Color Correction: Adjusting To A Master Clip
Here's an example. Now here's a shot we look at. It's a, if we look at this on the scope. And I want to have some interaction here. I want you to tell me, based upon the scope, and based upon the image, what are some of my challenges? Or what are, what's the problem? Other than it looks like nobody wants to be in Amsterdam this day. It's a little blown out. It's a little green. Maybe even a little pink. You know, from the red over here. There's my sky. I can see that. As a matter of fact, if you look at the waveform, it's kind of like a graphical representation of what's happening from left to right. You can see the elements. Colorwise, it's meh. But we wanna make it better. We should be able to make it better. I think I might have even cheated. I might have pre-baked. Let me, I wanna see if I pre-baked this. I did. I actually did it and turned it off. I would just, we can look at the finish because it's gotta, kinda crazy. So, this is, you can, I want, you can see how easily you can, ...
or not easily, this was all fixed with the lumetri color filter by going down through those steps. And if we have time I can do that. But I wanna show you something else that is a really useful feature. I talked about something called master clips. Or, adjusting color to a master clip. Let's say I shot a lot of footage. By the way, this was shot with a GoPro. Four k GoPro. It just wasn't balanced. But I shot a lot of stuff that day. And I shot some long stuff. And I wanna be able to color correct everything. Not just what's in my timeline. So I wanna point out something that's important and valuable. And you can find this in two locations. When you're inside the lumetri color panel, you'll see here, that there's two panels. One that says master. And one that says just the clip, which is oh four. It doesn't matter which one of these boxes is checked. But this is the master clip. The one that's inside of your project bin. If I go over here, to my effects controls, I have the same options. You'll notice, I fixed it on this clip that's in the sequence. Here's my fix. Turned it on and off. But if I look at the master, there's no color filter there. So what I can do, and I'm gonna show you this is a couple of examples, is, let's say, we're not even color correcting at all. Let's say I wanna make everything black and white on this reel of film we'll call it. I can go ahead and I can apply to the master clip, because this is selected as master, any filter I want. Now my filters have been relocated because we really weren't using them. Where are my filters? I don't see them. So I'm just gonna get them from here. Effects. Here they go. And we're gonna go and we'll do we discovered that there is one called black and white. Black and white. And I'm gonna actually throw this on the master. And what you see is this just turned to a really ugly color but, the point is, that's because in reality this is now black and white. And every time I use any piece of this clip, and if it's a 20 minute clip, it will come in with that correction. In this case black and white. Or any effect you want. I want to show you that you can do this with any filter. So you can color correct it. I'm gonna actually go now apply this color correction to the master of this clip. So every time I load it from the project file it will already be corrected. So to do that, I'm gonna switch back over here to the master. And there's my black and white. I'm gonna select it. And delete it. I don't want it black and white anymore. That was just for an example. I wanna go over here. And this is the clip in the timeline. I'll turn it on so you can see it. I'm gonna copy. Command c. I'm copying every change I made. And this is the clip in the timeline. The master, even though I'm clicking up here, is actually the clip in the project bin. So remember, and this is a little hard to get your head wrapped around, if I did a match frame, this is the clip from here. This is the clip, this is good. This is what I like. So what I'm gonna do is I'm gonna just look kind of at the other side that's down here and apply that color correction. Under effects control, I'm gonna hit paste. Now in the master, it's all corrected. The reason it looks horrible here, doesn't look horrible there, is because if I look at this here, guess what, it has the same color correction on it twice. So I'm gonna go ahead and delete that. So now what I've done is I've applied it to the master so anytime I use any part of this clip in my show it's already correct. It's already neutral. I can still add a look to it. I can still add other filters to it. But I don't have to worry about, oh I have to go back and paste this in. Or do that. And it's really nice. So, the tricky thing about this is, if I load this clip into my timeline, and I look at it, I don't know at first blush that there's a filter on here unless I remembered that. Because I would have to look at the master side and then I would see that's there. I point that out, as you'd probably make the fix, but sometimes you forget that you've done this, and you're like, "I don't remember why it." And usually it's not because you color corrected it. It's because somehow you pasted like a blur, or some kind of strange thing on it, and you're like, "Every time I open this clip it looks horrible. But there is no filter on it." If that ever crosses your mind, look at the master side and see if you accidentally pasted something in. And that could cause you to have a few less headaches. So, with that, I think we're close to the end on the time. I will again open up the floor to questions about color grading. This should be enough to get you started. And hopefully to fix some of the challenges you had. When, one of the questions, and I do wanna just kind of throw that out there, one of the things that's a challenge is scene-to-scene color correction. You can do that by just toggling back and forth, and fixing one, just make the match to the eye, and to the scope. Scopes are really good for matching scenes 'cause as you toggle back and forth, you'll see dramatic changes in one aspect of the scope perhaps. And you'll say like, "Oh, there's a little more red." The scope should be very similar between the two shots. And then you can balance that way. Personally I have done that. But there are some reasonably priced third-party plug-ins that literally say, I put the filter on. I point to what I want it to match to. It does an analysis. And it gets it really close. And then I can go have lunch and life is happy. So, third-party plug-ins are great. Sometimes they may seem expensive momentarily. $100. Think of what you're time is worth. If you spend 40 hours color correcting, and you could do this in four with a plug-in that allows you to do it faster, you just got 36 hours of time for that $100 you invested. So, keep in mind, that, yes you can do a lot of things with what's here. But there's some great stuff out there.