Color Grading Crash Course for Beginners in 2020 | DaVinci Resolve 16 Tutorial

What's going on everybody. This is Qazi welcome to the mother of all tutorials the ultimate crash course for DaVinci Resolve Colorists. I'm going to take this I'm not doing anything above resolve all the way to grading your first professional gig. And for those out there who want to become a colorist I want to take their game to the next next level. Make sure to check the link in the description below. And with that said Make sure to have the thumbs up subscribe to my child for more awesomeness and let's roll the intro. All right let's just jump right into the training overview what I'm gonna be covering in this webinar and let's go. So I'm gonna show you how to create a database as if it's your first time opening resolve. How do you set everything up right. So we're gonna create a database. I'm gonna show you project settings. I'm gonna breeze through it I'm only gonna show you what you need to know and then everything else we're not even going to worry about it. We're gonna get into I'm gonna show you the hardest way to conform your footage conforming basically means prepping your footage for color. So if you're coming from Media Composer if you're coming from premiere pro, or Final Cut X what is the best way the most precise way to get your footage and result and out of resolve. And then we're going to talk about color page overview. I'm just gonna show you a couple of quick things you can navigate your way around in the color page as the colors it's very important. And then I'm going to show you how to read scopes. This is your best friend if you are starting out you're probably not are not working with the thirty thousand five thousand ten thousand other monitors. So for that you really have to rely on scopes to help you out that extra mile. And then we're going to go into color correction. That's exciting. I'm also gonna show you color grading in this tutorial that I created and you guys are going to freakin love it and then everybody's freakin favorite anything and everything is apparently about skin tones like everyone talks about it. That was the highest voted question in here so I'm gonna be showing you how to pull the best skin tones out how to go about it and then I'm gonna show you when you're delivering for the web. If it's YouTube or Vimeo how to get the best image quality without any artifacts or anything like that so that's what we're covering. Let's just jump right into it. I have resolved already open. I hope everybody is joined in. And let's just jump right in. OK so the first thing when you open resolve you're gonna see this local database and it's gonna be just like untitled project. You don't want to do that. You don't want a local database local database meaning that it's on your Mac OS or on your PC C drive you don't want to leave things there because what happens is that if your system crashes you lost everything. So you want to put that on your scratch drive scratch drive most of you already know what a scratch drive. So basically what we're gonna do is we're gonna hit new database right here. One more thing really quick this little guy is your best friend. OK. Because when you open up resolve it might look like that so you could be like Hey how did you get there. This little guy always means that there is a menu. So when you click on it pops that open. This is where all my databases are and I'm going to go ahead and I'm gonna click on new database once I click on that I get two options. By default is selected to connect. I don't want to connect. I want to create something click on Create. I'm going to call it something like resolve 16 underscored DB database. OK. Or you can give it your hard drive name. So it could be Studio 10. That's where it's going. Database DB. And then once that happens I can click on location and then where do I want to save it. I want to save it on Studio 10. And then I want to create a folder and I'm going to call that folder IDR debenture into resolve life training. OK. And then I'm going to head enter and I'm gonna say open. Once we do that all they've got to do is create and you're going to see the studio tenant selected anything that's selected in result is gonna be highlighted in orange. You can turn that off. That's our project. Let's just jump right into it. What I'm going to do is double click we're inside resolve. This is what you're going to see first. Or you might see a different window but this is what you're going to be created with. Let's just jump right into our project settings and that step a little cog wheel right here at the bottom right click on it popped open and let's just run through these really really freakin fast. So the first thing that you want to do or you're gonna see is gonna be master settings. You want to leave your timeline format in 10 ADP. And that is the source right here. OK. Even if you're working with 8-K footage let's just say a red helium or something like that. You do not want to change this to a cake. That's the biggest rookie mistake. It's going to choke your system. Doesn't matter. You could be using a Mac or the new map pros that are coming out. It's going to choke your freakin system. Do you want to leave that in 10 EDP. Because ultimately what's the final output. If you're working on commercials things like that in us the output is all always going to be 10 ADP so far we're not moving for 40 anytime soon. So when that happens that means you want to leave that in 10 ADP because that's the final output. OK. And that's going to make