All language subtitles for Procolor_C08_L4b_Colorcast_Tools

Let's have a look

at some of the major tools for adjusting
color casts inside of resolve.

Let's switch over to clip.

And I'm just going to middle
click on one of our other shots

we've been playing with just to load
our color transform again and our gamma is

Blackmagic Design film Gen five Output
color space is rec seven or nine as rec

seven or nine, and our gamut mapping
should be under saturation compression.

And let's close our clips and our gallery
so we can see what's going on.

So here we have what looks to be a pretty
neutral image as far as color casts go.

The reason I think that is one
just kind of by looking by

nothing seems unnatural or overly
warm, cool, pink or green.

And I can also look at my vector
scope here

and our little cloud here
is pretty close to the middle.

If there is any color cast,

it might be towards
the yellow yellowish red side of things,

but I don't think that's necessarily true
just because we have a lot of foliage

here, which tends to fall
in the kind of yellowish realm.

That doesn't necessarily mean
there's a color cast.

That just means that there are a lot of
things that are that color in the frame.

So how do we just a color cast
and resolve?

Well, there are a few different ways.

One, probably the most basic way

is to grab your offset here
and you can move your color wheel around

and that will push a certain color tone
into your whole image.

So if we take this offset
and kind of push it to the upper left,

that's going to push this sort
of orangish tone into everything.

And now we have what we call a warm wash.

A wash is just a bunch of color
that kind of goes over everything.

And you want to be really careful
with an adjustment like this

because it doesn't really look natural.

It looks like you calibrated it,
and that's usually not what you want

people to think is like,
Oh, wow, you color graded your movie.

Usually want it to just subtly influence
how somebody feels about the shot

without being distracting.

But that is a way
you can move things around.

Upper left is warm.
Upper right is kind of pink.

Lower left is greenish, and the lower
right is kind of bluish cyan.

But we can see a little bit goes
a long way here.

In fact,

look how little I move this offset
and how much it changes the vector scope.

It really makes a big difference.

In fact, without pushing this too far,
I can have just about every color

here in our shot down here in the lower
right quadrant,

which means that everything's blue.
So that's a way to do it.

Definitely use it sparingly.

Another way that will look a little bit
more natural is by using the gain.

The gain is only going to affect
the brightest colors.

So this is a nice way to adjust something
that should be white, that isn't white,

or to push a certain color into the image
without completely giving it a wash.

Doing this in the gamma
can get you in trouble because if you push

the gamma a little warm, at first glance
it looks a little bit more subtle.

But you'll still have things
that should be white

that won't feel like
they kind of fit in the scene.

And if you're going to do something

like adjust white balance, pushing around
the gamma is not a great way to do it.

This might be a good way
to add a little bit of tone

to your image, a little bit of character,
if you kind of

want it to suddenly feel warmer or cooler.

But again, a little goes a long way.

Next is the lift.

The left is only going to affect
the darkest parts of the image.

And a lot of the time
I use the color wheel for the lift

to either stylize the image
and kind of give it these cooler shadows

or to balance the shadows
if they aren't neutral.

Let's take a look at a different example
here on Shot three.

We have the kids on their bikes
and I'll just scrub through this again.

I have my color transform loaded here.

And in the first node,
if I look at this white shirt on

the parade, well, see, it's living
right here where the spikes are

and our red spikes are a little bit taller
than our green and blue spikes,

which means that this is cast
just a little bit warm.

Now, this might not be a problem.

This is kind of at sunset,
so it might be totally fine.

In fact, I would probably leave this,
but if we did want to correct

this, one way that we can adjust
that white balance is with the gain.

So I can grab this gain color wheel.

And as I move it around,
we can look down here at the Scopes

and we can see them bounce around
so I can move my gain around

until the peaks of the green, blue
and red scopes line up.

And they are kind of at the same height.

Pretty subtle adjustment.

Here's before and here's after.

We're really kind of
just cooling this down a little bit now.

Color casts are going to be a lot easier
to see if they're saturated a little more.

