alright fellow youtuber so we're in complete quarantine now so I'm gonna pop
a couple videos for you guys long story short today we working with
the footage from a row film be sure to check them out I have all the links in
the description below I have also 25% discount link if you
guys interested in stock footage so check it out all the links in the
description below so we're working with a couple shots today shot on red camera
and by the way I'm gonna say it again it doesn't matter what camera it is as
long as the material shot correctly you can color grade it so always keep that
in mind I constantly keep getting questions about log s log 2 and all
kinds of different variations I'm telling you guys again it doesn't matter
get it right in camera and you can color great any footage so here's what we have
we have a writer on the motorcycle we have two different clips so I'm gonna be
working with IPP - red white gamma clock 3G 10 I'm gonna do the same for this
project I mean for this clip I'm sorry I'm getting crazy a little bit log 3G 10
so now they kind of matching so we can work around so let me play it back real
quick so we kind of see what we're dealing here we have a female riding a
bike and then it cuts to a different shot so pretty cool I'm alright so let's
get started the first thing I'm gonna do actually probably I I can work with this
clip let me make the screen a little bit bigger for you I'm gonna loop it the
first thing I'm gonna do I'm gonna create a new node alt s okay and then
I'm immediately going to convert it to parallel alt B and the reason why I'm
doing this because I want to do the least destructive process on color
grading and you work with a serial notes it is a
little bit destructive so parallel is the least destructive now the damn
downside of it they getting mixed so you get a little bit less effect when you're
working with the parallel but I have dedicated video if you guys want to
check it out type it in my channel it's all in there anyways so the first one
gonna be saturation okay saturation okay and by the way if you just tuned in we
are gonna be doing Top Gear style color grading so I'm gonna try to match a
typical Top Gear kind of look oh my god
so in the saturation note I'm simply going to pop a little bit of saturation
and right away we have much more natural much more vivid shot so in the second
one I'm gonna call this one contrast okay contrast and in the contrast you
can use few things you can either stretch it manually gain and lift you
can use offset or you can just pop the contrast wheel right over here so that's
what I'm gonna do so let's take a look specifically on the parade one thing
that people do mistake you see how at the bottom it start getting compressed
watch this you see how it's being compressed that's the thing we want to
avoid we don't want to be compressing or crushing any shadows so when you have
this compressed make sure to use pivot to counter that and if it's still not
looking correct I highly recommend resetting it and just using a little bit
less aggressive method or if you continue seeing that just do it manually
by stretching shadows and highlights the way you guys preserve the most amount of
data you don't want to compress anything from the very beginning of the color
grading it's very important so we have saturation we have contrast I'm gonna do
alt P I'm gonna do saturation number two because I feel
like there's still not enough saturation at the moment let's check out really
quick the vectorscope yep it's still a little bit too saturated so I'm gonna
pop a little bit more saturation just like this and like I mentioned earlier
you have much less effect when you work with the layer but everything being
parallel so it's all being preserved nicely now typical with the red cameras
watch out for chroma noise and as we can see here we actually see a lot of Chrome
annoys now if I'm gonna toggle everything shift D we can see that the
noise present even without color grading so keep your eye on that as well okay so
we're gonna need to handle that a little bit so let's go in the first node okay
I'm going to zoom in to her pants or just in general to the black color let's
go to motion effect and over here I'm gonna uncheck them those guys on gang
them and I'm just gonna do a little bit chroma noise reduction and we can see
that we still have noise but we no longer have chrome annoyed and basically
now it looks a little bit more organic like a film grain so again let's toggle
before and after we can see a little effect of that so that is very good for
the beginning so let's start basically injecting the look how we want and start
doing the more stylized stuff so with the black gear I mean with the top gear
I'm going completely crazy here with all the quarantine they usually pretty
crunchy they usually have very deep blacks which that's what I'm gonna do as
you can see over here also make sure it's very important make sure that
you're not clipping channels individually because quite often people
do that and that's something you want to avoid so now the image looks very nice
very crisp let me see if I can do a little extra
pop let's see really quick all right that looks good so I'm gonna call this
one contrast as well I'm slowly building the look now let's do the sky I'm gonna
type in sky and over here in the sky I'm gonna go hue versus saturation and I'm
gonna tap right over here and we can see that little spike of the blue and what
I'm gonna do I'm just gonna increase it a little bit and now it's very important
to stretch it a little bit so we feathering we make that selection softer
that way everything looks nice because a lot of times if you're gonna do it like
that you're gonna have abrupt bending possibly so always be sure that you're
doing nice feathering and also when you do nice feathering make sure you're not
touching the channels that you don't want to be affected otherwise you're
gonna start introducing a lot of artifacts so here's what we have
hue versus saturation now we're gonna go here versus Q again I'm gonna select
that blue and now with that blue I'm just simply gonna pop it up a little bit
and again I'm gonna feather it we see that kind of color a lot in the top gear
they usually do a little bit crazy artistic looks like that so this is good
now because I'm working with the sky I also can do parallel I can continue
working in the parallel and now I'm gonna add a little bit of vignette okay
and adding vignette is very simple I'm gonna show you a couple tricks first I
want to do a typical BBC kind of style vini adding on top okay they usually go
pretty dark with it so let's bring it down and leave it a little bit like that
now this kinda looks a little bit awkward right so what we can do we can
actually make this to be behind the helmet and what we have to do just so
