Today I'm going to show you
how to match the colours from one camera to another
and I'm going to try and give you a bunch of
useful log grading tips while I'm at it.
Let's get undone. [offbeat music] ♪ Gerald Undone ♪ ♪ He's crazy ♪ What's happening everybody?
I'm Gerald Undone and where we're going,
we don't need roads. So, let's not waste any time
and jump right into Resolve. Now, most of the stuff
I'm going to show you can be done in any other NLEs,
but Resolve really is the best option when it
comes to this stuff, and since the basic version
is free, anybody can do this. So, first up,
let's talk about the problem, which is that commonly
when mixing footage from different cameras
you'll find that they have different skin tones or
just a generally different way of rendering colour, even when
white balanced the same. As you can see between
these two clips here. So, I've got clips here
from the Sony FX9 and the Canon C500 Mark II,
as well as some other cameras and keep in mind that
these are the cameras that I chose for this test,
but this applies to any camera. So, not specific to this,
so any tips that I show you in this video you can apply to
your hybrid mirrorless cameras to your other cine-cameras,
really anything. It's just about colour.
So, it's going to apply across the board. But for
these two, the Sony FX9, if you look at the skin tones
here and look at the colours even on the board, you can see
that it goes from, kind of, an orange-ier with a bit
more green and teal in the greys to
a much rosier grey and a definitely more
magenta skin tone. If we look at the white balance
here, which in Resolve, by the way if you right click
anytime that you're using your dropper tool, you can
choose "Show picker RGB value." And this will help you
know if something is white balanced correctly
because you can see if your red, green, and blue
are all the same number, then obviously
you don't have a bias toward any one colour. And so,
our grey here is very neutral. We have 219, 218, 218.
So, that's very, very good. And if we look at the Sony,
same thing let's look for when we have the white
balance card here. 220,220,220. So, they're both
perfectly white balanced yet somehow the Canon
looks like that and the Sony looks like that.
And that's basically that these...
these cameras have an intention behind how they want
things to look and this is the way
that they render colour, and just white balancing
isn't enough. Now, there's a few systems
in place that deal with this. You could use something called
ACES, which was designed almost exactly for this purpose,
to create an accuracy standard for different camera brands,
and while it definitely helps, the results vary
depending on the camera and the profile
you're transforming. Some work well, some don’t.
Let me show you what I mean. So, here's the two clips again
using an ACES transform. We've got the Sony FX9
and the Canon C500 Mark II. And for Canon, we're using the
Clog2 to Cinema, to Rec. 709. Using ACES 1.1.
And for the FX9 we're using the Sony SLog3 SGamut3Cine,
which is how we shot it, to Rec. 709. And again, you can
still see that the Canon is more magenta and the Sony
is kind of more orange-y. Now, it definitely helps on
the waveform if we look here and we look at
the general exposure and compare the two there
we can see that we're getting very similar results
in the waveform, but the colours are different.
So, this is one of those things where whoever makes
the ACES transforms, if they don't make them--
if the same person is not making them
to look exactly the same with the colours,
they're not going to fix the skin tone matching
between different cameras. So, another option is
to use LUTs that are designed for camera matching.
The Leeming LUTs are a great example of this and
generally do a pretty great job at creating a consistent
look camera to camera. But most LUTs out there
don't do this. For example, if you acquire the LUTs
from the manufacturer to convert your log footage,
those LUTs are still based on the same colour biases
of the camera brand. So, they aren't going
to get your Sony camera to look like Canon, or to even
look like some neutral standard. They're going to convert
an unfinished Canon look to a more finished Canon look with the same
colour preferences. Here's an example of that.
OK, so here's those same two clips again. Here is
the Sony, and here is the Canon. And I have more contrast added, but you can still see the same
difference again. The Sony has
the more orange-y skin tones, and the Canon
has the more magenta ones. And if we look at
what we're doing here instead of the ACES transform,
we're using a LUT. And for the Canon one,
we're using the Canon Clog2 to BT709
Wide Dynamic Range. Which comes from Canon,
and for the Sony one, we're using
the official Slog3 LUT, the SGamut3CineSLog3 to 709.
