Chernobyl | Commercial vs. Film Grading | DaVinci Resolve 16 Tutorial

[Music] just look at the smile on my face this is probably one of my favorite series commercial versus film grading and this time it's inspired by the pandemic that we're going through so that is the commercial side of it and basically I'm gonna be using this isolation how it's a good thing so this guy being by himself if he stays that way and protect himself from others this can in turn create a bright future and then on the other hand the film grade is inspired by Chernobyl one of my all-time favorite shows and I'm taking this you know dingy green that they use to kind of create the sickly feel and that's what's gonna create the film grade and they're both extreme commercial and fun grading on this one so there's gonna be tons of opportunities to take notes and understand a different kind of process this time I'm kind of taking my node tree but then building off that and and giving you a more realistic example of like when I'm working on real-world projects how I'm approaching it and sometimes I just have to go away from my node tree but it's not a bad thing sometimes film grades can have more nodes than the commercial grade it's always gonna just depend on what it is that you're working on guys one day left to sign up for my class today is the last day to sign up for my master class 25 plus hours worth the content 150 plus training videos access to over hundred gigs worth of professionally shot log footage invitation to a mastermind group where we hold weekly competitions and I'm talking about to our group session where I go through everyone's grade and break it down and give you personalized feedback the courses consist of nine total modules as of today and I'm gonna be adding another one very soon and the way it's laid out it's perfect for somebody who knows nothing about resolved to maybe somebody who's intermediate but really want to take your game to the next level the goal with this masterclass is very simple I want you to learn in weeks what took me years to learn I'm so confident that I'm throwing in a hassle-free 30 day money back guarantee if you're not satisfied join thousands of members that are part of FCM culture and have achieved unimaginable results enrollment and soon join now the link is in the description or in the comments below on that note smash that like button subscribe to my channel for more awesomeness make sure to follow me on instagram i'm dropping value bombs there every single day let's roll the intro all right I'm so pumped about this one let's just watch the shot through a few times and then we're gonna dive in and come up with a game plan okay so there you go such a freaking epic shot just it's insane so super super flat which means you know world is our oyster we can do whatever the hell we want so first time we're gonna create the commercial look then we're gonna move on to the film look and this time the way I'm gonna set it up is that commercial look is gonna be sort of like a stepping stone for our film grade okay so this is how everything is going down so here for the commercial the purpose is simple this could be a public service announcement where hey stay home stay isolated so we can have a better future what's important to me here is that I want clean crisp feel and look with the hint of life and the life is gonna be the brown the earthy colors right so in this case I'm looking at this and if I bring this platform to life along with our character like if the focus is our character if our sky is looking clean and crisp then we're creating that vibe so we're gonna use some color separation we're gonna use some color isolation and the blend of bunch of different things that I've taught on this channel in my master class and everything so let's just get going okay first node is gonna be our general contrast so I'm gonna just call it exposure and then let's start doing it so right here in my contrast and then the second node is gonna be our balance and it will also be our saturation and then the next one is gonna be my look this is where we're gonna start creating the look and this time I'm gonna do a layer mixer and I'm gonna do another layer mixer okay so we're gonna build these as we go so we'll figure it out I'm just gonna leave them as is for now and then we're gonna have a look adjustment and then the rest we're just gonna build it out as we go so let's just leave it at that for now and let's start building it out so exposure contrast I'm gonna start with that and not do something too crazy so I'm gonna leave it somewhere around here lift my meds a little bit something like that again not too crazy lift my gain a little bit bring my lift down and it's a very little exposure adjustment that we did right there let's move on to our balance started up with cranking some saturation I'm just gonna take it all the way it's okay and now I want to kind of balance my image so right now it's leaning a lot toward green and we can see that here so I'm just gonna go into my gamma and basically my focus is all these mid-tones and I want to pull the color out and this is also a good anchor so let's make this brown like the color of the wood instead of what it is so I'm gonna start going up in my gamma and getting some of that color out of it and keep it somewhere around here now I'm gonna take my gain and I'm gonna do the same thing I'm gonna try to get some of that blue and teal that we got going on out so move it up use the extreme and then pull it back something like that and then I mean this is looking pretty good for color separation basically what we want to do is just get our colors apart as much as possible and then let's see hold on something like that now I'm just shifting my gamma a little bit let's get some of that magenta out I'm gonna take my left and pull out some of the red from the undertones taking my gamma bringing some of the wood color back taking my left and moving it away from the green that's always gonna be that dance you guys know what I'm talking about so this is looking pretty decent for our balance as of now okay so where we were before to where we are big difference I'm gonna leave it there I'm gonna go into my look and first thing that I want to do is right click here and turn it into soft light and that's really gonna give us this crazy punch it almost feels like a punch in the gut like you're like dude this is crazy that's totally fine another thing that I want to do is I want to go into my saturation