Coloring A Sequence Of Shots With Davinci Resolve 16

what is up I'm Marcel and welcome back to the modern filmmaker so today we are really getting in the thick of things I'm working on an intro for a webseries and I've got several different shots from several different cameras shot on a few different days so white balances are all over the place cloud coverage is a little all over the place and we've definitely gotta have a lot of different elements to work with and as the colorist we've got to figure it all out so I'm gonna go ahead and hop in DaVinci Resolve and let's start working so I've already got all my Clips dragged in from the media pool and if we go here to this bin we can see that I've got you know in and out points on all the videos that way when I do drag them in that is all that's being drug in is that one portion from the in and out markers section really simple really cool and I'll go ahead and play you what I've got here so far [Music] so as you can see a few of these shots are just all over the place I think this one from the DJI Mavic unlike thematic probe the Mavic does not have log so this one is just a standard color profile and then I think I've got a gh4 clip right here the Bridgestone Arena and the pinnacle building and AT&T building here in Nashville and then I've got some jh5 shots and I think a couple Fuji X t2 shots also so we're not working with any raw footage this is all mainly log footage but some standard just normal standard footage and we're just gonna go through here and first of all I'll kind of point out how I did the editing just some short tips you know I always cut to the beat it just makes things run a lot smoother if I play this back when you edit the music the song almost brings the style to the video for you and when you kind of already pick out a music track that you like that can already kind of be the feel that you're going for and it's just really easy to kind of lay out the music and then just start putting the clips on top and the music will kind of tell you how to put the clips down and I've always found that a really easy way to edit and then of course I've got just some Street noise here if I mute the the music track I've just got street noise and pretty much I took the street noise from these several different clips from where I just wasn't talking where I wasn't saying okay walk now or you know you couldn't hear too much Music City music in the background because the streets like Broadway that some of these clips are from are heavily noisy with with just music coming pouring in the streets from all these different little venues here in little bars where people play open mikes and whatever so let's hop over into the color tab and from here we can just really get a good look at what we're working with and first from foremost you know this is a little cooler than it should be the white balance is just a little off and the second thing I'm seeing here as we just analyze things is the background is way brighter than the foreground and that's gonna be a problem because if I just throw a lot on here right now let's just go to a standard Panasonic light that's what I'll be using for this video you know Allison of the white balance being all out of whack you know I try to add some contrast to this then what we want the people to be looking at which is this guy's feet coming down the stairs it's just gonna be a little too dark a little darker than I would like so there's definitely some ways we can fix that and I'll get into you so I've got a few notes here I'm gonna move these to the end and first I'm just gonna work on the white balance and I'm gonna do this with the curves and one awesome thing in the new DaVinci Resolve 16 in the curves is this histogram in the curves and that kind of allows us to see what we're doing or to see where the colors are and the lighting spectrum is while we're changing things which is really cool and one thing I want to change is I'll go over these three dots here and by default the histogram is set to input which means if we change anything we will not see a thing but if we go over here and change this to output then we change the curves we'll see it in the histogram right there which is just a lot faster it'll really help because we don't have to keep peeking over to the scope switch the Scopes is helpful but this will be even more helpful and just another thing to kind of look at and to see how things match up so I've got my curves unlocked so if yours are already locked they should be locked by default you can unlock them and I'm going to go to you the blue and start lowering the blue to kind of match the the red and the green and one reason I'm doing this in the curves is because I can already see that the blue highlights are above the green and the red highlights but also the blue mid-tones are above the green and red mid-tones and some of the shadows in the blues so just by bringing down the blue and the curves from the top it's bringing down everything else is bringing down the highlights primarily but it subtly bringing down the mid-tones also and the shadows I just want these to meet where the green is right now and for now that's alright let's go over to the green I'm just kind of making small increments I'm gonna go back and forth between the green and the blue and just slowly inch our way down one other thing only to do is go to luma mix here in the color wheels it's in the number one tab of the color wheels and you can just put that down to zero because now if I change these it'll just change the grain with this up on one hundred it'll kind of try to change everything else if I change that so let me just put down zero and I will move the green down closer to that red now we're looking a lot better let's see about right