Match Shadow Grain and Colour with an Adjustment Layer
When approaching shadows, it is apparent that not all of them are always black. In the example below, they are more blue.
When first looking at the shadow pass- don’t immediately cancel out the white. Instead use a blending node set to multiply.
Instead of just adjusting the opacity of the shadow- we are going to add a level effect. Using the same colour matching principle as explored before- looking at the different RGB channels and using the INFO panel to guide the values, the shadow can be altered.
To check this is a match, a special type of adjustment layer is used, to slam the contrast. This means the layer will not be rendered out and we don’t have to worry about making it ugly.
Using another levels effect on this layer- the values are used to ruin the image. If the composite is a fairly good match- the colour and the grain in the shadows should be exact.
Spot Grain Mismatches and Match Grain
If an image has the exact matches for colour- the grain may be the culprit here. Grain is not removed- instead it is added and matched to the shot. Through looking at a single channel, you can see areas of motion that would have been seen to be static.
Adding a noise and grain effect called match noise will start the match.
The first shot will have a white box- changing to final output should remove this lag as it loads.
The only thing needed to select is the noise source layer- in this case the backplate.
As you can see below, the noise is far to loud and prominent. Standing out from the scene.
Using the tweaking values for each RGB channel these can be fixed- the most pronounced source should be on the green channel.
Manage the Grain Pipeline in a More Complex Shot