everything so freakin smooth that you can be using a 2016 laptop and everything can work perfectly fine. Video Monitoring I can leave it as is or I can set it to 20 3 9 6 so basically mimic whatever you have in the timeline rest looks good. Let's just go down. You don't need to change any of that because once we've created a database it set everything up automatically for us then we're going to go under image scaling. One thing that you just need to look at an image scaling is input scaling. So let's say if you are using red and you have this set to central crop you don't want to do that central crop means that then it's got punch in 8-K image and then all you're going to see is like that cropped image for your 10 ADP timelines. You just want to make sure that you set it to scale. Entire image to fit. That means it's down sampling eight get footage into 10 80 and it's going to look so juicy so good. So you want to do that color management leave it as is Do not mess with that. If you're working on commercials if you're working on videos for web product videos things like that. This is the setting OK. It's set to deal by default set direct 7 or 9 Gamma. Two point four. That's exactly what you need on a Mac. Leave it as is. Don't worry about any of these come down. This is where the freaking magic happens. So keep broadcast safe if this is not checked you're not a colorist. If this is checked. Boom. Congratulations you're a color. You don't need to watch this anymore you're done. I'm kidding but honestly you need to turn this on. This means that resolve got your back. If you slip up somewhere it's going to help you out and it's going to make sure that when you turn that thing into broadcast television whatever network it's going to take you that extra mile and help you out and get you cleared everywhere and you're not going to feel anything. So now let's go to general options. Everything is looking great. We don't need to worry about anything. Camera Ras is not applicable because we're not working with raw footage for a dissection capture and playback is already set up subtitles or set up their latest setup and boom we're just breezing through it. And guys this is what I'm talking about resolve is not a freaking rocket science. Yes it goes really deep. But they are so good with how they have everything set up. There's a lot of handholding happens here and that's great because it just gets you started. OK. It's not as intimidating as you might thought. The footage that I'm going to be working with is this guy right here. It's a commercial that I did for PMG a couple of years back the Olympics commercial. So I'm going to pick this guy and now we're getting into our next section which is gonna be conform so I'm going to show you what's the hottest way in the commercial business. A lot of the creative agencies are using this method and it's getting popular by the second. So if you're working if your editors worked in media composer final Cut 10 or premier pro you know the traditional way was to bring in your footage. Do the raw round trip which is basically bringing in your footage with XML or EDL. And then once it comes in here you have a conformist or on an online editor that goes in and spends the day syncs everything up makes sure that there is no slippage in your time code makes sure that you know the speed ramps are translated correctly make sure that replays are coming in accurately but that is so much work and nowadays everything is just turn and burn and we just have a quick turnaround so you don't want to waste your time doing all that but at the same time you don't want to sacrifice for the image. So what you want to ask for is a clean out. You're going to ask your editor that hit Send me a clean out and what that means is that they are going to take off any effects they had like say a show locked or something applied while they were editing so they can see what they're editing so it doesn't look this flat they're going to take that off they're going to take their Transcoded footage and connect it back to camera original so it goes back to Alexa you know many whatever like are you raw files. And then once it's connected they're going to kick out the highest codec possible which in this case was progress for four four because we're working with resolve we're working with Alexa many footage so that needed to be in 4 4 4. But let's just say that if you're working with Sony a 7iii then you're only shooting in a bit you can really export programs regular programs and that's where we find. Let's just say you're working with Panasonic GH5 a camera that shoots 10 bit then you can really export and poor as HQ. You don't need to go farther than that but because this is Alexa or if it was red then I would ask for progress 4 4 4. So that's what we got. Now let's get into the conforming section so what you need to do is if I were to just grab this and bring it down look what happened. OK so now I got this one long clip clumped together. So it's one baked file clumped together so if I were to create it I can create this shot and it will apply that great to the whole thing. That's no good. That's not what we want to do so let's just remove that and what. Instead what we want to do is right click right here and say scene cut detection and not like you can see like now everything is good to go. So what you want to do is this guy right here your best friend hit auto scene detect and basically resolved does a wonderful job it goes ahead and it adds cuts to any time it assumes that there is a shot change it's not going to