there and then I'll go back to the blue and I'll pull this down a little more also and already we're getting a much better look than we had and we can see that if I just deactivate this node control D deactivated activated this had this kind of cool blue cast to it now we're getting a lot more lifelike and I'm also going to bring down the greens a little more in the shadows by just making a point I'm gonna go to the green make a point down here and just pull these down a little bit that's actually enough right there I think and the Blues as well I'm gonna go up here and keep pulling down the highlights actually I'm gonna go to the shadows of the blues and pull those down to kind of match and boom now we're off to a much better starting place than we were controlled you once again before after before after looking good and of course we can kind of mess with the temp and temperature if we need to you put a little more green back in and let's see cool it up a little yeah I like that that works for me so in this last note I'm gonna go ahead and add a lot and I'm gonna use just a normal pin of Sonic light because I kind of want like a bright beautiful almost sitcom esque like romantic comedy type of look something really easy to look at a high contrast high color and I don't really want this to be super film like stylized personally so I'm just gonna go with a normal light just to get our log footage to rec.709 and then I will continue on with the color grain and so in this next node what I'm gonna do to kind of work with this imbalance of the shadows and highlights is if you're on the number two down here in the color wheels you can raise the share and it'll do it in a really cool way this is a really neat feature DaVinci Resolve because I could do this in the curbs by let's say upping the curves but it just it it works a little differently in the program and the way this works is much better kind of for squashing things or kind of masking imperfections so I can turn these highlights down a good bit also let's see let's take them down to here cuz now it's starting to look a lot more level with the pants a lot more level if I deactivate this node now of course this looks more contrasting but we can always bring that back later on and what I don't want is for these highlights on his pants to be also shadows they're pretty much shadows right now and those should be at least a little highlight esque so let's go back to fit and I'll turn that back on and now we can move forward and what I'm gonna do from here is make a layer mixer with alt L or you can right-click the node add layer add layer mixer and from here I'm gonna go down and I'm gonna do something slightly different than I usually do so usually I'll go here go to monochrome and that's I'm still gonna do that here but it's like this I'm gonna right click the layer mixer go to composite mode and I'm gonna go down to luminosity instead of something like overlay or soft light because those are just a little too contrasting you can really see the difference if I go back up to luminosity and then come back down to soft light it's just really grainy and for some projects that's cool but that's not what I'm going for here so I'm just gonna go to luminosity and then with this bottom node that we took the saturation out of in the red green and blue output we can kind of calibrate how these are lit so if I move the green down let's go back to the beginning so I can see some of these trees in the background so if this up these trees are just kind of getting blown out and so this is a really easy way bring down these trees so they're not stealing the show back there and make them more of a darker green this will affect other colors in the frame so you definitely want to look around it's making this red lighter which I don't really mind right there looks about good and then let's see what can do it the red do the same here I'll bring this down this is doing this is doing a really cool thing where the tips these trees we're kind of seeing a lot of chromatic aberration because this is a gh five-shot and one thing we can do about that is just bring down these reds and we can see that the trees are getting much more natural-looking to where up here it just looked like I don't even know those don't look like branches anymore they look like kind of brown purplish I don't they just don't look right so by pulling this down we get a much more realistic look from the trees and also darken the trees a little bit for us just totally cool definitely what I'm going for and then with the blue let's see here we can brighten the bloom and I think if we deactivate all this with just and just have the light we have done so much I mean you can literally see the color of this guy's sucks now and the shoes are much more prevalent in the shot everything just looks better everything looks better night and day really so moving forward one more node maybe two more in this node I'm just gonna go it for like a color calibration so let's go ahead and label these notes before we get completely out of control so right-click node label this one was white balance the second one was the shadows and highlights and let's say plus hi and this is our layer mixer we pretty much know what this is but just in case let's go with black-and-white and label this to color and then this one will label color calibration and pretty much what I'm gonna be doing in this note is going over to the curves and specifically the hue verse hue the hue / saturation and the hue versus luminance and this will be really cool one thing I'm noticing right off the bat is because we raised the highs in the blue of this black and white layer it's got this blue right here a little over lit a little tulip if you know what I'm saying we're