7 Color Page Tips In DaVinci Resolve

today we're gonna go over seven tips I wish I would have known when I started collaborating in DaVinci Resolve the first one is the difference between primary wheels and the log wheels so if you don't know what they are if you come down here into the color wheels area there's a drop down here which you can go to the primary wheels which you're probably used to and then you also have log wheels and in here you have primary bars the bars and the primary wheels are pretty much the same it's just laid out a little differently to manipulate colors but the law of wheels work a little bit differently as you can see they have shadows mid-tones highlights the primary wheels have lift game again both pretty much the same thing just different terminology depending on where you came in - color grading if I go over to log one of the big things that you'll notice is down here we only have three parameters that we're changing and then coming over to the primary bars we have four the fourth one is luminance so if you were to move this little slider here you'll see that we're just bringing up all the brightness in a shot compared to if we come over here as we move this up we're moving all of the red green and blue channels up to give us a brightness level they work a little bit differently let me go over to a shot that this would be more noticeable so over here if we come back to our primary bars are primary wheels and we lift this up we can see as we lift it we're not really gaining too much saturation we're just bringing that luminance level up higher if I went over into the log wheels and I did the same thing what you'll notice is as I bring it up I'm gaining more saturation now I can take it all the way up and blow out but we're gaining more saturation let me just make another note here and show you the difference between these two again so if I turn off this one we can see that I kind of went too high but as we bring this up we still don't really have saturation here but then this one as we brought it up it's still getting blown out obviously I went too far but just to show you now we're bringing color in because we're just taking the red green and blue channels and boosting those instead of just a luminance channel so that's the first thing but that's not really the thing that I wish I would have known when I got started the thing I wish I would have known when I got started our primary wheels we have pretty much you know our highlights for a gain then we have the gamma in the middle and then we have the lift down at the bottom so as we manipulate these they're kind of predetermined locations where they intersect where the different correctors intersect now there is a way to change that a little bit but it wouldn't change it for shot-by-shot the cool thing is that if I come over to the log wheels and let's say we change this to purple we can see that obviously all of the highlighted parts all the ruler brake parts are purple but what we can do down here is we have a high range and what the high range is is where this corrector intersects with the mid-tones and you could take it all the way down and kind of have it overlap the shadows as well so as I move this if we look over here as I move this we're interacting with more and more of the shot so if I move this up we can see that we're slightly here we're starting to blend out here a little bit even though that is bright but as I move this down we're starting to introduce a lot more to this so the log wheels are definitely something to give a shot if you've never played around with them just play around with them a little bit and try to wrap your head around how they're different than the primary wheels because that it's very powerful once you can play with the high and low range as well as the pivot for how they inter have a intersect each other for the correctors so the next thing is shared notes now let's say we have for this shot here let's say we just bring up the saturation a bit right and maybe we make the highlights a little brighter and let's bring the shadows down just a little bit so something like that maybe that looks like a great shot and I just want to redo duplicate that across all of these but maybe I'll need to do like a slight adjustment at some point one of the cool things you can do is you can take a node let's bring this over a little bit but you can take a node and you can share it so all it is is it's like a linked node that anything that changes on that node changes to anywhere else that that linked node is present so to do this you just right click and we go here save shared node and once you save it there's two or three things that happen one it becomes a shared node two it gets locked and three it it's name gets changed to shared node so what you can do is you can just come in here unlock double-click up here and you could say maybe make this one overall and then we can go back and lock it you don't have to lock it but it's just one of those easy things so that you don't you know mess it up later so now I have this one node and we can see this little arrows here just states that it's a shared node if I come over here now I go to make a node right I still have all of the different ways in which I can make a node right but then I have this overall node this is that shared node so I click that and boom I all the correctors that work that are on this other node are now here let's say I'm on this one and I'm going back and forth these are shot in the same exact area everything is exactly the same but I want to change something a little bit in here I can come in here unlock just gonna make this a drastic change so we can see it and we can see that it's are already represented over here so that's a node deck it's shared in between that's very very powerful additionally with nodes let's say we get a bunch of nodes and we start something up let's just reset that and we get some like saturation going in here and then let's go over to our next node and we I don't know we just get a bunch of different correctors going on in here right let's say we have a great going and it's kind of chaotic in here and we have a bunch of like other random things in here like we get the parallel nodes going and just a bunch of stuff you can take all of those nodes that are kind of like semi done and then let's say we just come in here and we make it a compound node it comes into a compound node and we