Original subtitles

All right.

So let's talk about our color wheels or primaries.

And that's the third tool right here.

If we hover over it, we can see it says color wheels.

If we click on it, we can see

we have a bunch of different parameters that we can change about our image.

So primarily your color correction should be done with the primaries window

because it affects your image on a broad scale.

That's why it's called your primaries.

You want to do it first before you go into any kind of secondary

color correcting tools like your cell curves, for example.

So we can see that we have some wheels here.

We have left gamma gain in offset.

So these are just different names for shadows, mid tones and highlights.

So your lift adjusts the darkest parts of your image, your gamma affects

the midrange and your gain affects the brightest parts of your image.

Offset is like you're combining all of these into one.

It basically affects your overall image.

So the color wheel for each of these changes,

the hue and saturation of the area that you're focusing on.

So in this case, if we play with the wheel for the lift,

we can see how it's affecting the darker parts of our image.

Now it does look like it's affecting the entire image,

but it is primarily focusing on the darker parts of your image.

And if you look to the right, you can see our job parade moving around.

As we make this adjustment,

we can see exactly how it's affecting the different color changes in our image.

So I'm going to reset that. Let's play around with the gain.

So this is going be the brightest parts of our image.

So if we move this over to the blue, we can see that the brighter parts

of the image now are clearly just being selected

and we're leaving the mid tones in the dark parts alone.

So if we crank this up a lot,

we could see that we're primarily affecting the highlights of our image.

We can also see that there's some clipping going on in this clip.

Obviously, there's some brighter parts up here

and we can see that we're almost losing information over there.

So with this clip, we're gonna want to be careful

to make sure that our waveform is not surpassing that 1023 point up here.

So each one of these color wheels

changes the hue and saturation of the area that you're focusing on.

So I'm just going to reset the gain.

And if we play around at the offset, we can see that we are changing

the overall color of our entire image just like this.

So all at once

we're effecting the lift gamma and gain by moving the offset over here.

So the color wheel for each of these changes, the hue

and saturation of the area that you're focusing on, I'm going to reset this now

underneath each one of these color wheels, we have a master wheel

and this changes the luminance or brightness of that part of your image.

So if we have the lift selected and we move this master wheel up and down,

we can see how it is

changing the luminance or brightness of that part of the image.

So we can see the darks are getting much darker when we push this down.

And of course everything else is being affected, but

we are primarily focusing on the darker parts of our image.

Same thing goes with Gamma.

We just change the mid tones or gamma just by using that master wheel underneath.

And same thing with the highlights.

So you can use these wheels to balance out your image to make sure

that your highlights are maybe not too hot and your shadows are not too dark

and you can balance everything out by using these wheels down below.

So at any point,

if we want to reset one of these parameters,

we can just hit that little reset button in the top right?

Or if you want to reset one of the color wheels,

you can simply just double click into it

and you'll bring that little dot back to the center.

Now, in the top left, we have the ability to

change the temperature and the tint of our image.

So if we ever feel like our temperature is

maybe too warm or too cold, we can adjust it over here.

We can also change the tint as well.

And these are adjustments that I make to my individual clips all the time.

This is pretty standard for me, even when it comes to like photo editing.

I always play with the temperature

and tint of the image first to make sure everything looks natural a lot of the time

focusing on skin tones to make sure that they feel as natural as possible.

And then I'll make adjustments on top of that.

So if we ever want to reset these parameters,

we can just double click on the word next to them.

So in this case, I do feel like it's a little bit too blue,

so we can bump this and make it a little bit warmer.

That feels pretty good to me. Now.

Changing the temperature

and tint values is a way for us to change the white balance.

But we can also change the white balance by pressing this little button.

Over here.

There's the eyedropper,

and we can select a part of the image that we know is supposed to be white.

So in this case, we can give this a try.

I'm not sure how well it's going to work, but we can select this water over here.

And we've basically told DaVinci what we believe should be white.

And it can make that white balance adjustment based on that.

But in this case, I do like the warmer looks, so I'm going to undo that.

Now, let's talk about contrast.

So contrast is the difference between the brightest and darkest parts of our image.

So let's bump up our contrast, but let's observe the scopes over here

to the right to see what's happening.

So if we bump this up, we can see we're stretching everything out.

We're making the highlights go up higher.

So we're making the highlights even brighter

and we're making the shadows even darker.

We can visibly see that in our scopes.

Now, obviously this looks terrible and we have a lot of clipping here going on.

That's why it can be important

to keep your scopes handy

when you're making these kind of adjustments,

especially when you're working with a monitor

that might not be color calibrated because, you know, our eyes

and our monitors can be deceiving, but the scopes are never going to lie to us.

So just for me, just looking at this image here,

I might think, hey, there's actually not much clipping,

but if we take a look at the scopes,

we can see that there is a lot of clipping here

and the highlights are way too high in some of the areas.

And I'm going to double click on contrast to reset that

and I'll just bring it up a little bit.

Now the pivot is basically changing the pivot point of our contrast.

So with our contrast bumped up a little bit.

Let's move the pivot point.

We can see that we're kind of moving everything down by bumping it up

and removing everything up by bringing it down.

So this is something

you might want to do every once in a while is to actually change the pivot point,

change that center point really of where your contrast is.

And a better way to view this is if we change to a gradient,

if we take a look at a gradient and see what's going on over here,

if I bump up the contrast, we can see what's happening with this line over here.

