All language subtitles for Procolor_C13_L4d_4Thpass

Now we're going to start the

fourth pass here,
and this is where it gets really fun.

It's a lot less technical in itself
at this point.

Our movie looks good enough to present,
and now we're just making each shot

a little better.

And you can get as crazy as you want on
this.

I'm just going to do a little bit of it

and you're free to just go crazy
on every single shot.

I'm going to hit just a few shots
that I think could really take some work

to show a few kind of various techniques
here on Shot eight.

I think what we'll do
is kind of like we did earlier.

I'll be

and we'll make a little

soft little area here.

Maybe I'll grab my custom curves
and just boost

that up a little bit, give a little more
contrast to the middle here.

Also, take kind of the

greens down a little bit
just with the color worker.

That's pretty easy.

So here's before and here's after.

Just kind of brightening up this part.

We could also probably darken
the foreground a little bit,

but yeah, let's move on.

Shot 13.

Definitely want to dark in the foreground
here.

This is one of my favorite tricks
to add a little bit of depth to a scene.

Just take a gradient
and put that on the bottom here,

like this,
extending out into the distance.

And then usually
I just take the gamma down a little bit

and I'll also desaturated just a touch

that just kind of enhances

the depth there isn't too distracting.

It's a nice way to do it.

Might do something here for shot 14

and just add kind of a subtle vignette

just to darken the

two characters down here.

Make sure

to invert this window
by clicking this little button right here,

and maybe we'll just take the offset
down, attach

something like that desaturated

a little bit.

Nice and soft and subtle is what we want.

So that just takes that down.

Here's before and here's after.

Just darkening the edges a little bit.

I think the darkness

and the top of this shot
is still a little much.

We can bring that back up with a gradient

here.

Just take this off, set up a little bit.

That's

way too much. But

let's do that and maybe we'll just fade
it in with our key output.

See? See,

the problem
is it's revealing our light here,

so we might not want to do that
right there.

Why don't we do a really tricky thing

where let's bring this

up enough
to where we can see the shadows here

a little bit.

Just looking on the edges.

I'm also going to make the temperature
a little cooler.

Just so we get a little bit of blue there.

And then what we're going to do
is add another window

to kind of ignore this middle part.

So I'll add a circle window
to the same node.

And over here, this little window blinds.

I'll click on that.

And what that will do is turn this mask
into an area that we're ignoring.

We're basically cutting out a little place
here.

So we'll put this over
the brighter part right here.

So we just don't make
everything way too bright.

So if we look at our key,

we're affecting the top part of the shot,
but we're ignoring this part

where our light is.

So just bringing that up a little bit.

I think that works really well.

In fact, we could probably even take this
light down a little

as we go in front of it. Now,

let's do a soft window on this light.

Maybe we'll just take the game down
a touch

just to balance this out.

So now it's not so obvious

that there is a light right there
that works really well.

I like that.

We're going to do a similar thing
to shot 27, a little bit mass

click on 25

is getting

pretty oversaturated here at the top.

So maybe we'll add
another parallel note here.

Maybe we'll
just take down those pinks a little bit.

As we take them down, you actually get
a little bit more definition.

So I like that.

It's probably going to be a problem
with this one too.

Yeah, so that's a little bit mouse
click on 27 and that just makes everything

a little bit more defined.

We still want to see
kind of those highlights.

I just want it to be blown out Pink.

This whole shot looks really desaturated.

Still.

This might be something

where we push up the color, boost
a little bit.

Look at how that changes things.

That color boost really
does some crazy stuff under this light.

We boosted just a touch.

I think we might have messed up the shot.

And that happens sometimes.

Sometimes you'll get halfway down the road
and you'll just find a shot.

Just doesn't work.

So why don't we do this

in middle button mouse, click
some other shots here.

See if there's something that'll work.

For whatever reason, the screen just

is not transferring over.

I'll bring the temperature back
a little warmer

just to give

a little more definition to stuff.

So make this a little more saturated.

I think that already looks
better than it did.

I think what we might do

is brighten up this kind of left side

and maybe

you bring that up

and then bring the temperature
a little cooler.

Now we have just a little bit more

character.

I think that works
a little better than it did

for the Shot.

We can probably do
a subtle kind of vignette again,

big soft circle window,

and let's invert our mask here.

Probably just take the offset down, attach

and maybe just the gain

and the shot is moving,
but it's just moving a little bit

and we have a really soft window,
so I doubt you'd ever notice

difference here.

This is also in context.

It's from when she shines
this light on him

and we do have a practical light on him
here,

but we might be able to make that
a little better

with a little window here like this.

And we could boost up the gain a touch,
and we could also push it

towards kind of yellow

like this.

Now, here's before and here's after.

Now we have kind of a little bit
more of a flashlight kind of feeling here.

We might even want to, since

this is going to be a flashlight,
make this a little bit harsher.

So now we have this

take the saturation down a touch.

Now we have this kind of flashlight beam
looking thing that's

maybe just a little too harsh.

So let's take that down a little,

maybe add a little bit of midtown's

so he can be pretty bright.

Push a little yellow in the mid tones.

Yeah.

And would be really cool.

I wonder if we can kind of move this
a little bit.

