All language subtitles for Procolor_C13_L4c_3Rdpass

So we've been through the movie
a couple of times.

Now it's time
to get a little more detailed

and we're going to start with shots
with secondaries.

So anything that is a problem
with matching anything,

there is a problem with just the shot
looking stupid.

You go ahead and fix that.

So let's start with shot eight.

I think what we want to do
is make this grass a little less green

and do kind of more of a golden thing.

So we're going to turn on our window
node here

and I'll pick a

gradient and let's just put this gradient
and like this.

I think maybe we'll just do a huge shift
on some of the greens

with our hue versus hue

click and drag over this kind of grass

and we're
kind of selecting these oranges here

and let's just push those a little bit up

just to take that away
from that green direction.

So here it is before and here it is after,

and I think that helps a little bit.

I'm also going
to put a window up here in the sky

just so that we aren't blowing this out
so much, this kind of bring this back

again, another gradient

and we'll just take the offset down
a touch here

and maybe take the gain down.

Just go way beyond this.

We'll just kind of bring that down
like that.

Let's reset this and then

bring the game down a touch here

that I think that'll work a little better.

Looks nice.

Any problems with this shot?

This foreground is a little

bit dark, and so I wonder
if we can bring some of it back

with the window.

We'll do a gradient again.

Let's just see
if we can bring some of this back.

We can bring a little back. Yes.

So let's do that

again.

We're kind of way
beyond what we need to do,

but then we're going
to take that back down

just so we have a little bit of detail.

Maybe we'll even

just sit with the curves
a little, just kind of boost

that stuff up a little.

Want to keep it nice and soft and subtle,

see how that feels?

Yeah, I think that's a little better.

Yeah.

Something if you turn it off
and on, you're going to notice it,

but you shouldn't notice it when it's on.

Yeah, it looks a little better.

Maybe we went a little bit crazy

ago to our key output gain and

kind of split that difference.

So I don't know,
maybe something like this point eight

years before. Here's after.

Okay.

Shot is really grainy too.

I wonder if we're breaking the shot
somehow.

If there's something that's messing
this up, it's might be because of the lot.

That's the unfortunate thing
about using a lot.

Sometimes it will kind of break things.

Yeah, it's already kind of grainy.

So this we could do some noise
reduction on if we have the

studio version of resolve
and I know a lot of us don't.

But again,
this is a reason to get something like

the studio version of Resolve.

I can make a note here and we'll call this

an R for noise reduction

and I can go down here

to this motion effects tab.

I can turn on our temporal noise
reduction.

We'll do this like two frames

switch to better

switch to small and start

pushing up the luma.

And now here's before

Zoom.

And so we can see here, here's before,
here's after really cleans it out.

It does a really good job.

Here's without the noise reduction
and here's with it

so you can clean it up quite a bit.

If you have the paid version of resolve.

But we're going to take that off
because I know not everybody has that.

So in this case
you would probably just live with it.

We can also maybe darken this down
if it's bothersome,

but we are going to add some grain
probably over this.

So I'm not going to be too worried
about it.

Let's switch over to Shot ten

and we'll

be looking at fixing problems
with this shot.

Again, I think overall

we have this window

darkening the foreground a little bit,

might take this up even a little more.

I think I'll even use this window

to take down some of the gain
because I just want the brighter parts

to be a little darker here.

That looks good.

And now let's do something
that's really going

to help with this light
in our window, too.

Let's reset this label
and we'll call this flashlight

and we'll turn it on.

What we want to do is select
the brightest parts of this image,

which is going to be this flashlight beam,

and we're going to make it
a little warmer.

So one way to do
that is with the qualifier here.

This third little icon lets D deselect hue

and saturation
and lets select things just by luminance.

So I'm going to grab
just the highest parts of the shot.

I'll switch over to our highlight mode

and I'm just going to bring

this in until we just see the flashlight
pretty much

and then I'll soften this up.

And now we're just seeing

kind of what the flashlight is

lighting

mostly.

And now these parts of our image,

we're going to make more yellow.

So let's take that

and back in our primaries.

We can probably just

temperature toward yellow a little bit.

Let's see how that looks.

So now we have kind of the cooler
undertones and

the light looks yellow.

Let's check this full screen,
make sure it's not doing anything weird.

And now anything that's lit up by
the flashlight is a little bit more yellow

and everything else
is kind of this bluish.

And that takes a little bit of tweaking

to make sure
that we are doing this quite right,

make sure that we're

adjusting that right.