do a perfect job every time so that's why when you ask for a clean cut from your offline editor you just want to make sure that they take out all the transitions all the graphics all the looks and they give you the cleanest image that you can grade and send back and then they can just drop all those things on there. But since we had some fade in and fade out it's not the worst thing that I'm going to show you will work around that to fix it in here. So let's just go to our first shot. One thing that you need to remember is four kids write them down. You're going to be using them a lot and P plus minus. And as for next let's go right here. And as for next P. is for previous so if it works. OK. Yeah and as for next peaceful previous So like now you can see that it's moving right here. I'm hitting and I'm hitting Pete. So what we need to do is two of the same here and different shot here is perfect. Three of the same. No good. Two of these the same on the left side. No good. So two on the right side. The same different shot on the left. That's what you are looking for. OK so the first one looks great because two of the same and then different loading next. Now I'm going to have minus. I don't need this I don't need this I don't need this to keep hitting minus until we move on to the next shot that's the next shot. So two of the same. And then this is different. Now I'm going to hit next. Same. So I'm going to hit minus. Next shot. Now I'm going to head next. Next next. Good. Now I'm going to head three of the same. No good. Minus minus minus. Next. Good. Good. Next same minus minus minus. Keep hitting minus until we're on to the next shot. And that's OK. So you can you basically got the idea. That's what you're going to be doing. We're going to be working on this shot so I'm just gonna leave it right here. And then another important step is to hit at cuts to media pool. Once you do that now the resolve of the project went from or the file went from our finder level into our project and we have it right here. So this is. There you go. This is the clip that we're working on so what we need to do is right click here and say create new timeline and I'm just going to call it same moon hero from resolve and I'm calling it from resolve. So when we export it it's going to take the timeline name and it's going to be set to from resolve. So people will know. On the other end that is coming from us all. That's great. Now let's go over to our color page and what I want to do here really quick is just give you an overview of everything that we're going to be using today. I can't go over everything. I can spend a lot of time going through this page. So the first thing we want to do is anytime you start your grade. First thing we want to do is just pick your hero frame. So in a scene you want to pick a hero shot let's just say this is the hero shot. Now I want to pick a hero frame for frame is basically like where everything is visible everything is perfect and that's where I want to start building my grade off of. So I'm going to park it right here. This is pretty pretty hero and that's my shot so I'm going to park it right here. Let's go to some of these options gallery when you click this open this tab open. This is for your gallery still. So once I create a look I can save it here then go on and create different looks and then I can reference those all looks from here to see which one I like more. So you're going to be using that in your galleries Jones right here. Let's. This is a newly added feature entries of sixteen. What this means is if you're coming from a final cut 10 world then you know what that is. I can just hover over and see what my looks are going to do once I apply them and there is no surprise there. This is such a welcome addition didn't have that before moving on to the right site clips. If you have tons of clips here you've got to click this guy to open it up and select which clip you're working on. I usually leave it off. So then we have more real estate and you guys can see what is going on on the screen. This is a node panel or a no tree panel so that's where all your notes are going to be stored. And this is your open effects and open effects is you know where all your effects third party plugins resolve plugins are saved. And if you want to use them you can use them right here. And then once you select them it goes into settings and you can change the parameters. Now resolved works you know on a no tree structure. So that is different than layer based if you're used to it. And when I create my no tree structure here I'm going to explain to you what's happening and how to set it up. Bottom left our first panel here in this section is camera Raza. If this footage was shot in RAW then these would have not wouldn't have been great out. And we were able to change anything that we want here. If it was shot in RAW. This is for if you were using a color checker card then you can take your coat check your card. Hit match. And that's going to do your balance and exposure for you and it works really really well. This is going to be the most use panel in this section right here. So these are your primaries wheels and if you guys follow me on Instagram YouTube and all that you know I'm all about primaries most of my heavy lifting is done right here. So that is available right here. And then I'm not going to work and worry about that because we're not going to be using it. And then our last panel right here in the tab is log. So these are log wheels these are primaries wheels. They might look the same but they're