So, both of these ones come from the manufacturer,
and they do a great job of finishing to get
that 709 look of each respective
camera brand, but again, they're not giving you some
neutral or ability to match. But one way that
you can kind of combine the last two ideas
is to use a transform to convert your camera
into another camera, and then use the LUT
from that camera instead. This is commonly done
with the Arri Alexa. People will convert their Sony
or Canon footage to Alexa then use the Alexa LUT. This can
have a really pleasing result but it still faces
the same problem that if the Alexa conversions
weren't all done by the same person with
the same colour intentions, they'll probably look
a little different. However, from any of
these starting points, whether grading from scratch
or after applying an ACES transform,
or a manufacturer LUT, you can still add another step
to colour match those cameras. But first, I'd like to take
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effects, check out Storyblocks using the link
in the description below. All right, so colour
matching your cameras is much easier to do
if you have a ColorChecker and some spare time, because
before going out to shoot, you can make your
own LUTs based on your specific shooting
situation, and this will allow you to take your time
and dial it in just right and then save time later when
editing your actual project. But ColorCheckers can also
be used on a real shoot but just placing them in the
frame for a second or two when you start to roll, and
then using them as a reference for correcting
your footage later on. But of course, I'll also
show you how to evaluate and correct skin tones
when you don't have a ColorChecker in the shot.
But first, since so many of you asked on Twitter,
let's start with correcting using a ColorChecker.
So, we're going to switch our scope over to
the vectorscope so that we can see some things.
And in this shot obviously, I'm holding
a ColorChecker. But you can have it just, sort of,
in the frame, you can have a talent holding it.
If there's no person in the shot you could put it on a little
light stand or something, whatever, in order to be able
to see it in the frame. And I've got a bunch of other
things going on here right now, lots of nodes, you know,
exposure. I've got the LUT that I was telling you
about, the Sony LUT, and then the Canon LUT.
I've also put a white balance on there. I'll go over
the workflow at the end as sort of, like,
a complete thing, but for now let's just focus on
correcting colour using hue and saturation curves
and the ColorChecker. So, the first thing
we're going to do is we're going to go over
to the Hue vs Hue here. And this is a curve that
changes the hue position of all of our different colours.
And if you look over here on the vectorscope
as I raise the line, you can see that it rotates
around. And this is useful if you need to make just
a slight rotation due to a bias of the camera.
But if we need to refine the colours individually,
then the best way to go about that is to add
points. And Resolve makes this easy for
you by just adding some shortcut buttons
here that will add all the relative points
to these points on the vectorscope.
And so, let's just start and if we raise the red,
you can see how it swings that red around,
so we'll just line it up with the red box, and we'll
line up the yellow one. We're just aiming for
to be about the middle of the box there.
And we'll move this until the green one goes in,
and the same with the cyan. And the blue. Now, some
of these are going to be too short and some of them are going to be too long,
but we'll address that with saturation in a minute.
So... there. Once we have them
mostly lined up, we'll switch over to Saturation
and we'll do the same thing. We can hit the shortcut
buttons here. And then we can lower
the red to bring that into the box. And our
magenta is pretty much already in the box, same with
our blues. Pretty good. We'll just lower it a little
a bit. And cyan down. And green is pretty good.
And then yellow down. So, now we have each colour
in its respective box, and if we look at the image,
it's very neutral. It's a bit undersaturated,
but it's completely neutral. If we raise the saturation,
then you can see it, sort of, come back to life,
and you can dial the saturation to taste,
and then you have a pretty balanced image.
And if we were to do the same thing on the
Canon, we should get a very similar result.
So, I'm going to jump over to the Canon, I'm going to do
the exact same thing, just, sort of,
a speedy version of it. OK, so, now I did
the same thing to the Canon and if we jump back and forth
between the Canon and the Sony we can see that they're
a lot more similar now. Again, both are
quite desaturated. And the Canon does still have
its, sort of, overall rosiness to it, where the Sony has
a little bit more of that, you know, green in the greys
and a little bit more of an orange to the skin tone. And I'm going
to address that now by showing you how to
correct for skin tones. And you can do this even
if you didn't have a ColorChecker in the shot.
So, I'm going to bump the saturation, like I
said I would, on each of them. Let's just put them to
60 so that we can see-- we'll go a little bit higher,
actually, we'll go all up to 65. There.
So, each one of them is more saturated now, so if
we zoom into my face here we can really see
their differences in how they render skin.
And this would be an example of if you didn't have
a ColorChecker in the shot but you wanted to know
how to correct skin tones just naturally. Lets say
that we wanted the Canon to match the Sony.
What we want to do if we didn't have
the colour chart, because then we wouldn't be
able to see these points, we still would see
this little blurb here, which is your skin tone.
