All language subtitles for Procolor_C12_L3A_First_Pass

Now that we've established our creative
look, it's

time to start going through each shot
and fixing kind of the big thing.

And what we're really going to be doing
is working and passes.

This first pass is the great big fixes
for the whole movie,

so that if any time we run out of time
or budget or whatever,

we can deliver the entire movie
with the biggest problems fixed first

and then we're going to keep going through
and refining it.

And later lessons.

All right, Let's close our gallery here

and make a little bit of room
for our nodes.

I can hit up and down on the keyboard
to move in between our shots.

And I think what we'll do
is let's start with the wide shot

and fix any problems here.

And I'm going to start with exposure
and just double

check it, make sure that we are
where we want to be here.

Again, I think what I'll do
is just maybe boost up the gamma

a little bit

and I'm

looking to get most of this shot
looking good.

And what I'm really after
is like most of the skin here.

So like the skin on my side
looks pretty good.

We see good detail in everything, and on
Sam's side it's a little bit bright,

but we can probably take the stand
with a window later.

So we're going to start there

because we don't want
the whole thing to come off dark.

We want to be able to see, see things.

So that's probably good.

Now let's think about the saturation.

I feel like the saturation
could maybe go up just a touch,

so I'll push that
just a little and see where we're at.

Maybe somewhere in there.

Then our next note is our contrast.

And I don't know if this is going to need
more contrast, but let's, let's try it.

Let's try it.

So I'll push
push a little bit of contrast in here.

This is too much.

That's crazy. Source

and we'll just give it go
just a little bit further.

Back it off.

Maybe take our

pivot down a little bit.

And so here's before our contrast.

Those are clips just so we can see

and here's after.

So we're doing a little bit of contrast

and I think
we're going to leave that for now.

I think I do like it
with just a touch more.

Yeah,

I think I like it with just a touch more.

So that's five.

Let's sort

our clips by group
and we'll do the wide shot

and I'm going to click down here

and control to select all
and then middle button mouse click

to copy that grade
to all of our different shots.

Now there are a couple of things here.

These first three shots right
here, it's really bright

and we probably don't need
to boost this up as much as we are.

And on this shot, it looks a little better

as far as the the sandbox over there.

But man, we got some
some brightness happening there.

So we're really going
to have to take this down a little bit

because that first shot looks okay.

But I think maybe that contrast
might be hurting us after all.

So let's let's go ahead and reset
that contrast.

Reset the note. Great.

I can hit our triple that,
do everything else in the group

that I'll take that
contrast down on everything.

And this looks a little better here.

This is one of those times

where you like to have beautiful footage
that's perfect every time.

But sometimes there are just

things that happen where we have
this kind of bright spot and you either

just have to live with them or
make them the best that you can, you know?

So we're going to do our very best on this
and use it as a learning opportunity

for next time.

So one thing is that these later shots

have a lot more contrast
is because there's no smoke.

And so we might just take the contrast
down, attach,

right.

Just might just take that down
just a touch.

Let's move back and forth.

And between
these might be just a little bit far.

That's going to help a little bit.

Okay.

So now let's try and fix
the biggest problems here,

which are these first
three shots are really bright on the left.

So let's grab our window one.

Actually, let's grab our window too,
because we already have a gradient on it

and we'll switch over to our window
here, take our gradient

and kind of put it this way

and I'll switch over to my offset
and just take some of this

exposure down a little bit.

So now we kind of have this darker side
here on the left

and here's before and here's after,
and we're just taking that down

a little bit,
and I think that works pretty well.

I might even make that a little bit softer
to kind of extend over there.

Let's see how this looks
when Sam comes up.

It's a little bit dark maybe.

So we'll take that back up just a touch.

But I do want to grab the gain
and maybe push that down a little bit.

Mm. Actually, why don't we go ahead
and go into our HDR palette?

Because this allows us to pick
the very brightest parts

of the shot and kind of isolate those.

And if I click on this little button

here, we can see the zones
that we're actually affecting.

So highlights are right there,
the very brightest parts of the image

and that's definitely,

yeah,
the specular is getting really bright.