very different. And I'm going to show you in a second what I mean. Once I go to all of these curves. So a lot of people use curves you know for their primary correction instead of primaries wheels. I prefer primaries wheels but if you use curves totally fine. You can make your micro adjustments right here and then all these tabs you can just go through and select whatever you want. Like you versus you versus set. And anytime you see these tabs you're also going to see this little trickle down and you can do the same thing here. Same rule applies right here. Down you can just select like this or you can just go to the tabs eventually you'll know which one is which and you can just like click on these tabs without thinking about anything. The second icon right here is qualifiers. If you're coming from premiere profile coming from Photoshop This is your HSL OK. This is where you pull keys. This is where I can isolate you know a certain color value and then keep that intact and change everything around it or just affect that specific part of the frame so that all happens right here. We're going to be doing that and then Windows are your windows if you want a garbage match something out or if you just want to apply something to a specific part of the frame or if you want to create vignettes things like that you have a bunch of different shapes and you can use them here and then a perfect progression from that is that once you're going to create a window you would want to track it and you don't want to do manual keep framing. You want computer to track it for you and results tracker is one of the best in the business. It's so freakin good. You don't know that you don't need to know anything about tracking. It just takes care of it and I'm going to show you how to do that. And then this is for blur and sharpening so if you think about like beauty spots things like that they're using a lot of like mist effect you know to like make the girls look like goddesses and that's happening right here using the mist. Or we can use. I'm going to be showing you how to properly use sharpening here and how good it is how intelligent it is. And then right here with his key. This is basically your capacity if you were working with a laser based system like aftereffects or something like that's a key output here I can control the strength. So let's just say on this note if I drop in a electron it's just too strong. I can control the intensity of that right here. This is for your positioning if you want to do any repos or anything like that that's gonna be happening right here. Let's look at this section on the right hand side. This is for your key frames if you're gonna do static you friends dynamic create key frames. That all happens right here. If you click on this little guy this is gonna be your scopes but it's only gonna give you is limited to just one scope at a time. And then I can click right right here for info metadata and that's going to tell me everything about the clip that I'm working on so I'm just gonna leave it on key frame for right now. And we're moving along. Everything is looking good just right click and I'm going to pop up my scopes Now that I have my scopes up let's just study them and let me show you a few things about it. So if you're coming from a photography background you understand what a histogram is. If you're coming from a cinematography background videography background you know what a way form is. Now if you have done some sort of color correction then you understand parade and vector scopes OK so parade is great for white balancing and just making sure that everything is looking good because we can just look at it right here and tell a lot of the story what's happening like reds or a little lifted greens or right here and blues are kind of down and eventually it's going to be more clear once we are we start adding contrast we do proper exposure and saturation on the right side wave form is perfect for just making sure nothing is clipping everything is in control so that's for that vector scope is for saturation mostly. It can also be used for balance and then it's perfect for skin tones but for that you've got to go on in this little guy click on that and then turn on your skin tone indicator. That's very important. I'm going to show you why. Just go ahead and turn that on. All this leaves that on if you're working with people histogram is also going to do a little bit of these two things you know so it's going to tell you if anything is clipping on the bottom or the top it's also going to tell you the white balance of if everything is in the middle you know it's properly balanced if it's off and sometimes you're going to do it intentionally to have it off. So that's totally fine. Now that we have that under control I'm going to go in here back into my edit page and I'm going to do something really quick. Now don't freak out on me you know I'm not the kind of guy that's going to go in and pull up a grayscale image and spend 17 hours on it but I am the kind of guy who's going to spend five minutes on it because this is essential you need to understand what's happening on the back end for some of these tools you're going to be using. Nothing is going to help you more than doing it on a grayscale image. So what I want to show you is the difference between primaries wheels and log wheels because just so many friends and people that I know that just like me you know pick and choose like close their eyes and they pick one to use and they're not the same. OK so let me just before you start on this move