hey what's going on guys here's another cool color grading tutorial and in this
tutorial I'm going to be doing the very very first steps in order to achieve a
very interesting blockbuster look teal and orange this tutorial is not
specifically dedicated for teal and orange look because I'm going to break
it down in a future tutorials more specifically the things you need to have
in order to achieve that look as far as cinematography and the color grading and
all that but let's call this tutorial as the baby steps in achieving really cool
cinematic look okay this tutorial footage is provided by Matthew Scott
thank you so much Matthew I'm going to provide the link to his website below
and definitely check him out he makes amazing cinematography and color
tutorials and his footages absolutely stunning okay and for our tutorial I'm
going to be using some of the files from Bourne Legacy and as you can see it's
pretty much straight on till an orange classic example and the footage I'm
going to be using today was shot on red camera so we're going to be working with
the raw how cool is that so let's get going
the one thing and as I mentioned the one thing that I want to tell you a little
bit right now about baby steps is I just wanna what you want to point out to you
guys that a teal and orange look pretty much happens in a very bottom of the
mid-tones and almost like in the shadows and I'm going to show you exactly by
using the false color that we can visually see it instead of looking over
here at all the crazy stuff let me apply it over here real quick as we can see
based on color everything in this picture is dark besides his face and the
window over there a little bit okay let me grab still let's go to this image
we're going to see the same pattern everything is dark just the clouds and
the snow in the mountains is is bright and everything else is dark even though
it's day shot we're going to do we're going to see the same pattern over here
absolutely same face is lit and everything else is the bottom
mid-tones so there's a reason for that and in future tutorials I'm going to
cover specifically why and what you need to do in order to achieve that look so
let's get started as my usual workflow I'm gonna be
denoising in my very first note ok denoise let me zoom in and let's check
it out what is going on lots of noise kind of typical for red cameras let's
see let's put 2 in 10 not too bad though the older model had way way way more
noise than this ok so we have a footage of a guy going down with a shotgun oh
bloody probably just killed somebody zombie whatever it could be so let's
create another node that looks really cool and let's take a look at our
saturation as we can see our saturation is not too saturated it's a little bit
let's compare it to the actual shot the actual chillin orange is way saturated
than what we have so let's increase a little bit saturation than our shot okay
individual channels RGB and let's take a look what that looks like I guess a
little bit too much to my taste so we're gonna go to this panel to the key panel
and we can dial it down just a little bit let's say 700 should be good ok so
that's another cool step and I'm gonna label this saturation okay saturation
let's create the matter now in this node I'm gonna call white balance a proper
white balance is the key to every single grade make sure you always start your
grading with a proper white balance okay it's very important so let's go over
here and let's switch to waveform and as you can see to kind of simplify it in
order to achieve a proper white balance you want all this channels to align in
so if we're going to dial it back we're going to see pretty much that would be
sweet spot of the shot so let's check it out before and after before and after we
sort of took out a little bit of blue from the stairs that's about it
anyways let's create a new node and we're actually going to convert it into
a parallel node okay so in this parallel node my first node going to be exposure
and my second node going to be look okay and immediately I'm going to create a
lot in the end and I'm gonna call this slot where is it film looks okay I'm
gonna call this film look film load all right so let's go to our exposure and
let me let me make this thing smaller little bits of it's on my way okay and
over here I'm just gonna do a simple curve I'm going to bring down highlights
a little bit because I don't like clip highlights and I'm going to increase the
shadows just like that so let's check it out the shop before and after before and
after that's ready by itself looking really really cool and actually
cinematic let's take a look yeah that looks really really good so let's start
dialing our look well in order to make look till we're pretty much you want to
be working in the green and blue channels if we want to replicate
something like this so let's try it over here okay
and by the way just so you guys can see let me turn on the false color plugin
just for a second the way you can see what's going on in terms of exposure
okay we pretty much
we're somewhere in this area let's see in this one we're pretty much very same
exposure area so that's that's pretty cool it's going to help to achieve our
look even better okay so let's go to the look I'm going to be working over here
you can work in the primary wheels you can work in the log which I'm going to
actually cover in my future tutorials because there's a few things you need to
know about it but I like working in the primaries bars to me it's a little bit
easier dialing the look like that instead of you know steering the pot
with the wheels okay so let's see let's try to dial the look from the mid tones
so let me increase a little bit of green and a little bit of blue okay that
already looks really really cool alright let's check it out let's compare this in
that that looks very very nice I actually really like it okay so let's
keep this thing for now I'm going to create another node not a parallel load
and in this parallel node I'm gonna do a mask and you're going to see what's
going to happen right now so I'm gonna go into mask and I'm going to create my
custom curves and I'm just gonna do mask just like this
okay and the guys moving in for the sake of tutorial that I want to spend too
much time manually adjusting the mask but I'm going to show you how to do this
basically when you're in the clip and when you're tracking it's automatic
tracking but if you want to track your mask manual you have to click on the
frame and basically each time we're going to be moving your mass is going to
be creating automatic keyframe if you want to create a manual keyframe you
just have to click right over here on this little key so let's start doing
this okay alright I'm going to be doing sloppy job obviously for the sake of for
the sake of tutorial okay so let's see let's move this like that this one over
here okay I think I by accident click way way too to off but it's ok it's
gonna remember okay let's go here let's see keep it like that
one more obviously depending on the shot you can spend a whole day doing
rotoscoping or masking but again for the sake of tutorial they just keep things
pretty simple okay see over here no movement but I want to create a costume
key so I'm just going to click here and it's going to create okay here we can
see it started drifting a little bit and let's go to the end it drifted let's go
here something in between looks fine looks fine okay so now basically we have
this mask okay let me fed her a little bit and let's say I want to make his
surrounding darker a little bit more dramatic
so let's invert his mask and over here we can see in the selection and I'm just
going to at a simple s-curve just like that
just like that a thing like that looks really really cool okay and let's see
how that looks see we can see a very hard edges of the mask so let's go back
on a mask let's make it softer okay that way nobody can ever tell what
we've been doing all right let's check it out now okay that looks really really
good obviously over here there is this little arc and again for the sake of
tutorial I probably not going to touch it but basically it's the same concept
you can just manually move this thing around and make a shape and basically
track it down exactly the same way so I'm not I'm not gonna do this in this
tutorial for the sake of time okay so let's take a look what have we done so
far before and after before and after that
looks really really sweet actually and for example let's say now I have a
really really good mask but I need to do another mask for the inside in order to
do that I don't know if some of you guys know this or not you can just
right-click add note and choose add outside note and what it's going to do
it's going to create exactly the same mass but invert it so whatever we're
going to do now only going to affect the middle okay so let's give it a bit more
dramatic feel okay let's crank down a little mid-tone and let's spike the
highlights tying your tongue a little bit okay
all right so let's check it out before and after
okay so let's see before and after I think like that looks way more cinematic
that is pretty much it thank you for watching and hopefully you guys learn
something from this and I'll see you next time