can change this to like maybe this was the the trees that we were working on or something of that nature then all we have to do to go into there you hold down control double click and now we're in here if we need to go back we can just simply go back but it's just a way to like tidy up a set of nodes you know if it gets kind of chaotic that's something I didn't know and I would have this you know tons of nodes going in here that I wouldn't know what to do every once in a while I might go cleanup nodes but overall it was just really hectic but being able to make a compound node being able to then go into it and fix any problem like I'm saying the eyes or maybe the headlights on a car or something of that nature it's just nice to be able to put them in a group and clean up if you would ever have to come back to working on a particular shot so yeah that's one of the ones making a combined er node now next since I showed you how to take a a node and kind of share it between different shots and I showed you how to take nodes and make them into like a group with the compound node what I want to show you now is how to take different shots and put those into groups because this is pretty cool too so let's just clear all of this and let's actually just take all of these shots and clear them now we know that these two shots are the same well I know that these two shots are in the same location and then this one's in a different location so let's say these two shots for the most part they're the same I want to add the same grade to them I can highlight both of them I'm just holding shift and then just clicking to highlight them and then I can right click and if you had a current group you could add to a current group but I'm currently going to make a new group and make this waterway so that's the group now they are in a group I can still go in and individually change them but now they're in a group and if you didn't note this over if I look at this one that's not in a group currently we have two dots appear if I go to the drop-down I can change the clip no tree or I can change the timeline node tree I'll get to the timeline node tree and what that means but typically you guys are going to be changing the clip node tree each clip has its own node tree you know for correctors now if I go over to one of the group's what you'll see is now there's four dots here and if I go down I have a proof the clip a post group and then the timeline again and just like how we were manipulating that one shared node and then adding it to another clip no tree sorry what I can do is I can come in to let's say the pre group and I can add in some correctors in here I'm just going to go wild here so I can see it now if I come over here this shot already has it the biggest thing to remember is if you when you're creating your looks is how these are getting processed because how they get processed can really dictate how the clip gets altered and the main thing is if you ever use lots because let's actually take away I don't want to say quality but they take out take away tonality values for sure depending on how the Luntz made most Luntz actually it's kind of 50/50 if a lot takes away a lot or a little I did a video a while ago last year I believe that I made a I think it was like a super 8 look and the LUT itself part of it was to take out a lot of tonality values because that older film stock really didn't have it when it was rescanned that is like one of the things that you have to make sure of because if you take if you make a lot let's go going to pre group you throw a lot on and all of your shots after that or all of the I added nodes after that are going to be manipulated by that so sometimes it might be good to do it after because if you've ever seen a lot on like let's say it's a really heavy grade at LUT that gives you a very specific look and it's you know it's very different than where it starts out one thing that you'll notice is if you take that LUT and you put it in a shot that has it's really overexposed it's gonna look really bad in the same way a lot of times if you have it underexposed that looks really bad if you were to take that LUT and put it into the pre clip group what's gonna happen is that's gonna be the first thing that gets processed and then any adjustments after that will then get processed so like the what that I made for the super 8 it was taken away tonality values so then after that if I went into the clip I wouldn't have you know that dynamic range that a lot of the cameras nowadays are you know shooting for and that's why you spending the extra dollar for is for all of that extra dynamic range if you just throw a lot at the beginning you're gonna lose all of that and what ends up happening with Luntz is you're remapping values you're taking one value and you're remapping it to another value I'll go into why I personally don't use Luntz why they're good why use them in like the camera and stuff like that but why when I'm color grading I really don't use lots other than to get a overall set of colors that I'm looking for but for the most part I don't really use them so that's just something to be aware of when you're working in this but the idea here is that it's first gonna get processed by all the nodes that are in the pre group and then it's going to go all the nodes that are in the clip view and then all of it all the nodes that are in the post and then finally timeline and the cool thing is that if they're in V in the groups all of those clips that are in that group will be affected so that's kind of cool and then if you need to you can go into it ticular shot so let's say this one and let's just just to make it drastic so we can actually see this we're just going to go real crazy so both of these are in a group but they both look actually let's just go real far they both look completely different and they have you know the clip nodes that are then going to effect just that clip and the same thing with timeline that's going to effect everything on the timeline maybe you have to put a limiter on because wherever your project is going to be shot it has to be in a legal range or something like that you could then add it here it'll be the last thing that gets processed there are limiters in DaVinci Resolve too to limit the your color space and stuff like that but if you wanted to do it this way you could do it this way or if maybe at the timeline you want it to add your lot you