DaVinci Resolve 19 is out, there's new features and
improvements in every single page. This video focuses on the color page. When you're done watching it, please make sure you watch our
videos covering the other pages too. There are links in the description. So here's what's new. Color slice. This tool finally adds subtractive
saturation natively to DaVinci Resolve. It's accessed using this button. It slices the image into 7 vectors, red, green, blue, cyan,
magenta, yellow and a 7th vector for skin. There's separate controls for each. Here's a breakdown of
how it works along with examples. This cool
visualization shows you what part of the color wheel
each slice will affect. The center control
allows you to refine that slice. It doesn't allow you to change the width of a slice, nor
does it allow you to create completely custom color slices. Instead, you can nudge
a slice to the left or right. There's about 60 degrees
of adjustment in either direction. Please note, adjusting the slice will adjust the boundaries
of the adjacent slices too. That way the slices never overlap
and there's never any gaps in their coverage. If you want to preview what parts of the image each slice
will affect, click and hold on this button at the top. The preview only remains as
long as you hold down on the mouse. But like with other tools, if you turn
highlight mode on, the preview will persist. Then in that case, just click
on other slices to change your view. You can think of each slice as being a qualifier that limits
the effect of tools to just those colors. It's got a soft roll-off. The tool will have the most effect in the middle and the
least effect at the edge of the slice. Subtractive saturation and density can
be controlled independently for each vector. Subtractive saturation is prized
because it mimics the way that film saturates. When I add it to
the sky in this image using the blue vector
controls, you'll notice the waveform
decreases, rather than increases. That's a telltale sign that the
tool is performing subtractive saturation. In this instance,
instead of increasing the amount of blue in the
sky, the perceived saturation of the blue is increased by
reducing the amount of red and green in the sky. Density is a tool
for darkening the image, but unlike other
tools like hue versus luminance that target colors based purely on their hue, density has the
greatest effect on the most saturated colors. Hue will recolor
the colors within a slice. Remember this isn't changing the shape or position of this
slice, it's affecting the colors within that slice. Finally, at the
top there's global density and saturation
controls that affect the entire image. Density depth can be
used to limit or increase the effect of the
density slider on the brighter parts of the image. Saturation depth does a
similar thing, but for saturation. Saturation balance adjusts how saturation changes affect the
luminance balance in colors with medium saturation levels. And here's an example of
all those settings working together. I'm keeping this real simple. I'll start with the
skin vector. The preview button shows it's not
quite capturing all of the skin, so I'll adjust the
center. Sometimes it's hard to fully capture people's
skin tones with this slice, but that is what
other more complex tools like the Qualifiers are
for. I'm not planning on making any changes to the
skin, but it's still worth configuring this as
it helps to stop the yellow and red slices from
affecting skin. See, this red density tool is no
longer affecting the skin tone. Then let's add some subset and some density to the sky.
That will be the blue vector, and I'll use Hue to push the
sky towards a nice aqua cyan color. Awesome! This tool is still in beta. I'm looking forward to
seeing how it compares to other DCTL-based vector
tools like Pixel Tools or some HueShift DCTL. By the
way, it's currently discounted. Details in the
description. I think people have been wanting these
tools to come to DaVinci Resolve for a long time, so
you might have seen similar tools developed
using DaVinci's DCTL scripting language. I love
that these tools are now in Resolve natively and
I'm really excited to see what all those super
talented DCTL creators out there develop next.
