All language subtitles for Procolor_C12_L5A_Third_Pass

In this lesson, we're going to take a look
at fixing any problems with secondaries.

So we have this project, like

80% there.

The shots look decent together.

Any of the major,
major issues have been fixed

and now we're just kind of inching along
like another 10%.

So one thing that kind of sticks out to me

is when we go from this shot

where we have the sun and Sam's face

to this shot, his eyes are really dark.

His face is really dark.

And so I'd like to brighten him up
a little bit.

And Jenna, really,
you want to brighten up the whole shot

to make his skin look good
and then bring other things down.

But this is such a high contrast shot,
and he has such a difference of tone

between the back of his head here
and the shadows under his eyes

that I think it's going to be less work
to just have the whole shot

kind of sit right here and then just boost
up his face a little bit.

So let's grab our

window note here on Shot six,

and let's just do a really soft

circle window here

and I'll switch to the curves palette
just so we don't see the outline

of the window.

And I'm going to just boost up my offset

just a little bit just to bring him up.

I'm also going to boost
a little saturation in there.

Just attach.

So now here's before and here's after.

So it's just a subtle
light there on his face.

Now, we could track this to his face,
but this is soft enough

and our camera isn't moving
and we're not turning this off and on that

nobody's ever going to notice
that we brighten up his face a little bit.

It's just not going to happen.

So we can probably
leave it just like that.

I'll maybe even make it

something

along those lines just so we have
that kind of light hitting him.

That's one thing.

The other thing I might do is try
and take the back of his head down a lot

because it's it's getting pretty hot.

So let's take our gradient
and we'll just start that

at the back of his head
and kind of have that fade out this way.

And then maybe we can take our HDR.

And what we're looking for
is just the brightest parts

of his head and skin like that.

We'll take the exposure down.

Just a touch there,

see if we can take that down

any more.

We might actually need to do this
in the specular.

Yeah.

Specular down touch

to see where we're at.

Change the specular range a little.

We're starting to help us head
a little bit.

Let's maybe split the difference here.

Just take this down about one.

So now here's before and here's after.

Let's also just make sure
that we're not breaking this, because

sometimes what'll happen
is due to our look or due

to our initial adjustments,

we'll be really messing with things

that don't need to be messed with.

So let's switch over to our group post
clip here

and make sure
that we're not just destroying this

in some way
that that that that footage really

is kind of too hot.

And it definitely looks like it is.

Let's take all of the color off of here
and zoom in.

We still do have detail here,
so we shouldn't be clipping.

But man, it's pretty bright, isn't it?

So maybe we can fix this with exposure.

I think what I'll do
is experiment in this shot.

And worst case,
if things just really aren't working out,

we can copy our grade from shot for
our shot ten and go back to where we were.

But for now,

let's reset our offset here

and what's going to happen
if we take our offset down a little.

K What about our gain, ticker gain down?

Just attach

and Booster Middleton's up.

So we're really going to kind of

get in the same place here eventually.

Let's try and push some saturation in here

and see if we can just make
a better version of this shot

that might just come out a little better.

Now we can take a contrast up

and bring our pivot down

so that we're mostly

so we're mostly not affecting over here.

We also might

just try this
with a different kind of window.

And it's okay
really, to just play around with this,

you know, because

when you have problems like this,

you might figure out that one

way of working doesn't help.

And another way does.

Let's take this and maybe we'll just

just try our

exposure here. Hmm?

Let's try

taking our game down
more and boosting our midtown's.

So we're kind of just

leveling this out a little bit.

So now here's before and here's after.

See, that I think is getting a little bit
nicer, is working with our gain

and our gamma to kind of take
that shine off the back of his head. So

let's copy everything from for

this time in our window

to, well, again,
switch this to our circle window,

make it really soft
and we're going to put this

towards the back of his head.

And this time we're going to just focus on

bringing down the gain

right there, boosting the gamma

to kind of counteract that

and taking that shine down

on the back of his head

Can maybe we'll also take

the specular down here,

take that exposure down just a touch.

We might need to add a little saturation
there,

just a little bit.

Now we have before and after.

Man, that's a huge difference.

Look at that.

That is a really huge difference.

And we'll just make sure
this is really soft.

And again, you can get away with so much
just with a soft window.

We don't have to track that or anything

with that.

That's just going to work. Fine, man.

Okay, so we fixed that

and let's grab our next window here,

our first window,
which is going to brighten up his face.

And again, great big soft window

right on his face right here.

We'll make sure we're in our primaries.

And I think I'll just boost up the gamma
a little bit, but

step to gain a touch

and boost our saturation attached to.

And it's always a push and pull
to make sure that like this doesn't

look way too, you know, too different
than everything else.

I want to get my highlights right

where they're supposed to be

and then move my gamma

around to where it blends
with the rest of the image.

Because if I'm like way too bright here,

it's not going to blend.

So I like to take that down right
to where just I kind of stop

noticing it

somewhere, maybe in that region.

So where were we? This is where we were.

This is where we are now.

Just a subtle little light
filling in some of those shadows.

Here's where we were before
and here's where we are now.