could add it here and it'll be the last thing that gets processed so all of your clips before you can make sure that they're all balanced that they all look good that they all look consistent and then you can throw the LUT on at the end if you wanted to so there's tons of different ways it's just something that I didn't know when I was first starting and once you wrap your head around it the power behind it is really crazy and it can save you a lot of time once you figure out the proper way of doing it let's go reset and let's come in here reset and I think that was all okay so now let's say we take a shot and we start to color it and let's say we get you know some really good values in here let's say we want that to be a little more like that and let's add a bit more saturation up here let's actually bring down the luminance up here so something of that nature let's say that that looks great let's add a little bit more contrast something like that and we can also come into our yellows and greens and maybe bring up the saturation in that a little bit so like I'd say this is perfect this is the color green that I want this is what I want to do one of the things that you can do is you can take this shot and you can use it to match so you could grab a still now if I come over to my gallery I have a still here and let's say I was working on this shot now I can click this button and this was the current one that I have active I can see it let's close this I can grab this and I can try to color match these if I want it to so I can see both of them here at the same time it's a cool way you can flip it so you can see you know going this way there's a couple other settings but so that's a that's a cool thing that you can do and if you want it to you could act export this as an image maybe that's the image that uses thumbnail or you know potential great idea that you can send in an email what do you think about this the cool thing the really cool thing about this is this image over here also has extra data if I come in into a different shot and I can right click I can go apply grade what it also has is it has all of my node tree for that clip when I initially went grab still so now let's turn this off now I have that grade that I had on this other shot over here but you could just say oh well I can just you know go into a shot middle mouse button over another shot and I'll grab it that's cool but the cool the real cool thing that you can do is you can now make a whole set of these when they're in the stills that's just for that project so maybe you have other timelines you can bring that in and you can use that on other timeline so that's a cool thing you can do the other thing is is power grade and you can just right click you can add a still library or a power grade library the power grade library stays in DaVinci Resolve for that database so I don't know some people use different databases some do some don't but the cool thing you can do is it will stay in the database in which it was made so you could take a whole set of different looks that you like and you could save them as a power grade and then use them later and they're all nodes so you could go in and you'll eat them unlike a lot where you can't really manipulate it the only thing you can do is reduce the amount of its effect like if you let's let's just do a quick LUT here and I can come to my Lutz and let's grab a lot that people use a lot and like this one so then we're gonna apply that to the current node okay so let's say this was a lot what you could do is you could come into here and you could reduce its intensity on a node let me actually before that let's add a little saturation here so it's actually changing colors okay so what you could do is you could change how intense you know that is that that's one thing to do but now I can't go in here and it like I was saying before it's going to affect the image however it was built to affect the image it's nice for like a one button click done whatever I'm gonna actually be making libraries of power grades that are going to act like Luntz but you can go in and you could say oh that's a little too green which node was that on and they'll be labeled and then you could come over and you could say okay let's reduce the saturation on the green and then over here let's reduce the saturation a little bit in the sky you know what I mean so you would have the ability or you could say you know what that's a little too teal let's bring that back just a little bit and you could you know go through and manipulate those so that's kind of why I like power grades so I don't know when hopefully in the next month or so I'll be able to make a couple of those libraries that you guys could then get and install into your DaVinci Resolve and then you have an easy way to edit colors similar to Luntz but you have a lot more flexibility to make it work for your footage and then you could also put in color space transforms and different things like that when the time comes I'll explain that you know if you're working let's say I build it for the black magic color space but then let's say you have a Sony you can do a color space transform to get into that Sony colorspace and then you could add that same thing and get similar results I'll go into that more that's a whole video in itself better take a little while but there's so much power in DaVinci Resolve that a lot of people when they get into it they really don't know about it but that's another one of being able to share or excuse me being able to save your looks so then finally it's using multiple tools to get to an end goal so as you can see here we started color grading this and when I add it all of these teal effects it was kind of in the same color space because if we take a look at this let's bypass all of this to make this a little bit bigger we can see that you know we have a blue up here down here we have a blue let's disable some of this stuff so I can show you so if I just add saturation in here what you can see is we have a blue up here but then because this is so far out we also have like a haze that's a blue and it was changing the color of that as well with our color grid that we had set here so one of the things that you can do is you can also take a tool and have it affected by another part of a tool so we have you know a huge suite of a whole bunch of different types of correctors so what I did here is I took the a hue and I changed