Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:00,033 --> 00:00:02,569
In the next couple of chapters,
we're going to have a lot of fun.
2
00:00:02,569 --> 00:00:07,007
We're going to ride along together
in greeting a couple beginning to end.
3
00:00:07,040 --> 00:00:10,844
And I'm really excited to dive deep
into these techniques and kind of see how
4
00:00:10,844 --> 00:00:12,946
everything comes together
in a practical way.
5
00:00:12,946 --> 00:00:16,649
This is going to be the most helpful
if you actually follow along
6
00:00:16,649 --> 00:00:18,218
and you kind of do this with me.
7
00:00:18,218 --> 00:00:22,288
What I like to do with training like
this is watch a section
8
00:00:22,288 --> 00:00:25,692
from beginning to end
and then try and do it myself from memory.
9
00:00:25,692 --> 00:00:29,362
That will help you kind of build
these concepts into your long term memory.
10
00:00:29,396 --> 00:00:31,998
That said,
if you want to follow along step by step,
11
00:00:31,998 --> 00:00:33,566
you should totally be able to.
12
00:00:33,566 --> 00:00:34,868
Let's get started.
13
00:00:34,868 --> 00:00:38,672
The very first thing that I'm going to do,
just so that we're all on the same page,
14
00:00:38,738 --> 00:00:42,876
is to open up
our project manager right click
15
00:00:42,942 --> 00:00:45,945
and let's restore Project Archive
16
00:00:46,179 --> 00:00:48,181
and open up our pro color work files.
17
00:00:48,181 --> 00:00:54,421
Dot Drey.
18
00:00:54,487 --> 00:00:56,956
I'm going to add a little three
eight to the end of mine.
19
00:00:56,956 --> 00:00:59,959
You can name yours however you want.
20
00:01:00,193 --> 00:01:03,196
This is just a way for me to know
that this is the latest version
21
00:01:03,263 --> 00:01:04,798
of what we're working on.
22
00:01:04,798 --> 00:01:11,037
The other thing I'm going to do
is go up to our workspace
23
00:01:11,104 --> 00:01:14,107
and we're going to reset UI layout
24
00:01:14,240 --> 00:01:17,243
and I'm
going to switch mine back to full screen.
25
00:01:17,377 --> 00:01:20,013
So now we should all be looking
at the exact same thing.
26
00:01:20,013 --> 00:01:24,084
And now let's open up the timeline
for smoke cheesecake.
27
00:01:24,150 --> 00:01:26,519
Let's go to the media pool.
28
00:01:26,519 --> 00:01:31,658
And here in our beans under smoked
cheesecake, there should be two sequences.
29
00:01:31,758 --> 00:01:34,527
One of them is going to be smoke
cheesecake start.
30
00:01:34,527 --> 00:01:37,097
The other one will be cases. Grade cases.
31
00:01:37,097 --> 00:01:41,134
Grade is actually going to be the project
that I'm about to work through right now.
32
00:01:41,334 --> 00:01:43,303
So I want you to start on smoked
cheesecake.
33
00:01:43,303 --> 00:01:45,872
Start just like this. Double click on it.
34
00:01:45,872 --> 00:01:49,342
And what you should have
is a completely ungraded project.
35
00:01:49,409 --> 00:01:53,913
And if for whatever reason,
something doesn't connect,
36
00:01:53,980 --> 00:01:57,751
you can right click find in Media pool.
37
00:01:57,817 --> 00:02:00,153
For some reason,
our corn logo isn't connecting,
38
00:02:00,153 --> 00:02:02,188
which sometimes happens with PGS.
39
00:02:02,188 --> 00:02:06,793
I don't know why.
40
00:02:06,893 --> 00:02:11,498
Under our DRE, under media
files, our films
41
00:02:11,598 --> 00:02:16,636
Smoke,
Cheesecake, VFX should be right there
42
00:02:16,736 --> 00:02:18,838
and there it will reconnect.
43
00:02:18,838 --> 00:02:21,808
I don't know why
it doesn't like it sometimes, but it does.
44
00:02:21,808 --> 00:02:25,045
Once everything is reconnected
and beautiful,
45
00:02:25,111 --> 00:02:29,182
let's switch
back to our smoked cheesecake folder here.
46
00:02:29,249 --> 00:02:31,618
Right click on smoked cheesecake
and under timelines.
47
00:02:31,618 --> 00:02:35,088
Let's go to timeline settings and
make sure everything is all good for that.
48
00:02:35,188 --> 00:02:40,193
1920 by 800.
49
00:02:40,260 --> 00:02:42,629
Everything seems to be good there.
50
00:02:42,629 --> 00:02:46,599
Let's also go down to our project
settings here
51
00:02:46,700 --> 00:02:48,268
and look under our color management.
52
00:02:48,268 --> 00:02:50,337
Make sure everything's set up there.
53
00:02:50,337 --> 00:02:52,005
We're setting our color science
to DaVinci.
54
00:02:52,005 --> 00:02:53,773
Why our GP
55
00:02:53,873 --> 00:02:55,208
and our timeline color space.
56
00:02:55,208 --> 00:02:58,178
We're going to have black magic design
film Gen five.
