Download "Как красить ВИДЕО? Основы ЦВЕТОКОРРЕКЦИИ в Davinci Resolve 17 | Полный ГАЙД по вкладке COLOR"
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252FaDWbuDHcm4w%252Fmaxresdefault.jpg&w=1139&q=75)
Please wait. We're preparing links for easy ad-free video watching and downloading.
Similar videos from our catalog
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252FJJLvNX_IdZQ%252Fmaxresdefault.jpg&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252FOJIGeFU2jGo%252Fsd2.jpg%253Fsqp%253D-oaymwEoCIAFEOAD8quKqQMcGADwAQH4AbYIgAKAD4oCDAgAEAEYZSBlKGUwDw%253D%253D%2526rs%253DAOn4CLBWmpM7R-DxSWw-9AfKjLxAJW_J9w&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252FOTR6C1ohjKU%252Fmaxresdefault.jpg&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi_webp%252FQqBwIeqMyC4%252Fmaxresdefault.webp&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi_webp%252FZ0DDHCLD6OA%252Fmaxresdefault.webp&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252FZEZgCwdrqfI%252Fmaxresdefault.jpg&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi_webp%252FrG2GBKwq84o%252Fmaxresdefault.webp&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252Fryv9Fntg68A%252Fmaxresdefault.jpg&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi_webp%252FueaMDvngPUA%252Fmaxresdefault.webp&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi_webp%252FjWEPwWVGFKw%252Fmaxresdefault.webp&w=1139&q=75)
Video tags
Subtitles
Russian
00:00:02
next big guide on Da Vinci,00:00:04
drawn by00:00:05
dudes, I’m so glad that my00:00:07
previous guide on editing00:00:08
went viral, so to speak, and there are already00:00:10
almost 200,000 views, you continue to00:00:12
watch and review it and write00:00:14
to me in direct messages a bunch nice words by the way,00:00:16
check it out if you haven’t yet because00:00:18
it’s a great starting point to00:00:20
then move on to this guy and guys such00:00:23
cool feedback, it’s unrealistically encouraging to00:00:25
create such large00:00:27
fundamental tutorials and in today’s00:00:29
guide we will completely analyze this entire00:00:31
seemingly monstrous interface in the00:00:33
color tab each its a direct tab we will learn how00:00:35
to correct exposure white balance00:00:37
we will work with masks shackled fly us00:00:39
with curves we will wet what you are with each00:00:41
other we will also interpret00:00:43
the material that you shot your00:00:44
carnal logarithmic profiles and I will00:00:47
tell you the necessary minimum of theory00:00:49
because when telling a story it’s just a collection00:00:52
without it nowhere I am a small disclaimer00:00:54
in this guide, I will not rush from00:00:56
the word at all00:00:57
and will tell everything as if00:00:59
my theoretical viewer is00:01:01
working with color for the first time at the da Vinci resort,00:01:04
we will not strive for some kind of00:01:06
Hollywood look with a million corrections00:01:08
because that my task in this guide is to give00:01:10
you the necessary minimum of knowledge and skills00:01:13
so that you can then00:01:16
navigate your own sales and00:01:17
complete work tasks, they stupidly00:01:20
repeat it once with a tutorial and then00:01:22
forget about it, so be tolerant of00:01:24
my presentation and watch it anyway the00:01:26
whole guide because I’m sure that everyone00:01:28
can find something interesting and useful in it for themselves,00:01:30
well, let’s00:01:32
start learning and so first of all, let’s00:01:40
figure out how we can get to the00:01:42
color tab and there are two options, the first is00:01:44
if you have navigation enabled00:01:46
pages and you will have these00:01:48
tabs at the bottom, you will need to click00:01:49
on the carpet, it will hide the00:01:52
footage on which you had play heat00:01:54
and the second option, I disable this navigation bar00:01:57
because I need more00:01:59
space and there is a key combination shift + 600:02:04
press and get in the same00:02:06
tab with this, it’s clear now let’s move on to00:02:09
the interface itself, there’s a lot of00:02:11
different things here and you’re starting00:02:13
mother God where should I click on all sorts of00:02:15
window tabs and so on, but let’s go00:02:18
in order, I even minimized the excess and00:02:21
we’ll start from00:02:22
left to right and top to bottom the first00:02:25
tab g-lorry, here are00:02:28
saved versions of your beautiful pictures, the00:02:30
second tab is loud & lilas, whoever00:02:33
wants it, no matter what, as you00:02:36
can already understand, there are your lots with00:02:39
which you most likely have already worked,00:02:41
like download 10 movie ones, here of using00:02:44
always and everywhere and here you are they are usually here00:02:46
and you will see further, there is also a00:02:49
media pool that you have also in the00:02:52
edit tab, it is00:02:54
located here, why it is needed here is00:02:56
actually not very clear, but it is here,00:02:59
we closed it and they don’t remember about it00:03:01
anymore we have00:03:04
a timeline, if we click on it, then00:03:06
our timeline will open in00:03:08
full scale, that is, from beginning to00:03:11
end, and in fact we can00:03:13
navigate through specific tracks right here,00:03:16
we can also disable or00:03:18
enable specific tracks right here and if I00:03:20
turn it off, then00:03:22
the display disappears because I turned off00:03:25
this track, so we turn it back on and now00:03:28
it appears here too, well, let’s00:03:32
turn it back on, close it, go to clicks,00:03:35
here are all the elements that00:03:38
you have on the timeline, which00:03:40
can be colored accordingly00:03:41
these could be some ren trends and00:03:43
pieces of course the footage itself or00:03:45
some adjustment layers00:03:47
which, as we remember from the00:03:49
installation guides, are called adjust and00:03:51
clips00:03:52
here and compound clips will be displayed00:03:54
in general, everything everything that can be00:03:55
painted and used00:03:58
we will be using these thumbnails often, but00:04:01
let's close them for now, then there are00:04:03
nodes, but accordingly, this is our main00:04:05
field in which we will work.00:04:06
I don't see the point in closing it,00:04:10
because if I need to display the entire00:04:12
screen, then I can use huts00:04:14
in the pit, for example, if I I press counter + f, then00:04:18
I will see a00:04:20
full screen image,00:04:21
or I can press shift + f and I00:04:24
will have almost full screen,00:04:26
which I can also open the notes window and00:04:28
even do something here, and finally there is the00:04:32
alt + f key combination that is,00:04:35
we have everything on the f button with modifiers00:04:37
and we actually have00:04:39
this window collapsing not so it00:04:42
seems to me easier to remember the size of the hut not00:04:44
by the way you can change and do it00:04:46
using this slider00:04:47
in the upper right part or00:04:50
using a keyboard shortcut alt and the wheel00:04:53
I turn forward, it all increases, you00:04:58
can also move around the inflatable field00:05:00
using the middle mouse button, we’re actually00:05:02
like in the timeline, then we have the00:05:04
open fx tab,00:05:05
here are all the effects that you00:05:08
can use in the color tab,00:05:10
we’ll also come back to them today, but and00:05:13
here there’s this inconspicuous00:05:16
lightbox button, but in fact it’s very00:05:17
important, we click on it and see what00:05:19
happens, we click and we get00:05:22
all the pieces of these miniatures, the scale of00:05:25
which, by the way, we can adjust with00:05:26
this slider that we have on the00:05:29
timeline and it’s a mess it’s convenient00:05:31
because you do it like this and you have a00:05:33
big project and you can already see00:05:36
where one location is going,00:05:39
how long will it take us to return to it,00:05:41
changes are coming and all that, we00:05:43
can also visually see here directly00:05:45
how you are coming one after another00:05:47
each other gets along, that is, how much00:05:50
they are wet about this, we will also talk about the00:05:52
coolest thing is that there is00:05:53
sorting, that is, for example, I can00:05:56
choose, for example, clips that were at least00:05:58
somehow painted, I can remove them to fusion00:06:00
compositions, I can choose creeps that are00:06:01
not painted in in general, there are just a huge number of sortings here,00:06:04
different by color and so on,00:06:08
and let’s move on to the lower panels and here I00:06:10
won’t go into much detail00:06:12
on each tab00:06:14
because in fact they are not all stuffy for us00:06:16
for today’s guide and let’s start with the very00:06:18
first one, which is the camera ron here will be00:06:21
the settings of your ro footage sewn into it00:06:24
today we won’t talk about pro camera roll00:06:27
further goes to color match00:06:30
you need this function if on our00:06:31
site you used colorchecker00:06:33
this is a rectangular point at a point with00:06:36
ideal colors00:06:37
you are wearing in the frame and then,00:06:40
using this function, you substitute00:06:42
the colorchecker da Vinci under the colorchecker00:06:44
that was on the set in the00:06:45
frame,00:06:46
press the button, everything becomes00:06:47
great, perfect, naturally, we move on, the00:06:50
next panel is probably the most important thing -00:06:53
color wheels, color circles, and in00:06:56
fact, here we are not just talking about color well,00:06:58
about the exposure about brightness and with these00:07:00
tools today we will00:07:02
work with almost all of them very closely let’s00:07:04
move on to the next tab hdr it00:07:07
was not in da vinci painted in 16 it00:07:09
just appeared in a new version and00:07:11
we won’t talk about it today either but00:07:13
it is in short, it allows us to change the00:07:14
brightness and exposure of some narrow00:07:17
ranges, for example, only in the shadows00:07:19
or, for example, from the darkest areas00:07:21
further and 3g by mixer, which we00:07:23
will not consider today at all because00:07:24
you will not need it in the framework of this grief00:07:26
and it allows change the ratio of red00:07:29
green and blue in each of the channels,00:07:31
well, again, we wo00:07:34
n’t use it today, there is the last tab00:07:37
in the left toolbar, it is very00:07:40
important, it is a powerful effect, here is00:07:43
noise reduction and adding motion blur, go00:07:45
further, the second panel tool here are00:07:48
curves that you can be known00:07:50
from the premiere and with Photoshop from any00:07:52
program that at least somehow00:07:53
relates to the color correction of images, there00:07:56
are many curves here and00:07:57
I will tell you about each of them separately,00:07:59
another new function of the da Vinci 17 color00:08:01
barber and I honestly haven’t found much use for it00:08:04
and I use it in the old fashioned way there is a forge00:08:06
fire game and today, within the framework of00:08:09
this guide, we will also not talk about this color bar00:08:11
opera any further, we have00:08:12
a qualifier, this is a very important thing,00:08:14
it helps us highlight certain00:08:16
specific areas that we need names00:08:18
and then produce in these areas00:08:21
correction, for example, I need the sky there, I00:08:24
select only the sky, well, we will also talk about this00:08:27
in detail. Masks, we have00:08:30
masks and all sorts of geometric ones, which00:08:33
you also probably know if somewhere00:08:34
before you processed the image, that00:08:37
is, we can shade them, change their00:08:39