and just crush it just take out all the saturation and we can go back in our exposure and try to lift our lift up and bring some of that information back and then go into our gain and play around with it bring up our gamma a little bit bring our gain down gamma up gain down gamma up because the purpose of this grade is to bring hope so we don't want to make it too dramatic and too crazy so this is looking pretty good so I'm gonna leave it there I'm gonna go in here and I'm gonna go into my hue versus saturation and what I really want to do is raise it up first and see what is happening and then I can look at my colors that I want to keep and then I will isolate everything else so let's just keep it up there up top and now what I want to do is I don't necessarily need these blues or that much information in the sky so I'm gonna grab it from here and I'm gonna start bringing it down a little bit and now I'm getting those clean whites which I like I'm gonna move it around a little bit I'm gonna leave it somewhere around here and if I do before and after like really broad strokes but look at the life that it brought in the life that I wanted and then excluded everything else you guys follow I mean we created a really stylized image okay in sanely stylized image I'm gonna go in here I'm not gonna mess with anything as of now I'm just gonna leave it as is and then later on we can go in and create some cool stuff but since we're working on a commercial you know we gotta like top it off and bottom like we really got to expand that dynamic range and get the most out of our image so I'm gonna go in here I'm gonna turn on my editable splines I'm gonna click on this guy and I'm gonna raise this up quite a bit okay well I really want to give it extra pop and now I'm happy with where my highlights are I get really brings everything up like it adds a really nice pop and I'm liking it so I'm gonna leave it there here I'm gonna click on this guy and what I want to do is I want to grab this part of the image and really have a better control on that okay so I'm just gonna go in and qualify it I'm gonna grab it we've created enough separation where we should be able to get a really good key so let's test it I'm gonna take this and I'm gonna start pulling it pulling it pulling it until it's only grabbing this part I'm gonna see if we can isolate it even more see if we can isolate it even more move this around something like that this is looking good hold on keep going okay so this is looking good now I'm gonna go and in my denoise I'm gonna take it up to about 10-ish I'm gonna take my blood ray blood yes and I'm gonna crank it up to 30 ish and now what's gonna happen is that just keep your eyes right here okay so I want to pump in some really good color in this wood okay so I'm just using my gamma really really put emphasis there just before and after big difference right so I'm just gonna exaggerate it because it's like I said I mean we're adding life here and then we're controlling it everywhere else so now it's doing a lot of work here too I don't necessarily want that I personally don't want that I just want this to be the focus and then IRA dude and then you know the rest can be whatever so the way I'm gonna control it is this I'm gonna go in create a custom shape something like this and then I'm gonna just bring it here close it off and now I'm gonna do shift H and give it some give so just a little bit and then pull this in hold this in something like that and now what I'm gonna do is next step is to track it so let's track forward and it latches on perfect track click right here track back perfect track latches on if I do play it back it's looking great so now what it's doing is if I go back in here and turn it on and off you'll see how much more color will come back in here which is something that I don't want so if I do before see how much color is going in there but if I do after then the focus becomes what I want the focus to be all right so now if I play it just check it out so after we isolated we can just pump in a little bit more color so I'm gonna keep going there keep going there keep pumping in some color raising it up and then park it right there somewhere and another thing that I can do is I can go under my curves and kill my editable spline and just really try to pull it down a little bit not too much something like that and I think I'm gonna leave it here for now like I'm really happy with what's happening I'm really happy with the result I'm gonna park it somewhere around here now what I want to do is create another layer and pretty much just isolate our dude so I'm just gonna take this basically this entire section isolate this section right here and then feather it out quite a bit so I'm just gonna go and keep feathering it keep going keep going keep going quite a bit right so I want to do a couple of things one I'm gonna go in here I'm gonna turn on my editable spline so I'm gonna take this top end and raise it and now my focus is just my dude like a really wanna like he's the the hope you know so really wanna bring him out bring this area out and now what I want to do is create an outside node so I'm just gonna go in right click and say outside node now I'm gonna go in here and check off my editable spline and just grab my curve from somewhere around here and then pull it down not too much so when I say not too much I'm like really keeping my eye right here and just making sure that we're not bringing this down too much we just want to create a little shape and now another thing that I want to do is I'm gonna go in here luminance versus saturation and I want to say hey grab my white points and pull the saturation out look at the clouds if I do before see there's color in there and now it's just pure white okay so I'm pulling color out of that that's what's happening there and this is where I'm gonna leave this node and if I take these to look at we're shaping light and it's making all the difference in the world before after subtle difference but pretty huge okay how much it's adding so at this point what we want to do is create another node call it a global adjustment at this point and here if I can spell it right and here what I want to do is just sort of like the final touches right so what I want to do is go in here take my low soft basically the bottom part and I want to lift it and just keep your eye hear how it creates like this nice little roll off and with this now if I take my actual lift and bring it down C creates a