I'd say the highlights are probably where
we want to go here,

So let's take the highlights,

take that exposure down just a touch,
see if we can make this a little better.

So that's obviously way too far.

Let's split the difference here.

Maybe take it down

one stop.

And again, this is really something that's
just going to be pretty hard effects.

Maybe we'll take the specular down
just a touch.

That's a little better.

How far can we take that down

before it just loses its mind?

You can also adjust the range,

so let's just push that up

a little bit to where it's

not quite affecting anything.

We'll just take that down a little.

Let's also take the saturation down

just a little here.

That's going to give us

a little bit healthier

and we can boost the softness a little bit

just so we fade that out a little bit.

So now what we're doing is we're affecting
just these little parts of the image

just right here.

And we're taking those down a little bit

and here's before and here's after.

So the result doesn't look like amazing,

but it sure looks better than it
did, right?

It's also double check and make sure that

we're not doing something
that's just destroying stuff

here in our exposure.

Yeah, I think we're going to need
both of these anyway,

but maybe we'll take this exposure
and we'll kind of do the opposite.

We'll,

we'll have a nice soft window here.

It kind of splits this out or

something like that.

So now we're raising the exposure
mostly of the right side

and we're also lowering the highlights,
the specular

on the left side with this window.

This window.

Maybe we'll take our

gamma up just a touch,

just so we aren't so harsh.

And I'd say that looks pretty nice.

So the

question is, are we doing
are we doing some good here?

So this is without anything
and this is with our grade

definitely is looking better than it did.

Again,

not exactly how I wanted this to look,
but pretty darn good.

Pretty darn good considering.

Okay,

so let's copy this over.

I'm just going to shift select
these first three

clips and a little bit mouse
click on the first one.

Turn off our window here just for safety.

So now these all look pretty nice.

And how do they match with the other one?

Let's actually bring this over here

to see how this looks on the

and this time maybe

maybe we'll take this window

and it does
help a little bit on those skin tones.

So what if we take it and we just

do the top side

of our shot here?

Look at that.

We can use use that kind of same thing
since we don't need it

on the left as much,
but we do need it on the top.

And look at that.

That makes that a lot nicer. Wow.

We get the blue of the sky back
and everything.

That's a pretty good solution,
I would say.

So if you're having trouble with kind of

these brighter sunspots, that's

a way to go about it.

That might be helpful.

Again, ideally, it would be great

to not have those sunspots,
but this is a pretty good solution.

I would say we have a pretty
okay looking good thing here.

So the other thing I would say
maybe is I wonder

if our saturation is just a little hot
in these warm areas right here.

But let's
go ahead and do that on the second pass,

because this isn't isn't too bad.

But is this decaf?

All right.

Let's go to our next shot.

And the big idea here is
we want this to match.

So let's grab a still from our wide shot.

Let's grab a still this one

is still a five.

And the cool thing is we can right
click and say play still.

And now we can use this
to match in between our shots here.

We can use this as kind of a baseline.

What I like to do sometimes is
just kind of have this off to the side

but available
any time I want to wipe in between these

and we're definitely going
to need a couple of things here.

First of all, how is our exposure?

Let's take a look at our scopes.

Feels like our exposure is down
just a little bit,

so I bring our offset up just a touch

that's maybe a little better.

And now switching over to saturation
and temperature,

I think maybe warming this up
just a little bit

is probably where we want to be.

That's looking pretty nice.

Now, let's switch over to our contrast.

I think this will take just a touch,
a contrast,

maybe somewhere in there.

Now, if these feel like they're

in the same world,
we're probably going to be pretty good.

Okay,

I'd say that's decent for the first pass.

Again, it's really important
to just kind of keep moving,

even if we don't feel
like this is 100% perfect,

we can little button mouse

click and copy these all over
and make sure they pretty much match.

There isn't any huge difference.

I think so far it looks pretty nice.

It's maybe a little strong.

We might want to dial it back later,
but it's okay for now.

Now let's switch to Sam's shot

and this should match
with our wide as well.

He does have better lighting here.

So some of
this is not going to quite work.

But again,
we want it to feel like the same world.

So let's boost our exposure.