size, aspect ratio here there are such00:08:42
masks here, a very cool00:08:44
gradient mask, which I use very00:08:46
often in almost every shock,00:08:48
these are the curtains with and the soft one00:08:51
with the party, then we have a section for00:08:53
trekking masks, we’ll talk about it too,00:08:56
a little magic brain, this is also a new00:08:58
function of da Vinci00:08:59
resort 17 and it allows you, roughly speaking,00:09:01
to select a character with one click and00:09:03
then this is the enter track, but again we wo00:09:06
n’t use this today, the00:09:08
blur tab here, accordingly, you can increase the00:09:10
sharpness or blur of the image, and00:09:12
if we raise it up, then we have a blur,00:09:15
if we lower it down, then the sharpness00:09:18
tab goes next ki and it is actually00:09:20
important because here we can00:09:22
weaken or, on the contrary, make stronger the00:09:25
correction of specific notes with the help of00:09:27
this thing cue out put,00:09:28
that is, if I say here conventionally, I will00:09:31
raise the contrast, that is, I will00:09:33
release00:09:34
the kivot, whether my influence will be weakened of00:09:36
this particular node in00:09:39
the image, next is the sizing tab,00:09:41
which, accordingly, makes all sorts of00:09:43
geometric transformations with the footage,00:09:44
but our today’s guide is not about00:09:47
that at all, so we forget for now that the project we have, the00:09:49
3d tab is not available to us, so we00:09:51
move it here and here is00:09:54
probably the most generally important thing -00:09:56
devices Let's immediately00:09:57
write down the key combination kontrol shift +00:10:00
w somewhere, which will detach these devices00:10:03
from the corner and we can drag them00:10:07
wherever we want and change the size00:10:09
again, press the key combination and we00:10:11
return it to its place about each of the necessary00:10:13
devices. We’ll talk to you in detail00:10:15
because it’s real, it’s very important,00:10:17
to the left of the instruments we have cutting00:10:19
flames, yes, these are the same keys that00:10:22
can be done in each individual leg,00:10:23
also setting animation, but again, within the00:10:26
framework of this tutorial, we will not consider this,00:10:30
and in at the end there is information00:10:31
that shows us the characteristics of00:10:33
our clip name pin codes00:10:36
number of frames00:10:37
if the proxy is for it code frame rate00:10:40
all this and it actually seems00:10:43
initially very real00:10:44
monstrous, but when we00:10:46
look at it in practice you will understand that00:10:48
you will actually use it with a very00:10:50
limited number of tools, the00:10:51
question is simply how to bypass this00:10:55
and let’s talk a little about how00:11:03
nodes work in general,00:11:04
look, we have a00:11:06
green one here. this is the input, roughly speaking this is our00:11:10
image 2.00:11:12
this is the output and this is what we will00:11:15
get on the tab goes when we00:11:17
exit the tab which00:11:19
accordingly all the magic is happening00:11:21
here the nodes can interact00:11:23
with each other in different ways and the00:11:25
correction sequence here goes from00:11:27
left to right00:11:29
accordingly if here I increase00:11:32
the contrast then this it will be necessary to take00:11:35
information not from the original00:11:37
image as an image in which we have already00:11:40
adjusted the contrast and even remember the00:11:42
keyboard shortcut alt + s00:11:44
this is probably the most often hotkey that00:11:46
you will use is the next00:11:47
note, but if you want to add the previous00:11:49
note, which also often happens, then press00:11:51
shift + with how else nodes can00:11:54
interact00:11:55
there are parallel modes parallel nodes00:11:57
are created using the keyboard shortcut00:11:58
alt + p so I created four legs and00:12:03
they all go into the overflow mixer and for all00:12:05
these four notes00:12:06
the information will be taken from one in00:12:09
which we adjusted the contrast of the00:12:11
second once roughly speaking, well, for understanding,00:12:13
if we place, well, yes, like this in a00:12:15
similar way, then but up to 1 contrast, it00:12:18
will take information from us from the00:12:20
original footage, which we would have00:12:22
like this, then these four notes00:12:24
are parallel and they will00:12:26
no longer take information from the original image and from00:12:29
the image to which we have already applied00:12:31
contrast and the following serial is obtained,00:12:33
in which we have reduced it with contrast, on the contrary,00:12:35
it will take information00:12:37
not from this image, but from the image00:12:40
obtained as a result of adding the00:12:42
correction of 4 of these notes, but let’s say00:12:45
conditionally speaking there and why00:12:48
pulled here and now it will be necessary to remove00:12:52
information from this image and00:12:54
correct it and its source,00:12:57
let’s say I didn’t like this00:12:58
magenta you and the shade that I screwed up,00:13:00
I want to remove it specifically in this leg,00:13:03
but don’t delete the node itself, that’s why00:13:05
I want to continue use I press the00:13:07
key combination shift + home and it00:13:09
resets00:13:10
I do the same in this foot shift +00:13:13
home and it resets but let’s say I00:13:16
want to delete everything and just start from00:13:18
scratch00:13:19
then I can either select this with the mouse and00:13:22
press the button but then don’t will00:13:25
create a new note so that I have a00:13:27
tree here, or I can press the00:13:30
key combination control + home, which is what I00:13:32
usually do and remember, we reset the corrections to the00:13:35
home key with modifiers,00:13:37
respectively, shift +00:13:39
home00:13:40
is specific, but de control is00:13:43
global it still resets the 3rd00:13:45
combination of the and home keys and you00:13:48
would think that it is alt but no it is00:13:50
control + shift + home and00:13:54
all the nodes will be reset but they will remain they will not be00:13:57
erased, that is, the corrections will go away it will be00:13:59
taken in place for fixing00:14:01
shift home 1 well, yes, control home all the nodes00:14:07
and delete and control shift + home00:14:11
but yes, and leave the corrections to delete with the00:14:14
interface with the nodes clear and we will00:14:16
slowly approach the tasks that are00:14:19
being solved then corrections and we will start connecting00:14:21
us with exposure and white balance00:14:25
correction we are now with you let's study if00:14:27
you are interested in Da Vinci editing then00:14:29
you can look at my guide on this00:14:31
topic there is in 1000 suddenly I didn’t do this00:14:32
for some reason but if you are00:14:34
interested in editing in general how to do00:14:36
gluing correctly how to do good00:14:38
sound design that your videos will be00:14:39
dynamic how to organize your00:14:41
workspace and in general, if you are00:14:43
interested in all these questions related to00:14:45
editing, then be sure to sign up for a00:14:47
master class on editing to Sabbath00:14:49
of Obsky, the girl, as always, will be waiting for00:14:51
you in the description of the video, the master class is00:14:53
absolutely free and Vlad will00:14:55
share it with you with all your00:14:56
secrets and editing lifehacks,00:14:58
so he will definitely fly to the00:15:00
master class00:15:01
[music] let's00:15:07
start with a little theory, the image00:15:10
consists of light and color, I think that you00:15:13
most likely already knew this and all your00:15:15
cameras record the image exactly like that,00:15:17
but if you don’t put it there immediately shooting00:15:19
in which then the color will not be recorded and there is00:15:21
no way to get it out, and when we00:15:23
are doing color correction it is important for us to see00:15:25
not only00:15:26
the image but also how the light and color are distributed in it,00:15:29
so how can we see this?00:15:31
There are devices for Vinci specially for this,00:15:34
and even in in principle, in any other00:15:35
installation where there is this correction, so00:15:37
let’s open them and they, as you00:15:40
remember, are located in the lower right part,00:15:42
but we will immediately open them so that they are00:15:44
larger and we will begin, perhaps, without00:15:47
spectroscopy00:15:48
having mastered the forms in and forms, this is exactly what00:15:52
there is a distribution of brightness across our00:15:56
image for clarity, I will place00:15:58
ours and shapes exactly under the image00:16:01
and you will understand everything, something like this and00:16:04
I will turn off00:16:06
the light and let's analyze the 8th eyedropper00:16:10
for this, along the x axis is the actual00:16:12
x axis of our image, from left to00:16:15
right and along the axis y we have the00:16:18
brightness value accordingly where we have zero00:16:20
these are the darkest areas and where weaving00:16:23
these are the brightest and let's00:16:25
analyze the image if we00:16:26
point at the header then we have it as you can00:16:28
see we have a round piece there that started00:16:31
to dangle and it is in the lower aspects00:16:34
that is it’s dark and we see it and on00:16:36
the graph the same thing will happen with the jacket, I already00:16:38
know where it will be on the graph of the year00:16:40
it will be here accordingly OP OP00:16:44
if we point at the sky then you00:16:47
probably already understand where it will be00:16:48
on the graph this is this there will be a line00:16:51
that is bright and at the very top,00:16:54
I’m here, we enter across the sky and we see that00:16:56
yes, indeed, these are these00:16:58
dips in brightness, that would be00:17:02
another stop, he spends dips in00:17:03
brightness further, these things are lying in the kitchen,00:17:06
yes they are we see that00:17:09
the cabins fly, they are even darker, we see this both00:17:12
in color and in the brightness of00:17:14
the graphics, our road is such a straight00:17:19
line on the graph because00:17:21
its brightness is approximately the same, and in fact there are00:17:26
no other noticeable objects here, you have two main shapes the00:17:28
first type is brightness, and that is, there is no00:17:30
birth on the rgb channel and and 2 is,00:17:33
respectively, rgb, the setting can be00:17:35
made here on this button and we00:17:38
click on rgb and we have this and the form00:17:41
becomes like this,00:17:43
where we have each channel separately00:17:45
displayed on the graph, that is, let's00:17:49
look at the skin of the skin, of course there are00:17:51
more red colors,00:17:53
so here there00:17:55
will be more red on the graph, but when we click on the00:17:57
red form, then we have all these three00:18:01
channels about the owner being summed up by 3 and00:18:04
we will have the arithmetic average of the rgb00:18:06
channels let’s immediately work with the00:18:08
rgb wi form because you00:18:11
can still monitor the balance on it, which we’ll00:18:13
talk about a little later, and what kind of00:18:15
image should it be so that it’s00:18:17
really cool and colorful and everyone00:18:19
likes it? There’s no answer to this question, but00:18:22
there is an answer to what we like the brain00:18:24
and, accordingly, our eyes, and00:18:27
our eyes really like contrast and any00:18:29
kind of contrast can be brightness, that00:18:32
is, there is a large difference from dark to00:18:35
