All language subtitles for Procolor_C12_L2B_Creative_Looks

Now it's time to really start playing
with our colors and working

with our images.

And the very first to do
is establish a look.

Now, sometimes we might need to do
a little bit of primary adjustment

just to kind of normalize things
a little bit.

But our main goal here is going to be

establishing a style
for the entire project.

So here we are, we have our color
management set up in our group post clip.

We have our clip
nodes set up for all of our clips.

And I think
before we get into establishing a look,

we're going to have to correct
some of this a little bit because

this is kind of coming off as a little bit
dark, a little bit blue,

which I don't think we're really going
to want to consider for our looks.

So let's kind of normalize this
a little bit.

Let's start with our wide shot,
maybe on shot five here.

And the very first thing I'm going to do

is with our saturation and temperature,

I'm going to warm this up
just a little bit.

I'm adjusting this on the wheel.

But you can also just use this slider
right here in a primary color wheels.

Here's before and here's after.

Just warming this up ever so slightly.

I think I can even go a little more

on the warm side.

Yeah, that looks nice.

I'm going to go to the node
before the exposure node

and I'm gonna adjust my offset
that on the interface.

Is this master wheel under our offset?

But I'm going to use the wheel
in offset mode on our surface here

just to kind of push this up a little bit.

Let's see where we're at.

Looks like we're making it a

little bit too bright on his face.

So I think I might want to.

Let's just reset that.

And I think instead of doing the offset,

maybe we'll push up just the gamma

a little bit.

So now here's here's where we were.

And here's where we are now.

A little bit closer
to where we want to be.

And since we have all of our nodes
set up the same way,

I can actually select a node here
and go up to color

and select
ripple Node changes to current group.

And what that will do is apply

this node to every shot in the group.

I can do the same thing for exposure,

color, ripple,
no changes to current group like that.

And that will make the same changes
to all of my shots in the group.

Now let's take a look at Sam's angle
and I'm just going to middle button

Mouse click on one of these other shots
just to see if that can help.

And that looks like
we're in a little better place.

So that works fine.

Again, I'll select this

and hit R on the keyboard,
which is the same as going to color Rebel.

No changes to current group.

Actually don't know if this is by default

or not.

I might have set that
and I don't remember which it is.

But either way you can go up there
like this color ripple.

No changes to current group.

So if I'm liking that,
then I can't really repeal

these no changes because I just copied
the notes from this shot.

So it doesn't really think that
I change them, which is kind of weird.

But worst case, if I like this
shot, I can go up to my clips

and select grouped.

Sam and I can hit control a
and then middle button mouse

click here and that will change
all of these all at once.

And I'd say this is a pretty decent
starting point.

It's still maybe a little cool,
but I think it'll work okay for what

we're doing.

I'll go back to all clips here.

Let's select my angle.

Will middle button mouse
click on Sam's Shot.

And that's looking pretty good.

And let's do the same thing.

Grouped Casey,

select down here, control a middle button

mouse click and that will copy it
to all of these other shots.

Go back to all clips.

And now we have a pretty decent
starting point here

for all of our shots.

They don't look super weird.

I forgot about the grill shots.

Let's try and just a little button
from my close up that works pretty well.

Again,
we'll do our fancy group trick here.

Grill,

select both of these and that'll click
okay.

So now we have a pretty good idea
of a normalized image.

Let's switch over to the group post
clip for our wide shots.

And now we're going to kind of work on our
look to build a look.

Let's build this in three parts.

Let's label them first.

This first part will call contrast

shift.

Asked to make a note before
we'll call the split

shift as to make a note before.

And we'll call this palette

a general our contrast

and just add a little contrast
curve here of some kind.

Maybe I'll boost up
our blacks a little bit

and we'll roll off our highlights

a little bit.

I think somewhere in there is pretty nice.

And so here is before and here's after.

We're just adding a little bit of contrast
and kind of taming down

the brighter parts of the image
a little bit.

Next, let's go to our split.

And I think as far as the style of this,

I want it to if we're going to go
any direction, I'd probably want it warm

because, you know,

it's kind of a warm barbecue feel,
but I do want it to look nice and rich.

So I think we're going to make the shadows
a little bit cooler,

but overall,
we're going to go a little bit more warm.

So let's switch over to
maybe our log wheels.

And here in the shadows,
I'm going to take this down

toward kind of cyan.

Let's just see where we're at here

looking, especially in the shadows
here of the fence.

Here's before and here's after.

So it's just kind of pushing
a little bit of cool into those shadows.

We might have gone too far. Let's look.

Take this on and off.

No, I don't think we went too far.

I think it looks nice.

And so now to kind of warm up, I think
more of the midtown's in the highlights.

Let's let's start with the mid tones,

and I'm just going to push those
a little bit warm,

just a touch.

So here we are before.

Here we are after

not making a big difference yet

in a push, just a little more

until we go.

Probably too far.

Probably there is too far.

And then we can kind of take

it back, maybe take it back halfway.

And now we have before.

After,

there's just kind of some subtle warmth

happening in the mid tones.

I feel like our shadows are cool.

Cool shadows are maybe just a little bit
high,

like it's affecting too much of the image.

And so what I want to do
is adjust our lower range

and I'm a pull that down a little bit

just so we effect less of the image.

So we can just

put that up a touch

to where it's just kissing

these shadows
and making them a little bit cooler.

Here's without. Here's with it.