really nice film-like effect enriches everything like look at the water look at the wood everything is just like really really freakin nice like it just adds that little finishing touch a bow tie if you will okay this is our commercial-grade now if I play it through and look at what we did is what we intended to do make our dude pop-out make the sky really pure and clean add some life to the image you have some hope which we did with our platform and isolate all the other colors so tons of isolation now did we overdo this it's up to you I mean we can easily go in here and kind of split the difference so I can go in Mikey and go you know what let's just kind of keep it somewhere around here let's not overdo it and I think it's a good decision do not overdo it and now if we just Park it somewhere around here that's our final look for the commercial grade so let me just uncheck all of this and then go one by one so this is where we started we did our exposure then we punched in tons of color and balanced our image and in here we basically turned everything to soft light in our composite layer hold out a lot of color then injected the color we where we wanted it and moved on to our look adjustment and popped everything up to kind of just give it that life went in and brought out our wood and then balanced it out and controlled it in our layer mixer went in and popped our dude out more to put the emphasis where it's supposed to be brought everything else around them down and then in our global adjustment added a little bit more contrast and then this was our final look for the commercial version let's check out the final look in full screen [Music] let's move on with the film grade now for the film aspect of it we're basically gonna take this as our base grade and then we're gonna build on that and we're going for that chernobyl that's sickly green okay so I'm just gonna bring this in and show you kind of like what my inspiration is and then we're not doing one-to-one we're just using that like look at the green up here then the blue then the red and then how the red is at the bottom and the cyan is up you know the green is up and the Blues are up so that's sort of like our inspiration okay but I'm not gonna check it out anymore I'm just gonna build that look now how it will fit in this scene so basically it's gonna be based on three layer nodes okay that's what it's gonna be and this is gonna be our look film look cinematic look whatever you want to call it this is gonna be our sky and this is gonna be our platform okay or this one actually let me just call it highlights so this is gonna be our highlights so that's our setup got it so in our look node I'm just gonna use my gamma okay and I'm gonna start pumping in a lot of green and I'm gonna pump it until it feels right so let's just get going trying to make it really really sickly okay and what I need to do first is actually turn these two off so I can actually see what I'm doing so let me just reset that again that's what you got to do because the way the layer mixers work whatever is that the bottom takes precedent I'm gonna hide these two I'm gonna work in this one so let me just start giving it that green that I'm going for the sickly green and I don't want to overdo it so this to me is looking pretty sickly maybe I can split the difference let's exaggerate it first and then let's pull it back so this is too much let's keep it at too much and then we're gonna figure it out so now what I want back is my dude like the highlights I want them to still be crisp I don't want them to just kind of blend into that green mush okay so that's where I'm gonna go in here and go under my qualifier and then have a really soft roll off here and then start increasing it so just I'm gonna head shifted so you guys can see what we're controlling and all I want to do is just grab the top top top and and now if I hit shift age I brought the whites back in those area and then I'd let the rest be you know that green but let's just pull it back a little bit so we can like really blend it in better something like that and now what I want to do is split the difference so I'm gonna go in here because I still wanted to kind of blend I don't want it to just jump out and look completely different so I'm gonna go in here and I'm gonna start pulling it back to kind of split the difference so keep it somewhere around six or seven ish and we can see our whites being white another thing that I want to do because I don't like this dingy green coming into the sky too much and if you want to control that let's go back in here click on our window create this Grad put it up here invert it and then shift H and see what we're affecting and we're gonna do something like that so basically we don't want to affect this we want to affect the rest that's what's happening so now actually do the click on that so turn it on now we can see it so we're leaving the top as is and you will see if I turn this off just keep your eyes right here in this area I'm turning it off boom see all this green this gunky green and it's gonna create so much artifacting but if I turn it on boom it cleaned it right up and we don't have to track this since there's not much going on so we can just leave it right there and that's doing its job now if I go back in here turn it on and off I still want my highlights to be pristine and that's also helping and then finally I can go in this node and then activate it and what I really want to do is hold down option click on node 8 and drag and drop it in here now when I go in here basically I want to do copy paste the window and the tracking data but I do not want to copy the actual color because that's too much so I'm gonna click here and turn it off so now if I do on and off basically what I did is I brought this color back I say hey don't affect this node affect everything else around it like keep the green everywhere else don't keep it in here and then we you know pulled the green out of our whites as well so this might look just too shocking if I hit command W and then come back out of it it might look too shocking like it just like pops out too much so again we can go in our window and we can control it so now I can pull it back and kind of keep it at a point where it's picking up some of that green but not enough so it's still leaving me with that color that I wanted that life that I wanted even here but mostly it's you know the Chernobyl look is like everything has just wrecked everything is messed up and