light contrast and can be in00:18:37
hue, that is, in the frame there is a main00:18:39
orange color and the same main00:18:41
price blue and since these colors00:18:44
opposite each other, a00:18:46
color contrast is created, but we’ll00:18:48
talk about the percentage a little later, but now let’s return to00:18:51
the contrast, let’s do a little00:18:53
experiment,00:18:54
look at two images and you00:18:56
decide for yourself which one the mouse likes,00:18:58
accordingly,00:18:59
let’s take00:19:01
this picture that you and I share as the first option00:19:02
We’ve already done that, that is, with a little contrast and00:19:05
we’ll turn off all the corrections and look at00:19:08
this option. As you can see,00:19:10
our shape has collapsed and which of00:19:13
the options do you prefer00:19:15
with smaller differences from the lightest00:19:17
to the darkest or with a larger00:19:20
difference, I think the answer is obvious00:19:22
the image should be contrasty without00:19:25
overdoing it,00:19:27
that is, it is not necessary to pull the00:19:30
brightest areas00:19:31
straight up somewhere for us to00:19:33
start overexposure; also, it is not00:19:35
necessary to kill all the blacks, it00:19:38
should have a small margin,00:19:39
but in general, if we look at00:19:41
such an image, it will definitely not be canon00:19:43
like let's now move on to this joke,00:19:45
I'll tell you a little about the balance00:19:47
our eyes, the future of an ideal optical00:19:50
system, really love the right colors, that00:19:53
is, when black is black when white00:19:55
is white when the skin color is the same00:19:58
on the monitor as we are used to seeing it00:20:00
in life if we see then that black is00:20:02
not black, for example orange, although it00:20:04
was supposed to be black here, then the00:20:07
brain is like this dude, what’s going on and it00:20:10
seems to you that this image is not very00:20:13
beautiful and let’s take an example, here we00:20:15
have this image, what can you say about it,00:20:17
it’s00:20:18
orange you will tell her you will be partly00:20:20
right and let's carry out new00:20:22
experiments for this, open a new00:20:24
device this is a vectorscope and on this there are circles00:20:27
indicating the colors of the targets this is00:20:30
yellow this is green this son sea00:20:33
wave blue blue magenta this is purple00:20:37
pink and red this is red and00:20:39
accordingly the farther from the center00:20:42
we have this00:20:43
spot here, the more saturated the color of this00:20:45
shade is and we can say that yes this00:20:47
image is orange even by the appearance of the00:20:49
excavation so actually the experiment00:20:51
let’s do just one manipulation and00:20:54
say which image we like more like00:20:58
this or this I think the answer is obvious00:21:02
Ok we can go further00:21:11
and if we do the before after again from the00:21:15
second collection, then this is how it was for us and00:21:18
this is how it became for us00:21:19
and let’s now check the instruments,00:21:26
now we see that our colors00:21:28
lie in the center, that is, our image is00:21:31
balanced plus or minus Yes, I00:21:33
see here that there are some other ones that I00:21:36
would actually change,00:21:38
but in general this is already far from this,00:21:42
that is, we also see here we have black00:21:45
shadows, we have white white plus or minus virgins and00:21:50
we have skin-colored skin and our eye at this00:21:53
moment stops suffering and begins to00:21:55
enjoy the image, but should00:21:58
the image be balanced in00:22:01
fact, not always and this is one of00:22:03
those rules that you first need to00:22:05
know very well and work with it00:22:08
so that later you can break it00:22:10
and break it it’s possible because this00:22:12
scene and I want to say this is00:22:15
the source, it was initially stylized during the shooting00:22:17
with warm lighting to00:22:20
set the mood, but we’ll talk about the mood00:22:23
a little further, well, let’s finally00:22:25
figure out what tools you need00:22:27
to use to change the exposure and00:22:30
balance, and for this I’ll now create00:22:32
here is a grayscale on which we00:22:35
will have, respectively,00:22:36
from black to white00:22:43
and we will open the devices and see in the form that00:22:49
for us it is just a line,00:22:51
that is, we have the darkest on the left and the00:22:53
whitest on the right,00:22:55
we have such a straight line which is00:22:58
actually in fact, it00:22:59
is duplicated here in the curves section, I00:23:03
’ll place it like this to make it00:23:07
more clear, and now let’s go. The first way00:23:10
to change the exposure is color wheels and00:23:13
here we have three probably the most important00:23:15
wheels: the gamma lift and the game lift, which00:23:18
is responsible for dark areas and its00:23:20
adjustment, for example down will be00:23:23
equivalent to reducing the black dots, then00:23:27
here we reduce the lift and our00:23:30
darkest ones become even darker and00:23:34
accordingly we go down. black and00:23:37
as I already said, this is analogous to working with a00:23:39
curve, here we see the black point down00:23:42
and it also goes down here, then00:23:46
let’s skip the gamma and move on to gay, well, this is the00:23:49
same thing, only on the contrary we reduce it00:23:52
. white goes down, raise. white00:23:57
goes up, respectively, this wheel00:24:00
affects the bright areas and we have a00:24:06
third wheel left, this is gamma, it works00:24:08
non-linearly, that is, if I do something with00:24:12
it, see what happens to the00:24:14
curve here, that is, it00:24:16
no longer becomes straight but curved and it it works00:24:20
very smoothly and it doesn’t crumble your image00:24:23
into pixels and because any00:24:26
such small change is always00:24:27
good and accordingly our gamma00:24:31
affects the midtones, that is, what00:24:34
is between dark and white, but00:24:37
it is important to understand that any of these three00:24:39
wheels with their range, brightness00:24:42
interacts with each other, that is,00:24:44
gamma will influence both dark and00:24:47
bright, but it will do this to a lesser00:24:50
extent than lift or gain, the00:24:53
same with the same gay for us00:24:55
if we raise it, in the00:24:57
end we have the most the dark ones will begin00:24:59
to lighten, but this will happen00:25:02
extremely slowly compared to the00:25:04
light areas,00:25:07
well, we have wheel 4, this is offset,00:25:10
well, everything is clear here, we just push the entire00:25:14
exposure down. The second way to work with contrast00:25:17
is probably my favorite thing in this00:25:19
regard and it’s called contrast plus00:25:22
pivot and these parameters work with each00:25:24
other in conjunction, let’s use the example00:25:27
to increase the contrast and see what00:25:29
happens, we get an00:25:31
s-shaped curve, again a curve, this is always00:25:35
good, this means the correction will be00:25:37
carried out more gently, so why do we00:25:39
need translation, but let’s first00:25:41
in the example, I lower it and my curve00:25:44
becomes like this, increasing upwards and00:25:48
on the contrary, it is curved in the opposite direction, so00:25:50
why do you need, roughly speaking, a pivot,00:25:53
its value is from zero to one, and00:25:56
here we can also conditionally designate00:25:59
what is from zero to one, and here if00:26:02
our pivot is zero, then the contrast will00:26:04
increase starting from the brightness level00:26:06
0, that is, imagine here such an00:26:08
imaginary straight line and,00:26:10
accordingly, starting from it, the contrast00:26:12
was stretched up and down, and now it00:26:15
has stretched upwards if we00:26:17
enter the pivot to one, then our contrast is I00:26:21
remind you that this is how it will00:26:25
stretch from the very top00:26:27
down, this is actually what00:26:32
contrast pivot does, it’s better to understand at00:26:34
work not just with someone but with a real00:26:36
image, so we00:26:37
’ll come back to it later, but the curves themselves, here they are00:26:39
in the first tab, I remind you with them you can00:26:41
do the same thing as with curves in00:26:44
any other program, place points00:26:45
and set this curve that you need,00:26:50
why not, for some it’s faster, and00:26:54
if you want to activate the softening of00:26:57
these curves, then you need to go to these00:26:59
three points and click edit oba usb lenses and00:27:02
you will have the usual tendrils for00:27:05
which you can pull and change the00:27:08
degree and direction of softening of this00:27:11
curve. There are also tools00:27:13
called shadows and highlight, give their00:27:15
forum what they do, that is, we have00:27:19
highlights, it so gently lowers the00:27:21
brightest areas this can be00:27:24
useful if you have some overexposures and00:27:25
you want to save them; the same thing will be00:27:27
done; it will very gently00:27:29
raise your shadows and middle areas;00:27:32
again, it’s convenient to do this if you have00:27:34
some shadows that are really falling through,00:27:36
you want them carefully lift it up, but with00:27:38
this pain and let's see what we00:27:40
need to do with it here, let's00:27:42
reset the corrections and start actually00:27:45
turning the contrast, we want00:27:47
this whole thing to be more00:27:49
stretched out and let's start with the very00:27:51
first method and I'm even here so00:27:54
I’ll make it a little closer and I’ll start turning00:27:57
the elevator, let’s see what will00:27:59
happen: the shadows go down, the image becomes00:28:03
more contrast and now we’ve already00:28:08
brought the darkest areas to the very bottom to zero,00:28:10
what does this mean, this means that we00:28:12
will experience some loss of00:28:14
information if we this border00:28:15
has been crossed and this is happening somewhere here,00:28:20
that is, there00:28:23
will no longer be any useful information contained here, again00:28:25
we return and here our00:28:27
T-shirt appears, of course it is advisable not to00:28:29
lower the darkest and lightest areas and not00:28:31
raise them too much so that you do not00:28:33
have a loss of information so I would go00:28:35
somewhere like this next, I’ll take the gain00:28:40
and pull it up and let’s see how00:28:42
ours and the shape will stretch,00:28:45
that is, you see, yes,00:28:48
plus or minus remains dark in place, the light ones00:28:50
rise and also rise, but not so00:28:53
much00:28:54
let's raise the middle areas in brightness again,00:28:57
and now I see that00:29:02
my image has become00:29:03
in contrast, but I want to00:29:06
make the contrast even stronger without losing the00:29:10
dark black areas, for this I00:29:12
will use the gamma and drag it down and00:29:14
now I see that that my00:29:17
face begins to become more contrasting, the jacket00:29:19
begins to stand out00:29:20
and at the same time the clip in black does not occur for me,00:29:23
that is, they drop to00:29:26
black, but they do not drop as much00:29:29
as they would if I lowered00:29:31
the elevator and I lower it00:29:35
a little we raise the elevator again00:29:38
to save the black ones and again increase00:29:41
the gain because when I lowered the gamma00:29:44
I was a little tempted by game and you00:29:47
can do this for a very long time in fact,00:29:49
so don’t be shy, just do it like00:29:51
this, in fact it won’t make it00:29:54
worse, the main thing is look00:29:57
at the image whether you like it or not,00:29:59
and I love a contrasting image,00:30:02