going up into a party and got into lit you know it's a lot like this blue right here to it so let's click a dot here I'm gonna hold shift to kind of keep the steady make another dot here and let's you know one here and one here and now in the hue verse luminance I can kind of control how bright the blue is and maybe if I come over here make another dot there we go now we're on that blue very nice very nice and for the rest let me see I could also maybe bring down some of this tree color here that's a little odd widen this out and what I did there if you missed that was I just clicked on the color that I that I was going for and it made the dots there and I just made some extra dots to widen it out so now I can kind of lower the brightness these trees see if I've raised this up those trees kind of go back to that weird thing we had going on earlier I can pull these down to really match the shot a lot more and then I can I would do the green but we already did the green and it's looking really good right now so moving on to the Hoover saturation I'm going to let's see I'm gonna click these trees again because they're just out of control back here there's just so much Brown craziness going on and I'm not all about it let me widen this a little bit and I can bring that saturation down just to make it less like ah I feel like it's like shouting at us up here like hey look at us dead trees back here but I would rather pull these down so you are really concentrated on this guy coming down the stairs make sure it's not affecting the shoes too much yeah it looks good and maybe this color here as well we can bring to a much smoother spot yeah that's fine I'll actually move this down to get a little less blue and in Huber's hue what I will do is just go ahead and hit the red and then I'll hit the light blue that way I'll make dots all the way across in each color spectrum and kind of shift the Greens make a point here to shift these let's see where are these greens that's the question they are a little in the yellow which is normal let's shift these down towards the blue a little bit just to give it a little more pop and I'll come over here to this light blue and let's see I don't want these to actually be a little more blue yeah and then I want the sky to be a little more teal ish so I'm gonna pull the Blues up you see what that's doing the sky there it's also affecting our little triangle here but I don't care I mean you're really seeing that for a very short period of time so I'm not concerned with that too much I really just want to get that sky to a more pleasing kind of place yeah I like that and then maybe one last thing I'm gonna widen this and here just bring this down like that and I'm just gonna smoothen out some of these points I'd say right here right click to delete those dots if you don't know and yeah bring that luminance down there and that is looking a lot better in my personal opinion so I'm actually gonna add another node you know what because I'm just a crazy person and what I'm gonna do is add a little more saturation so I want to give this a little more punch so I'm gonna go over to the saturation and just boost this a little bit not too much because we're gonna bring back more contrast to you and that will also bring back more color that looks about right right there and in this node I'm going to hit the highlight button and go over to the qualifier and I'm going to select these highlights right there looks good soften it a little bit maybe move this up further get less of the stairs soften it and I'll blur it a good bit and now I can go to the primaries bars arrays the game and we're getting a nice look there a nice little look and once again I said I'm going for like the kind of over-the-top look and to do that it's not too difficult but I'm going to add a little glow to the background so I'm gonna go to open effects down to glow I'll put that on this node here and then here in the settings I'm going to decrease the shine threshold that way it looks a little more unreal kind of play with the spread to see how we like it there yeah it's wrapping around his legs really nice and boom one more note I said one more note like seven notes ago that's alright though that's alright I'm not worried about it and then here we're just gonna add back that contrast so I'm gonna go to the curves create a point towards the top just to keep its place and then one here in the middle a little bit and then come down here this will make it pop and then bring down these highlights a little bit see yeah that looks nice it's gonna get a lot of contrast on his pants cuz that's what I really want to draw people's eye in yeah that looks really good alright so now for the second one it's the same exact shot so we're on the second shot here I'm just gonna go to this first one right click and apply grade boom now we have the first two clips pretty much done I like that and I mean one other thing you could do that's just if you wanted to this is total personal preference and it really depends on the feel of our the feel and look that you're going for I'm just making one more room here I'm gonna make one more node and we could crush these blacks to give it more that film fade if that's what you like smooth these up and yeah and that way if you like the film fade look that's a really easy cool way to get it just by kind of moving those curves up and squash them they're thenen no no I don't know how I feel about that I kind of like it but I I kind of wanted something more punchy so maybe I'll just go down a little bit yeah ask her it I'm gonna just only badnote I'm over that one and so let me label the rest of these real fast what contrast glow highlights and this one was i legit don't remember what that node was oh that was just