We could see that our highlights are starting to clip.

Our highlights are getting brighter, our shadows are getting darker.

By bumping up that contrast.

But if we move that pivot point left and right, we can see that

that center area is moving left and right in our scopes.

So that's really all that we're doing by moving the pivot point.

So I'm going to go back to my main edit now.

Next to Pivot, we have mid tone details which sharpens and softens things.

So if we bump this up, we can see we're adding some sharpening to our image

and if we crank it down, we can see that we're removing that sharpening.

So pretty basic, but sharpening is something we're going to want to do.

I do it all the time, especially on like my GoPro footage

because I shoot super flat.

Al Sharpton it up a little bit, just a tiny bit.

And I never shoot with the sharpening

on in camera because it's something you can always do in post.

So we'll double click to reset that.

Now we also have this auto color feature in the top left.

If we click on it,

we're basically allowing DaVinci to analyze our image and make the

adjustments that it thinks it's necessary to make our image look good.

It's not something that I really use, but it has proven to work really well

in a lot of situations, so feel free to give it a try.

It could be a good way to get a starting foundation on your grade,

but personally it's not something that I've been using.

I'm just going to command Z to undo that.

Now, at the bottom we have color boost, which allows us to boost up

the colors of our image. Pretty much

if we take a look at our scopes, we can see what it's doing over there.

It's kind of increasing the range of each one of the color ranges

within the scopes here.

So reds are normally like this, a little bit more condense,

but by increasing the color boost, spreading out all the color values

over a larger surface area,

thus giving them more saturation so we can double click that to reset it.

Next, we have shadows.

This is controlling the shadows of our image.

Similar to lift and highlights, we can change the highlights,

bump them up and down,

and next to that we have saturation, which is another way to bring in more

colors in.

Our image was spreading out those color values in the scopes.

I primarily just use my saturation to add more color into my image

versus color boost.

Next to saturation,

we have hue and we can change this value to change the hue of our image.

Just like that.

Not something that I used too often.

But if you're trying to go for a stylized look

and maybe you're trying to completely change the color

of one of the colors in your image, you can do this.

But there's also another way that we can change individual colors in this way

by using our curves, which is something we'll be learning about later on.

Double click to Reset now in the top right, we can see

we have three different buttons over here next to our color wheels.

We have color bars if we press on this were shown a bunch of different controls.

This area allows me to easily change the values of my image.

B just stands for red, green and blue.

And that's what all colors are made up of in the digital world is red,

green and blue.

They're just combinations of those three colors.

So we could change the red, green and blue values

for all of our lift gamma gain, an offset of our image.

So let's take a look at our scopes over here.

We can see that we have a lot of reds over here in our overall image.

So what we can do is bring that down

to try to even it out with the rest of our image.

It was a little bit high and we could see that

we've kind of evened it out with the rest of our image.

So if we look at our scopes,

we can see that our reds are clipping over here in the highlights.

So what we could do is go to our gain, which is our highlights, and we can bring

down the red values and we can see that we are bringing that down.

Now, it might not look too great in this situation like in this case.

I don't think that we can fix that too well.

So I might want to just leave that alone.

But this is how we can make individual adjustments

to the red, green and blue values of the lift gamma in gain.

And notice how the top bar over here and the bottom one

stay the same as we switch through these different views.

It's just this middle part that we're changing over here.

And the third button over here is our log wheels.

This is the same as normal primary wheels, except it's more controlled.

For example, if you're raising the highlights in your

primary wheels, then it'll also raise your midtown's in shadows quite a bit.

But in log fields, the highlights would be more isolated.

So you're able to affect the spectrum more precisely.

So let's go back to our gradient and just take a look at what's going on over here.

So in the log wheels, let's make some adjustments to our shadows over here.

So if we change the master wheel for the shadows over here,

let's take a look at what the scopes are doing.

We can see that it's like really isolated on the shadows

down here on the lower spectrum of the scopes.

Let's reset that and let's take a look at what happens in our regular wheels.

If we bump up the master wheel, we could see we're affecting a broader

range of our scopes.

It's not as controlled when we're using the log wheels.

We can see it's really just this area over here.

But now when we're using the normal wheels,

we can see that we're affecting a much broader spectrum.

So if we go back to our main edit and we see how this affects our main

clip here, I'm just going to reset it.

And in our normal wheels, let's bump up the lift.

So we're going to bump up the shadows.

We can see that it's affecting a lot of our image.

Same with the color wheel here.

Let's let's make it blue.

We can see that we're also affecting a lot of the mid tones and highlights to now.

We reset that and we go into our log wheels.

Let's bump this over to the blue area.

We could see that this is a bit more precise.

We're affecting more of just the shadows versus the other areas.

It's leaking into the other ranges less.

So I'm going to hit Command Z.

Same goes for the master wheel down here.

If we want to just bump up those shadows, the darker parts of our image,

we could see in our preview how much more isolated that is.

So the log wheels are great for making a more isolated changes like this.

So that's an overview of our primaries palette over here.

This is something we're going to be using all the time for color correcting.

So I definitely recommend

you guys open up DaVinci, play around with all of these settings.

Feel free to push things and experiment to see exactly

how each of these parameters affects your image.

I hope you guys enjoyed this lesson. I'll see you in the next one.