so I’ll leave it somewhere like this: a00:30:06
fun fact, along with contrast,00:30:09
not only light00:30:10
contrasting colors increases, so if we00:30:12
look at the electroscope00:30:13
and this is what we have after and click on the con00:30:18
works and we see the fact that our00:30:20
image really becomes00:30:21
more saturated, let's try to change00:30:23
the contrast differently and we00:30:26
will actually do this using the pivot contrast00:30:29
of my favorite and let me00:30:31
show you right here with an example very well,00:30:33
I want the00:30:36
light areas of the ipad to stretch out under me down00:30:39
dark areas, but I want my dark00:30:41
areas and midtones to drop00:30:44
more than my light areas would rise,00:30:48
I don’t want them to be00:30:50
completely cut out, what can I do?00:30:52
I can take it and conditionally set a00:30:57
reference point of 60 in brightness this line00:31:01
and starting from it, I want to stretch it00:31:05
down and up at the same time, so I take00:31:09
the pivot and drive it right in here 06, this will be00:31:13
our reporting point and increase the contrast00:31:15
to see what will happen, op-op-op,00:31:21
we all00:31:24
actually did the contrast in two touches and let's00:31:28
show as an example what happens if00:31:30
I set the pivot to 0,00:31:32
my image will immediately become00:31:34
spoiler super overexposed because I00:31:37
will stretch the contrast starting from00:31:39
zero, that is, starting from here00:31:42
everything will stretch at the top, but let's forget about00:31:46
and back the situation will be if I put a00:31:49
unit here, that is, everything will fall, I00:31:51
just took it out because my00:31:53
reference point will be a hundredth and relative to00:31:56
this line everything will00:31:58
increase downwards for me, and so, but let’s go back to00:32:03
we had 06 there,00:32:04
I would probably even do it, but where- then00:32:11
y so and like this we did it literally00:32:13
in only sleigh contrast it there you00:32:17
probably might have wondered how I00:32:19
turn these notes on and off and I do00:32:21
this using the control key combination00:32:23
b but if I had several00:32:26
notes here then I can highlight Let's say three of00:32:29
them press control-d00:32:30
and all three of them turn off and,00:32:32
accordingly, also turn back on.00:32:34
If I want to turn off all00:32:36
corrections altogether, then I press shift + d, that00:32:40
is, yes, this is probably our design, like00:32:42
disable it, so I press shift +00:32:45
d and you see that00:32:47
this button is starting to change for me, that is, this is a00:32:50
bypass shutdown here and they can even00:32:52
choose what exactly I want to turn off00:32:54
only easily war, only Liv is needed or00:32:56
they are together, but this is a month I need it,00:32:59
let's think about what else we can00:33:01
use here of the tools that00:33:03
went through, I would actually00:33:05
save the sky a little bit here because00:33:07
somehow it’s already too close to a hundred, well,00:33:09
let’s say I want to lower the contrast,00:33:11
take it, find our highlights,00:33:14
here they are and just drag it down, it’s advisable to00:33:17
do this in the next legs or in00:33:18
parallel so that you can track00:33:21
and the maiden that is, let's say here I00:33:23
will have contrast here I will have00:33:27
highlights00:33:28
I lower them lower I lower them like that you see00:33:32
my sky goes down more than the00:33:34
rest of the image here are the shadows here00:33:39
shadows highlights and the shadows but on the contrary00:33:43
a little gently00:33:44
pulled it down, and so I moved00:33:48
the image down a little and did it00:33:50
painlessly for the footage, that is, this is00:33:52
how we had it, it became this00:33:56
way, so we had without 2 notes, and so it00:33:59
became a little darker in the next leg,00:34:02
let’s leave it like that and move on to the00:34:05
instruments balance, this is how we00:34:08
initially had an account00:34:09
and how can we correct this balance00:34:11
and let’s open the electroscope00:34:13
and let’s remember that our task is00:34:15
to take this spot and00:34:16
place it in such a way that00:34:19
we have it first in the center and all the colors00:34:22
are plus -minus at the same distance00:34:24
from this center and so what tools do we have00:34:28
to correct the balance? Well, the00:34:31
very first thing is this part 300:34:34
tools the first is an eyedropper with an eyedropper00:34:39
you can click on the white and gray00:34:41
areas to automatically reset00:34:44
the balance, it’s better to do this on a gray00:34:46
object because that00:34:48
some overexposed areas can be white and they don’t00:34:50
always give you the exact result,00:34:52
but let’s try, I know that this00:34:56
dress was white, so we’re looking for00:34:58
some brighter area that is better00:35:02
illuminated by the main source and let’s00:35:05
click on this area and we see00:35:08
that we have, well, plus or minus00:35:10
got back quite well, but I’m confused by00:35:12
you magenta00:35:13
and the red shades in the shadows and the skin, in00:35:16
principle, already looks good, but let’s00:35:18
see what we have on the00:35:20
vectors and we see that we00:35:23
really have a slight bias in00:35:25
side magenta and now we can00:35:29
modify this automatic balance00:35:31
manually using temperature and tinto,00:35:34
as you can see, as soon as I pressed the00:35:37
eyedropper on the dress, these00:35:39
values changed, which means that the tool00:35:42
worked accordingly, we beat in this00:35:44
leg, so here it is displayed if00:35:46
I am in front in the second, then there’s nothing here anymore,00:35:48
so let’s do it in the same foot,00:35:50
since we have white balance here and let’s00:35:52
actually call the white balance,00:35:55
we’ll continue to beat00:35:57
on the elevator excavation, I need to move00:36:00
this spot closer here to this side00:36:03
here, I have the green one00:36:06
here accordingly I see that00:36:08
I have a tint to adjust the balance along the00:36:10
green axis kirei magenta, that is, along00:36:13
this axis, and the temperature, as you can see from the00:36:15
display, correcting the balance along the00:36:17
cold and warm axis, that is, somewhere00:36:20
approximately like this through the center, but with00:36:23
cold and warm we have and all sorts of things too,00:36:25
let's just take and drag the tint00:36:27
towards green and look,00:36:30
look, look, and in my opinion, okay, you00:36:35
can even leave it a little bit,00:36:39
and yet I would probably00:36:41
return the warm one a little bit and something like this,00:36:50
let's assume that we00:36:53
We’ve corrected the balance and corrected the exposure, and then00:36:57
we’ll come back and if we correct anything, this is how00:37:00
monstrous we have00:37:01
in and the shapes turned out, and I see that00:37:03
I already have enough00:37:05
contrast in the shadows, but not enough contrast00:37:06
in the colors, so I wouldn’t even work here with00:37:11
contrast and beer there and just gay for00:37:13
us these but it would be up about and now down00:37:18
the elevator and down to whom and you see how00:37:23
this image is already starting to00:37:26
look much better and we are using00:37:27
literally two Kamon tools00:37:31
let's sign how to sign nodes00:37:34
let's go to the keyboard settings00:37:36
contour alt key and let's see what's00:37:38
on my tab, I just forgot what it's called,00:37:39
here's the command label selected laptop, how00:37:43
can you find it and bind enough00:37:45
keyboard keys,00:37:46
just go to half of the commands and here in the00:37:53
search, enter00:37:56
my label, it's immediately displayed, here's the00:37:58
knock label I put above oh because00:38:01
I didn’t have anything like that at all, and I00:38:04
suggest you also put it on so00:38:06
why not but or on any other00:38:07
key why is this important by a00:38:09
lot to not when you paint yes vinci00:38:11
appear in fact a large00:38:12
number and it can be difficult deal with them00:38:15
and remember where you had what,00:38:18
so such simple even00:38:20
abbreviated names make life very much easier00:38:22
so that you can later remember where you have00:38:24
what is, yes, there are some00:38:26
clues in the notes themselves that00:38:28
tell you what instruments00:38:30
were used in specific new ones,00:38:32
let’s say I point at this icon and it does00:38:34
n’t show primary bounce nokia00:38:36
primary balance I have it here, but I00:38:38
can’t know what exactly it was,00:38:40
either it was the exposure wheels00:38:42
or I shifted something here by color, or00:38:44
it was temperature think or00:38:46
contrast this is why I don’t understand the designation,00:38:48
so sign because00:38:51
here I am also a primary bounce here are00:38:54
absolutely two different actions,00:38:55
and so you actually came to this00:38:56
image because we increased00:38:59
the contrast, the color contrast also increased,00:39:01
and now let’s go back to the vectorscope00:39:03
and see what it tells us but00:39:06
now I see that I have the brightest00:39:09
part of the spot on, well, a little bit and goes into the00:39:11
warm one, so let's take it or00:39:12
just a little bit see the entrance00:39:17
that I still have more00:39:19
ajanta than green and I take it and put another tint00:39:23
here in fact, this is all00:39:30
we had, this is what we have00:39:33
now, it seems to me much much better00:39:38
and in general most cases you will00:39:40
balance the display just like this by00:39:42
hitting and using your heel if you have00:39:44
some white or gray areas in the frame00:39:47
that you know what they were like that in00:39:48
real life, but it’s important to remember00:39:50
that these objects need to be00:39:52
illuminated by the main source of lighting in00:39:55
the frame, that is, if I see that00:39:57
my dress is white there, conditionally, and a00:39:59
sufficient amount of light falls on it, as is00:40:01
the case with skin, then if I click with a00:40:04
pipette, then it curls, ok, if I,00:40:06
for example, hit a pole that00:40:09
is in the shadow, then my result wo00:40:12
n’t be that good, that is, it’s00:40:15
already very skewed, it turns out00:40:17
here, and accordingly, hit it with a00:40:19
pipette, then see how much00:40:22
plus minus you have in the center there is00:40:24
this spot on the microscope and you start to turn it back00:40:26
and forth with additional knobs00:40:28
and I can’t finish00:40:30
the conversation about exposure and white balance00:40:32
without talking about00:40:34
the interpretation, yes, we are now running00:40:36
a lot ahead, but in fact00:40:40
I had to talk about the interpretation of the material in general, at the very, very beginning,00:40:42
when we had not yet started00:40:43
playing anything at all, I just decided00:40:45
not to scare those who were still00:40:47
unfamiliar with interpretations about the appearance of the material, but in00:40:49
fact there is nothing scary or complicated there,00:40:52
so is it the only way to interpret00:40:54
[the music]00:41:00
in general Now I could be clever for a very long time00:41:02
about the fact that cameras run00:41:05
color differently from our eyes and00:41:07
different gamma curves are used everywhere, but00:41:10
how can I tell all this, take00:41:12
grayscale again, show how the00:41:14
gammas are applied back and forth on the00:41:16
color sbs transform but00:41:18