And if we look at the Sony, we can see the skin tone here.
And they're close. But the Canon is a little bit
more off to the red side, the more magenta side,
which is over here. And the Sony is more toward
the yellow side. So, to fix that,
what we would need to do is I have a new node
that I'm calling "Refine." You don't need to do this
but I'm just doing it in addition to our previous
hue and saturation curves so we can see it stack
on top of each other. But we would take this
and we would create a skin tone zone.
So, if you look at this... this chunk right here
that's in the reds, this is my face.
I just know this. But if you look at
the frame it makes sense. That this is the red
thing in the frame. And then this big chunk here
would be the purple background. And if we look at the Sony,
we can see that not only is the red thing more to the
right, it's more to the orange. But it also reaches
to just above this line, where the Canon is a little
bit lower, maybe. So, the Canon is more on
the red/magenta side and not quite as saturated.
So, that gives us a clue as to what we have to do.
But even if you didn't have anything to compare it to,
you can just look at the shot and say, "This is more magenta
than I want it to be." And if that's the case,
then we'll put a point just past the yellow line here,
which is going to be the green. You have to be careful
with Resolve, though, because often
when you click on it it actually shifts it,
and I wish it didn't. Now, if we click just
above where my face is now we can adjust it.
If we move it up, obviously, I turned really
purple, and if I bring it down I turn really green. So, we want
to add a little bit more green to undo the magenta of my face.
So, we just drag this down just a few points.
So, that was a -5. -50 would look something
like this. So, that's an extreme change.
Usually only, like, 5 points is all you really need.
So, that's a -5. And if we compare to Sony again, we're getting a little bit
closer. In fact, if anything, I would say now we've over
corrected on the Canon. So, let's try something
more like a -3. And just quickly jump
back and forth. So, that's a lot closer.
But again, you can see the Sony is a bit more saturated.
So, now on the Canon, we're going to jump to
our Hue vs Saturation and we're going
to put similar points, one just past the yellow.
Set that back to 1, that's neutral for
the saturation, and one probably about halfway between
the red and the magenta we don't want to go
too far into the magenta because then we're going
to affect the background. Just click about here,
reset that to 1. And then again, click just
above the mound here which is our skin tone.
And then we can bump it up just a little bit.
Let me give you an idea, that's an extreme version,
that's 1.75. 2 is at the top. And this is a little bit,
of, like, 1.09. Now, we'll add maybe, like,
1.05 saturation. And now let's compare that
to the Sony. And they're looking
pretty close now. I'm not going to go
much further in this because you get the idea, you
can dial it in and refine it. But this is-- if we just look
at my face here back and forth, we can see that
they're very, very similar. And now we can zoom back out.
And we did that without even looking
at the ColorChecker. So, you can still
correct skin tones without looking at
the ColorChecker. Now, the purple in the
background, you'll notice, is a little bit different. And
it's the exact same procedure. If we look at the Canon, we
have this big purple chunk here and we can see, sort of,
how far to the left it is from the magenta line,
and if we look at the Sony, we can see that it's on the
right side of the magenta line. Which means that if wanted
the Canon to match we'd have to do a very
similar procedure. For the Hue vs Hue, we'd want
to click, maybe, just to the right of the blue line
and, again, reset it to zero. And then click here.
And if we shift it up it's going to go more blue,
and if we shift it down, it's going to go more on
the purple side of things. And we can just dial it in
until it looks right, or more right, like the other
one. And it also looks more saturated to me,
so if we switch over to the Hue vs Saturation,
again, put a line just to the side of blue
and then we can drag this down until it becomes a little
bit less saturated and now if we flick back
and forth, those purples are a lot closer. And we just
did this completely by eye. We looked at it and thought,
"That purple's not right. It's more blue.
Well, let's make it more red." And it's that simple. You just
basically have to know which direction you're going,
and you can experiment just by moving it up and down.
The trick is to isolate the zone that you want to control
by those dots. But don't make too many dots,
and don't make them extreme because then you're going
to do something where the colour-- just, there isn't
enough adequate information to shift such an extreme.
I can show you this with the purple, sort of,
around my face here. If I make some pretty
extreme dots here and raise this one up,
and then raise this one down, and bring this one really
tight, and you look at this, it's too extreme of changes
and it completely falls apart. So, you want to make sure
that any adjustments that you make are gradual
and roll off nicely. So, that's how you can use
a ColorChecker to get accurate colour
or to change colours, but if you aren't using
a starting transform or a LUT from the manufacturer,
you'll probably also need to match the Luma Curve.