the background over here into qualifier and let's make sure that everything is
selected nicely we have the whole helmet covered let's add a little bit of blur
okay let's do noise it a bit let's see let's do clean white in a little bit
black and we have this let's see blur in and out okay like that
is good so let's check it out before and after we kind of added this vignette
behind the helmet now if you feel like it's a little bit too strong
you can go to hkey and you simply dial it down to make a little bit less subtle
effect alright so that looks cool let's continue
let me just organize this a little bit okay just like this contrast okay the
way we preserving all the space or you guys can see the maximum size picture
alright now we're gonna do a little bit of ground okay so ground we can use the
same technique or we can use secondaries so for the sake of tutorial let me use
secondaries right now so I'm gonna click right over here okay and we can see we
have a very nice selection from the very beginning okay now if you have a little
bit of highlight over here it is okay because we have the Sun behind her so it
kind of same color as the background so that works it's not always works but in
certain situation it works and it's okay to leave it like that okay now we have
this a little bit dancing noise that's something we really need to get rid of
so let me select this let me find this selection a little bit let's see how
that doing okay that's kind of okay for what we're doing it's gonna work
let me again let's see feather it a little bit like this and let's see okay
so for what we're doing it works what I'm gonna do I'm gonna pop a little bit
saturation I'm gonna add a little bit contrast
okay and look at this picture look right away what we've done so before and after
that is such a small adjustment but already our image started looking very
high-end like it's been shot with additional lighting and everything nice
and contrasty and saturated so everything looks really cool but we're
gonna continue refining all this so that looks really cool hmm now I'm gonna do
another note and in this note I want to add a little bit of extra depth to what
we're doing so now in the qualifier I'm gonna go just to luma okay and just with
luma I'm gonna select a little bit back of her jacket
so the shiny part okay now with the luma gonna start going back a little bit
let's see something something like that I want to make sure I have nice fetor
okay so this is perfect as you can see it's very nice and clean selection and
we can do couple things here we can either pop contrast a little bit here
okay if we don't want a pop contrast we can actually use curve to give contrast
a little bit like that so whatever method you're gonna use it's up to you
so I'm gonna call this one punch and simply I'm just going to do with the
contrast and we can see that it's adding even more dimension now with this punch
I can use pivot to dial whenever it needs to be and I think mmm as of right
now this shot looks pretty cool it start taking shape so that's good
again that's ground that's punch I'm gonna do a new node so now we can kind
of start building the overall look I want to make a feel that it's on a
desert somewhere you know it's a nice hot day so I can do this simply with the
curves I'm gonna go and click B for blue
Channel and I'm just going to start bringing down the bright side of it and
we can see we start introducing a very cool look like this
so just by simple adjustment we completely altered how this image looks
just like this so I'm gonna call this one blue actually I'm gonna call this
one warm ok so that looks really cool now before we're gonna continue let me
paste this look over here and see how it looks here so obviously there is a
problem in this shot because exposure between them is a little bit different
so let's see the problem is in our vini ending ok we can fix that so let's go
again in the qualifier here I don't really need qualifier because there is
no helmet in this shot everything looks really cool so here we have it let me do
really quick fullscreen before and after before and
after what a huge difference right now we can add a little bit extra production
value so let's do a new node and I'm gonna call this one focus let's do it
like that and with the focus what I can do I can do a simple vignette over here
like this ok select let me find a good shot okay so this is a good shot ok like
that and I can just drop everything else let me invert that everything else makes
a little bit darker ok like this and if I want you I can either even blur it out
just a tiny bit now I personally not a fan of doing this so I'm just going to
leave focus to be with the luma instead of artificially doing that so now I'm
gonna go in the tracking make sure you have pan tilt zoom rotate and
perspective and let's track this forward so that looks really cool ok let's see
and take off all right that looks perfect now from this point let's track
backwards to make sure that we got the entire picture okay so that looks great
now on this note selected click ctrl C go in this shot create a new note all
tests and ctrl V we're gonna paste this and what we're gonna do now we're just
going to make this one a little bit bigger okay just like that and we're
going to do tracking again from the beginning
that way we have a nice fresh tracking data okay that looks really cool so now
let me hide all the stuff okay let's go back and let's play back fullscreen and
see what we've done so we have nice vignette we have a nice motorcycle all
the colors look nice and good very cinematic something that Top Gear
definitely would do especially in their new Grand Tour series all right that's
cool and now for to put a little cherry on
top let's go into timeline node let's create the new node over here and I'm
gonna add a little bit of film grain let's see where this lets see I'm
completely okay I'm completely lost let's just type in film grain okay there
we go I like film grain to be aggressive so
16-millimeter is might be perfect let's see - whew okay this one is pretty
awesome but I don't want film grain to be all
over the image what I want film grain only be in the highlights so again I'm
gonna go on a qualifier in the luma and I'm gonna start rolling it down okay we
can see the election over here and once everything
dark being dissolute I'm gonna fetter it a little bit so the selections nice and
soft okay and now it looks like a real 16
millimeter print so again full screen let's check it out before and after so
here we have it a very nice Top Gear look if you guys interested by popular
demand I'm gonna make this power grade available I'm gonna put all the links in
the description below stay safe and I'm gonna see you guys in
the next video take care