your screen you're looking like the wheels what screen. Oh I'm sorry picture. You can turn it off. You can move it. I don't know. I mean I'm right here. A little sprocket that's to make it for one are the. That's to the movie. Can you move them. Oh it's a better yes. Ok guys sorry for the little interruption but that's very important because I'm showing you all this right now. So let's pull up our scopes. So we're back in resolve. And now let's just say I'm working on an image and I'm saying that hey it's I want to bring my I want to crush my shadows a little bit. You know it's too bright. So if I grab my left and I'll bring it down and just look at what's happening. OK. How everything is moving in unity like in unison like how everything is just working so smoothly. How it's moving. Just focus right here while I use these and now I'm going to go into my camera and I'm going to do the same thing up and down just look the ease in and ease out on the knee and in the shoulder in our curve like how smooth it is and then gain is going to do the same. That lifted on the bottom and so that gives you an idea of. This is why I tell you this is the best non-destructive way to work on your footage primaries wheels is where it's at. The difference between you and just a joke schmo colorist is going to be that you keep your image intact and the integrity of your image like it stays pristine and primaries are going to help you accomplish that. Now let's go over to the log wheels and let me show you the difference. So they might look the same or very similar but they are so freakin different just watch this. If I go into my shadow and do the same exact thing just let go What the hell is happening. Just look at the scopes. And not only that. Just look at the abrupt line that's being created. That's basically giving away your magic. And if you're a magician that's a terrible thing to do. OK. And that's what's happening here. Now I'm not saying don't ever use it. I'm saying this is a specialty tool. This is not how you build your great you use that to aid you. Great. And like lean it in some ways if you're creating a teal and orange look or something like that. This is gonna be a perfect tool to balance out your black points and white points so that's what we're going to use this for. And we're going to use it. I'm going to show you how to properly do it. Let's just say if you're working with Sony footage and there's a lot of gunk in your skin and it's sitting in like the green like Hulk area which it usually does and you want to take that out that's where this is going to be amazing because it helps you do micro adjustments so you can just go in and go opposite of that green tent that you're getting. And boom is going to pull that from the skin tone is very important. OK guys this is it for the scopes and the grayscale image. Let's just go into the real thing. That's our hero shot. So I'm going to park it right here and let's start cooking. But before I do that I want to show you one more quick thing someone to click right here and I'm going to import images from one of my favorite movies car dealer Roger Deakins is the freakin man and I'm gonna show you. Pull up these images and study the scopes for one second. And that's going to change everything for you. OK. You need to understand how it's being done in Hollywood because that's the proof is in the pudding. This is going to tell you everything OK. So let's bring in these images. And I want to show you something that's gonna freakin blow your mind. I'm going to go up here. Let's pull up this image. So I'm going to hit this guy to pop that image in and then let's just move it over so we can see the entire image. That's perfect. Just look at what's happening here. Look at where the highlights are. So one of the biggest amateur mistake is that you're going to bring in your image and you're just gonna jack it to the bottom and jack it to the top and you're going to be like I'm a colorist like I just maxed out like you know my image was sitting in the middle. I took it to the top took it to the bottom. You know I'm maxing out on my vector scope but I'm a colorist. Look at what's happening here guys come on read this. And how perfect this is. Let me just blow this up make it bigger so you guys can see look at the highlights in the clouds. Look at the highlights in her face. Look at the shirt was a white shirt on this dude in the back and how everything is freakin protected and just looks so juicy. There's so much contrast. This is the freaking sauce guys studied this stuff when you're working on your grades. I'm going to show you other grades. Okay so this is supposed to be around noon. So this is like high noon. Just look at the curves where they're like look at just your scopes where they're sitting. Let's go to another shot. Look at where everything is sitting. You understand what I'm saying. This is really freakin under like. Important to understand. So now that we have that out of the way let's start building our grade. Let's jump right into it. This is how I always do it. My structure stays the same. And then it's really easy. I'm working on something I know exactly where to troubleshoot if I'm asked to do a certain thing and does what I do first note it is always going to be reserved for noise reduction is going to make sense in three minutes. Second note is gonna be for my primaries and in this case let's just jump right into it. So the first rule you need to understand when you're doing a primary correction is push and pull. OK with that. What that means is that I'm going