this won’t give you much practical benefit,00:41:20
so I’ll say in one sentence that in00:41:22
some cases the program needs to00:41:25
tell you in which profile you shot00:41:27
the video in order for it to correctly00:41:30
display the brightness and colors on the monitor and00:41:32
for the00:41:34
color correction tools to work correctly, and this00:41:36
applies not only da Vinci but also the00:41:38
premiere of the faino and, in principle, any00:41:40
editing in which there is a00:41:41
color correction tool, in which cases00:41:43
it is necessary to do this, you need to develop your00:41:46
material in cases where you00:41:48
use a color profile on your camera00:41:51
that uses a logarithmic00:41:53
curve from our favorite GIS Alarak00:41:56
consumer segment this will be00:41:57
for example sony slog2 fashion show we flag DJ00:42:02
dialogue can’t unlock00:42:04
panasonic forks and this also includes00:42:07
chouji which is on cameras from00:42:10
different manufacturers how to understand that you are00:42:12
shooting in logarithm well first of all you have00:42:14
enabled this profile and if you don’t have the00:42:16
built-in function loot00:42:18
immediately to view this image00:42:20
as it should be,00:42:21
you will most likely see a00:42:23
gray flat picture like00:42:26
this, approximately plus minus the logarithm,00:42:28
this is the gamma parameter, that is, the Iraq layer00:42:31
components, but there is also color and before00:42:34
when shooting in profiles such as the rule is that the00:42:36
color space also differs from00:42:39
the standard one, so these two00:42:41
characteristics are the first00:42:42
gamma, brightness leaving and the second color00:42:45
space, and we need to indicate it00:42:47
when we interpret the material, that is, to00:42:49
say, this camera shot in such a00:42:52
gamut and with such a color space, and00:42:54
at the output we want to get as on00:42:57
the monitor there must be two most00:42:59
popular ways to do this in da00:43:01
Vinci, these are lots from the manufacturer and this is the00:43:05
color space transform plugin built00:43:07
into da Vinci Riss and when the00:43:09
maiden manipulates this, what is there, I00:43:10
cheated a little because I already00:43:12
had it activated here before00:43:15
color space transform, I turn it off00:43:17
completely, delete it from here, so I go here00:43:21
and see here I have my picture, we remove00:43:26
the contrast, more precisely, we turn it off, so it became like this, it came to00:43:28
us in da Vinci00:43:30
and until we said this is Vinci, that this is00:43:33
material shot on back magic00:43:35
in fingal let's show you how to use00:43:38
color space transform you can00:43:40
find it in the up on fx tab, so00:43:43
open it and here in the color cuts tab there00:43:46
will be a treachery from transform, I00:43:48
advise you to immediately add it to your favorites00:43:50
because you will most likely use it often,00:43:52
take it and directly throw it on we have00:43:56
some strange fields00:43:58
that we have to remember, let's00:44:00
read and understand that there is nothing particularly00:44:02
complicated here, then I don't transform the00:44:05
input00:44:06
color space, you must understand00:44:09
that if you are shooting or they are shooting for you, then00:44:12
you should always know in00:44:15
which profile with which gamut what00:44:17
color space was00:44:18
this filmed in because even within the00:44:20
same camera they can differ and you00:44:22
will understand now that in general all the footage00:44:25
for this project was shot on00:44:27
blackmagic pocket cinema camera 4 kay I00:44:30
know what the gamma was and what color00:44:31
space00:44:32
that’s why I’m entering import color space and00:44:36
look for the color space I need and00:44:40
here it is, basically one which is pocket00:44:42
pocket new I see the name of my camera00:44:45
and click ok as you can see we have already00:44:49
got the colors, that is, we said the00:44:53
dude doesn’t change the monitors, it didn’t run,00:44:56
it’s a colorless picture there there were colors and00:44:58
now it shows we go further to the input00:45:02
gamma, the same thing, we look for pocket pocket00:45:07
4s00:45:08
and click and as you can see, we have00:45:12
the brightness drawn, we go further here00:45:16
we can specify00:45:18
rec709 rec709 is our standard again00:45:22
and the output gamma 709 as you you see,00:45:27
nothing has changed for me because in my00:45:29
project settings rec70900:45:31
gamma 24 is already set, and when I have the00:45:36
default function, use the timeline gamma00:45:39
and color space online and I immediately00:45:43
select rec709 says 4g hama 24 is the00:45:47
standard gamma for monitor and00:45:49
then we have a tab of tons of peak, if00:45:53
we turn off iping altogether, then we will have00:45:55
everything just knocked out into a gap, that is,00:45:58
overexposed areas that go00:46:00
far up over a hundred square meters,00:46:01
so we turn on, in principle, they rolled out00:46:06
recently, it gives the Da Vinci method that00:46:08
copes with small jambs of the previous00:46:10
favorite by everyone and luminance mapping00:46:12
so it costs you income and you00:46:15
leave it forget, in principle, the proton is00:46:17
on as is and leave everything as is, that00:46:20
is, in fact, all you need to do00:46:22
is indicate the input carpet space and the00:46:25
input gamma, here is the minimum set00:46:27
actions, that is, if you were filming00:46:29
some kind of Sonya, you go00:46:31
further down and you have00:46:33
Sony, here are various color spaces and well, as a00:46:36
rule, it’s there s-log 3 from someone00:46:39
3 sein, so you set it, well, naturally00:46:43
it’s for this footage no more00:46:45
manipulations are suitable if you have these Jetta,00:46:48
remember that you have the scale of rivers 2006,00:46:51
it is also signed in it, here is the color space00:46:55
you have rivers 2020, this is not our option,00:46:58
so we go back and now we00:47:00
return these notes, we turn on and we00:47:03
see that the contrast is like this same as we00:47:05
set it at the very beginning, the second00:47:07
development option is to throw in loot, but from the00:47:09
manufacturer the widow already has00:47:11
built-in loot and by default for different00:47:14
cameras from different popular manufacturers,00:47:16
including honestly00:47:18
the company that developed the poker camera and00:47:21
it has slots for it built-in for00:47:23
interpretation, so we can find the path00:47:25
here loot here, accordingly, black magic00:47:28
pocket pocket 4k then for the extended video,00:47:32
well, actually, I don’t need it, I’ll just00:47:34
throw it on,00:47:36
I can drag the clip twice,00:47:38
click it and it will be applied to the leg00:47:41
that I currently have I’ll highlight a moment00:47:43
here, as you can see here, it worked00:47:46
more contrastingly, this is how we had countries in00:47:48
forms, and like this with loot, in fact, the00:47:50
easiest way is to always use the00:47:53
trick from transform, yes, some people like to00:47:55
use loot, but this is at your discretion00:47:56
because all some no more00:47:59
contrast less contrast some00:48:00
creative with the addition of some shades at once00:48:02
in light and dark areas of00:48:06
your choice, but color space transform is a00:48:08
100% option that00:48:10
actually requires not a very large00:48:12
amount of effort from you, and it’s possible just00:48:14
throw it once they each00:48:16
use a clip, but we’ll talk about this in the00:48:19
next chapter and we’ll move on to it right now00:48:20
and it’s called00:48:22
wetting or matching stagger00:48:25
[music]00:48:31
let’s turn on the color space00:48:33
transform leg and see we have00:48:37
several states here in a row from this00:48:39
location here they go, goes on and on and00:48:44
on and comes and we don’t need to00:48:48
dig it up somehow, so obviously we need to00:48:49
start by copying something somewhere, that’s00:48:52
how we can copy nodes, we can00:48:54
click and just a design and00:48:57
copy here, it will be copied00:48:59
here with the name and with all the attributes00:49:02
from the collection, you can make it even cooler,00:49:04
you can be in this account,00:49:07
press the middle mouse button on this00:49:09
joke and we will apply all the corrections00:49:12
that were made in this shock and this is00:49:15
actually It’s actually cool, I’m the starting point, but00:49:17
there’s an even cooler way, we take00:49:19
all these clips, let’s say, here00:49:21
I click on this one,00:49:22
hold down shift and click on the last clip of00:49:26
this sequence, small and they can be00:49:28
highlighted in red and highlighted, I00:49:29
right-click anywhere00:49:32
on this clip and here and good thing I did it into a new00:49:38
group and click on the fatty group of this00:49:42
gastritis and as you can see I have a00:49:48
chain icon, this means that these clips are00:49:51
connected groups, what does00:49:52
this give us you probably didn’t notice,00:49:55
but here additional00:49:57
dots appeared that they mean . the first is the00:50:00
brickley correction,00:50:01
that is, these collections are superimposed on the00:50:03
entire group for each clip, but before00:50:07
these collections that were made in00:50:09
each individual clip and also 3.00:50:13
this is a post clip and, accordingly, judging by00:50:16
the name, these corrections are applied by the00:50:17
group inscription,00:50:18
but after local corrections in each00:50:21
individual clip, so we simply take the00:50:24
color space transform, copy it from here,00:50:26
delete it and paste it into the post clip and00:50:30
now we have this colossus on all frames00:50:35
from transform and now let's00:50:37
take and copy the remaining notes00:50:40
of the contrast, which I think00:50:42
is applicable, select all the clips past00:50:44
this one in which we already have collections,00:50:46
take 1 contour, hold down, select the00:50:49
rest, this and this, and00:50:52
now press the middle button on this00:50:55
and that we were used by life correction networks,00:50:57
well, let's adjust00:50:59
the exposure here a little more, let's say I'll raise00:51:02
the streets a little, I'll miss some00:51:03
more, and now I need to take00:51:06
this footage and compare it with the00:51:09
next one, how can I see them00:51:11
at the same time, but first there is a00:51:14
white function, respectively, if I Now I’ll00:51:16
right-click on this clip00:51:19
and select the white timeline clip, then they will00:51:24
appear here separately and I can00:51:27
directly grab this curtain with the mouse and drag it, I can00:51:30
also switch the modes here at the00:51:32
top, that is, I have vertical, well,00:51:34
it’s clear that the diagonal one is00:51:36
here us game war exposition here00:51:39
we will have here there is chess like this00:51:41
and rulers like00:51:43
this even modes are how you can00:51:45
turn them off firstly you can distinguish00:51:47
here we have an active icon now this is00:51:50
the name of the person or gait control00:51:53
w and this mode actually not very00:51:56
convenient, why let's return the standard00:51:59
division and see what's00:52:00
going on in the wave form, we can see00:52:03
one part of one image and the second00:52:05
part of another image, and we'll have to00:52:07
constantly have that light on here to00:52:09
understand the full picture in the first and00:52:13
second images, so we turn this off00:52:15
garbage, in fact, you can00:52:17