And it's a balance
between getting the flashlight

to be yellow enough
and making the foreground

to yellow.

But I think something like

that would be just fine.

We could also make another window up

and we could do a little bit

of kind of manual relighting here.

Or we start with our window right here,

and this time
I'm going to go to the tracker palette

fifth icon over and a really great way,
an easy way to animate

a window is just go to the tracker
palette and click on frame.

And what that will do is put a keyframe
any time I move the window.

And then as we move through the shot here,

we can move this window around

and do

some pretty basic key framing here.

Now, we're not going to be doing

really detailed stuff here, so

it can be pretty approximate. It

and from there

we can push a little bit of warmth
into the offset

and we have our nice yellow light

without a whole lot of problems

in the foreground.

We can even do something really tricky

and we can take the mask of

this window

and we can limit our flashlight stuff
to be

just within that mask.

Now it only happens right

where the flashlight happens,

which is, of course,
going to look a little bit faggy

at the moment.

So we'll go back to our window here,

go back to our tracker and get off of
frame mode, get back on clip mode,

and we can make this a little bigger

and softer.

That should help a little bit.

It's like it's

feeling a little fake,
so maybe we'll just abandon that idea

and this is going to look pretty good.

So we have one more problem.

We have this kind of yellowish part
here on the foreground.

And if we add this as a parallel node,

it's not going to give us enough control
really to take this down

because it's going to be mixing
with all the other parallel nodes.

So I'm going to add a serial node here

and I should be able to

select this

that soften it

quite a bit.

And now we should be able to

take down the

brightness and the saturation.

Maybe we'll even

cool it down a little bit

just so it's not so in your face

or something like that.

Kind of fade this out over here

and let's

just track this back and forth
with our tracker window.

We go

and now we've taken down that side.

That was just really obnoxious.

I think we might want

to do something similar

for this other part right here.

Very similar thing.

We'll just grab a circle window here.

We'll just put this over like this

same thing.

Take the offset down

just a touch, take down the saturation,
maybe cool it off a little.

Yeah, Somewhere in there

and we'll track it back and forth.

Okay.

Let's make sure we're not ruining it

here.

Looks pretty good to me.

So now we darken that foreground a lot.

It looks more

like nighttime,
so our notes are getting a little messy.

Let's right
click and say clean up node graph

again.

They're just as bad.

So let's grab these over here.

Let's walk through these.

So this is just the shot

with the color management
and the light on.

And then we take the exposure down

to the saturation down
with the temperature a little bit cooler.

We don't really do anything
in the contrast node.

Then we take the foreground down
with the window,

add a little bit of yellow
to our flashlight,

and then add a little bit of warmth
to the beam.

And then we

fix this bright part in the foreground

and fix this other bright part
in the foreground.

And that's how we have
our little nighttime shot.

So other shots, let's take a

look at fixing any problems with

our windows.

Just going to play through this
and hit stop when

I feel like there's something
we need to fix.

Okay, right here.

We definitely need some help
with the windows.

So let's turn on our first window here.

One thing is we got to we've got to worry

about this foreground a little bit
because it's just it's just too bright.

It's tiptop, I would say.

Works pretty well.

But let's grab the bottom here

and let's

just try and take this down a little bit,

maybe boost
our midtown's and take down our

take down our gain a little bit

just to kind of get rid of this contrast
a little bit because there's just

a little bit contrasty.

So here's before and here's after.

Definitely getting there.

It's maybe cool down the temperature
a little bit.

It's a little cooler

and looking a little better.

I think our exposure is
just a little dark.

Take that up.

There's also this problem of
we have a light up here

and it's obviously
pretty obvious right now.

So let's take that down a little bit.

Let's just draw a little shape

to help with that.

Maybe

see if that'll help.

Start with taking our gain down a little

boost in our gamma

and just kind of getting rid of that

contrast
and will soften this window a lot.

I want this to be soft enough

to where you wouldn't notice it

or something like that.

So here it is on, Here it is off.

Darken this just a little more

so it's not glowing over there.

And we had a little bit of brightness

here from the fog, which we can take down

this little window here.

We'll just take that down a touch
so it's not so wild.

Yeah, that helps a lot.

Then maybe we'll do a

another serial node

just to kind of work on the exposure

of everything here.

Make sure we have our contrast working,

maybe
give a little bit of a little bit cooler.

Let's see if those still match.