I'm sure they will continue to innovate and push the bar. The Film Look Creator is a brand
new OFX plugin in the studio version. Just apply it to a
node in the color page. It's a complete toolset for
giving your footage a film look. And depending on where
you place it in your node tree, you can apply it to single clips,
groups of clips or the entire timeline. Now, it doesn't emulate
the look of a specific film stock. Instead, it emulates a generic film look. But it's fairly sophisticated, because
it doesn't just emulate the colors of film, it emulates the other
artifacts associated with film too, like halation, grain and gateweave. Let me show you some of its features. We're going to give
an overview of everything, but focus more on
features that require more explanation. The Color Settings tab allows you to fine-tune the
exposure and balance of your look. Fade and Highlight allow you to
control the black and white levels of your look. White Balance and Tint are
important tools when emulating film, as different stocks
render warmer or cooler. That could be because they
are tungsten, or daylight balanced, or alternatively, if you're
trying to make a faded archival look, you might want to pump extra warmth. Many of the tools have useful tool tips. For example, this one is telling me
that the Skin Bias slider targets skin tones, making them warmer and
darker, or cooler and brighter. Naturally, as this is a film
emulation tool, it uses subtractive saturation. What about richness? What's that? It's basically saturation contrast. It increases the difference in
saturation between the most desaturated colors and the most saturated colors by
selectively increasing the saturation of the most saturated colors. And of course it uses
subtractive saturation to do that. In other words, as there is only a finite amount of
saturation an image can contain, this tool can give your
image more perceived saturation. That's because in some instances, if
everything in the image is supersaturated, then nothing feels supersaturated. It helps to have desaturated
colors in the image as a reference. Moving on, Bleach Bypass adds contrast
while simultaneously desaturating the image, emulating the Bleach
Bypass photochemical process. You can learn more about
that in our video linked above. Split Tone allows
you to drive complementary colors into the
shadows and highlights of the image respectively. What's cool is that this effect
rolls off as it approaches black and white, so it won't contaminate the
blacks and whites in your image. Even though tools
like Vignette, Halation, Bloom and Grain are
available elsewhere in Resolve, it's useful to
have them in a single tool. It means you can build the entire
look in a single node, or with a single preset. Each tool contains
checkboxes to enable or disable the effect. A film look doesn't
need to be in your face. Depending on the
camera, lenses or stock used, an image might exhibit
more or less film artifacts. For example,
because 65mm film has so much resolution, it
exhibits very little grain. That's reflected in the 65mm preset. On the other hand, 8mm is tiny,
so not only is the grain cranked up, but softness is also added in
this preset to emulate 8mm poor resolution. Now the same is true of GateWeave. We love this feature. Cheap film cameras
have poor registration. That's the camera's ability to hold the film in the exact
same place for every frame. GateWeave will simulate that by
randomly moving your image from frame to frame. On the other hand, expensive motion
picture cameras have excellent registration, producing a rock solid image. And finally, Film Gate. This can be used to emulate
the appearance of an open gate scan. That's when they scan film
to include the edges of the frame. I particularly
appreciate the accuracy of the presets. For example, 35mm silent has the
correct aspect ratio for 4 per 35mm film. The corners are
rounded and the edges are softened. I like to add a little padding
so it sits in the middle of the frame. To show you how powerful
this tool is, here's 4 quick looks. For each look, I'll start
with a preset and then modify to taste. First, let's make an old newsreel look. I'll use the nostalgic
preset as a starting point, lower exposure, add contrast, and strip out all of the saturation. This preset already has lots of
grain, flicker and gate we've added. If I'm being really picky, I'll
change the film gate from Silent to Academy, as newsreels will have had sound. Moving on, Bleach Bypass. I'll use the Bleach
Bypass preset as a starting point. Again, I'll lower Exposure. and add contrast I'd like to
emulate a modern bleach bypass look, so I'm going
to remove the vignette, gate weave and
flicker. What about teal and orange? Let's use
the cinematic preset as our starting point. As
you can see, split tone is pre-configured.