Let's try it.

Go to our tracker
palette and click on frame.

That's the easiest way
to just animate a window

and we'll kind of just move this around

a little bit,

see if that helps.

This might be too much.

Might be too crazy.

We'll see.

Now we have this little moving
light on him.

Actually, that works pretty well.

The only thing is it when it animates,
it kind of moves back and forth.

Really

kind of stops and starts
really immediately.

Like,

the motion isn't soft.

It just is kind of jerky.

There isn't really a way to smooth out
that motion just in the color page.

That's something
we probably want to do in fusion,

but one thing that we can do
is just soften out our window.

I go back to clip
so that this affects the entire clip here.

Switch this out and kind of soften it

a little bit
and it'll be a lot less noticeable.

Now we have this kind of flashlight feel
that's really enhanced with this node a

lot better

for this data night shot.

We can probably do a little bit of work
here.

One thing I definitely want to do
is darken

these kind of edges
so we can do this with a circle

that we just kind of put on, like that

so that it's mostly affecting the edges
here.

And again, will invert this,

take the offset down a touch.

Why just a little bit of light

I think, to the middle

just to kind of bring

this house up a little bit,

especially kind of where they're at.

Take this and just push the offset up, but

just a little bit

before
and here's after just getting a little bit

more of those details

up to make a new

node.

And let's work on the sky a little bit.

I'll just draw a custom shape here

and will soften it

a lot.

Just kind of
have this fade out as the trees

come in

and now we can adjust the sky,

which I think I want to take
the temperature down a little on the sky

just to make it a little more blue.

Maybe take

offset down a touch

and bring the saturation down
a little bit, too.

So it's a subtle kind of a blue

here's before and here's after.

To bring that down a little bit.

Might even take the game down
just to darken

that sky a little bit
so it's not so electric.

You can take the saturation down
a little bit.

We're kind of getting dark here
in the roof,

so we're going to have to just this
a little bit,

move this up a little just so it doesn't
darken the house so much.

I want

this to be a nice gradual fade.

So here's before with the really bright

sky and here's after
just darkening it down a little bit.

This is a shot you could work on a lot

and get really picky
about every single thing.

So have some fun with this

shot. 57.

This book should really be glowing pink.

And so let's try this the easy way.

Let's
just try and make a big soft circle window

and I'll control t to track it

and it loses the track here.

So we're just going to

kind of keep moving over

and keep hitting control. T

And I'm really just selecting

whatever part I can track

until it's gone.

Yeah, something like that.

Now we can make this a big soft window
and let's just push the gain pink,

push the gain into that kind of pink zone.

I think that should be enough.

And I could do a whole bunch

of rotoscoping and everything,
but this is going to work just fine.

So right about

Here's
where things get a little bit messed up.

So in our tracker here,
I'm going to go to frame mode

and go to our different places
where we've tracked this,

move this over by clicking
through these little keyframes like this.

These are where we started each track, and
it's also where it's setting a keyframe.

So we're just going to make sure
that each of those

makes sense.

The other one is going to be off
like this.

So it's just going to.

Okay.

So it's a little bit messed up right here.

So still in frame mode

and move this over

like that.

Just going through the frames,

making sure that this

shape is roughly
at the same place on the book

throughout the shot.

And again, since we're keeping the soft,

we don't have to do too much
and it'll be pretty good.

Colorists pretty much try

not to rotoscope things
as much as possible.

So if we can get away with a really soft

window like that, might as well this one.

We can enhance with

kind of a little pink window

probably on his face.

Again, we'll just move our game

a little more pink

so we have that lighting going on

a little bit.

Mouse click here.
So now you can see kind of that pink.

And then I
think the only thing I want to do for this

last scene is kind of take away

some of these green tones
because I still don't like those.

So let's make another D green.

And why don't we just try this
with the color

worker,
Just take these greens away a little bit.

So here's before, here's after man,
that makes a difference.

I love the color warmer.

So to copy this over,
we're going to have to take this degree

note and hit control C and let's
just paste that on every window here

so we can just hit up down
and it's going to select that window.

As I hit up on the keyboard,
I can hit Control V

and it will paste that correction
into that selected note,

which we have this
selecting the same note by default.

By the way, if this

doesn't work,
if it's selecting a different note,

you can go up to doing to resolve
your preferences

under a user under color.

And here switching clips, select
same note.

You can also have this select last,
first or last adjusted node.

I like to keep it on same note

for this exact reason.

So now we have this green tone
just being taken away from all our clips,

which makes everything look a lot better.

And actually pasted over our other window
here.

So we'll just fix that real quick.

And actually this time maybe we'll do

do something a little nicer

or trace a little shape here
and I just soften the inside here.

So now anything that we do
is just going to be applied

to that little part like this.

Just make this nice and soft,

push the outside softness a little bit

just so this is nice and soft.

And now we can just take the gain down

there,

maybe some of the saturation down

a little bit

just to kind of take that brightness down
a little bit.

Again,

the same thing here on Shot 90,

maybe we'll bring up the gamma

just to help with that a little bit

before here's after

just our window a little bit

will help
that be just a little less bright.

And there we go.

We've enhanced quite a few shots
with secondaries in our movie.