All language subtitles for Procolor_C12_L6A_Fourthpass

In this lesson, we're going to see
if there's any way that we can enhance

the shots with secondaries.

So we've really kind of films
like this kind of sky being blown out

and the yellows being too bright picks
some of the brightness on this flower bed.

Now it's good
just to look through and say,

okay,
is there anything that we can really make

better that isn't going to take
just a ton of time?

Is there any way that we can enhance
texture or lead the eye a little bit,

any way that we can make this
just a little bit better?

So I think here for

this shot 11,
we can do a little bit of work.

Let's grab window one.

And one thing I want to do is this pie.

This is supposed to be
just really nasty looking.

And so I think we could probably put
a little shape over this pie

and maybe just push a little green
into it.

Maybe in the gamma, we'll just push
just a little bit of green just because

cheesecake shouldn't be green,

put a little bit of green into the

the gamma there

and it just makes it

look that much worse. Oh,

we might even play with the curves
just a little

and kind of push that down a little bit

just to get a little more texture.

So here's before and here's after.

So it really makes it look worse here that

it's like the opposite
of what you normally do

to food.

Way to make food look better
is generally to warm it up and sometimes

to decrease the contrast depending on
if you want that texture or not.

But this is definitely looking
pretty gross.

So when we flop it down over here,
it's different enough

to where you aren't going to notice
that. Yeah, I think it's fine.

The other thing we might do is this plate,

like some of the details
of this plate are lost

and so we might try and take in window
to let's

switch this to a circle window

we might use our custom curves
and let's just see if we can make

this kind of curvature of this plate
stick out a little better

because it's
just kind of getting blown out.

So this is like a brighter part
and this is a darker part.

We might just be able to add

a little bit of contrast there.

And here's before and here's after.

So we're just just adding
a little bit of shape to this plate

and to make sure it's not do anything
weird to the hand.

It seems like it's fine.

Let's make sure it's not doing anything
weird when we flap the

stuff down there.

I don't think it's hurting it

seems fine.

In fact, it probably helps

helps this nasty cheesecake
read a little better.

So here's.

Yeah, definitely helps.

This is much better.

So that's a great way to do it.

Okay, cool.

So now we have this and we should probably

look at our other ones here.

This is just the

grill.

Have that opening up.

We should copy this grade from shot 11

under shot nine and

yeah,
we can probably leave the window there.

It does help with the tinfoil
a little bit.

Not going to hurt anything.

Make sure we don't see our windows here.

It does look like we do
see this a little bit.

Yeah, we can see that

with this opening.

Nobody's probably ever going to notice it.

It's literally not going to matter.

But if we did want to work on that,
what we can do is we can keyframe

just the the key output here.

And so what we'll do

is let's move to where
this should be fully on right here.

It should be definitely fully on.

And the lighting's changing enough.

We can probably fade this
in. It would be just fine.

So let's let's have it fully on at frame

one on one 622.

And here behind our scopes
we have our keyframes.

This is

corrector four

So let's go to corrector four and click
on our little automatic key framing

and we're just going to take this gain
and just wiggle it.

I want that to be at one

that's going to add a keyframe there.

And now let's move back

a few frames right about there.

And we're going to turn this key
output gain all the way off.

So now what this will do
if we step through our frames here

is it's going
to turn on this Alpha Channel

over a couple of frames.

It's going to fade this in.

Let's make sure that it doesn't ruin
anything,

doesn't look weird while we faded in.

Seems like it's just fine

and now we don't have that shape over our

lid again.

Nobody probably ever noticed that.

It would probably be
just fine to leave it in,

but now it's real safe.

Yeah. So us

just doing do diligence.

Now let's take a look at the product shot.

Product shots generally can benefit

from a lot of these
kind of detailed tweaks.

You always want your product
to look awesome

and there are a couple of problems
I would say at the very beginning here.

One is I feel like the front of

this is a little bit dark
and it's maybe just a little desaturated.

And so I think I want to pop these greens
and brighten

this a little bit
so that that can be one thing.

So let's use window one to do that.

And again, just soft circle window.

What is put this right over our subject

and what does use are good
old custom curves.

Now boost that a little bit
and that's probably going to be just fine.

Let's see what happens
if we add a little subtle contrast.

So here's before and here's after.

Just puts a little bit of light on here.

We might be getting a little bit

a little bit hot on this

green.

Let's switch over to vector scope

and I'll make sure

to check display qualifier focus.

Look at this green.

So this green is pretty pretty crazy.

It's not illegal, it's not terrible,
but it does look probably brighter

than we want it to be.

So I think what we'll do is go to our hue
versus saturation

curves and grab that green
right there and we'll maybe just

move this out a little bit

and we'll just take that saturation down
a touch somewhere in there.

So here's before and here's after.

So we're just

taking down that electric green.

Okay,

That seems like it works fine.