As I turn it off and on, you can see it's pushing warmth into
the highlights and coolness into the shadows. I only want the color
effect though. I don't want any of the grain,
halation, gate weave and so on, so up the top,
this effects slider gives me a single control
for all the spatial effects applied to this
image. What about this guy? The 3D LUT compatible
checkbox is designed to make the film look creator
easier to use when creating LUTs. It does
something very similar to the effects slider. It turns off
all the spatial effects, but this also turns off
the film gate. So this isn't what it's designed
for, but it's a nice easy way of cleaning up my
quick teal and orange look. It's going to turn off all of the spatial effects. And finally a
Super 8 look. I'll use the default 35mm preset. Select the Super 8
film gate preset, increase the padding, and then select the 8mm rain reset and
really crank it up. That looks pretty good. Here's all four looks
together. Check out the variety of looks we've produced
in just a handful of clicks. [music] Ultra noise reduction is a
new spatial noise reduction mode. Remember, spatial noise reduction
is great for images with lots of movement. Again, this is a studio only
feature as it uses DaVinci's neural engine. And I'm so sorry but I feel
like I'm saying the word spatial a lot. Now to show you
how good it is, let me show you the current state
of spatial noise reduction. The faster mode gets rid of the
noise but badly degrades the image. [music] Better is much less damaging to
the image but still leaves noise patterns. It's a similar story with Enhanced. In this instance none
of the three spatial noise reduction modes have
produced a satisfactory result. Let's look at ultra noise reduction now. Instead of manually
manipulating the sliders, just hit analyze and Resolve will
automatically position this patch on a flat part of the image
where it's easy to read the noise and it will dial in the appropriate
amount of luma and chroma noise reduction. Wow what a huge
difference. Now I'm not getting real-time playback on my
m1 max so you'll need to cache, get a more powerful computer or perhaps Blackmagic will
optimize this further in the future. Moving on. Node stacks. Node stacks are all about organization. They will allow you to split your
clip grade into more than one node graph. Head to project settings, general. and set the number of stacked node graphs that you would
like. You can also name them. Whereas before all my clip
grades had to live in a single node graph, now they can be spread between up
to four at the time of release node graphs. This is useful for
compartmentalizing your color grade. It's
especially useful for colorists who work with large
complex node trees. I could now place technical
tasks like input transforms and noise reduction in
L1, my base grade in L2 and trim passes for
delivering in different color spaces into L3.
Those node graphs are processed sequentially one after
the other. In some instances, it now makes it easier to copy grades between different
clips. For example, if my input transforms, base
grade and display trims were all built in the same
clip node graph and I wanted to copy the display trim,
just the display trim, from one clip to another,
it's difficult because Resolve only allows me to
copy entire node graphs or single nodes. In the
background I've been building a pretend display trim
node tree, just for the sake of demonstrating. I've
built it in L3 or the third clip node graph. I'll
make a still from this grade. Name it. Add to another clip. and instead of applying the entire
grade, I'll apply just the active layer. Check it out, it's
not overwritten the other grades I've created in
the other node graph layers. This will of course work similarly with other methods for
copying grades between clips. Defocus Background is another new
Studio Only plugin that helps you to blur the background in shots where
the depth of field was just too deep. I will apply the effect to a new node. Similar to other
effects, it needs to be fed a mask so it knows which
parts of the image to blur. You could use depth
map. I'm going to use the magic mask object
tracker though as I think it offers a better
result. This can be fed from a different node into
the node's mask input or you can build the magic
mask on the same node. I think that's going to
be easier in most scenarios. Now Resolve already
had excellent Gaussian and Lens Blur effects
but those tools include the foreground with the
background when blurring the image. As a result
you'll get a halo effect around the subject
something like this essentially the foreground being
blurred into the background, like shown here
for reference. The defocus background effect
fixes that. It works with the mask to work
out which parts of the image to include in the
defocus effect. In essence it rebuilds just enough of the image behind the foreground
object to include in the blur. and once the magic mask is tracked in, It gives really pleasing
results with very minimal effort. This track was simple
though, others might require more work. And finally, here's a collection
of small quality of life improvements. Double clicking on a compound
node in your node graph will now open it. It never did before. You can now clean up more than one
node tree at a time, select more than one clip, and then right click in the node graph viewer and select
"Clean up selected node graphs". Fujifilm Log and Log2 is
now supported in color management. The RGB Mixer panel
now features a button for each color channel to keep
that channel balanced or normalized as you make adjustments. This is different
from Luma Mix, which maintains overall luminance
levels as you shift color channels. This tool
facilitates more focused channel adjustments while
maintaining the image's relative balance. Well those are just some of
the new features on the color page. There's loads of new
features in the other pages too. If you'd like to learn more about the new editing, audio and fusion
features in DaVinci Resolve 19, watch our other videos
there's links in the description. And just a quick note,
this video was made with the beta, so don't be surprised if
there are minor differences with the latest version when
you install it on your computer. DaVinci Resolve 19 is available right
now, download it from blackmagigdesign.com. And don't forget, if
you're looking to become more proficient in
Resolve, particularly with editing, accelerate your
journey. Let us be your guide. Check out our brand new
DaVinci Resolve for Editors course. If you enjoyed this video, please
give it a like and make sure you subscribe, and go watch one of our five
other videos about DaVinci Resolve 19. Links are in the description
and on screen. Thanks for watching.