use it, but we don’t always turn on the00:52:19
following wonderful mode, it’s00:52:21
located right after the so-00:52:23
called wipe in the viewer window and it’s called00:52:26
Karen’s finger. In fact, we click00:52:29
and nothing happened at all00:52:32
because we need to select the split00:52:34
screen mode. choose here and there is something to choose from,00:52:36
first of all, we can immediately select all00:52:40
the clips from the group into which we just00:52:42
defined the data as footage, I’ll click and here00:52:44
they are all depicted, but Kate is00:52:47
too small and we won’t be able to insist,00:52:49
especially since we don’t have a new form at all00:52:51
It’s clear what’s happening next, we00:52:53
can turn on the neighboring mode and00:52:54
this is all right, but again this is not00:52:57
our option because we want to moisten00:52:59
two specific jokes and then00:53:02
the adapter is taken away from me and it becomes completely00:53:05
incomprehensible to the mouse, select the option00:53:07
gray that clips and again, nothing00:53:10
happens because we need to select00:53:12
the clips that we want to see on the00:53:14
split screen, I just hold down00:53:16
the control and click on our reference.00:53:19
Now I can turn off the clips with peace of mind00:53:21
so that we have more space here.00:53:23
Rook zoom in and select the frame by00:53:26
which I I want to get wet, but let it00:53:27
be shared there, clearly visible, and everything00:53:30
and the most wonderful thing happens00:53:32
here here because we have a clear00:53:35
division into left and right footage, here00:53:39
they are side by side, and now00:53:41
adjusting the exposure will be easy in00:53:44
two clicks,00:53:45
again, what kind of clip we are adjusting,00:53:47
we have such a frame here, it’s not very00:53:49
noticeable, but it’s there, which means that00:53:51
now we are inside, but yes, Vova, the00:53:54
tree of this clip and this tree,00:53:57
if we left-click on this00:53:59
clip, the ram is already around it and we00:54:02
actually adjust it00:54:03
let's click on this clip, do it like this,00:54:07
go to the first note in which we00:54:09
adjust the contrast and which we00:54:11
successfully copied to the clip, our00:54:13
y and shapes are reduced, go to our wheels and start,00:54:18
let's think logically what we00:54:20
need to do here, we see that they are00:54:22
plus or minus one level,00:54:23
but here on my right, these jackets are00:54:27
almost straight to zero, well, no here, I have00:54:31
highlights higher here, lower,00:54:34
what I would do is I would just stretch the lift to00:54:38
ideas and when I stretch nypd I most00:54:40
likely won’t even need to lower the game00:54:42
because it it will also be enough,00:54:44
but a little bit let's start lowering00:54:47
the elevator and here the jacket is mapped to plus or00:54:49
minus the same level in brightness,00:54:52
let's not be distracted by rgb, we'll00:54:54
turn on the brightness mode, now I see00:54:57
the date that I'll wet the jacket, look across the sky00:54:59
across the sky, too ok, if for00:55:01
starters it’s hard for you to determine by eye where00:55:05
you have what object is located on the00:55:07
form, what can I advise?00:55:08
Firstly, go here to the three00:55:12
scope points and turn on the display00:55:15
qualifier focus function, what is this first,00:55:17
you need it, but in the second instrument panel00:55:19
select the eyedropper with which we00:55:20
made selections and if you have00:55:23
n’t shared anything here, the eyedropper itself hasn’t appeared,00:55:25
this means that you don’t have the00:55:27
eyedropper tool activated on the00:55:30
mouse, so we solve this problem00:55:33
here, here we show those00:55:36
tools that we have displayed00:55:38
on screen visually now we had00:55:40
the mode and mouse wipe enabled because we00:55:42
turned it on when we wanted from matches,00:55:44
so with this division into 2 parts00:55:46
we turn it off and instead we00:55:49
select the qualifier, we have lost the00:55:51
split screen and we can get it back of00:55:54
course like this but let’s also remember the00:55:56
key combination contra alt w that is00:55:59
con labor we had a wipe in two parts to00:56:03
the contour alt00:56:04
w this is our split screen and here we are00:56:07
back now we have an active00:56:10
eyedropper as you can see and as you could see a little00:56:11
earlier in this guide00:56:13
we have circles and here a00:56:14
new form that shows where this00:56:17
object is located in terms of brightness oh let's00:56:19
look at the caps the cap here it is so00:56:22
dark take well plus minus the same00:56:25
skin here we have orange skin here00:56:28
it is and 1 to brightness but here I would I saw00:56:30
approximately in this area00:56:31
and we see that up to the skin plus minus is the00:56:34
same thing, but from the sky it’s already clear that00:56:37
it’s plus or minus this, now give them a00:56:38
very balance and let’s turn on the fish, how can00:56:42
we wet the balance here and because00:56:43
if we go vector of staples, then here00:56:47
here will be the sum of these two images,00:56:49
there is no such clear separation, and00:56:52
if I turn it off, then I00:56:54
turn one on and they seem to be00:56:56
layered here, so in fact, here you00:56:58
can wet the top with these, as00:57:01
you see here we are layered on top of each00:57:03
other in this sky rgb channel and here00:57:07
we can see that green is a little00:57:09
bit higher than blue and red blue00:57:12
red they are exactly the00:57:14
same here, roughly layered on top of each00:57:16
other and give us the magenta of00:57:18
hydrogen so let's create00:57:20
one more leg after after of course alt00:57:23
with don't forget and call it in one of00:57:26
now let's take the slider tent and in00:57:29
this frame I remind you of this image of it,00:57:32
we'll move it to the left because00:57:36
we need to raise the green very00:57:39
carefully00:57:40
we see what the rest the channels also00:57:42
shift when we do this, let's00:57:45
see how it was before, how it was after00:57:47
control-d, turn on, turn off inflate00:57:49
bouncy, well, these are completely unnoticeable00:57:55
changes, but we are interested in we can’t00:57:58
directly zoom in and it seems like00:58:02
everything is fine, considering that I changed the tint00:58:04
to one don’t look at the purpose, I00:58:06
looked at the in and the form,00:58:08
if you want to make smoother00:58:10
changes, then hold down alt and00:58:13
then drag the slider on how to kill, here it00:58:15
starts moving through the cells, and if so, then00:58:18
reset by integers and and yes, somewhere by ones00:58:23
we let's leave it now, take it, turn off the00:58:24
display with this, what's there, turn on the00:58:26
display with this, what's there, go at an00:58:28
accelerated pace, hide it, turn it on,00:58:31
look at the exposure, select this00:58:34
score here, we've gone too far, I'd just00:58:39
increase the pivot and pull up the contrast and00:58:44
leave it like that, but here and visually I already00:58:47
see00:58:48
something like everything is ok but in fact this score00:58:51
seems much brighter so00:58:53
let's00:58:54
lower the gain here and raise it because00:58:59
this image looks very contrasty00:59:00
and now let's beat the00:59:02
white balance,00:59:03
take it again and look at the reason for these things it turns00:59:06
out green with mine make less00:59:08
and do less than the blue one that00:59:12
protrudes at the top and here it is, roughly like00:59:14
this, we installed it,00:59:20
we return a little gay to us and already,00:59:22
plus or minus ok,00:59:24
we look at it in motion, but it seems that the eye does00:59:27
n’t really catch on in terms of00:59:29
jambs and we move on, again, turn off00:59:32
all their finds then you need00:59:34
a staple, you take it out, you don’t need the photos,00:59:38
you collapse it back, you open the clips,00:59:40
do the same with all the others that00:59:43
you have in the scene, it00:59:44
might be useful for you, by the way, you have a00:59:45
split screen and a mode that is on its course00:59:48
clips and here we can already see just00:59:52
such how they all look together with each00:59:54
other, in fact, the thing is00:59:56
incredibly convenient and it’s a pleasure to use it in da00:59:58
Vinci, I’ll be honest, we’ve01:00:00
sorted out the balance of exposure,01:00:03
learned how to wet the score and01:00:05
something, as if we’re missing01:00:08
we’re missing on in fact, the01:00:09
most interesting thing in this whole big01:00:12
process of color correction and as you01:00:14
might have guessed, now we’ll move on to01:00:16
stylization, it’s also sometimes called01:00:18
trading, these are all sorts of creative01:00:22
things that we’ll talk about in detail now01:00:26
[music]01:00:31
you can talk for a very long time about01:00:34
how grading it happens how to01:00:35
do it correctly, but as for me the essence01:00:38
remains in one thing: yes, the rating is the01:00:39
final touch on your image,01:00:41
creating some kind of style01:00:44
because when we make the footage01:00:46
balanced and ideal, it01:00:48
becomes somehow01:00:49
faceless and we want to give them life so that01:00:52
it evoked some emotions, behold, but in01:00:55
general, make it tasty, make it01:00:57
advertising if the situation requires it,01:00:59
make it either dramatic or01:01:02
many other things, in general, here we include01:01:04
adding color,01:01:05
some local corrections when we do01:01:07
not act on the entire footage, it is a01:01:10
specific object and we change either its01:01:12
exposure or change its color01:01:14
separately, then we will also01:01:16
add grain, all sorts of effects like01:01:19
glow, glow of rays, and this is all01:01:22
we will start with color, as I already said,01:01:24
perfectly balanced and something of some01:01:26
special emotions the viewer was not called, but01:01:27
if there is not something happening there, only something01:01:29
very cool in the plot, and so we01:01:31
can independently evoke these emotions01:01:33
by adding this or that color and the01:01:35
influence of color on the viewer, but it has been01:01:37
studied for a long time and there are even some01:01:39
certain things for example, that warm01:01:43
colors do not add some kind of lamp-like01:01:44
atmosphere to a good atmosphere01:01:47
that does not portend trouble; a cold color,01:01:49
on the contrary, is more dramatic,01:01:51
it can add tension, you can01:01:53
add drama, sadness, and this whole01:01:56
Russian green yellow mixture of them is01:01:59
already somewhere in the direction of the joker. this is01:02:01
mental instability,01:02:03
toxicity, depression, crushed,01:02:06
but also green is the color of life, remember01:02:09
this trees and all that, but also magenta,01:02:12
which is pink closer to purple,01:02:15
this is01:02:16
the mystery of mysticism, and in principle,01:02:19
all of Nicholas’s films are visible on the gariff, and01:02:22
also the color is great for01:02:24
visualization all sorts of01:02:26
psychological clouding, so to speak,01:02:28
so you can often see how01:02:29
all sorts of01:02:31
scenes in clubs and other establishments are stylized with purple lighting, and01:02:34
let's add color to the post-creep01:02:36
section because in this case, if01:02:38
we are in attach to all our01:02:41
contrasts and we are01:02:42
head over heels we will paint this01:02:44
image, we don’t really need to eat01:02:46
honestly, so let’s call it color and01:02:49