He's pretty dark up here,

so I want to kind of bring this back over,

maybe just move this up a little.

Some of that we might just
might not be able to help too much.

One thing we

could do is maybe take down this tree,
though.

So let's

make a new serial node.

We'll call this tree

and I'll use a power curve
and we'll just draw this little tree.

This is a lot like what we did
with smoke cheesecake, taking down trees.

Okay.

Just the softness there.

Let's see
if we can just take down our gain a little

take down the gain on that tree

over a little bit cooler just so it
kind of blends in a little more.

So here's where we were.

And here is without the tree

so she doesn't move around too much.

It's probably not going to be a big issue,

but we'll kind of fade this out

a little easier here.

You can make something nice and soft.

That's always better.

Okay, let's
see if that's going to ruin or anything.

Now it seems like it's fine.

So now we've taken down that tree, so it's
not like obviously right by the light,

a little bit easier

for everybody

and we'll call that good for now.

Keep playing this back

and see if there's any major problems.

This pulsating from the light

we shot with the wrong
setting on the flashlight.

And that's just how it is.

There isn't a way to fix it
that I know about.

That's even reasonable.

So we're just going to have to deal
with it.

It's too bad.

Too bad.

Make sure to

double check stuff like that.

All right.

Okay.

So this one still a problem, 35.

Let's see if we can

use the same grade from 19.

Doesn't look like it's so bad.

Let's grab 19

and get rid of the bottom

of window one.

Window two is helping still.

Window three doesn't need to be there.

And the tree is helping too.

So let's adjust the tree a little bit.

Just fade this out along

the tree here.

That's going to work fine.

Yes, we can probably simplify this window
a little bit.

Let's select this power curve here,

reset selected window,

and we'll just do more of a

nice shape here.

Fade this out.

A little more.

That's going to help a lot.

Okay, Let's say
that looks a little more reasonable.

Let's add another window

down here
to cool the ground off a little bit.

Let's do something like this.

Just just add a little bit of coolness
here.

So here's before and here's after.

Maybe we'll take that up even further.

Yeah, that helps a lot.

Okay.

Shot 36.

I think we can take the saturation
down a little bit here

and we'll give it.

I think let's just play with the contrast
a little bit here.

Boost up the contrast, a touch

with our custom curves here.

And let's add a window to the left

so that we can add
a little bit of darkness here

behind the backpack,

something like that.

Desaturated a bit.

Now that looks a little bit
more like it actually happened at night.

Okay.

Other things to fix with Windows.

Not feel like there's

any major problems with 42

on shot 45.

We have this kind of greenish tinge here.

So let's go ahead and fix that.

I'm going to rename this node

D green

and turn the sun.

Let's grab this kind of greenish

yellow color
with our hue versus sat curves.

And let's maybe just take down the

saturation of things that are

kind of orange ish, green
that down a little bit.

So here we are
before and here we are after just taking

that greenish down, that helps a lot.

Okay,

You might take the color boost up

just a little bit on the shot.

Copy that to 51 to 53.

Let's keep looking for any problems here

that we can fix with the secondary.

Let's say this shot right here

looks a little bit dark.

So I. Want to.

First boost the exposure a little bit

and our exposure node,

and that's going to make things
a little bit hotter right here.

So let's make a window.

I think we'll just do a soft

circle window right here

just to take down
this kind of background a little bit.

Let's see if this helps

stick.

Take the gain down a little.

Okay.

There's before and there's after.

Really kind of
just taking that down a little bit.

It looks weird when you turn it off
and on,

but in reality,
you're never going to notice it.

And maybe as the door opens,

you really want this to be

mostly right there.

Just taking

some of that down
to boost up the mid tones.

Just a touch.

Just so we don't have this,

just so we don't have an awful
ring over everything.

You can probably notice it
if you're looking for it, but

most of the time

it's going to just help that a little bit.

And I think we're also
going to add a window here

to his face just

because it's a little bit dark,

a little light right here.

And again, we'll

just boost the midtown's a little.

There we go.

Maybe the color boost, touch.

All right.

So we're taking down this part
with the first window

and we're bringing up his face
a little bit with the second window.

Again,
both of these are really, really soft,

really subtle.

You do see the window here,
but no one's ever going to notice it.

We play this back.

Yeah.

Nobody cares.

Great.

Let's do this on

shot 90 as well.

Make sure this still matches.

It looks good to me

and I think we're pretty good.

So that does it for this pass.

Taking care of any
problems with secondaries.