All language subtitles for Procolor_C04_L1b_Colorpage_Interface

Now let's dive into the color page
and we'll kind of explore

all the different parts of the interface
so we can get a really good idea

of kind of how things work.

We're going to dive into all of this
in a little bit more detail

in the coming lessons.

But we'll start with the big sections
of the interface

right here, sort of
in the upper center of our interface.

We have the viewer.

This should make sense.

This is where you actually watch
your movie.

You can scrub through each shot.

You have your transport controls here.

Play forwards, backwards. Stop.

You turn your audio off and on.

And you can set this
to loop the current shot if you want to.

And in this button
to go in between different shots.

But this is what you're going to be
looking at most of the time,

unless you have an external monitor,
in which case it's the same idea.

It's just on a different screen.

There are a few different options here

that we're going to get into
in a little while,

but for the most part, just know
this is where you actually look at

what you're doing.

Down below the viewer, we have our clips.

This is just a thumbnail
of every single shot in your movie.

And all you have to do is click on it
to switch to that shot.

Whichever shot is highlighted in red here,
that's the one that you are viewing

in your viewer.

And that's also the shot that's
going to be affected by all of the color

palettes down below.

Down below our clips, we have our timeline
and this is just kind of a bird's

eye view of how the video tracks
are laid out in your project.

It's kind of like
if you took the edit page timeline,

you squished it down really small.

That's kind of the same thing.

And even though this is here,

you can't move these around
or make any edits. It's

just a way for you to kind of visually
see where you're at in your timeline.

This is something I don't find

particularly useful
for most of the projects I'm working on.

This would be different
if you have multiple

different video tracks and you have
different colors and all that stuff,

and you can kind of relate the shape
of all of the clips

in your timeline
to kind of where you're at in your movie.

So really, depending on your workflow,
this might be helpful or not.

But almost all the time, by the time
I'm in color,

I have everything all on one line
just like this.

And so I don't find it terribly useful.

One thing that is helpful
is it's easy to jump to the beginning

or the end of your project,
but most of the time I can just

scroll in the clips like this
and get to where I need to go.

So a lot of the time just to save space,
what I do is I go up to where it says

Timeline right here, and I click on that
just to get rid of the timeline.

Down below are clips
and where our timeline was.

We have our color palettes.

Now, this is really
where the magic happens.

These are all of the controls
that you can use

to adjust the colors of whatever clip
you have selected.

And there are a bunch of different tools.

By default,
we have the primary color wheels,

which we'll get into in a little bit.

But basically you can adjust the color
cast by dragging this little wheel around

and the brightness by moving this
little slider back and forth down below.

There are also a few different controls,
like contrast saturation, where

you can make these kind of big adjustments
for whatever clip you have selected.

You'll
also notice these little buttons up here,

and these will switch out
each color palette

and depending on the size of your screen
and your display scaling

and all different kinds of factors,
you might have three different windows

like I have this primaries
window, the curves and the keyframes,

or they might be split between two windows
or even one window.

It all works the same.

You can bring up whatever palette you want

just by clicking on these little buttons
here and switching them out.

We have four different curves

and several different tools.

Again, we're going to get into
a lot of this here in a little while,

but that's kind of where
all of those things live.

So if you're talking about a color
palette, it's

one of these little windows down here.

There are

also these little icons here,
and this will switch out

some of the kind of subtypes
of each palette.

So this is the custom curves.

I can switch this to.

These are the hue versus hue
curves and hue versus luminance

and so on

the primary color wheels.

There's these little icons here.

We can switch these to color bars
or even different types of color wheels.

Over here on the right, we have
our keyframes and these little buttons.

This will switch out to our color scopes

as well as our info.

So there's a lot to go through
and the color palettes

and we're going to be diving into
most of this

when we talk about
doing specific adjustments.

But for now, the good news is
that you can really mess stuff up here.

You can just go crazy.

Like, I mean, you can just lose your mind
when it comes to this stuff.

And the very worst case is
you mess up a shot and you can reset it.

The way that you reset

a shot is to go up here in the upper right
hand corner and this little note graph,

right click and say reds and nodes,
you can also hit control home.

And now we're back to kind of where
we were

actually have a small correction on this,
which I can actually copy from

this other shot just by selecting the shot
I want to copy to.

And middle button mouse
clicking on the shot I want to copy from

and that will copy
my colors from one shot to another.

Last couple of parts of the interface
are the upper left and right hand corners.

The upper left hand corner is our gallery.

This is where we can save still images

as well as presets for our color.

So let's just turn the saturation down
here.

Let's say we have this kind of black
and white grayed.

I can right
click on this viewer and say Grab still.

And what that will do is grab
a still image.

But it's actually kind of a misnomer
because not only is this a still image,

but it also has all of the color
correction data inside of it.

And so if I want to, let's say,
make this image black and white,

I can again middle button, mouse click

and I can copy that color grayed

from my still onto my shot.

So that's a nice way
to kind of save presets if you want to.

Behind that we have our LUTS,
which is an acronym for lookup tables,

and that's sort of like a filter

that you can put on a shot
that will do a certain color grade.

You can think of it
sort of like an Instagram filter.

We'll get into let's
hear it a little bit too.

And then next to that,
we have our media pool, which,

if you're familiar with the other pages
and resolve, should make a lot of sense.

This is where you can navigate in

between your different pieces of media
and open different timelines.

And they'll open up
right here in the color page

in the upper right hand corner.

We have our node graph.

Now, nodes is something that we're going
to spend quite a bit of time on

because they can be really intimidating
if you haven't used nodes before.

But essentially what
this is, is a flow chart

that keeps all of your color corrections
kind of organized and you use nodes

to kind of section

off the different jobs that you're doing
while you're color grading.

So I can right
click and say reset all grades and nodes.

And let's say maybe in this first node

we want to pop up this contrast.

Then I can right click on this node

and say, add node, add serial, and that's
going to make another node after this.

This is just another step in the process.

And I can push up the saturation

and then maybe I will add another node.

Maybe want to make this kind
of more purple so I can push this towards

blue. Turn that pink kind of more purple.

And now we have this split up
into different parts and I can click

on the number of each of these nodes
to turn off that specific part.

So here's what it looks like
without the saturation.

Here's
what it looks like without that blue push.

Here's what it looks like

without the contrast.

So that's a really great way
to kind of stay organized.

If nodes are confusing,
don't worry about it.

Right now.

You can actually do a lot
just in one node.

And as we work with the color

page, more and more, you'll kind of see
why nodes are really helpful.

And I promise nodes are kind of like me.

They're really less intimidating
once you get to know them.

But that's a general overview
of the interface.

In the next couple of chapters, we're
going to be jumping into the specifics

of some things that we really need to know
in order to adjust our images.