57
00:02:58,178 --> 00:03:01,181
That's really all that we need to do.
58
00:03:01,348 --> 00:03:03,283
And I'll click on Save
59
00:03:03,283 --> 00:03:05,485
and everything should be good.
60
00:03:05,485 --> 00:03:11,591
Let's go to the upper right
hand corner and click on LightBox.
61
00:03:11,691 --> 00:03:15,195
And now if we take this little
62
00:03:15,295 --> 00:03:18,598
slider to the right,
63
00:03:18,665 --> 00:03:22,402
we can see a thumbnail
of every shot in our project.
64
00:03:22,469 --> 00:03:26,072
This was a really fun little project
that we shot in an afternoon,
65
00:03:26,339 --> 00:03:29,409
and honestly,
I wanted to include this in the training
66
00:03:29,409 --> 00:03:32,979
because this is an example of what
sometimes happens for a typical shoot.
67
00:03:33,046 --> 00:03:35,382
This was shot on a weekend
where we had to kind of shoot it
68
00:03:35,382 --> 00:03:36,883
because it was a bright day.
69
00:03:36,883 --> 00:03:39,919
We wanted to have a sunny day
and the weather was quickly getting bad.
70
00:03:40,053 --> 00:03:41,154
As the weeks went on,
71
00:03:41,154 --> 00:03:45,025
we didn't have a huge crew to help us
and we were a little bit rushed for time.
72
00:03:45,191 --> 00:03:49,329
So what we ended up with is a decent
looking film with a funny story,
73
00:03:49,329 --> 00:03:50,230
but some of these shots
74
00:03:50,230 --> 00:03:52,098
I definitely would have approached
differently
75
00:03:52,098 --> 00:03:54,300
if we had the time and resources to do so.
76
00:03:54,300 --> 00:03:55,168
And I say all this
77
00:03:55,168 --> 00:03:59,506
because it's pretty important to kind of
think about this when you start a grade,
78
00:03:59,506 --> 00:04:02,809
whether it's for your own project
or for somebody else.
79
00:04:02,842 --> 00:04:05,278
Considering the things that you do
like from production
80
00:04:05,278 --> 00:04:08,782
and the things that you think maybe
could be better is kind of a great way
81
00:04:08,782 --> 00:04:14,187
to start out with kind of making
some decisions for your color grades.
82
00:04:14,254 --> 00:04:15,488
Let's make a little bit of room here.
83
00:04:15,488 --> 00:04:18,825
I'm going to turn off our media pool
and our timeline.
84
00:04:18,925 --> 00:04:23,063
So we just have the clips
and we have just a few basic shots here.
85
00:04:23,063 --> 00:04:25,932
We have our wide shot
86
00:04:25,932 --> 00:04:27,967
close up of me, a close
87
00:04:27,967 --> 00:04:31,738
up of our buddy Sam,
and a couple of cutaways of close
88
00:04:31,738 --> 00:04:36,910
ups of food, close ups of the grill,
and then the product shot at the end.
89
00:04:37,010 --> 00:04:39,679
My angle,
I would say, turned out pretty well.
90
00:04:39,679 --> 00:04:42,282
I think the framing
and the lighting are pretty consistent.
91
00:04:42,282 --> 00:04:45,151
Nothing's blown out there aren't
a whole bunch of problems, really.
92
00:04:45,151 --> 00:04:49,656
However, on Sam's angle, we happen to kind
of miss a few things during production.
93
00:04:49,889 --> 00:04:52,759
One of them is
we have these kind of sunlight spots.
94
00:04:52,759 --> 00:04:53,793
We actually had to zoom in
95
00:04:53,793 --> 00:04:58,598
on a couple of these because we had
a shadow of the boom mic on his head.
96
00:04:58,698 --> 00:05:00,967
And this wide shot I would really like
97
00:05:00,967 --> 00:05:04,604
ideally to have been with
a little more shallow depth of field shot
98
00:05:04,604 --> 00:05:08,508
with an end or something, but we didn't
have an Andy Filter with us that day.
99
00:05:08,508 --> 00:05:11,945
And so we have this kind of really
stopped down big wide depth of field.
100
00:05:12,145 --> 00:05:13,980
Again, none of these are the very worst,
101
00:05:13,980 --> 00:05:16,349
but something I'm
definitely going to want to look into
102
00:05:16,349 --> 00:05:20,153
is how to separate this foreground
from the background a little bit,
103
00:05:20,153 --> 00:05:24,124
because we weren't able to do that
in production as much.
104
00:05:24,190 --> 00:05:26,960
How do we enhance the light on his face
a little bit
105
00:05:26,960 --> 00:05:32,399
while not blowing out
these parts of his skin?
106
00:05:32,465 --> 00:05:33,466
How do we maybe toned
107
00:05:33,466 --> 00:05:37,237
down this right side of the frame
that's a little bit bright?
108
00:05:37,303 --> 00:05:39,906
And of course, for the product shot,
how do we make this
109
00:05:39,906 --> 00:05:43,910
look as delicious
as well as a can of corn could look?
110
00:05:44,144 --> 00:05:47,947
So those are some of our goals and kind of
a bird's eye view of the project.
9784
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.