Speaker 1: Here's a color grading question we got recently in terms of color correction. It seems as if every video talks about how to correct one frame in one clip where the correction gets applied to the rest of the frames in the clip, presuming that the clip will all be in a similar environment. What if I'm filming outdoors and the sun gets blocked off by clouds or vice versa? How do I go about color correcting from that sense? Do I simply snip up my footage and correct each section? This is a great question. So let's say we have a piece of footage with kind of changing lighting. This could be the sun going down or going behind a cloud. This can be going from indoors to outdoors, whatever it is. But here's an example I could find. We're going back through a tunnel. And then as we come out of the tunnel, it's a little bit darker, a little bit different kind of lighting here. Well, if we do a color grade inside of this tunnel, let's say, and we really like it and it looks great. Then when we go outside, everything looks a little different and we might not like it as much. Well, we can animate this color grade to change as the environment changes. So we could start here like this and do a color grade in our first node. We'll call this inside. And then we can go to the very end of our shot or wherever the lighting changes. And we could disable this node, make a new one, and we'll call this outside. And I'll just hit control C on this inside node and control V on the outside node. Label this outside. And now I can kind of tweak this. Let's say maybe it's still too green. Maybe we want to boost up our brightness a little bit and do whatever tweaks we want to to the outside as we go inside. It's not going to look ideal. So what we can do is animate when each of these nodes comes on. Best way to do that, in my opinion, is in the key palette. That's kind of the third from the right. And for each node, we have something called key output gain. And this is basically the strength or the opacity of the node. So as I take this down, it turns off that color correction so we can animate this over time to kind of switch in between our grades. So I can go to our key frames palette by clicking these little diamonds here. And what I want to do is click on this diamond right here, which is our automatic key framing diamond for each of these nodes. So for the outside node, I'm going to move to where I want this fully on, which I'd say right about there. And we'll take our color corrector to turn on our automatic key framing. And I'm just going to take this gain and just wiggle it a little bit. We want this to be at one. That's going to add a key frame there, which is just saying at 20 seconds and eight frames, I want you to be at one. Now we can take this back to here and I want this gain to be at zero. I want this node to be completely off by then. And then it kind of fades in as we go outside. I'll disable that and we'll turn on our automatic key framing for director one. And I'll zoom in on our key frames here. And we're going to do basically the opposite on these same frames with this corrector, as we do on the other one. So at the end here, our key output gain for node two is at one. For node one, we want that at zero. Go back to the beginning here to this one. And to start out with, we want this game to be at one. So now what we're doing is we have our first color grade, which we like inside. And then as we go through the tunnel, right as we go outside, it's switching between those grades. It's turning off the inside node and turning on the outside node. And if it fades out over time, it's hard to notice that you did anything at all. So you can do this kind of thing with any kind of changing lighting. You'll see this kind of thing a lot with steadicam shots. There might be a 10 second kind of push through a house and there's different lights and all these kind of things. Well, a lot of the time the colorist will select a light that's only there for part of the shot and track it. And towards the beginning of the track, you can turn on that automatic key framing, go into the key palette here and turn down that gain to turn off the node. And then as the light becomes visible, we can turn that on again. And so this window for this node can maybe desaturate things or whatever we want to do for that light, turn it to a different color. That's not messing with the rest of the shot. It's just adjusting what we want when it happens. This little trick is super helpful. Pretty much. You can just click on this automatic key framing thing and then touch whatever you want to animate down here in the color palettes. And it will animate it over time here in the key frames palette. Super helpful. So that's kind of the fancy way to do it. Hold up. Quick reminder. Did you know that resolve con 2022 is coming up October 1st and 2nd? We're going to have live resolve teaching discussion panels and a ton of giveaways. It's the resolve learning event of the year, and it's absolutely free. All you have to do is register using the link in the description below. Back to the video. The other thing you might consider is exactly what you were saying is going to the edit page and just making a cut right about where that transition needs to happen. So I'll just cut this right here and go back into the color page. And I can make a color grade for the first part of the clip here and a grade for the second part of the clip. And in the edit page, I can right click on this transition and add a cross dissolve. And now it'll fade in between those clips and make that transition. This might be a better way to do it, especially if it's an overall grade that you're just kind of starting with one overall grade and fading to another overall grade. If you need to do something fancier, you know, where you're tracking multiple things or there's, you know, people going through the shot and you're just trying to adjust one part of the shot, animating the key of the various nodes might be a better way to go. So hope that's helpful for changing lighting scenarios and such in the color page of resolve and stuff. Hope that's good. Hey, thank you for watching this video. I appreciate that. And I appreciate you. What do you appreciate? I appreciate fountains. It's like a it's like a upside down shower outside. That's true. Fountains.