how can we add color, well, again01:02:51
with wheels, we can do this, add a01:02:54
specific range and let’s say I want to01:02:56
create a typical complementary scheme,01:02:58
open the vectorscope, we01:03:00
already have it partially here that is, that01:03:03
is, the complementary scheme01:03:04
is when we take two01:03:06
opposite colors, one of them is01:03:08
about there several times stronger than the other,01:03:10
and we have a cooking sign here that01:03:14
gives us this blue blue color, here is01:03:17
our skin, this is the main color,01:03:19
complementary is the orange color huge01:03:22
I I actually want to add more blue01:03:25
and I want to add it to the sky, it01:03:28
would be logical to use the gay, which is01:03:30
responsible for the bright areas,01:03:32
let's just take it and drag it to01:03:34
this side and see what01:03:38
happens, as you can see it works01:03:40
really well but here, as you01:03:43
can see, it shifts very quickly and01:03:45
everything shifts along with the skin, I01:03:48
really wouldn’t want this,01:03:49
and if I use other wheels,01:03:52
for example, gamma, then everything will only get worse01:03:53
and everything will affect the skin even01:03:55
more strongly, but if adding color to01:03:58
and lift there will be a complete collapse01:03:59
because it will be stronger to add to the01:04:01
black which itself and the blacks are of course01:04:04
better left black and I don’t01:04:07
need this since I can isolate it all,01:04:09
I’ve already decided that I need the sky01:04:12
but I don’t want to touch nothing except01:04:13
it and as far as I remember, as far as you01:04:16
remember, the sky is the brightest area,01:04:19
we have nothing else brighter than it, so the01:04:22
simplest thing I can do is01:04:24
select the brightest areas in the clip01:04:27
and color them using the same01:04:31
gene, only it will be do not act01:04:33
on all mixed ranges, but only on the01:04:35
fact that I died and how I will do it01:04:37
using a pipette, here it is here,01:04:39
qualifier, I just click on it and01:04:43
some area is selected to01:04:45
see the selection, there are two01:04:47
viewing modes 1 is turned on using shift01:04:50
+ speech and it looks something like this, that01:04:53
is, it darkens the actual image a little,01:04:55
but in principle it shows it, that01:04:56
is, if I click on the skin,01:04:58
then you see the skin a little then don’t01:05:02
climb, but in general we see that this is skin,01:05:04
this mode is not accurate with from the point of view of01:05:07
visual perception of you as a person01:05:09
who is stealing, why because01:05:11
if she looks here, I don’t fully understand01:05:14
whether my skin is01:05:16
half here or completely highlighted, or01:05:19
something else, and by the way, in addition to the01:05:22
shift key combination and you can enable and01:05:24
disable the display of the masked01:05:26
area using this01:05:29
highlight button and here we have a highlight mode, I’m01:05:32
talking about two methods01:05:33
and the second is next to high light01:05:35
black n white01:05:36
and look what happens about and we01:05:39
have a standard black and white mask01:05:41
for which there is, for example, in in the same01:05:43
Photoshop and now we can not be01:05:44
distracted by the01:05:45
colors of the main image and clearly01:05:48
see where01:05:49
and how much our mask influences, so01:05:52
let's go back to the sky, just click on it01:05:53
and look, not01:05:56
everything is highlighted, so we look at these ranges,01:05:59
it's gone, it's here, it's tonal01:06:02
range that is, well, what color01:06:04
stood out is the color saturation that01:06:07
we selected and, accordingly, 3 this01:06:10
brightness is obvious that we will01:06:11
use the brightest areas,01:06:14
let me go right to the edge, let’s see what01:06:17
we didn’t have enough to select the entire sky,01:06:20
you can here click on the plus eyedropper and01:06:24
click the01:06:25
area that is not highlighted, click,01:06:28
look, yes, we haven’t captured01:06:31
the shade ok, click again about and another01:06:36
shade is already starting to be captured by the skin,01:06:38
in fact, you can poke the b-cell01:06:40
indefinitely, so I advise you to01:06:42
manually adjust these sliders, I01:06:44
know for sure that my sky is not saturated01:06:47
definitely not more saturated than the skin, so I01:06:49
can safely take, firstly, make the01:06:52
edge of the selection softer and reduce it, it is no01:06:56
hay this is the maximum value of01:06:57
saturation, I control it in this01:07:01
selection and come out the skin, my01:07:03
skin is disappearing, I have01:07:06
now excluded what else is probably missing there’s not01:07:08
enough light because, well, in terms of brightness, I’ve01:07:10
already highlighted everything that I could, it seems to me,01:07:12
even like this01:07:15
we’re highlighting more color, look at us01:07:18
because the sky was balanced01:07:19
perfectly, we balanced the01:07:21
same number of rgb channels according to it,01:07:23
so without highlighting any shade01:07:26
we have there will still be01:07:28
unselected areas,01:07:29
so what’s easier to do is simply01:07:32
turn off the01:07:33
selection parameter with this eyedropper by color, turn it off,01:07:38
and here we have a selection made only01:07:41
by saturation and brightness, without taking into account01:07:45
what color these areas are, and now we01:07:48
actually got such an excellent01:07:50
selection where we don’t touch anything and01:07:53
now we take the ships with our little son, then01:07:59
they bang so hard so that it somehow01:08:02
looks natural, plus or minus, and01:08:04
let’s vector en masse, maybe we01:08:07
’ll go somewhere too much, we can make a01:08:10
sunset only then we’re nobody it will hit,01:08:13
but let’s make his science like this,01:08:17
like, like, like, clear sky with hints and we01:08:21
already have a more or less complementary scheme here,01:08:24
let’s check how it fits into other things,01:08:26
but overall it’s not bad, now look, we01:08:29
have this problem that it seems to01:08:32
look unnatural because we01:08:35
get the light areas that are01:08:36
unbalanced now and everything01:08:37
else is balanced, let’s take it and create a01:08:41
parallel node where we will also01:08:43
add color but only to the gamma and we01:08:46
will take this gamma just a little bit and01:08:48
see in the same blue light just a01:08:52
little bit so that us and midtones and a little bit of01:08:56
shadows were wetted with the color that we01:08:59
set in and highlight of and now we look01:09:00
again, now it’s already all01:09:04
plus or minus cold, but let’s stop at this for now,01:09:07
the idea is I think it’s spring,01:09:09
that is, we can add color by01:09:11
range and not only can we sub-range01:09:14
in these ranges specifically in01:09:16
each gain gamma lift, we01:09:18
can also make samples there,01:09:20
and in this we can paint the offset, we kind of01:09:24
paint everything, and in fact, it’s a very01:09:26
quick tool to add01:09:29
some color to the scene is the temperature then01:09:31
those with which we corrected our01:09:33
image made the wolf balanced,01:09:35
but we can do the opposite, we can01:09:38
add light, so I created01:09:40
another parallel one, well, let’s say I01:09:43
take away his cold feelings, so you can01:09:46
do it and so, that is, there are01:09:48
just a bunch of Da Vinci tools and with each of them you01:09:50
can essentially do different things, not01:09:53
only what they are intended for, so01:09:55
now local exposure is what we will01:09:58
do in each specific one, that’s01:10:00
what I mean, I now have the whole01:10:02
frame, it’s equally flooded with light, I want to01:10:06
highlight the character that I I’ll make it, I’ll take a mask,01:10:09
here it is next for you after the qualifier,01:10:11
I’ll take a round mask and now it appears to me,01:10:14
I want to select an approximate one, so01:10:18
we select it and look at you, again,01:10:21
we remember the itc font how01:10:23
this mask works for me, in principle, I’m01:10:24
satisfied with the main thing that there should be a face01:10:27
or Now I can increase the brightness with any01:10:29
available exposure tool01:10:31
that we have already gone through but let's01:10:32
take game on it game01:10:34
if you raise the game don't forget the01:10:37
adjacent range to lower it01:10:40
a little bit here I took the01:10:42
characters popping up a little bit01:10:43
now I press the key combination alt01:10:47
o and it appears in this fashion because01:10:51
I have a blue alpha channel that moved01:10:53
here, but it moved here not like that, but01:10:57
inverted, that is, the action01:10:59
occurs on everything outside the mask01:11:02
that was set here in this leg and01:11:04
what I will do, I will darken it with the01:11:05
same Dan ap ap so that it doesn’t01:11:10
pour too much and we can already see01:11:12
the changes the character started playing against the01:11:15
background excuse me let’s call it that and01:11:18
call it in out now well, it’s clear that01:11:22
this mask doesn’t move but the01:11:27
character moves01:11:28
we need her pride speech01:11:29
tracking Da Vinci amazing, it works01:11:31
super fast, it’s easy even on weak01:11:33
hardware, how to track masks accordingly,01:11:36
you need to go to the mask, select a mask,01:11:38
you need if you have several of them here and01:11:40
press one and the alt t key combination01:11:44
is tracking to the back relative to play01:11:47
back and here you have it appearing here. .01:11:51
the initial one and the one from which you came from01:11:53
which you started tracking, let's01:11:55
return with the help of this arrow to the01:11:58
point where we started tracking and01:12:00
now we need to move forward01:12:02
the frame and for this we press counter and here is01:12:05
our mask prater hiccupped, that is,01:12:08
now it is tied character and the most01:12:11
interesting thing is that in this note, look at01:12:13
our alpha channel, now also pro trek01:12:16
by Anna and I think this is amazing, we01:12:19
create two notes but they only track01:12:21
once, this is a combination of in and out to01:12:24
create an out put node using alt +01:12:27
a this is a very effective thing, in01:12:30
fact, you can not stop there and01:12:32
make another note with local01:12:34
exposures and I would invite the sky with the01:12:37
help of my favorite gradient mask and01:12:39
it acts like this, very soft and01:12:43
you can shade it like this, it01:12:45
works01:12:47
gradient actually I why are you so01:12:50
probably even with a niche degree of shading and01:12:54
here I’ll just darken the sky, that is, it’s01:12:57
already getting cloudy here, so to01:13:00
speak, let’s do the same01:13:02
from below, we can just add another01:13:04
gradient, just expand it and01:13:10
do it from below, so we kind of01:13:14
direct the eye We're talking to the audience about we01:13:16
looked at the character, don't look01:13:18
down here, don't look at the sky here, look01:13:20
here, I'll literally quickly run along the01:13:22
curves curved dick with a cool one, it changes01:13:26
color with color, that is, if I take01:13:29
blue and change it, then the01:13:31
color of blue itself will change01:13:34
Well, I don’t want to do this now,01:13:36
then it’s the same thing, only01:13:38
saturation oh, that is, I again take01:13:40
blue from the presets01:13:42
and reduce the saturation of these ready for01:13:45