So, let me show you my favourite way to do that.
OK, so, I want you to look at these two clips
here. This is Sony using the official manufacturer
LUT that we talked about earlier and this is one that I made.
Now, I could've done a little bit better on the
purple, but I just think overall if you look at the exposure
and the way that the highlights roll off,
it's pretty close. And the colours are pretty
close as well. And this is what
we're talking about here when we talk about
the Luma Curve. So, if we look at the waveform
and I bounce back and forth, you can see the waveform
is pretty close. I probably should make
some refinements, but I'm just going
to quickly show you how to achieve that.
So, what we need to do is I have this first node
here called "Exposure." And if you're not shooting raw,
this is what I would do to correct a log image that,
obviously, you're... You're situation here
is way too compressed to get any kind of image
like this out of it. Now, on this one, I'm going
to turn off the contrast to get a sense of what the LUT
is doing. If I take the LUT away you can see that's how
the log image was shot. And then, if I put the LUT on,
that's what it did. So, what we need to do
is turn this into this. But without a LUT, we need
to do it with our curve. And this is another point
where the ColorChecker comes in handy because
we have our bars here that give us clean lines
on the waveform. And there's sort of a shortcut
that you can, kind of, remember here. Which is
to set the different bars to certain points quickly
using the curve. If we look at this one
for reference, the white is up at around
the 90% line here, the 18% grey is around
the 50% point, and then our darker grey
is around 30%. And then the black line
is down here on this line. And we can do this rather
easily. First, I would suggest grabbing a point
and raising it up as you move up
and to the right until the line that--
the top line, the white line, hits around the 90% point.
And then we're going to need to put another line
to move the bottom ones down to about where they were.
So, remember, the other one was just above that 256 line.
So, something like this. This one on this line
and this and this point. And now we just have to
change it a little bit to get the midline
a little bit lower, which is basically how the
curve is going to pivot here. So, if we just click
somewhere in the middle and just bring that down
until that's around the 50% line, and then we can
just, kind of, finesse this curve a little bit,
because, again, you don't want to put these, kind of,
crazy sharp bends in it, because you can see what it's
doing to my skin. It's bad news. So, we're going to smooth
that out and try and get a nice, rounded curve, while
still achieving those lines where we can. And then, now
if we pop the contrast back on and look at this shot,
and compare it to this shot with the contrast on,
we can see that we get a pretty similar result.
Now, this one has a bit more contrasty
of a curve, so, again, you can go and refine that.
If you raise this up, it's going to illuminate
that side of my face there. If you lower this one down,
it's going to smooth out the highlights on this side.
And this is up to your taste because if you're
not using a LUT, you can do whatever you want
and design the type of curve that you think is nice for you,
but you can see that we get a pretty-- pretty similar
idea really quickly. And this is an important
step to do when it comes to
replacing LUTs manually because a big part of LUTs
is usually correcting the log curve, and as well,
correcting the colour. It usually does both of
those things for you. So, if you're going
to do it manually, you need to correct the colour,
like I showed up, but also fix
your exposure curves so that everything,
kind of, falls in place. But now we can put everything
that we learned here together in this video and grade
a log shot from scratch without using any LUT, but still
create a colour accurate image with a nice curve. So, for this
clip I'm actually going to reset all of
our node grades here. And this'll tell you
a little bit about the order-- Actually, I'm not going
to reset that last one because that's my specific
grade that just gives me a little bit more purple
in the shot. I can show you what it does in this one
if I turn it off and on. I just like it, so for the
finished look I'm going to leave that one on, but it's not
part of the workflow. These five nodes are the ones
that we're going to want for this workflow, and I'm going to
explain that to you right now. So, since we're not using
a LUT or any kind of colour correction,
this isn't a LUT anymore. This is going to be more,
like, Saturation, which is a key part of a LUT.
Usually a LUT adds a certain amount of
saturation as well. So, first we're going to
get the exposure right. And we're not going to match
this to any shot now, we're just going to do it
based on the principles that I showed you
to show you how you can do it if you're not trying
to match a camera, but you're just trying to make
a nice look from scratch. 'Cause I promised you
log grading tips. So, we're going to do that same
thing that I just explained. We're going to use this
to bump up the line on the waveform until we hit
around that 90% point. Then we're going to put
another one down here. And we're going to bring it
down to, eh, about here. Where it just sits just
above-- around 300 if we're using 10-bit.