That's one part.

And let's go ahead and rename these.

So we'll call that can.

The next thing that I feel like
could be better is the definition

of this ice and this kind of white part
of this cooler.

It's all kind of getting lost.

It's probably
just a little bit too bright.

And this is the right call
just for the record color Grading it

this way,
I think is the right way to do it,

because we always want our subject
to look good.

And so we're really kind of aiming
for our subject to look good.

And even though we did
add a little bit of light,

for the most part, it's mostly there.

The stuff surrounding our subject,
everything is always cleaner.

If you darken things.

If I made everything dark

and then I went through
and kind of brighten stuff here and there,

there's a higher risk of introducing noise
to various parts of the image.

Whereas if we make everything generally
bright enough, especially our subject,

we can take these kind of brighter

milk or parts down
and it will actually look really nice.

So let's do that and window to

let's take our

gradient here and I'll just kind of start
with something like this.

You might want to just make a shape, but

yeah, let's make a shape.

So I mean, make a custom shape

just so we don't get much of the can

and let's soften this out,

make this a little smaller,
maybe move it down a little,

and we're just going to soften
a lot of this,

make sure that it kind of fades out
as we go off into the distance.

There,

make sure everything's nice and smooth.

Okay.

So now whatever we do to
this is just going to happen to the ice

right there.

This could maybe even be a little bit

and we could even
come up just a little more

for something like a product shot.

It's worth taking the time to

to make sure
that your selections are good.

Okay, So now that we have our selection
here of kind of everything that's white,

I think the first thing I want to do
is just take

this just take down the exposure
a little bit with our offset.

So let's just push that down and man,
that looks a lot better.

Look at look at that clarity

that we can get just by taking
that exposure down a little bit.

Looks like
our window is a little messed up here.

Let's make sure
that we have a nice transition.

Okay, so here's off and here's on.

I really get a lot of definition there.

I'd say
this is maybe just a little too far.

So let's bring our offset back up
a little.

Really help in that a little bit.

This can maybe be

a little bit stronger than the ice
right here.

So we'll make sure that we have

we have that affecting the ice.

It might also mess with our custom curves

just to give a little bit more clarity

there and maybe desaturated
this attached to.

So here's before and here's after.

The only thing I don't like
is that this it's really kind of darkening

the corn too much.

Let's see if that's because of

that's mostly because of the curves.

But I do like what it is
kind of doing for the rest of it.

So maybe we'll just back this off of

off of the corn a little bit.

Make that a little bit slighter.

The other thing I might do is push
just a little bit of cool into this.

So maybe we'll take our offset
and just just push this ever so slightly.

Cool.

Push this maybe

a little bit further than we would want to

and then we'll bring it back.

So now we're taking down the exposure,

we're adjusting

some of the contrast
and we're cooling it down a little bit.

And now this looks a lot better.

You can see the definition of the ice
and the cooler and everything

looks really good.

Maybe I'll even bring this up over
this can a little more too.

I feel like that looks kind of nice.

So now we have a little light

and our adjustment of

the ice and the cooler.

The only other thing is that this

there's a lot of kind of a reddish
in this shot and it's really green

in this shot.

So I wonder if there's a way
we can bridge that a little bit,

maybe with our saturation temperature,

maybe we'll just tint this pink a little.

It's probably too far,

but it feels like
we're in better territory there.

I think that's nice.

Yeah.

Now, just kind of looking
through this again, I did notice

we have this really bright tree
right here and Sam's shot,

which we can probably take down
very similar way.

We took down this tree in my shot.

In fact, maybe we'll just grab this node
control, see,

we'll switch to one of Sam shots here.

I'll make another parallel
node by hitting all P

and control V to paste that.

Let's grab this.

Just put it over the tree here.

See if that c that helps.

So here's before and here's after.

It definitely helps a little bit
to maybe even go a little bit further.

Take our exposure down, touch,

take our game down a little bit,

just a little

push the saturation, attach.

So here's before and here's after.

That's a big difference. Big difference.

Just put that right on the tree.

Soften it a little,

and now it's definitely less distracting.

We also have the pole over here

that might help for the pole.

Let's just add a new parallel node,

soften that out a little bit.

And again, we'll take the gain down,

take the Yama down, attach maybe,

you know,

boost the Yama up a little bit, actually

saturation down a little,

and now it's just a lot less distracting.

Just takes that down a little bit
and that really helps.

Look at that.

All right.

So that's a little bit
of a fixing problems,

but we kind of missed that earlier.

And let's copy

this over to our other shots in the group.

Select all of these

except for the close ups and middle
bit mouse on the second

clip looks like all of that works fine.

We don't have as big of a problem here

on these close ups,
so that's a good thing.

All right.

I think we're in a pretty good place here
for our movie.

Next, we'll take a look at the whole thing
and make sure we like everything.