So sometimes what I like to do
is push the saturation just a touch,

just temporarily

and even

oversaturated a little,
just so that we kind of exaggerate

the differences between the red,
green and blue scopes here.

And we're actually
getting a pretty good match, I would say.

And it's kind of tricky to make
these subtle adjustments with the mouse.

That's when it comes
in really handy to have a surface

so I can move
just a little bit on my wheel

and I can get really,
really fine controls on my scopes.

So now I'll take my saturation down.

And now we have just a little bit
more balance to this white on his shirt.

Again,
I don't think the warmth in this shot

is much of a problem,
so we wouldn't necessarily do that.

But that's how you do it.

Let's go down to shot
71 now, middle button mouse.

Click on one of our other shots
just to quickly load our color transform.

And now in this first node,
we can take a look at our door.

This door is almost
certainly supposed to be white.

If we look in the scopes here, we can see
it's actually tinted a little bit blue.

This is a great use for the scopes
because yeah, it's really kind of hard

to tell visually, but this does have quite
a bit of blue tones in it.

So again, I can just take the gain here

and move this ball around

so that that door is roughly equal

between the red, green and blue channels,
which means that it is neutralized.

So here's before and here's
after the other part with fixing

something like white balance
as you want to balance your shadows.

So something like this
black should also be balanced.

And right now

the very bottom of this is the blue
and the green are a little bit

higher than the red.

And so we can again
take the darkest parts here

with the left and subtly move it

so that these little spikes are all equal.

And generally,
if you have your highlights balanced

and your shadows

balanced, everything else will pretty much
fall into place and look natural.

So this is where we were

and this is where we are now.

Again, this color cast might not be
something we have to take out.

It might work for the story.

That's something
you'd have to decide for yourself

and whether it works for the overall
feeling that we're going for.

But this is a great way to practice fixing
white balance because it works the exact

same way we go from this kind of subtle
blue feeling to a little bit warmer.

The other way we can adjust

color cast is what the temperature
and tint controls in our primaries.

Temperature is a lot
like taking your offset and moving it

from warm to cool
intent is kind of the other way.

Green to magenta.

And we can do a really similar thing here.

Let's go back to where our door is closed
and we can move this temperature slider

so that the red and blue
are relatively the same and then mix

those both with the green one,
with the tint slider, something like that.

And the advantage here is

that it's also going to do
a little bit of work in our shadows.

Now our shadows are a little bit blue,
so if we don't like that,

we might need to do a little bit more work
with the gain and the left.

But the temperature

and tint controls are a little bit simpler
way to kind of do the same thing.

Another really cool way
you can adjust color casts and kind of set

your white balance is with these
little crosshairs right here

for the gain and the left.

And this kind of automates the process
that we did before

of balancing the scopes
with the gain and the left.

All we have to do is click on this
and we have a little color picker here,

and we want to pick something
that's supposed to be white,

but isn't way too bright.

So maybe this little highlight on
the store, we can pick that

and then I'll take the left

and we'll pick kind of the darkest part
of the shot that's supposed to be neutral.

And we can click that.

Now, what's going to happen when we do
this is it's going to set the color cast

and it's also going to set the brightness
for the gain and the left,

which we might not want.

And in fact,

it usually sets it

to something you don't want
because what it's really trying to do

is whatever you click,
it's going to make it perfect. White

That means it's going to be all the way
bright and it's going to be neutral.

Same thing for the darkest parts here.

It's going to be all the way
dark and neutral.

And so what I'll often do is
keep the color cast that it gives me,

but then adjust the master wheel here

between the gain and the left
to get to where I actually want it to be.

And there
we have a pretty good adjustment.

That resolve
kind of really helped us out with.

So if that's easier for you,
that is an option.

Now, on a surface,
these track balls correspond

to the color
wheels for the gain and the left,

and we can reset that
by hitting our rugby on either of these.

But if we're going to offset this right
one becomes the offset color wheel

and the rings on the middle and the left
become our temperature controls

and our tent controls.

So that's another advantage of having a
surface is having that really fine control

for any kind of color cast
you want to introduce or remove.

Those are the ins and outs of adjusting
color casts in the color page.