to go in my left I'm going to pull this guy down. So it's around somewhere around here. So already it's looking pretty good. Like I mean my blacks are starting to look pretty good it doesn't look flat anymore. I'm going to take my gain I'm going to bring it up and I'm going to bring it I'm going to keep it somewhere around here like let's just stick with Roger Deakins school of thought. OK. So like let's just stick some around here. This is looking fine we still have a lot of work to do but it's a good start. If I go before and after it's pretty good. Now I want you to take your saturation blanket all the way 100 percent. Don't freak out. Everything is going to look great at the end. Just crank it out so you can start seeing what is really happening here. So what's happening here is that my reds are lifted like a mother and I can see it on my screen. But let's just say your screen is not calibrated you can just look at your scopes and your scopes can tell you the story. Look at how lifted the red zone look at how lifted the Reds are here. Green is here. Blue is here and that is the theme throughout. OK. In all your scopes. That's what they're telling you. Now where are the lifted the most the bottom is touching the bottom like all of it. So that means the bottom is looking fine. I can if I look at the blackest points like it's looking fine. It's the mid tone the lower mids where the problem is like look how lifted they are right here and then even the top is somewhat balanced not all the way but somewhat but the real problem is happening right here in the lower mint. So what am I going to do. I'm going to go to my midtown which is my grandma right here. So if we have a lot of red which lives right here let's pull that. Let's go. Let's subtract that right. I'm going to go right here. Subtract that red somewhere around here. And now if I'm looking at my image just look at that. How even this looks right here. Look at how even this looks right here. If I do before. Look at how everything is like the Reds are so lifted. And if I undo and look at where my reds are everything is just like one big white line right here. And that means your balance is looking pretty proper. Now that this is looking good even right here we're looking really good next thing that you need to do is add more contrast because right now that's what's lacking it doesn't have the punch that we want. So that's going to happen right here. I'm going to grab this and I'm going to crank it. Don't be shy. Just go around somewhere around here. That's totally fine. It's not bad at all. I mean another thing that I can do is I can just lift my bottom a little bit and then I can take my gain and bring it down just to touch. And now if we look at it before and after it's looking pretty good. But look at how this gunk you see all this noise. We're going to take care of it. I'm going to show you a technique that's going to blow your mind in a second OK. And now the next thing that we have to do is you want to create as much separation as possible when you're working with people so when you pull keys they're Kleenex keys and I'm going to show you right now what I'm talking about. So one more thing that I want to do before I go into the next note is let's try to dial in to look a little bit in here just a tiny bit. OK. We're going to be very conservative so I'm going to take my left and I'm going to pull it down just a little bit now I just want to mention I never work with mouse. I'm always working on my panel so everything that you're seeing is like you know 100 percent slower than how it would be if I was just using the panel I would be like freakin breezing through this right now. But this is just so you guys can follow along and see what is really happening. So let's just say I'm happy with this. This is a little bit of a look and this is good. This is where I want to start with. I'm just focusing on her skin right now. And then let's go right in here. Just let's just make sure that the skin indicator is on and the skin is sitting right here so sitting in a really good spot. Now what I'm going to do is go ahead and right click on this note and say layer. So when you click on layer this is what's happening. OK. Anything that's at the bottom. Imagine that that's on top of the bottom layer takes precedent on the top layer. So bottom is top top is bottom. That's how you want to think about it. And if this is our top what do we want to do. I'm going to go into my qualifier and I'm going to select my qualifier right here and I'm going to just do a nice swipe right here over her for head when you're pulling keys. The best place to pull keys from is the forehand. Just remember this is pretty good. OK. It's doing a pretty good job but you see all these little dots and like this gunk. That's because we have so much noise in our image. And once we clean that up you're going to see. And this is what's going to explain to you why it's important to put your noise reduction as your first notes. Now when we go in here and this might be exclusive to resolve studio I don't know but let's just go in here and let me show you my secret sauce and guys this is it. This is everything. That's what you need to do. Go under a special threshold break the chain. Just a chroma crank it up around six point eight ish. Now let me make this bigger. Where did the noise go. You see this the freakin image is kept pristine noise is freakin gone. Now if I go into my key look how much cleaner the key is now. You understand what I'm saying. How was before to now how it is. And what I need to