our saturation we've brought out a little more saturation saturation though so now if I apply this grade we get all the label nodes right they're super simple super awesome now we'll move forward next shot is this shot of the guy coming down the stairs kind of a medium to wide shot and I will I can try to apply this grade one thing that's cool about applying grades and labeling them is you can go back and kind of just get rid of what you don't need so let's say the saturation node can go the color calibration node can also be a reset actually that can stay it's really the white balance of screwing everything up right now so the one thing we need to do is come over to all these nodes I'll turn this one back on highlight them all ctrl D and then I'll come back to white balance in this shot right here and the white balance isn't terrible it is similar to the last one but it's a little weird I'm gonna bring a little more coolness to this job because I feel like it lends to that a little more now if I at least take a lot back on now we're looking much better and I can go through and kind of turn these back on one by one but what I will do with this one here is let's see it says I have a correction here but I don't see that so moving on I'm gonna go to the shadow and highlight now I'm gonna leave the shadows up move up a little more and then kind of see what these highlights take me I don't like that I don't like what those those highlights just took me just then not too hot but a little a little higher than there were will work yeah now I can come back here to my layer mixer and I can control D to activate those again and I'll come down here to the black and white and we can kind of redo our calibration here that we had in the black and white node just let me let's see if I bring this up I do like this a little low the green can stay down and the blue can come down come down a lot yeah that works I like that and then back to the color calibration node which really looks pretty good it's changing our blues to kind of more that teal that we did before and then it's bringing down this mailman shirt it's bringing down the stairs which is nice anymore focus on the talent which is always what we're going for now what the saturation node I'm gonna reset this I'm gonna come over here too the color boost and I'm gonna move the color boost down and I'm gonna move our saturation in the RGB mixer I'm gonna bump that saturation and that just looks better it's hard to explain why but definitely looks better one thing about the color boost and the saturation is let's say low saturation is right here across this plane and your image as you know the color saturation spectrum goes from zero all the way up here so like this right when you up the saturation it pretty much does this stretches it out when you up the color boost it pulls everything up like this so when you decrease the color boost it pushes everything down it keeps everything the same it just pushes it down instead of the saturation would just kind of squeeze it down so the things that don't have that much color to begin with that are already kind of towards the bottom of the the lowest saturation spectrum just kind of come completely unsaturated which really helps with just little weird colors that are lingering where there shouldn't be colors you know push this down - right here - 13 looks good to me and then moving over let's go to this highlight button I'll click the highlight and that looks pretty solid I'm gonna go a little higher and I like that it's a little pop there it's a little pop and then one thing I'm gonna do is decrease the mid-tone details to make it a little softer back here see how that worked if I go back to zero we kind of have a really punchy and kind of stringy background it was more information back there and too much light for the camera apparently so just by decreasing those mid-tone details we kind of get that a nice little glow back there without actually adding a glow because I'm this shot I don't think I want the glow it goes a little too much I was really using it in the last shot to kind of just you know take a less distraction from the trees and just to give it more of a dreamy look so in this shot we can completely get rid of that note now the highlights and boom in this node the contrast turned that on and this is looking pretty good I am not upset with the way this is turning out one thing I will do is the white balance I think we couldn't move this a little over to the green a little more you might disagree but I don't care that's kind of how I want it right now that looks good to me maybe bump the warmth up a little bit yeah now it's solid I can play this back and one thing I'm noticing right now is his face is very in the shadows here there's a lot of color on it but then when you come over here he gets really pale and I'm not about that so what I'm gonna do is add a note here in between the highlight and the contrast node and I'll label this face mask and I'm gonna come back here make a tiny circle power window butter right over his noggin and make that tiny make that face size yeah that's a nice it's a nice you know - there I'll decrease the softness it's about right here maybe widen it a little more move it over here I'm feeling good feeling good about this these shots were all over the place and it's proving to not be as difficult as a task as I thought it was going to be so with that face mass I'm gonna go ahead and track that just so we don't have to worry about it trying backwards Trek forwards anybody else getting that GPU memory full on the resolved 16 beta because I get it all the time really like never got it before now I get it like every 20 minutes so we've got the face love it love it to death now we're about to get