And then, the black will sit right around the 128
for now. And then, again, we're going to, sort of,
finesse this curve to put that one around-- to put
the middle point around 50%. And also, you'll notice
that if we slide it up and down, we change where
the skin tones fall relative to the middle.
So, we want to try and find one that looks nice,
but we can always fix this afterwards when we have
saturation and contrast. So, I'm just going to go
with something like this. It looks like a pretty
reasonable s-curve. Now, we're going to move on
to white balance. Now, generally you might find
it easier to white balance with more saturation,
but I find that Resolve does a pretty good job.
So, this ColorChecker, this is the ColorChecker video, it has
a big white balance target on the opposite side
of the ColorChecker. It's pretty handy for this.
So, we can just use our automatic
white balance if we want by clicking on this dropper
down in the bottom corner. Let me put this on 2 so we
can see our temperature and tint. And we'll put this
right in the middle there and click on it, and like
I showed you before, your dropper
should look somewhat even pretty much wherever you put it,
so 182, 181, 182. That's a pretty good
white balance. So, now we're white balanced.
Now we need saturation. I found that most logs need,
in Resolve, anyway, for you to bump the saturation
from 50, which is its default, up to around 85.
You might want 83, 87, 90, but somewhere around there.
I'm going to do 85 as just, kind of, a baseline.
Now we've got our saturation and now we'll add some contrast.
Now, I can just tell you the type of contrast
that I like, but again, this is up to you.
We're just doing this to taste. I like to put
the pivot around 0.6. And that's based on
how fair I am. I'll show you what the pivot
does in a second, though. So, let's bump
the contrast up to taste. So, we'll just increase it till
I think it looks reasonable. Now, look what happens
if I lower the pivot on my skin, versus, say,
the dark shirt that I'm wearing. If I lower the pivot,
my skin gets really bright and washed out.
And if I raise the pivot, my skin gets really dark,
and other parts of the image kind of even out. So, it
basically depends how extreme you want the contrast.
How sharp you want your s-curve to be.
So, I found that around 0.6 gives a reasonable result.
Now, we're going to do that colour correcting aspect.
And we have plenty of saturation to work with,
so we're going to switch to the vectorscope,
and I'm going to scrub back to the beginning
so I can see all my colours on the colour chart.
But even without using the ColorChecker, if we just
look at my skin here, I would say that looking at it
I look a little bit orange and a little bit oversaturated
in my face. So, if I were
to do that manually without a ColorChecker,
I would go to my Hue and Hue curve,
and I would click, again, where I showed you
before, a little bit past there. And a little bit just closer
to the magenta side of the red and then I would click on
the bump that's for my skin tone and if we raised it up
a little bit, we would eliminate some of that yellow
and get a little bit more on the magenta side,
and then I would jump over to the Hue vs Saturation,
put similar points, and I would lower
the saturation a little bit on my skin. And then if
we zoom out, I feel like that's a nicer skin tone.
And I did that without actually looking
at the vectorscope or the ColorChecker.
But let's use the vectorscope and let's use our ColorChecker
since we have it. So, I'm just going
to reset these things. And then I'm going to add
all the points back using the shortcuts
for both Hue vs Hue and Hue vs Saturation.
Now, there's also Hue vs Luma which we didn't really
talk about that much, and that's if you happen
to be comparing shots with other ColorCheckers
or you know that your points here
are too bright, you could do something
like this and lower... if we look at, say,
just this magenta point here. You could look at this chip
and say, "Oh, that chip is way too bright up there."
and we would lower it down. You're seeing that blocking
because my points are too close together, but you
can effect your Luma that way. I find that
it's not as commonly needed in most cases,
but it's something that you might need to do
if you do find that one of your colour chips
is a little bit out of whack with the particular camera
you're shooting on. But anyway, we've got our Hue vs Hue
and our Hue vs Saturation, and we're going to do
something similar to what I showed you before.
So, we're going to start with the hues and we're just
going to pull these in until they line up
more closely with the squares, because we're not
trying to match to any specific camera,
so we'll just try and get pretty accurate colour
out of this thing. So, we'll put our...
all of our dots so, they line up with
the targets over here on the vectorscope. And then
we'll go to the saturation and we'll lower this down,
raise up the magenta, lower the blue,
raise up the cyan. And you can see that you can
do this pretty quickly once you, sort of,
get the hang of it. And then lower the re-- er,
yellow, and then just, sort of, finesse
the red a little bit. So, if we look at ourselves
here, we're a little bit too magenta and we're a little
bit undersaturated. So, I'm going to go back to
our previous saturation node and I'm going to
increase it now to taste. So, I'm just going to bump
it up just a little bit until I like what I see
on my skin there. Nothing too crazy.