we're kind of living in that world okay so if we look at it these three nodes what they did this was our commercial grade and then this is our Chernobyl grade and then one more thing I want to do in my highlights is that I'm gonna go in and I'm gonna just add a little bit of green so I'm gonna take my gain and I'm gonna push it in the green but just a touch so just watch what I'm doing basically I'm just trying to make it a little bit more believable so even something like that so it takes that color and kind of balances it out maybe not that much so let's just go back split the difference a little bit and I think that is doing a really nice job and if this is bothering you too because it's just too much it doesn't bother me I think it looks good I'm actually gonna leave it that's just a choice that I'm making because I want to add a lot of drama here and then finally this is like extracurricular what I want to do is I want to add some more punch into my image although there is a lot of punch but I'm gonna go in here take my low soft and like really lift them to give it that film look and keep it somewhere around here and now I wanna go into my lift and bring it down to create that sort of feel and now lift this even more bring my lift down and then I'm gonna go into my gamma and lift it a little bit and take my gain and bring it down because one thing you need to realize about movies is that you know the exposure is not always touching the top so you really need to keep it somewhere around here bring my left up and bring my so if I do before and after it's just kind of giving it a nice film roll off and that's all it's doing not too much not too little and another thing that I want to do is just go into my log wheels and I'm gonna take my highlights and I'm gonna raise them so I'm gonna take my highlights and kind of almost hit the top with that and now you can see it just this is before and this is after so it added so much more pop right in the highlights like litter right there right here it was able to add like even right here it made the whites like pure whites and then it just gave it a really nice roll-off on the knee with this technique right here low soft now we can control our low soft a little bit more twos I can keep it somewhere around here so guys this is our film look let's just do one more so I'm gonna bring in my grain as always but this time I'm gonna kind of go nuts with the grain so I'm gonna show you a different kind of grain because I'm inspired by true noble in this one so they really had that 16 millimeter feel and look so if I do this reversal maybe not reversal I'm gonna go to print how much it's adding we can go in and raise it even more and like really make it pronounce so look at it before and after and it just gives it so much more of that character if I play it through it's heavy I know I love it I mean maybe we can bring down the size a little bit we can bring down and let's watch it through yeah that looks good so something like that come on guys tell me this is not amazing what we just created so in this particular example we added more nodes in our film grade than our commercial grade which is usually the opposite of what I've shown you but again every film is different every commercial is different and sometimes when you're creating a really really extreme look you're gonna have to do that so I'm gonna turn all of this off and then go one by one to where we started to where we ended up for our film grades so this was our before image it started with the exposure did some balance and then made sure to put this on soft light and I'm actually gonna turn this on first so we see the difference and then turn it you know black and white killed all the saturation and then brought a lot of the color back where we wanted it and gave our image some pop with editable splines and just put a lot of life into that you know platform right here brought him out you know by creating a window and again editable splines did an outside node brought everything else down around him by using regular curves and then pull the saturation out by using luminance versus saturation went into our global adjustment and did low soft here they just kind of give it a really nice roll-off on the bottom end and then here is when we started creating the film look so created that Chernobyl green you know in my mid-tones and then pulled my highlights out you know by creating a window so it doesn't affect the sky and then went in here and actually use the qualifier luminance qualifier and then brought more of that out and then neutralized the colors a little bit by using our gain just to kind of you know not have so much magenta and make it look realistic when in and brought our platform information from node eight and made sure to pull the color out and just leave it as is we just wanted the window and isolation because we're using a layer mixer so we wanted to pull that out and then went into our key and really adjusted the strength there to make it look realistic and blend into this particular scene when in and did some more contrast work to really pop everything out and have really nice film highlights and shadows like roll offs when in to create a 16 millimeter grain which just added so much character and really got it close to that Chernobyl look and here's our final look let's check it out in full screen [Music] I hope you guys have a blast drop a comment below let me know what you guys think make sure to sign up for my master class literally last day left and if you want to step up your filmmaking game not just color grading game this is the course for you it teaches you the hard skills and soft skills and everything in between make sure to check it out don't miss the opportunity link is in the description on that note smash that like button subscribe to my channel for more awesomeness and I will see you guys in the next video [Music]

Channel: Waqas Qazi

Views: 50,623

Keywords: davinci resolve 16, resolve 16, davinci 16, davinci resolve, davinci, davinci resolve 16 tutorial, tips for beginners, grading, davinci resolve studio, davinci tutorial, davinci resolve free, color correction tutorial, how to colour correct, resolve color grading, color correction davinci, color grading davinci resolve, colorist, color grade davinci resolve, color grading tutorial, davinci color grading basics, theqazman, commercial look, film look, film grading, cinematic look

Id: yyaIopJH4x8

Length: 29min 44sec (1784 seconds)

Published: Wed May 13 2020