crazy so I'm actually in the beginning of this node I like the saturation saturation works for me there it's about right here where it starts to change so I'm gonna go over to the keyframes this is not something I do often I'm gonna keyframe here then I'm gonna move forward boom now I'm gonna up the saturation right here and it'll automatically make another keyframe for me and really what I can do is bring a little warmth in the temperature that'll help and I can leave the saturation at 50 and just move the temperature over and maybe a little bit of that now it's over doing the rest so I just need to bring this back down about here and boom much more solid make sure this track is good and that track is good I'm proud of that track now we have much more it's much more normal much more natural on his face even we could probably make one more right here don't want to do that I'll just push down the saturation with this one and bump the highlights that'll help we can come back to this one that's zero saturation 0 and now much smoother his face is pretty much the same color throughout the whole shot which that's how it should be so all into this shot I like this one you know that there's one more thing I'm gonna change about this one now and the color calibration this color here is just off it's not right not right at all I'm gonna go to the hue verse hue first and click in there try to figure out where that color is it's right there see what'd I tell you if I just bring that green down it'll come more into a blue and I can do that here too now these are more into the blue you can see this in the histogram I love that as you change this you can see that they're moving more into the blue so sick and then let's see back in the hubris saturation I'm gonna leave this down and bump this I'm the purple up to yeah just a little man and that overall looks solid but last thing I'm gonna do in the hue / saturation I'm gonna bring these tones down in this guy a little bit not too much just enough to where it's not like a hot spot because that's what it kind of seemed like before and then the contrast note let's see we can definitely make some adjustments here make it pop a little more just by bringing down these shadows something with these highlights a little bit let's can stay about there because if you if I make them too bright then I feel like you're not looking at him you're looking at the background and the mailman well maybe I'll just put him somewhere in the middle yeah that's beautiful now these shots look very similar in style and taste and so with this shot as well moving on I'm gonna right click the last shot and apply grade and this one already looks really good because they're very similar shots they're kind of medium medium to wide shots here and generally the same lighting so moving back I'm gonna go straight to the color calibration because I'm noticing the Reds are just too hot too hot to try and one thing I can do is just pull back the saturation first actually actually no cuz I like the saturation in the rest of the shot it's really just the red so I'm gonna come over here to our color calibration node and in the hue verse saturation I'll click on this red here it's giving me a little point I'm gonna leave this there I'm actually gonna pull this one up let's see actually all right this saturation node is ruining everything because I'm seeing it in her legs now to her legs because that minus of the color boost her legs are losing a little color his hands losing a little color someone's gonna reset this and that really helped right off the bat and from here I'm just gonna make a point here in the red and move this down a little bit maybe widen it out and yeah now the Reds aren't so crazy they're a little crazy still but they're not extremely crazy and then over here in the hue purse luminance I'm gonna bring this up because one thing I did notice was this red light just looked like it was like a dark blood-red which is not accurate and this should be around right here I'll make a point over here close to the reddish purple and pull down the red luminance on those roses and yeah that looks a lot better love that and I'm getting a little too much teal let's see his shirt was not that teal so definitely want to change that first thing I do before I change any heat hues I'm gonna go ahead and deactivate these and we can get back to the white balance just to make sure we're starting in the right place and we are not one thing I can do is bring up a little more blue [Music] actually I'm gonna bring down a little blue and make this a little warmer and then I'll turn all these back on and that looks good this is this was the shot not white balanced and this is it white balance so that looks awesome this is before and after and this is everything except the LUT so if we just threw a lot on it like people be doing out there we would get this which does look a heck of a lot better than this but come on now people with the white balance in there now it looks like a beautiful day that's about to happen then we throw our shading back in our layer mixer goes back in which is a subtle thing but you really see it like on his hand and his face like look his face is kind of a purplish it's like a dark skin tone that's just not right now it's like a more bright much more natural the yellows are coming to life the Reds are coming to life everything's coming to life with this little layer mixer with our composite set to luminosity very cool I like that then our color calibration let's turn that back on and we'll make some adjustments here Huber's hue I'll bring that a little back up like some leave that down oh my god it's blue pull that down this down and yeah now that sure it's looking like the same shirt [Music] and then we can