And then, like I said, back over here on the HSL,
now we can make the image
less accurate in order to make the skin tones
what we like, and let's use
that same principle as before. So, if I look at these
skin tones, to me, they look a little bit magenta,
a little bit purple. And if we look at this big blob
here on the vectorscope which is
my particular skin tone, it definitely is not
falling on the line, or as close to the line
as I would like. So, that's a Hue vs Hue issue. And we're going to use
our red point here and we're going to bring it down so that it falls
a little bit more on the line. And we're going
to do this to taste, but also using out scopes.
Our scopes let us know if we're close to
the skin tone line. We can look at the image
ourselves and decide how, you know, how--
what kind of balance between accuracy
and pleasing that we like. And I would say that something
around here is pretty good. So, what I like to do
at this point is then go ahead and check our
white balance again, just to make sure that all
the stuff that we did to colour didn't really
contaminate our neutrals, because it's important that we
still keep our neutrals free from any bias. So, if we
look here, 205, 204, 206. 205, 203, 205. It looks like
we need just a little bit more green in the shot,
and a little bit less blue. So, we can go back to
our white balance and just, maybe,
fix that a little bit. So, our temperature is 179.
Let's bump that up to 190. And our tint is 23.
Let's drop that down to 20. Let's check this out here.
203, 204, 203. So, now, apparently, we've got
a little bit too much green. So, we'll try 21 on the tint.
And... 204, 204, 204. So, now we've got
a good result there. The tint, the higher
you go up with it, the more magenta it gets.
And the temperature, the higher you go up with it,
the more warm it gets. OK, and now I think that
we have a pretty good little image here. And now we
can go back to our contrast if we want and we can
finesse this a little bit. So, if we wanted a little bit
more contrast, maybe, and adjust the pivot to,
you know, pull it into our skin. And we can also
go back to our exposure tab and monkey with the curve
a little bit if we wanted to... let me put it back to the bars.
If we wanted to, maybe, you know, change the way that
the highlights roll off on our skin there. So, we can...
You can do this to taste. I'm not going to spend
too long on it. But let's just take a look.
And that's pretty smooth. We're lacking
a little bit of punch in the upper register there,
so maybe we might want to bump this up just to bring
a little bit of life into the skin. And...
that's pretty good. And we did that completely
from scratch with no LUT, no shot to compare it to.
And, if you've created this look that you like,
you can save this as a LUT and you can do this
in Resolve quite easily. If you right click on this here,
on the actual clip, then you have
the option to generate a 3D LUT,
33 Point or 65 Point. 33 Points are good
if you're going to use them for monitoring
because you can use them for your Atomos
or in camera monitoring LUTs. And 65 Point is good
if you want to use it to actually grade your footage
because you could export this as a LUT, use it on
one of your other NLEs if you prefer to edit
in Premiere or Final Cut, but you wanted to do
the colour in Resolve, you can export the LUT
and then edit the footage and now you just have
that LUT, and any time that you're going to use
this shot, you can use it. However, if you're going
to want to apply this to different clips
in different shots, and you just want to make your
workflow a little bit easier, it's better instead to
right click on the image and choose "Grab Still."
And this'll move it over here in your gallery, and then you
could label it, like, uh... you know, in this--
I think this was an FX9, so we call this "FX9 Studio
Grade" or something. I spelled "Studio"
with two T's. And then... Now, the next time
that we want to edit a clip, so, let's jump back to this one,
and I'll reset this completely. Say this was a fresh shot,
we can right click on the still and choose "Apply Grade"
and not only does it have the same effect of a LUT, in
that we get the finished image, but we still have all of our
nodes that we can then tweak. So, I think that's it.
Keep in mind that this is something that
takes practice to get good and fast at, and to develop
a sense of knowing what needs to be done
with less experimentation. But if you're just
starting out with colour, embrace that experimentation, because that's how
you'll learn the most. But that's gonna be it for me.
I hope you found this video entertaining or at least
helpful. And if you did, make sure you leave it
the old thumbs up and consider subscribing
if you haven't already. But if you did not find this
video helpful or entertaining, try setting the playback
speed to 75%. Alright... I'm done.
