Create a CLASSY Teal and Orange Look | Final Cut Pro Color Grading Tutorial

[Music] hey guys my name is dylan and this channel is all about filmmaking and editing so if you are new to the channel make sure to check out my other videos after this and consider subscribing in the last color grading tutorial we created a really cool look we created zack snyder's justice league look which was a very desaturated teal and green and today we're going to be learning how to create a really nice looking teal and orange which is a color scheme that gets a lot of from people and that's because it's widely overused but there's a reason it's overused and that's because you have orange which generally our skin lies under and the contrasting color of orange which is teal if you're wondering why matching those up matters that's because they are complementary colors and complementary colors are basically two colors on the color wheel that contrast each other the most so the orange in the teal and orange color scheme helps to keep people's skin tones on track and allow for that color separation from the teal so when they are matched up in a shot together they allow for high contrast and images that really pop okay so this is a shot from art grid and it was shot in log as you can see which is really cool because you can use stock footage on the site that's in log which is really handy especially because i happen to have my hard drive brake on me and i'm still in lockdown here in saigon vietnam we actually can't even go out past 6 p.m that's how strict it is so i am very limited on what shots i have so art grid has been a savior so we're going to be using color finale pro today and before we start i want to mention that if you don't have color finale pro if you just have final cut pro you will not be able to create the origin teal look as professional as you can with this plugin and that's because if you start to push your colors too much if you use say your hsl masks and start to push your colors your colors will start breaking there's no option to blur or smooth over your colors to smooth over the pixels however in color finale pro you can so i highly suggest picking up this plugin it is a hundred and ten percent worth it so this is shot in a log profile and if you shoot and log you'll need to convert your footage to a rec 709 color space all that means is you add more contrast and saturation back into your image you can use what is called an input lut or a normalization lut or you can manually add contrast and saturation back into it in color finale pro i can just click assume log and it automatically will convert this to a rec 709 color space so that's really easy makes it really quick i'm not going to do that i'm going to quickly go through how to manually uh convert this to a rec 709 color space so i'm just going to raise my exposure of my highlights which is in my gain and i'm going to lower the exposure of my lift which is my shadows and then adjust my mid-tones by pulling down on my mid-tones here a little bit more and then i'm going to bring up my saturation just a tad just right about there so if i turn this off and on now we're converted to a rec 709 color space i could even push up my highlights maybe a little bit more maybe right about there works you want to make sure you don't go above 100 ire on the lumo waveform because your shot won't be broadcast safe at that point not only will it not be broadcast safe but you're also losing detail once you go past 100. going below zero isn't as bad as going above 100 but you are losing detail if you go below zero you're crushing your blacks and taking out the detail in your shot and if you don't know what the lumo waveform does i created a really in-depth tutorial on scopes so i will link that below if you guys are curious to learn all about scopes so we're gonna name this log to rec 709 and the next thing we're going to do in the color grading process is color correct our shot and all that means is we're going to make our shot more natural to what our eyes would see if we're actually there that makes it easier to match different shots later and it makes it easier to stylize so i'm going to bring up my rgb overlay to help me with that i'll also pull up my rgb parade too okay so if i look at my rgb overlay this is this bright part that's raising above about 75 ire and it's showing a little red that's peeking through and how i like to color correct my shot is just opening a curves and just making small tiny adjustments to these curves so i'm going to go to my highlights which is the very top of this red curve and i'm just going to pull down on the very top now you'll notice that starts to introduce some green and so how i can manage that is just going to the green curve just pulling down a little bit on the green curve right about there so if i turn this off and on and you look right in here you'll just notice that what we did was that red pulls closer to the other colors and that's not always what it should do but in this instance we have sunlight that's coming through and that's showing on her skin and so we shouldn't have too much of that red that's uh that's popping out as an example i'm just going to kind of swing this middle of the red curve and if you look on the rgb overlay you'll see how you can kind of line them up you see how it passes that green and blue so you kind of want to just get it on the line for something that um that that should be a neutral color for the most part and so right about there our colors are balanced okay i'm going to switch back to my lumo waveform which measures brightness and then go back to my vectorscope which will tell me if my skin is accurate as well as if i have uh too many colors that are overly saturated so i'm going to rename this color correction and the next thing we'll do is we'll start with our look so in color finale pro it allows you to make groups and mask and what you want to do for this instance because we want to mask out her skin and then also have the background keyed as well the background is going to be the teal and then her skin is going to be that orange so what you do is you press this group button and i'm going to rename this just so we know what it is i'm going to name this look and uh then you'll add two color wheels here and that'll add two color wheels inside that group just so we know what we're doing i'm going to rename this outside mask and i'm going to name this top one the inside mask skin this will be the skin adjustment and this is important once you do this you'll need to invert one of these so i'm going to invert this outside mask and that's just going to make it so when i adjust the skin this outside mask isn't affected i can adjust the outside individually or separated from that inside so you're going to go to the group i'm going to press the mask button