Click on any phrase to play the video from that point.
[ADOBE® TV PRESENTS]
[SHORT AND SUITE - ON THE ROAD WITH JASON AND KARL]
[truck transformation sounds]
[JASON LEVINE]
[KARL SOULE]
[mechanical transformation sounds]
[SHORT AND SUITE - ON THE ROAD WITH JASON AND KARL]
Hi, there. Karl Soule again for Short and Suite.
So today we're going to talk about secondary color correction
and how to use Color Finesse
to kind of pick out a range of colors and just affect that range of color.
So I'm working in Color Finesse, I've got my clip already loaded,
and I've already gone through and done kind of a primary grade to this
where we've gone through and adjusted some of the different values.
I've got my white points peaking where I want them.
I've kind of played with color a little bit.
I've changed the color of the shadows, the midtones and the highlights just a bit.
There's a couple of things in this image--some very specific things
that we want to go through and correct.
The first one I want to kind of dial-in and really give the shirt--
Dave wears kind of a bright blue shirt;
he's kind of known for that, so we want to make sure
that that comes across in the video here.
and right now, this is not looking too bright, so we need to resaturate the shirt.
So I'm in the secondary tab here, and the first thing you'll notice
is that there are six sub-tabs labeled A through F.
Each of these are a separate, secondary color corrector,
so you can have 6 different areas in the video can all be affected individually.
So I'm just going to start with secondary A and we'll use the eyedropper tool here.
We can create a sample of what we want to work with
and I can go ahead and use this Preview function here.
I'll go ahead and just desaturate the image so nothing is currently being selected.
We'll go ahead and just make sure and reset this so that there's nothing showing up
in the image, and with my secondary sample selected,
we'll go ahead and I'll just click on the shirt here,
and you can see it's starting to pick up the blue in the shirt.
So we've go ahead and we've grabbed one sample.
We'll go ahead and grab another sample here.
I'll get some of this collar area, and again,
keyboard shortcuts--very important.
Shift will widen out the pixel selection area to a 3x3 grid.
Command or Control widens it out to a 5x5 grid,
and if you hold them both down, it widens it out to a 9x9 grid,
so when you have general color selections like this,
it's a good thing to remember to use these keyboard shortcuts
and when you use these, you'll notice that the cursor actually changes
from an eyedropper to more of a reticle there was showing the pixels
that are actually being selected.
So I'll go ahead and kind of widen out this range a little bit.
I can play with the softness sliders and the different tolerance sliders here
to kind of get this to just affect the shirt
in the image effectively.
Bring the chroma tolerance down a little bit.
So now, you could see- because of the mask, you could see
all the areas that are kind of a gray color are not going to be affected at all.
The shirt is coming through; we're seeing the blue in the shirt,
so now when I turn off this preview, we go back to our original colors that we're looking at.
If I start to play with something like the saturation in the image,
it's going to really play with and boost the saturation of the blue in the shirt
without really going through and affecting too much in the rest of the image.
So now, if we want to affect a different part of the image,
let's go to another secondary color corrector.
We'll go ahead and click on B and we'll go ahead and make that active.
Now, something to just get in the habit of doing
is it's not a bad idea, especially when you've been playing around a lot,
maybe you started to correct something and changed your mind about it--
it's not a bad idea to just hit this Reset button here.
This Reset button only affects what is in the active tab right now,
so if I'm in the B tab, it's only going to affect that.
Reset All--keep in mind, if you've done a primary grade
and now you're working on a secondary grade,
you probably want to leave this Reset All button alone
because that's going to reset your primary--it's going to reset every slider in every tab,
so just be aware of that.
All right. So let's say we want to affect a skin tone
or maybe let's go ahead and correct this table.
Maybe I want to desaturate the table a little bit.
We'll go ahead and turn this on, start to grab a sample here,
and I'll go ahead and grab a sample of the table.
And again, I can come over here and use these controls
to either adjust the gain
or desaturate this portion of the table
and if I need to widen out the softness on my selection,
I can go ahead and do that.
I'll use the Preview function to tell what color I'm pulling from.
Now, you're going to see when you're using these different selectors here,
occasionally you're going to run into a situation
where even as you're grabbing different eye droppers of different color values--
I'll go ahead and turn off the Preview function here.
We'll grab a different color value here
and add that in to my selection--
sometimes you're going to get some unwanted areas in your selection
and the thing to remember about this is it's really useful using Color Finesse
to do both primary grading and secondary grading, but keep in mind
that this is actually running inside of an After Effects composition.
So Color Finesse is included with After Effects in the Production Bundle,
but the way it's really working, what we're working with inside of Color Finesse right now,
is actually part of the larger set of tools that are found inside of After Effects.
So if I go ahead and click OK on this, you'll see that this has kind of brought me back over
into After Effects again.
And so when you run into situations where like maybe you're affecting
one particular part of the video--I'll go back to my full interface again for Color Finesse
because I 've left my Preview on--there we go.
I want to affect the color of the table but not affect the color of the skintones
in the shot here.
Keep in mind that you can still use standard compositing techniques inside of After Effects.
After Effects has a whole wide range of tools for masking,
so in this case, I could actually take this video, duplicate a copy of it--
we'll just Command-D to duplicate this--
and for this top layer of the video, what I'm going to do is use the pen tool
and just kind of draw out a quick mask
to kind of choose which area that we want to affect here.
So in this case, maybe I only need to affect this left-hand side of the image,
so we've gone ahead and masked this out.
I'll use the mask controls here to kind of move these points around;
Command or Control to pick up or move a point.
And so right now, I've got two different copies of the video:
one on the left side of the screen and one on the right side of the screen.
Now, if I go into the controls for the right-hand side of the screen here,
we'll just swivel that out so that we're only looking at the right-hand side.
If I go into the Color Finesse controls in here,
I can go in and turn off this secondary
so that skin tones aren't going to be affected by the secondary.
And then, we'll go ahead and turn that left-hand side of the image back on again.
So now, I'm getting the adjustment to the table can be controlled separately
because it's a separate layer in the composition.
So that's kind of a quick walk-through in using the secondaries inside of Color Finesse
and as a little advanced bonus lesson there:
again, always keep in mind that you're using Color Finesse inside of the larger tool set,
which is After Effects.
Thanks again. My name's Karl Soule.
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