these signs, by the way, in fact, you can01:13:47
do this because they directly01:13:48
distract attention, a01:13:50
third of its curve with any of this the brightness01:13:53
of the light, again using the example with the blue one,01:13:57
we look at the cabins for an hour they will be dark01:13:59
and vice versa it will lighten with this you need to01:14:03
be very careful because this01:14:05
function greatly destroys your photo jack01:14:08
if they were taken there 8420 of any I am Saturn01:14:12
this is saturation and brightness and let’s say I01:14:16
want so that my black areas are01:14:18
only black and without any shade,01:14:20
I click on this button and a01:14:22
fixing appears. and beyond this01:14:25
point I lower it down and I can even01:14:27
lower it further accordingly, here I have01:14:29
brightness from zero to one hundred,01:14:31
it turns out that I am dampening the saturation, so01:14:34
I go to sleep and this range, that is, I01:14:36
got rid of the blue that we01:14:39
added to the range from the jacket01:14:40
to make it more clear, I’ll use this as a01:14:44
convenient function, but as you can see, yes, you01:14:46
need to make smooth curves here01:14:50
to build the elders, this is the saturation of the saturation,01:14:52
so for demonstration,01:14:54
do this, I’ll raise the01:14:55
saturation of the most saturated ones, and01:14:58
here, of the directly saturated saturated ones, I01:15:00
only had a yellow sign, so I raise01:15:02
it too it becomes even more saturated, but the skin01:15:04
also becomes a little more saturated and the01:15:06
last curve is the brightness01:15:09
of the saturation, that is, if I know that01:15:12
I have the most saturated sign here, then I will01:15:15
put a01:15:16
fixing point somewhere here and lower it and01:15:19
now this sign will become darker that01:15:22
is, straight from the whip,01:15:24
sometimes the most 1001:15:27
useful curves01:15:28
from this set are useful, this is lumos from Urishin,01:15:31
again to remove light from the01:15:34
brightest and darkest areas, but01:15:36
these are the kitchen and they are not scary here01:15:39
we ourselves have just the fact that we removed01:15:41
the change houses a little and the sign of saturation,01:15:44
well, the final touch is the counter, this is the effect of01:15:46
ki, look, let's just add01:15:49
grains because you eat grain01:15:51
with the need, this is in general the effect we01:15:54
have here, let's just01:15:56
add a group before the transform, there is01:15:59
a lot of everything, but how as a rule, at the end you01:16:01
will have their fil envelopes if you01:16:04
like to make under film, here we have01:16:05
all sorts of grain regulators, its01:16:08
color intensity,01:16:10
choice of film and all that, but this01:16:14
would even add the influence of01:16:16
both and the brightness of the film and color01:16:19
films here, but in fact, if you01:16:21
don’t have filmconvert, then you can also01:16:23
take and use the built-in film01:16:27
grain that is in da Vinci, you01:16:29
can find it right by the name film01:16:34
grain,01:16:35
and instead of filmconvert, it’s anakin01:16:38
and here you can do everything exactly the same this is to make the01:16:42
grain size only here in the understanding there is no01:16:45
emulation of the film onion, but of01:16:47
course I returned the filmconvert01:16:50
so I will supply it somewhere half and01:16:52
half and the last thing I will do01:16:54
is I will add another parallel01:16:57
node here and add the colors that I01:16:59
would like to see in this score, according to the01:17:01
mood, I’ll take straight gain and01:17:03
somewhere, somewhere, somewhere on the side of you here, the01:17:06
gloomy green force of this is not very01:17:08
pleasant, literally a little bit,01:17:10
in fact, not a little bit, and I understand01:17:14
that this suits me according to the mood of the scene01:17:15
because I know the plot01:17:17
that's all cool, so let's01:17:20
make a little rick about everything01:17:22
we did today and understand why we01:17:25
did it, of course, first of all,01:17:27
we did the interpretation, actually01:17:29
a little later, but let's consider what01:17:31
we did and in the beginning then we01:17:34
established01:17:35
exposure for this, something in two notes01:17:37
turned out like this, then we adjusted01:17:40
the balance to make it easier for us to01:17:41
navigate in general in this01:17:43
image and moisten it with other01:17:45
jesters, respectively, we moistened it with other01:17:47
jesters after that, further we started01:17:49
trading,01:17:50
first of all we added colors into the sky01:17:53
and the sky became bluer, then we01:17:57
added the same blue color to the gamma to01:17:59
moisten the rest of the image with the sky and01:18:01
which we painted01:18:02
and it didn’t seem like some kind of01:18:05
dissonance, then we worked with the01:18:07
local xp of the01:18:08
faces and focused on our01:18:09
character, with the help of several masks01:18:11
and a literal decrease in raising and01:18:13
brightness, then we slightly01:18:16
dimmed the saturation of these01:18:18
little things that we don’t need and take01:18:20
attention to themselves, you can also say about the sign,01:18:21
and we threw on a01:18:24
stylish film accordingly and01:18:27
then added colors so that all this can be01:18:29
carried out as much as possible according to the mood of01:18:32
the story that we were telling, and01:18:34
somehow I hope that the most01:18:36
important thing is that you understood what we did, why we01:18:39
did it and how we did it, it’s a great01:18:42
regret to tell in one01:18:44
issue exactly everything all percent01:18:45
correction it won’t work because the topic is01:18:47
too voluminous, especially with01:18:49
regard to correction01:18:50
specifically in da Vinci, so I think that it was01:18:52
here that the information had to be presented01:18:54
very carefully and in doses01:18:57
so that the brain of a person who was just01:18:58
encountering color correction for the first time would01:19:01
not simply melt and explode, I01:19:03
hope what I managed to01:19:05
explain in an accessible and interesting way is the basis of the entire01:19:07
da Vinci collection, and for those who just01:19:09
opened the color tab for the first time and for01:19:11
those who are already fumbling around plus or minus but decided01:19:13
against their knowledge, by the way, after01:19:15
viewing this guide, I advise you to01:19:17
look at our other issues after01:19:19
the correction, here in this playlist, even if01:19:22
you have already seen them, because I am sure that01:19:24
now you will look at them with completely01:19:26
different eyes, well, what do we have, we01:19:28
already have a large guide on01:19:30
Da Vinci editing,01:19:31
now we have a large guide on01:19:33
color correction in yes Vinci and what is01:19:35
left for us right this is fusion01:19:38
so if you want me to quickly01:19:39
write down a guide on fusion you know what to01:19:42
do down there exercise01:19:44
in general everything that exists likes01:19:46
bells and bells other from the project01:19:49
three boards to your friends of course write and01:19:51
kind and not necessarily kind words in01:19:52
the comments, but that’s all with us, everything was ok,01:19:54
everything was with you and not, and we’ll see you again01:19:58
[music]Description:
👉 Ссылка на бесплатный мини-курс по монтажу https://sabatovsky.com/freemontage Привет, творец. На связи Слава Хохлов. Основатель Хохлов Сабатовский. Тут ты найдешь всю информацию, что бы научиться создавать киношные видео и построить профессию. ► Переходи в мой телеграмм канал https://t.me/+hhNn1iT40Hs5YmRi ► Хочешь получить творческую профессию? Записывайся по спец. условиям в мою школу https://sabatovsky.com/ ► Нужно заказать видео или найти исполнителя? Переходи на сайт моего продакшна https://sabatovsky.com/production ► Хочешь попасть к нам в команду? Заполняй анкету https://docs.google.com/forms/d/e/1FAIpQLSfpqDwNntb12TB55VmFdcY59N70bGH41m7IkM_iGAzq3wyUAQ/viewform?usp=send_form ► Хочешь стать партнером нашего проекта? Заполняй анкету https://docs.google.com/forms/d/e/1FAIpQLSfpqDwNntb12TB55VmFdcY59N70bGH41m7IkM_iGAzq3wyUAQ/viewform?usp=send_form Для студентов - ссылка на тех. поддержку https://t.me/khslearn_bot Production Music courtesy of Epidemic Sound
Preparing download options
* — If the video is playing in a new tab, go to it, then right-click on the video and select "Save video as..."
** — Link intended for online playback in specialized players
Questions about downloading video
How can I download "Как красить ВИДЕО? Основы ЦВЕТОКОРРЕКЦИИ в Davinci Resolve 17 | Полный ГАЙД по вкладке COLOR" video?
http://unidownloader.com/ website is the best way to download a video or a separate audio track if you want to do without installing programs and extensions.
The UDL Helper extension is a convenient button that is seamlessly integrated into YouTube, Instagram and OK.ru sites for fast content download.
UDL Client program (for Windows) is the most powerful solution that supports more than 900 websites, social networks and video hosting sites, as well as any video quality that is available in the source.
UDL Lite is a really convenient way to access a website from your mobile device. With its help, you can easily download videos directly to your smartphone.
Which format of "Как красить ВИДЕО? Основы ЦВЕТОКОРРЕКЦИИ в Davinci Resolve 17 | Полный ГАЙД по вкладке COLOR" video should I choose?
The best quality formats are FullHD (1080p), 2K (1440p), 4K (2160p) and 8K (4320p). The higher the resolution of your screen, the higher the video quality should be. However, there are other factors to consider: download speed, amount of free space, and device performance during playback.
Why does my computer freeze when loading a "Как красить ВИДЕО? Основы ЦВЕТОКОРРЕКЦИИ в Davinci Resolve 17 | Полный ГАЙД по вкладке COLOR" video?
The browser/computer should not freeze completely! If this happens, please report it with a link to the video. Sometimes videos cannot be downloaded directly in a suitable format, so we have added the ability to convert the file to the desired format. In some cases, this process may actively use computer resources.
How can I download "Как красить ВИДЕО? Основы ЦВЕТОКОРРЕКЦИИ в Davinci Resolve 17 | Полный ГАЙД по вкладке COLOR" video to my phone?
You can download a video to your smartphone using the website or the PWA application UDL Lite. It is also possible to send a download link via QR code using the UDL Helper extension.
How can I download an audio track (music) to MP3 "Как красить ВИДЕО? Основы ЦВЕТОКОРРЕКЦИИ в Davinci Resolve 17 | Полный ГАЙД по вкладке COLOR"?
The most convenient way is to use the UDL Client program, which supports converting video to MP3 format. In some cases, MP3 can also be downloaded through the UDL Helper extension.
How can I save a frame from a video "Как красить ВИДЕО? Основы ЦВЕТОКОРРЕКЦИИ в Davinci Resolve 17 | Полный ГАЙД по вкладке COLOR"?
This feature is available in the UDL Helper extension. Make sure that "Show the video snapshot button" is checked in the settings. A camera icon should appear in the lower right corner of the player to the left of the "Settings" icon. When you click on it, the current frame from the video will be saved to your computer in JPEG format.
What's the price of all this stuff?
It costs nothing. Our services are absolutely free for all users. There are no PRO subscriptions, no restrictions on the number or maximum length of downloaded videos.