affect the sky a little bit here it's not gonna give us too much to work with but push that down let me go to the saturation and I'm gonna up just some of these colors like the Blues I'm gonna have those I'll up the blue here and a little bit here let's see that's that that's good right there and you see if I go too far you can see it in the street now we're getting some weird color play here but we want to be careful of so I might want to crank that down yeah it's kind of play with those and then I'll turn the saturation note back on cuz I do think we will need some kind of saturation here and I think I'm just gonna bump it a little bit just a tiny bit because we will be adding contrast again at the end of this which will bring out more contrast also so I'll get those highlights popping again I like that go to the highlight mode and make sure that it's our highlights that we want selected and so the lighting is a little different in this shot right there is good now you just see a little pop there in the background a little pop not even really necessary I'm am I'm probably actually I'm just gonna leave it I'm gonna leave it off leave that one off this time don't need the face layer and the contrast oh yeah look at that bow and oh let me do it again bow that's nice it's a nice little punch there I'm gonna go this black and white layer and just kind of boost the contrast a little bit just a little bit and let's see here we'd go to this white balance a little warmer but not too much and something is messing with his pants you guys see this this weird color fringing there that's just not right let me see if it's a layer mixer I doubt it is but you never know it's definitely not it could be our shadow and highlight layer which honestly for this shot might be unnecessary so let me click off that or reset that node and I'll do this a different way just by raising these shadows now his pants are staying pretty much the same color they don't get more of a punchy look to you which I like yeah it's nice very nice and then the last thing I'm going to do to this shot in particular as I reset this highlight node I'm actually going to make a little power window let me see let me get him between his legs here right there should work click here make a custom power window around all this madness and this is a really cool trick is to make streets stand out a little more I'll soften this just a little bit hit the highlight button let me see where I'm gonna bring this down and let's see yeah I can bring this down just trying to line this up nice like bring this down also yeah it looks good and then as I click off the highlight button this is where it gets cool something to come to the contrast I'm gonna make a point at the highs and then I'm gonna raise these mid tones a little bit whoops this layer is off I'm gonna raise the mid-tones a little bit and then I'm gonna push down these shadows and maybe increase the midterm details and now whoops I'll definitely need to track that so let me go back to that frame somewhere around right here yeah right there yeah I'll come back track backwards of course and then here I'll go into the frame and just clean this up a little bit doesn't have to be perfect because no one's really looking at the street it's just an extra little pop really just an extra little pop then I can go forward two keyframes and track forward and then again with this on the frame button here instead of clip can move these two line up a little better now that tracks really well and it's a little thing but it makes a cool little difference for sure maybe up the contrast a little bit of just that that in particular section but now it's getting a little into his pants don't want that so about right here should do us good of course that looks good it's kind of thing that nobody would really notice but you know just makes the overall image you know just look a little smoother and yeah I'm gonna move on so with this no time again with this clip I mean I'm gonna right-click this last clip and go to apply grade and we're gonna start working her way down so ctrl D let's check this white balance real quick the white balance looks alright not great but it looks alright whoops I'm gonna unlink these go to the blue and I'm going to move these mid-tones down a little bit and move these highlights to match and then I'll do the same with the green yeah so before after before after I'll give you guys one before after this one to you the shots are really good DaVinci you are killing me with this full GPU nonsense little west contrast Stalin so before after and then just a lot again come on people this is getting crazy so with this white balance set I'm gonna move forward we will not need this shadow and highlight node because we don't have that same problem and we'll turn on this layer mixer let's see yeah that looks good and the color calibration also looking good I like the way it takes down the Reds back here really putting more focus on the statue turn on the saturation just adds a little bit we can reset this highlight because that was the street in the last one and a contrast we can also turn back on and the LUT and the contrast is all over the place so I'm gonna go ahead and delete that or reset the contrast node and back here in the shadow and highlight note I'm gonna raise these shadows now I'm gonna pull down these highlights having everything meet a little more in the middle then in the contrast know towards the end I'll make a point towards the top but not at the top and then one pretty low in the bottom and I'll bring in the contrast this way yeah that's a beautiful it's now from this shot to this shot we are looking very similar and I can bring these highs up a little more high mid-tones and yeah now they look more similar