it with a different hue so I took that blue that we had and I made it more teal right so I can I can increase this more and we start into the greens but let's bring it back down a little bit and then let's bring up that saturation so we can see it a bit more and then like maybe drop this down just a little bit so it gets a little richer but what you can see here is it's changing all this maybe we just want it to be the sky well if we look at this initial shot we can see that the sky is higher in luminance values than down here so what we can do is let's say we like this color up here but we don't want it really over all of this here is we could come in and then we could use other tools to manipulate this one tool as like I guess you could take a mask it's a qualified but for this instead of just picking the blue what I would end up doing is either turning these off and just using luminance or you can come over to this one which is just the luminance bar and let's turn this on so we can actually see what how we're affecting us if we bring this across we can see it we're getting rid of all of that ground there we got a little bit up here so what we'll come back to that as well so now if we look at this I use two different tools I used the qualifier to mask out where I want it the other tools to apply the actual color grade and then over here on the curves I add it in the the correction that I want it to have now you could say okay instead of using curves instead of using any curves what I could do is I come over to the highlights and let's add a little bit of teal into the highlights and then you know maybe we can get a look like that let's actually come out of log and do it over here so then there we go so that that's kind of something else that you can do now it just it makes a little bit differently because now I'm taking that white value and I'm manipulating it compared to on the curves I was taking the areas that actually had color values like the blue and stuff up here I was taking those and then just shifting oops taking those colors and then just shifting those colors over but I still had this like little blown out section you know it I just never knew that you could use one corrector and then also come into the qualifier and use that as well but yeah that's just something and then on top of that if you wanted to you could use all of these things so let's get a kind of crazy grade going here so it's up here and then let's say if we wanted to we could also use this also so now I'm only correcting I'm using the qualifier so I don't get any of the ground or this foliage and then I'm also using the power window to stay within this area here so then you know I don't maybe you could make that look like a sunset or something or some type of crazy look I don't know but it's just cool that you can use all these different tools I didn't know that that existed before or I just really didn't know that you could had the ability to use multiple tools and to create really cool effects I used to just do it on each node and then yeah I would end up using alpha channels and all sorts of crazy stuff but yeah this is kind of a really cool thing that you can do to really manipulate an image more so using multiple tools to to make sure that you get the right set of different parameters here now if I look at this if I actually took this all the way across I could make this sort of look like like that I can make that sort of look like it was like I don't know it looks kind of terrible actually yeah but yeah being able to use multiple tools to really shape the area in which you're using as a corrector and then also being able to come into the curves and point just specific color values to manipulate but yeah that's kind of my seven tips or six tips wow I really skipped the ball on making a seventh I guess my seventh tip here is using this loom verse saturation and I always thought that this was really good if you're ever doing like day for night or if you want to get a pure white and you kind of have like this little bit of saturation so as you can see we have really bright values here and you can see that they're all clipped right but we still have a bit of a it was almost like an orange reddish right so one of the things you can do is you can just click the white or you can set a point and then you could actually use this to pull those color values out of that area to actually get like a pure white now in this shot this doesn't really make much sense and it looks kind of but if you're ever working in like doing like a day for night and you have like the dark shadows and let's say you're pulling the Blues in a little bit to get like the moonlight but you don't want that lacks that should be there to be like we'll have a blue light color cast what you could do is you could take those really dark areas and you know you could just make your points you can also use the qualifier and you can pick out your points and then you would be able to just pull the saturation now let's just pulling out of the trees this doesn't really look all that great but you would be able to pull the saturation out of that lower luminance area so that you're actually getting pure blacks in those areas instead of your color cast because that is a real easy way to see like an amateur color grade so that kind of covers the seven tips I wish I would have known for the color page individual resolved when I was starting out let me know what you guys think about building power grades and making a library would that be something of interest what kind of if it is what kind of stuff do you shoot and what kind of looks are you really into do you like the you know the greenish yellow for like fight scene sort of things that you typically see are you into like the Hollywood look are you into like the commercial you know the whites and the perfect skin tone sort of thing and then also throw in there what camera you use cuz I'm always interested in hearing what kind of gear that everyone is using but with that being said my name is Gerren thanks for watching [Music]

Channel: JayAreTV

Views: 10,248

Keywords: blackmagic, DaVinci Resolve, resolve, tutorial, how to, DaVinci Resolve 16, color page, power grade, shared node, compound node, curves, primaries wheels, log wheels, high range, low range, power window, qualifier, hue vs hue, clip groups, color group

Id: Mv2rjJVLlPI

Length: 28min 19sec (1699 seconds)

Published: Mon Jul 01 2019