do is one thing that I need to do is I'm seeing right here that I want to grab more of her cheek and I can see that it's not selecting it because the luminous is pretty high so I'm going to grab my aluminum somewhere and move it back somewhere around here and let's just try to pull the key one more time and see if we can get a cleaner key and actually know what I'm just gonna go back and then what we want to do is just go into our blur and just crank it. Don't be shy crank that blur and the next thing that we want to do is go into our window and we just want to go in right here to our Polygon Window and create a window around it. So basically I want a garbage mat anything that's around her. I don't want to select that at all. I just want to select her nothing around her. So once I do that this is exactly what happens. And if I turn it on and off you're seeing what happens. And then we're going to go to the next window and we want to track that. So I'm just gonna head track back but it just does it for you. Everything is free contract. So now that everything is tracked I can go in here make this bigger and what I want to do is I want to go in here to my curves and I want to grab it from here somewhere and just pull it up a little bit. I just want to give her a little bit of juice just pull her out of the bag down a little bit. OK. Now I'm only affecting my skin nothing else. That's what's happened. And now what I want to do is show you one more trick and that's going to change your life going here and click the second tab right here and under mid-term in detail. A lot of people use it for detail we're gonna use it for the opposite effect. So just focus on the face and let me just crank that up and show you a lot of detail and not take it back. And that's where the magic happens. Just look at how it's evening out her face and then if I pull it back you can see it even clearly if I go up you see the bags under her eyes if I go back like it's smoothing smooths everything out and for females I've noticed that somewhere around twenty eight to thirty three is the source. That's the good spot. So now we're gonna park it right there. It's looking great. I'm gonna go to my top layer and let me show you this technique. You guys are gonna freakin love it. So let's uncheck this OK. I'm going to go into my red and I just want to add teal which means I want to subtract red. I'm going to go to the top and look at what I'm going to do. So now you might go Dude what the hell is going on to her face. Don't worry about it. How much TV do we want. Let's just say we want this deal to be somewhere around here. That's the look that we want. All you have to do is go into your window create a little window around her face tilted a little bit smooth it out inverted the face is protected and everything around her is freakin Perfect that's exactly what we wanted. We're going to do the same thing we're gonna go in here we're going to track it because we don't want to do the manual labor we want resolved to do most of the heavy lifting. It's done. It's trapped. Now you might go. What about the freakin U.S. red. We want that red back because after creating the look let's look how much red we lost. No problem. Right click create another layer node. And I'm gonna go back in here. I'm gonna punch in. I'm just gonna swipe over my red and I'm gonna go back and I'm going to open it up a little bit. So with I'm just gonna open it up a little bit so select everything and then all those all those all those blurt it out keep it clean. And now if I pull out of here and I click on it I brought my red back. OK so this is where the look was created. If I turn this on and off like look what's happening we did all of that and it freakin holds in nothing. There is no artifacts there's nothing OK. This is holding it. And the one thing that I'm noticing right now is like this thing right here. And that's because when I created a window I did not blurred out. And also I could have done a better job. So first of all we got to smooth it out. So once I smooth it out it's not going to do what it was doing there and then second thing that I want to show you is like let's go back in here. What you need to do is turn it into frame and then let's go back. This is looking good. This is where it's kind of coming over her hand. So first thing we click right here and that adds a little red dot. That means that it's recording. It's in the live recording mode. Now I can come in here and say Hey grab this guy go over and now look. So this is dynamic. Keep framing it's going to move. So now I can come in here and say Hey open this up again open this up again and that's going to close down here and boom. So now we fix that problem. And if I show you what was happening for is not gonna be happening now. So let's watch it again looks pristine. Looks great. Moving on. This what I usually use it for is my look adjustment node. So basically look adjustment node is a fine in my offset right here. And I grabbed this guy. I usually just like rotate circulate around a little bit and see what I like. So in this case I like it a little bit around here because we just create more color separation as you can see and like look we're just adding like the Joker green you know tend to the shadows in the lower mids and I think it looks kind of cool and just adds more separation from the skin. So let's just say I want to leave it there right. What I want to do is I'm gonna create another node this one I'm going to pull it down so any finishing touches are going to live at the bottom layer and