91 00:05:05,071 --> 00:05:11,911 our little corrector to 92 00:05:11,978 --> 00:05:16,750 now he closes that and it works pretty well. 93 00:05:16,850 --> 00:05:18,385 There is still some green here 94 00:05:18,385 --> 00:05:22,188 which we could adjust, but you get the idea. 95 00:05:22,288 --> 00:05:25,892 The windows and the qualifiers and the curves can all work together 96 00:05:25,959 --> 00:05:29,329 to get you a really advanced selection and you can even animate the windows 97 00:05:29,329 --> 00:05:29,896 over time. 8061

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