Just a touch, I'd say,
And in our saturation

temperature,
let's warm this up just a little bit

and I'd say that's a pretty,
pretty good match.

Feel like contrast is.

All right, let's just take the the lift
down.

Just, just ever so slightly.

I think that'll help.

So now again,

let's go to our groups
and we'll just look at

Sam and we'll control a and middle
button mouse.

Click to paste that, look over everything,

making sure everything looks consistent

pretty good.

Okay.

All right.

Now let's work on our grill.

This is a cutaway shot.

We have a lot of freedom here.

It doesn't have to match, like. Exactly.

It's going to work pretty well.

Even if it doesn't.

And if this feels like the same world,
we're probably just fine.

I'd say that's probably fine.

So we're going to leave that now.

Let's take a look at our product shot,

and this is going to take
a little bit of work.

I would say

exposure seems fine.

I would say we need a little contrast,

so let's boost our contrast, attach.

There we go.

And our saturation.

Let's pump that just a little too.

Somewhere in there might be nice

and I'd say that looks pretty good.

Let's do a quick look through here

and I'll just hit

all to go a little bit faster.

And the question is, does this
does this feel nice?

Does anything feel weird?

Do the cuts make sense?

I would say that shot feels a little dark.

This one feels a little bit contrasty
compared to the wide.

Let's go back a little bit.

That just has a little more contrast,
I think, than we need

compared to this one.

Yeah, that's just a little bit
a little bit strong.

And I'd say Sam's is a little bit dark.

So let's take away
this contrast a little bit

on Shot a

and now let's kind of go back and forth.

It's also maybe just a little warm still

take away that contrast

and we'll just cool this down

ever so slightly.

It's now back and forth.

That's, I think, a better match.

Let's go ahead and open up our groups.

And all of these are going to be the same

as the second shot here,

and that's going to work a little better.

Let's go back to you all

and let's compare

the shot with the other one.

This definitely looks dark.

So if we take away our contrast here,
that works a little better.

I'd say,

let's just reset that green.

Now we can hit our
and that will ripple out.

For some reason
it's decided that'll do it this time.

And in our

exposure node, maybe we'll just take the
the gain down.

Just a touch

and bring our lift down a little bit

and bring our mid tones up a little bit

just to kind of balance out

that contrast a little bit.

And I think that works a little better.

So we'll control a little bit.

Mouse click

and brighten these up a little bit.

Yeah, that's a little nicer.

Let's keep playing this back
a little faster.

Yeah, that feels better for sure.

Okay.

Says working fine. Hmm.

This highlights are pretty wild here.

We'll have to deal with those if we can,

but yeah,

I'd say for the most part it works.

Let's take a look towards the end here.

See how that goes?

Yeah, that's nice.

I'd say this one.
This doesn't feel warm enough.

So if we take this saturation temperature

and we just warm this up a touch,
that's a little too much.

I'd say

just a little
so that it mixes with this a little bit.

So we have a very warm shot here

that feels a little nicer

packed, I'd say.

Maybe we even went a little crazy
with this warmth,

especially here.

I think just because of the the brightness
of these yellows and everything,

maybe we'll just

take a look at our scope.

It's pretty bright

and we could just take the saturation

down, attach.

That seems a little nicer, I'd say.

So let's go ahead and ripple
those are on the keyboard

to ripple
those all the way to our other shots.

And I think these first beginning shots

maybe need a little bit more saturation

than these other shots.

I think that's definitely true
because it's just a different time of day.

That's the problem
with shooting out in the sun. Man.

It's a little bit of a nightmare.

Can do a little bit of that.

Let's just copy

this saturation temperature,

paste it and paste it.

So now we have that more saturated

look at the beginning when we didn't
have the Suns in a different place.

And then here

can be a little better.

All right.

So now the question of
are we done with the first pass?

Is is this completely offensive?

If it's not a travesty,

then we're doing a good job
and things can only get better from here.

So, again,

maybe it's not ideal,
It's not exactly where we want to be,

but if we had to deliver it like this,

if we had to render it right now
would not be the end of the world.

It would be okay.

So that's a good place to start.

For our first pass.