press this again and i'm going to make a mask adjustment to the whole group quick note these masking options and even the grouping options are only available in color finale pro so if you just have color finale 2 i highly suggest you pick up the pro version because in my opinion it's not even worth it to just have color finale too these pro features really make the whole plugin worth it today we're going to be using the hsl mask and this is something that you can find in final cut pro but you can't find this blur feature right here and this makes the plugin worth it in itself and i'll go over why this is so important in a second so i'm going to select her skin by using the color picker just selecting her skin and then i'm going to change this display to composite mask so i can see what i'm doing so usually i'll start with hue and i will adjust it till i can get the most of her skin as possible without getting the outside and i usually don't want to include the hair too the hair generally will will lie in the in the shadows of the outside and so i want to try and not select that as much as possible same with her eyebrows i don't want to select her eyebrows either that'll make her eyebrows a little bit orange if we do push towards the orange and then once i have that selected i'm going to move to saturation so going to the saturation and i'm just going to push a little bit but you'll notice we're already starting to include some of the outside and we want to create the outside as teal so i'm actually not going to adjust this as much instead i'm going to go to my luma values and see what i can select how much i can select just by selecting my luma values here and these outside triangles these bottom triangles are just the feathering so i think that's the best that i'm going to get unfortunately and that's not great and i'll show you how we can combat this in a second so let me show you why this plug-in is worth the money so if i click off here and i go to my outside mask and i really just crank the the teal into the shot which um this is all of this so far is something that you can do in final cut pro let me just show you what we got going on here if i zoom in maybe you can already tell we have a lot of let me zoom in a little bit more our colors are breaking here you can see right in here some pixels are falling apart this is selecting is being selected as the outside mask and then her skin is being selected as the inside mask this frame actually isn't that bad it's way more more noticeable if i go right in here you'll just see all these spots that are showing up and unfortunately this is something that that happens in final cut pro's hsl masks when trying to push colors look at that that's horrendous and so here is why this plug-in is so awesome if i go back into the look click back on my hsl mask watch this real quick let me go up to a place that you can see and let me just add a little bit of blur maybe like three percent boom gone let me go back to the spot that was really noticeable look at that it basically just blends those colors together it just adds a little bit of a blur and you can see what it's doing if i go to my composite mask you'll see it just blurs the mask so if i back off this and take out that blur you'll see what i mean there are those pixels that are showing up add a couple percent blur four percent that even may be too much maybe a three percent blur and it just smooths those pixels over it just makes your shot more professional looking so let me back off here go back to fit let's go to the outside mask here and i'll start to adjust a little bit more so i'm going to push this in not the direction of of cyan entirely we're going to kind of go a little bit darker blue you know what i may go teal for the midtones which is your gamma wheel and then i may go blue for my shadows here just a little bit darker blue so here's the selection we have which is pretty good so far and for some reason when you're scrubbing through your footage with color finale pro the blur is taken off until you stop and then it blurs the shot okay and something i'm going to do if you look right in here on her skin it is a little bit too blue and what i'm going to do is just go to my highlights and lower the saturation of this outside mask that's just going to take out some of that teal from the highlights but keep it in the mid-tones and the shadows and also we're going to be adjusting the highlights and shadows later to clean them up but for now that's just a minor tweak that i'm going to do next i'm going to go to my inside mask and we're going to check to make sure her skin is accurate now something a friend brought up recently is that your skin doesn't always have to line up on the skin tone line a lot of times in film it will lie outside of the skin tone line and that ends up being just fine like for example the ozarks if you guys know that tv show skin color in the ozarks is way off it's super green very gross but people kind of let it slide because it's film but if you're doing commercial work like this is or weddings or vlogs or something like youtube generally you want your skin to be accurate so let me change this to 133 just so that little tiny thing is a little bit larger and so i'm going to go into my gamma wheel which is my mid-tones and if you guys remember your skin tones lie in the mid-tones so i'll go to my color wheel this will adjust the hue of it and i'll just swing it a little bit until it lines up on the line and honestly i really don't need to make that much of a of an adjustment i think that's fine so let's back off image analysis so we can see what we're doing and that's fine i may actually raise the saturation of the mid-tones here you'll see that'll just pump it up another thing i can do is use my six vectors and actually let me show you let me show you that real quick so let me reset my saturation here so we're done with the look so here's what we did so far we went log to rec 709 then we did a little bit of a color correction here not much was needed just a tad and then we added our teal and orange look so let me bring up the six vector layer and we'll start to make some minor adjustments here this is the same as hugh versus hue hue versus satin hue vs luma in final cut pro's native color grading tools um and so this will allow us to dial in our colors a little bit more but it only gives us six options here if you want to make an adjustment to more colors or a broad range you need to use the hsl curves so i can make adjustment to this teal just by adjusting the hue here but i'm actually going to leave that as is and i may just desaturate this a tad next thing i'm going to do is lower the luminosity and this will just help to add a little bit more contrast from her you'll see that it makes the background a little bit darker and then i'm actually may