All language subtitles for Procolor_C12_L2A_Color_Management_Node_Tree

Before we really dive into color grading,

we need to set up our color management
as well as our node tree.

So there are a couple of different ways
we could set up our color management.

Again, we could do that in the project
settings and use our color science.

Why would you be color managed
or even ACS?

But I prefer to do it with a color space
transform in our notes,

and usually I like to do that in the group
post clip.

Now, the only disadvantage

of using group post clip here
and making all these little groups

is that for every group
we have to copy over this group post clip.

So we have a couple of options.

We can either build our look

and our color space, transform
and everything in a group post clip

and then copy it to the other group
post clips,

which should probably be not too bad
for a project like this.

We can also put all of that
in the timeline nodes.

And the only problem with that
is that it's going to apply to this peg

and we don't really want that to happen
because anything that's in the timeline

gets that color grade.

So I think what we'll do
is just build this in our group post clips

and then just copy this over.

It'll be
maybe just a little bit more work,

but I think it'll save us
a little bit of headache later.

So we'll start with our color management
in the group post clip

of our wide shot group and I'll hit all s
to make a new serial node

or right click on this and call it 60.

Open up our

effects, drag a color space,
transform onto it, and we're going

to set our input color space again
to Blackmagic design wide gamut.

Jenn four five and our input gamut

to Blackmagic Design film.

Jen five.

Output color space is going to be rec
seven or nine.

Output Gamma is also rec 709

and our gamut mapping
is going to be saturation compression

and we should be all good.

So going to close the effects

and now we have our color space
transform applied to our footage

and that's going to show up
for all the clips here in this group,

because we don't have a universal group
that's going to be over everything.

I think what we'll do
is save this as a preset in our gallery.

So let's go over to our gallery.

The upper left hand corner.

And here we have our stills.

We have no stills created right now.

And so with our group post
clip node's up, I'm going to right click

on our viewer and say, Grab still.

And what this is going to

do is grab all of these nodes here

that are in our group post
clip and store them right here.

So now if we go to a different group
here, like on Shot six,

we have Sam's angle with our group post
clip up like this.

We can take our gallery
still here and just drag it

into the nodes of group post clip
just like that.

And we can do the same thing for my angle.

Drag these in and the same for our grill.

So a couple of extra steps,
but now we have our color management

set up for all of the shots in our project
except for shot 30,

which again, we can take this
and even grab these nodes

that we're in our post clip and drag them
right into our clip nodes here.

And actually what we might do
just for consistency is let's reset this

and we're going to add shot,
throw into its own group

and into new group.

We'll call this product shot.

The reason for that is
so that anything that happens in the group

post clip happens in the group post
clip for every single shot.

That's just
helps us not get confused later,

because we'd have to remember that
this very last shot

doesn't get the same kind of group
treatment It would be in the clip nodes,

which this is going to keep everything
a little bit cleaner, a little bit easier.

So definitely worth doing.

The other thing I want to do at this point

is set up our basic node structure

so we can do this on any shot.

But I like to set up some fixed nodes here
and I like to start with exposure.

I'll ask for a new serial node

and we'll call this

saturation and temp

s contrast

or s when I call this window one.

And this time
I'm going to make a parallel node.

So I'll select window one and alt P
that's going to make a parallel node.

So right click and label this window to

and now we have this nice little node
graph that we can apply to any shot.

I think what I'll do for window
one is just add

a circle window
and a window to maybe I'll add a gradient.

Those are the two window shapes
that I like to use the most.

And I'll also turn these off for now,
just so I don't accidentally think

that something's happening
there, we'll just turn those off.

And now we have a pretty
good setup for our nodes.

Again, just to review,

the reason
why we do this as a parallel node

is because we're making specific tweaks
to this image that comes out of contrast.

And I don't want what I do in window
one to affect what I do in window two.

I want them to mix together really nicely
and not be dependent on each other.

So that's why we use the parallel nodes.

But once we have our node structure here,
what I do is

click on
whatever shot we're working on here,

just so resolved knows
I want to select down here

and I'll control A and that I'll select
every shot in our timeline

and our middle button mouse click
that's clicking down on the scroll wheel

right on shot five
and nothing appears to have happened.

But when we switch to all the other shots,

we have our nodes set up again,
none of these nodes are doing anything.

They're all empty.

We just have this set up

so that we can easily adjust
similar things on whatever shot we're on.

So now we've got a pretty good setup
and we're ready to start digging

into our color.