So we're slightly warming things up
and we're cooling down the shadows

just a little bit, and that just makes it
look a little bit richer.

I like what it's doing to the skin.

So here's before.

Here's after.

It looks nice Back here in the leaves.

And again, there are some problems here.

Things are a little bit too bright here.

This is a little bit too bright.

It's a little too bright on his neck.

Some of that can't really be helped.

But we will take a look at that.

Take a look at what we can do here about
those things when we get to secondaries.

But for now, we're looking
overall at the image.

Does this look nice?

I feel like it works pretty well.

The last thing that we're going to do
is take a look at our palette.

And again, there are a lot of ways
that you can adjust a palette,

but I think a really nice way
is with our color work here.

I think what we'll do
is I'll just take our clips off,

make a little more room here,
and let's look at things that are just

too wild to take a look at any color
that's just a little bit too much.

And I think this green grass
is a little too much.

It's just a little bit crazy.

So maybe we'll switch our
colored wallpaper to eight

and we can select our grass

and we can just pull that in a little bit.

Just pull it in a touch.

In fact, I can probably just pull this
back on the color

wallpaper a little bit,
something like that.

So again, here's before and here's after.

So it's just taking those greens down
so they aren't so wild.

The other option is that we can change

the hue of the Greens,
we can push the Greens a little warmer

and I think that looks nice, actually
a little warmer and a little desaturated.

So here's before and here's after.

I think that's nice.

I also really like this kind of skin
tone color.

I feel like maybe pumping that
a little bit might be nice.

So I think I'll just mouse over the skin
here and I'll just pull it away

on the color wallpaper.

That's a little bit too much.

I'll just right click to reset that.

I think what we'll do
is just grab the color purple

and just push it out just a little

so we get a little bit more warmth

there in the warm tones.

Let's go ahead and check on our scope here
how we're doing.

And I mean, use a little tool here
and the scopes

in the upper right hand corner
where these three dots are.

Click on that.

Let's go down to display qualifier focus.

Click on that.

What that's going to do is it's going to
show us on the scopes where our mouses

sort of
be a little bit easier to spot things,

especially on the vector scope kind of

mouse over this skin here
and really be able to tell where it is.

So that's looking okay.

I think I'm pretty happy with that.

And the other question is
what are some colors

that maybe aren't really dominant here?

We don't have a whole lot of purples,
and so we might be able to just kind of

take some of the purples down just
to kind of purify this image a little bit.

Might take some of the reds down,

bring the blues in just a touch,

may even bring the greens in a touch.

So now we're

we're doing just a slight adjustment here
where we're taking saturation

out of some of the Greens and we're
emphasizing more of the warm tones

and kind of de-emphasizing

more of the cooler tones.

And I'd say overall that works
pretty nice.

The one thing I might try
is to switch over to our curves

under our hue versus luminance,

and we might think
about taking this green grass

and seeing what it looks like
if we take it down just a touch,

just take it down in luminance.

Let's push that down just a little.

Again, green grass is usually not green.

It's usually more of a yellow,
which is interesting.

But if we take that down
just a little bit,

I feel like that helps.

So here is without it

and here's with it

just adds a little bit more richness.

This is a little bit bright, which
we can deal with with our clip nodes,

but I think that makes it look pretty
nice overall.

Let's select these and enable
and disable them

to check out our look.

So this is just the normal color space.

Transform.

And here it is with
everything that we're doing for our look.

That's the contrast, the split toning

and the color palette.

So it gives it a nice kind of warm feel
without being over the top.

And I feel like that's
a pretty good place to start.

It's totally okay
to decide that we don't like this later

and adjust it, but for now,
this is a pretty good starting point

and I don't think it's going to be far off
from where we land here for our project.

The only thing left to do now

is to copy this to our other shots
and make sure that those work.

So again,

I'll just get rid of this

still from our gallery
and with our group post clip.

Now it's up right click and say
grab still.

Well, no, we did it right.

If it says post

and now
we can just drag this into this shot

and the shot

and we can see where we're at.

This is doing okay.

I don't hate anything that's going on.

Those yellows are pretty bright,

but we could probably take that down
with a secondary.

Let's
see if that's happening over here, too.

We have really bright yellows, something
where we might have gone a little bit

crazy on those yellows,
on saturating those warm tones.

I think maybe we could dial that back
a little bit.

So let's grab our palette.

And here in the color worker,
let's take this back down.

Just attach

in fact, let's reset all of that.

And now
we're not so electric on our yellows

since I've just adjusted this note,
I can control

C to copy this palette node.

I'll switch back over here
and hit Control V on this palette node

and see if we still like it.

Yeah, I could live with that
same thing over here.

And now that definitely calms down
those yellows.

Just because something works for one shot
doesn't mean that it's going to work

for all of them.

In fact, if I want these trees
to be a little bit more yellow,

we can do that with the secondary later.

But for the most part,

the tone seems to work

throughout these
and I like the direction we're going.

Doesn't mean things are perfect,
but it means that things aren't breaking.

I'm not causing any huge major problems
with my group posts clip here.

Let's do the same thing

on this shot.

We'll drag over our group post clip
and let's remember

to paste that palette back there.

In fact, let's get rid of this
so that we have our most current

still.

Let's drag

this into our post
clip for our product shot.

And for the most part,

I would say things
look maybe a little dark,

especially on the close ups, but I like
the general tone of how this is feeling,

and that's a good place
to be at the end of setting our look.