bump this up one more time swing this a little bit towards teal so if i turn this off and on it just helps her pop out just a little bit more maybe i'll swing this a little bit more towards teal and if we go into the red vector the nice thing about this is it will select the skin most of the time so i can change the hue of the skin just by swinging this i can also change the saturation here let me reset that so i'm going to just adjust the saturation a tad and then bump up the brightness of her skin just a little bit so if i turn that off and on you'll notice it just gives me a little bit of a pop not too much but just a little bit and let's just rename this uh we'll name this look adjustment the name i don't even know what language that was okay so next thing i'm going to do is continue on with these secondary corrections i'm going to add a bit more contrast here so i'm going to go to my luma curve and i'm going to pull down on my very darkest shadows and that's at the very bottom of the curve here if you look at this color curve you have the dark that's at this very corner that's at the very bottom and then the farther you go the brighter it is so highlights mid-tones and shadows so i lower the darkest points i'm going to go towards the mid-tones and just push up here and help that pop so if i turn that off and on we just have a little bit more contrast a little bit more pop in our subject i may even raise that even more okay that looks fine something i'm noticing i don't think that we're crushing our blacks but just to double check let me bring up my range check and this is a feature in final cut pro that allows you to check if your highlights are blown if your shadows are crushed or if you're overly saturated in your brightest and darkest values so i'm just going to turn it all on and it's showing that i'm fine here this isn't crushing but i may just fade this up adjust this a little bit more okay that's fine okay that's really weird so when i turn on my range check for some reason this pixelates for some reason it doesn't look as good the blur doesn't show up yet when i turn it off then it blurs that's really odd wow that's something to to email fanuca pro about very interesting you know what i may do i may go back into my log rec 709 and just bring up my shadows just a little bit i want this to be a little bit brighter than it is and that just brought it up a tad the next thing i'm going to do is go to my hsl curves and i'm going to take out the saturation and some of the darkest and brightest points of my image that's just going to help clean up my shot and make it look a little bit more professional so in color finale pro you can go to this very dark circle click this this will make a selection point of the darkest areas in your shot i'm going to add another point whoops that was weird by pressing command and right clicking and i'm going to anchor this point here make these smooth by selecting them and then just bring this down and this is going to lower the saturation or drop the saturation in the darkest parts of my image you know what i may do actually is add one more anchor point here that's odd that it did that and i will make this smooth and cur and anchor this there because i want this to be a little bit more gradual i'm also going to do the same thing for my highlights so i'll click this very bright point here which will make a selection in the very brightest parts of my image let me go to this frame that has a lot of highlights involved and i'm just going to bring this down i'm going to drop this make sure this is anchored to the line so it doesn't move and we'll just bring down the saturation in the very bright parts of my image i may bring this in a little bit more i don't want this to be too desaturated in her skin maybe right about there so if i turn this off and on and you look especially in her hair and then right here in the shirt you'll just notice that takes out some of the saturation in those values even right in here and just helps clean it up a little bit more and i can actually group these together right click click group and i'll rename these secondary secondary corrections something i just noticed if we look in the top right hand corner we have this i don't know what this is something that's in the room the nice thing about this plug-in is we can exclude that from the mask it's being selected as her skin here so if i go back into the mask selection and i add an ellipse mask i can just bring this over the top of it we'll adjust the ellipse and then i'm going to click subtract here i'll feather it and then i'm also going to change the opacity just because that's way too blue here so let me change lower the opacity a little bit and i may find a point where it's fully in the frame and then just track backwards so let me go right here and just track this and i may need to speed this up for time's sake i don't want you guys to be waiting while this tracks if it goes out of the frame then you can just go to the point that it moves back in the frame and then track so let's do that okay so now that is tracked now that is excluded from the mask which is a really cool feature final adjustment i'm going to go back into log rec 709 and i'm going to adjust my shadows a little bit by bringing up my shadows and then i'm going to lower my highlights a tad i just wasn't super happy with that so that is the look so let me show you what we did we converted our log footage to rec 709 we color corrected our shot and then we started to add our look so we created a mask for her skin and for the outside and brought some teal into the outside a little bit of orange into the skin mask and then we started with our secondary corrections so we went into the teal and we lowered the saturation and raised the brightness a little bit and then we did the opposite with our red vector which selects the skin we added a little bit more contrast by jumping into our curves and then the last thing we did was we took out the saturation in the very darkest parts of our image as well as the very brightest parts [Music] and that is our look guys i hope you enjoyed it today if you did press the thumbs up button make sure to subscribe if you have not already and i will see you in the next video

Channel: Dylan John

Views: 2,851

Keywords: EASY steps to achieve a CLASSY Teal and Orange Look, teal and orange final cut pro, how to color grade teal and orange final cut pro, easy color grading final cut pro x, final cut pro color grading cinematic, final cut pro color grading workflow, cinematic lookbook, final cut pro color grading, cinematic look, final cut pro tutorial, Color Finale 2, Color Finale 2 Pro, color grading, tutorial, Final Cut Pro, fcpx, Dylan John, sam kolder, final cut pro x tutorial 2021

Id: AVtHee78pCA

Length: 19min 42sec (1182 seconds)

Published: Tue Aug 10 2021