this is where I'm going to create my vignettes. So what I'm going to do is create a circle and be generous with the size. So I'm going to go like this. I'm going to turn it a little bit and you can make it bigger a little bit more. So this is looking good. Let's just do this and then let me show you where your softness need to be. Somewhere around twenty one to twenty five I'm going to keep it around twenty two ish. That's great. Now what I want to do is right click on it and say add node outside node so we want to affect only the outside. Yet. Now I'm going to go in here. I'm going to say Hey chin that up link that everything up and now I'm going to go right here and I'm going to pull it down I'm looking for drama. OK. This is drama like the focus is where the focus should be on our hero and not on anything else. Now we know for a fact that she stays in the center of the frame so we don't need to track this one. Don't overdo anything. Just do what you need to do. So now this looks freakin classy as hell. Looks perfect couple of last touches dude like really bring it home and it's going to happen right here. It's like a blur and sharpening. I want you to go right here. Go to radius. Pull it down to forty seven that's the source. If I make this full screen and if I show you what's happening turn on and off. Just look at our eyes. It's not adding unnecessary self sharpening everywhere is just putting it was supposed to. I'm gonna go under green on all things green. I love green. Nothing gives you the feeling of film and then adding some green. I'm going to go to thirty five four hundred and I'm going to add some strength now this dishes shot on a Lexus so it already has some green but this is just gonna accentuated a little bit more. And guys let's do this. Let me just go in two versions and let me show you before and after. Let's turn that off and let's just enjoy this look that we. This concoction that we just cooked up so fast and just look at the two so we pulled out a key. We did our primary correction. One thing that I'm noticing right now that it can use a little bit more softening on the node that we had on her face. So super easy. We're going to go back in here. We're going to go into right here and we're just going to soften it out a little bit and then we can also make it a little bit smaller. So just hug her a little bit more. Enough we played back. Looks frickin perfect. OK. So simple look really effective. And once you have your concepts down you can attack these and get crazy results very easily. Let me just turn off the look that we created and if we wouldn't have gone for the look and they wanted like natural poppy thing and we could have just done that. And that would have been the end of it. But we wanted to take it a step further and just like really really freak in and create a mood you know. And that's what that is. So that is it for the tutorial section. I hope you guys loved it. Let me show you one last thing. Let's move on to the delivery page and let's look at this. So let's just say you were exporting this for web. You want the highest quality go click on H2 six for M.. This is how you're going to start it off. Going to click right here. This is your best friend. Click on this guy that's going to open up that window so you can see everything here. And now that I'm here I just need to worry about a couple of things but I need to do is tending to be some good 24 frames sounds good automatic. That's ugly. I want to restrict it and I want it restricted to 40 thousand. If you are doing 10 EDP forty thousand if you're doing four K you HD eighty thousand. OK I'm going to go into advance setting from there. Pull this down. I'm going to turn on for sizing to highest quality force de bear to highest quality. It's applicable when you're working with raw footage but just get in the habit of using that. It doesn't hurt. And now what I'm going to do is click on these three dots say Save As you preset and I'm going to call it Web 10 ADP or HD whatever you like. Now if tomorrow if I'm working on a different project whatever I could be anywhere and then I can just come in here and I can click on web 10 ADP and it's going to pull up exactly all of my settings and I'm ready to go so let's just say I want to render justice guy right here not this. I can just click render I can pick up a destination whatever it might be unless just one thing that I want to do is go in file and say timeline Nan so selects my timeline name and now I can say you know what just dump it in documents had rendered queue and now it's in your render queue start to render and boom resolve this super fast flow how fast facet rendered it out and dat is that and there you have it. I hope you guys enjoyed the crash course. Now the good thing is that you're off to a pretty solid start that you can build on but resolve runs deep and if you really want to take your game to the next level and become a pro colors make sure to check out the links in the description below to get a thumbs up. Subscribe to my channel for more awesomeness please share this with your friends and I will see you in the next video.

Channel: Waqas Qazi

Views: 679,363

Rating: 4.9439583 out of 5

Keywords: davinci resolve 16, resolve 16, davinci 16, davinci resolve, davinci, white balance, 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, webinar, conform, conforming, colorist, color grade davinci resolve, crash course, color grading tutorial, davinci color grading basics, theqazman

Id: gPZ4-CF_osk

Length: 42min 28sec (2548 seconds)

Published: Thu Nov 14 2019