Huge difference.

Huge difference.

Okay,

let's see if we can take that.

Let's
see if we can switch this to everything.

We're going to take shot
to middle of that mouse click.

And this should pretty much work
for everything.

So for the close ups, we're
going to have to adjust that a little bit.

Slots adjust this

first window for his face nice and soft.

And let's adjust this second window

to the back of his head.

Nice and soft.

This one might be a little intense
for this one.

Let's see,

one thing that we can do.

Any time that we have a node that's doing
something, we can actually adjust

the strength of everything that the node
is doing by going here to our key palette.

And here where this says
key output, this little slider

gain, this is kind of like the strength
of anything that the node is doing.

So if I switch this to zero,

we're going to turn everything
that this node is doing off.

And if I go in-between, it's

going to adjust
the strength of everything we're doing.

So if we say 0.5, that's half strength.

And I can kind of dial this

in to where it looks natural.

So I don't know, maybe we're at 0.8

somewhere along those lines.

Question is, do we see that window here?

Does it look weird or does it look good?

So look better?

I think it definitely looks better.

Okay,

we'll switch that to shot three as well.

All right.

Switch back to all clips

and make sure that these match,

because that's the point of all of that.

Make sure that these two feel

like they're in the same world.

Yeah, I'd say so.

K What kind of problems

can we fix with my angle?

One thing I'd say is
that these yellows are really bright.

This whole kind of corner
is pretty bright.

So let's take this window here.

And again, we're really soft.

We'll just start out with taking down
our offset, see if that'll help.

Ooh, that does. That feels nice.

Feels nice, Feels natural.

That's desaturated a little bit.

Just until it looks too desaturated.

And then we'll bring it back.

Maybe something like that.

So here's before and here's after.

Okay, let's bring this out

just a little more.

Maybe we can even do a curve on this
yellow

take this hue versus saturation.

We'll grab that kind of yellow
and desaturated

desaturated, more of the yellows

like that,
just so it isn't so distracting.

It's so hot.

So here it is before.

Here it is after.

Now, I wonder if we can get away

with leaving the saturation pretty much

so that we still get that blue sky,

even maybe push up the blue sky
a little bit,

saturate that, attach

that's going to help.

So here's before and here's after.

We're taking down the yellows
and boosting the blue sky.

I think that looks really nice.

We might even take the contrast down
just a touch,

just so it isn't distracting.

So take the contrast down.

A touch like that, that definitely helps.

Look at that.

That's great.

Okay.

This is an example
of setting your shot to the skin

and then fixing things
that aren't the skin.

Other window.

So we don't need to add on necessarily,
but I feel like the darker

parts of these leaves and stuff
could maybe come up just a touch.

And so maybe we'll just

do something like this.

I wonder if we could
take the game down a little

and boost the

left attach, push the gamma a little bit

just to kind of get that contrast down,

just to adjust that contrast a little bit.

Here's before and here's after.

Yeah, I feel like it softens it
a little bit, which I do like that.

I like that it softens that.

It doesn't feel like it's black and white.

The other thing I might do, I'll hit alt P

that'll make another parallel node.

I wonder how far we can go taking down
this tree.

It's worth a shot.

We do have some time,

so just make a big window here

and let's just see where we're at.

Take the offset down on this tree.

We do have information there

so we might be able to just
take the gain down a little.

Yeah, something like that.

And maybe boost up the mid tones

even with a really bad mask.

It's nice to get this almost.

So it blends anyway,
even if you have a terrible mask.

And then

we move this back and forth,
it it's not that important

if we get the mask perfect, but

we can do something like this

and fix that tree
trunk a little bit there.

Now, that's not so distracting.

It's not just a light

that helps a lot.

In fact, we might even look into taking
some of the brighter parts

down on this window to since we're here,

that's affecting just the left side

of the frame with our gradient.

Wonder
what would happen if we took our HDR,

looked at the specular, which is just
going to be the little bright parts

and we took the exposure
down a touch on that.

So worth a shot.

I'm not
a fan of what the specular is doing,

so we're just going to leave it like that
and that's about as good as we'll get.

And that shot looks a lot nicer.

So here's before our secondaries
and here are the secondaries

making a little bit of difference.

And that's really neat.

So again, let's copy
this to everything in the group.

So an up group, Casey

will select all of these and little bit
in mass click on shot too

and we'll just page through
make sure that everything's working okay.

This close up is probably broken.

We can move our windows
around a little bit

just to make sure we're

hitting the right places there.

Window to

bring it over like that.

And this other window
we probably don't even need.

I could probably get rid of that.

And that works very nicely.

Check with our smoke, make sure that's not
revealing our window or anything.

Sometimes what can happen

is if you have something that's different
that goes through one of the shots.

So like we were grading this
without the smoke, but there is some smoke

that goes over here and sometimes
the smoke can like reveal your window

and you can see kind of the outline and

doesn't seem like it's a big deal.

So that's good.

So we'll switch to all clips.

And the other thing we might look into

here is making this part look better

and maybe the middle

saturation on these trees,
maybe adjusting those a little bit.

But let's take a break and come back.