All language subtitles for Procolor_C06_L1a_Concept_Colornodes

In this chapter,
we're going to be diving into color nodes.

Now, this is something that kind of trips
people up, because a lot of us, if we've

been using kind of imaging software
for a little while, are used to layers

and layers and nodes
accomplish similar things,

but the philosophy behind them
is a little bit different.

In the upper right hand
corner of our interface

will find the nodes, and by default
you have one empty node

hanging out
sort of towards the left of your graph.

But what is a node?

The way that I like to think of a node
is kind of a group of corrections.

You could also think of it as a major
thought

or an idea
about what you want to do to your image.

And the thing about a node

is that any number of corrections
can live inside of a node.

Anything from contrast to specific masks
to exposure adjustments

and really any other color control,
it kind of lives inside of a node.

So in the color page of resolve,
if I were to boost up the contrast

down here in our color wheels,

that contrast adjustment
doesn't get applied directly to the shot.

It gets applied to a node
and this one node can handle anything.

I can throw at it.

I can add contrast, I can make it pink,

I can mess with my curves.

I can play with

any and all of our color
tools down here in the palettes.

And all of those corrections
live right here in this one note.

So why does this matter?

Who cares?

Well, this gets really exciting
once you start using multiple nodes,

because each node can have any number
of corrections on it.

And then you can kind of make a new group
of corrections by adding another node.

For instance, maybe in this first node,
I want to boost up

the contrast,

punch up my saturation,
that kind of thing.

And that's one group of corrections
which I can actually rename.

If I right click on this node and select
node label.

We can call this contrast

set and
then I can make a new group of corrections

by right clicking and saying
Add node, add serial,

and now all of my tools reset.

And I'm starting with a new image
that looks like

this and I can take that image
and adjust it further.

Let's say
I want to make it black and white

and and make it really contrasty.

I can label that black and white.

So they're actually a really great way
to keep organized.

When you're working with a shot,
the other thing to mention

is that the order of the nodes
matters a lot.

A serial node goes in a series.

So we start with Node one,
and then we go to Node two.

Let's get rid of the second node here.

Let's say in this first node,
we make everything really, really orange.

And then we add a serial node

and we
take the saturation all the way down.

We have a black and white image,
but if we do this in a different order,

I can disconnect this just by clicking
the little lines when they highlight blue.

And if I put my black and white image
before my orange push,

I can hook this up like this.

And now I have an orange image.

Because what we're doing
is we're making the image black and white,

and then we're pushing orange
into the image

instead of pushing orange into the image
and then making it black and white.

There are a couple other things

to go over with nodes
that will touch on here in a few minutes.

But for now, it's enough
to understand that each node can hold

any number of adjustments
made down here in the color palettes,

and you can order the nodes
so that those kind of groups

of adjustments
happen in the order that you like.