um I like that scene so bad it seemed so bad this node the same thing is all the rest right click and apply grade whoops wrong way right click apply grade boom this one looks really good let's check out this color calibration node okay so the color calibration note is really the only thing holding us back and so what I'm going to do is make these a little more pinkish and so all we need to do there is let's see spectrum therein is right here and the hue hue I'm just gonna push these up I love the histograms cuz let me reset that you can already see like this is the biggest thing in the shot so this is the spike right here and that's just so fast such a quick way just to just a show boom right there now from here actually I'm gonna go back here and add a little a little more saturation then on to this one now this shot is our DJI Matic shot which is not in log it is in some standard profile this is probably the crappiest camera used for this shoot but that's okay so what I'm gonna do anyway is go to this last node cuz it's a pretty regular little note here actually I'm gonna go to this one of the city and first of all I'm gonna make it a little cooler and this happens guys the more you bounce around between your shots the more you're gonna be like oh wait wait oh wait let me let me you know you kind of just bounce back and forth in search of finding whoops in search of finding that perfect leveling of shots and yeah I think I'm gonna keep that right there yeah boom so with this note what were we doing right click apply great I'm gonna apply it from this other one and then oh my god we're completely blown out it's because we have a log or non log footage going through a log color grade the easiest way to fix this Rock the bat is first of all let's white balance so with just the white balance note selected it's looking pretty solid I'm not gonna lie I could bring down these blues could bring down these greens yeah more up here and bring back some of these greens actually take those out not bad not great but not bad let me see what was before yeah I'm just gonna bring down a little blue in the little green well what you far what's you far last time so with the left turned on we're gonna go back to you control D we're gonna go back to you how do we get this ready for a lot the simplest way to get a normal shot ready for Lutz because it's not like you have to have log to use Lutz people use less all the time on everything and all you really do is just flatten the footage again so let's say I'll turn this note on I'll reset this get this shadow and highlight button back on and just bring the highs down bada-bing bada-boom and bring the lows ah now we're much closer to where we started with all those other shots yeah that's awesome and turn on the color calibration or the layer mixer boom and that really helped with these reds because the Reds were getting all over the place turn the color calibration on there's a few things I'm seeing the red here is too hot the kroger is purple when it should be orange and so we're gonna go to the Huber's hue and fix that so I think let's see no let's not doing anything let me just click this building yeah I'm just gonna move this down it's red down and that solved our problem for the most part as down is going to be more towards orange obviously to be more towards purple don't want to get too far because it's also affecting some of these cones here or dividers whatever they are so about right there should be fine and then I'm going to go to the hue saturation and bring this down if you see our cones here or the divider whatever it is if I go up it's just completely blown out if I go down we're back to life people and it's not really affecting the other buildings in the shot if it did we could just bring this orange up a little bit and maybe this one too and a quick tip a lot of white are a lot of matching shots is white balance because you go out on a sunny day and there's you know that that Sun kind of hue to the world it's a little warmer outside you go outside on a cloudy day overcast day and it's a little cooler and the lights diffused it looks a little less harsh so just by correcting the white balance to match the time of day that you're going for or the kind of day you're going for and then kind of playing with the shadows to try to get the shadows a little softer if you're going for a softer look and you have harsh footage or getting the shadows a little harder if you're going for a hard look and you have and you shot on a soft kind of lit day and that was overcast so those are really the two things you want to think about when you know you go shoot on Monday then you go shoot on Friday and you want to mix those two together really you just want to make Friday's white balance and look like Monday's white balance and you want to make or vice versa and the shadows you want those shadows to kind of have the same appeal where today or this day in particular it was just really really sunny and you can tell in these shadows here for this all this shoe or ever shoot in this shot was a really sunny day so it doesn't make a huge difference but in a different situation that could really get me in trouble someone come over to the tent and this shot and boost that up a little bit towards the green because I'm seeing a little purple cast I don't love ya about right there so now hit the saturation back on whoops saturation back on it's not really necessary in this shot it's it's very very saturated shot so I'm gonna go over here and pull down the red a little more in the saturation and then I will activate our highlights and we could do some highlight stuff but there's already such a wide range in this shot that I really don't want to go too far but I'm gonna do it so I'm gonna hit the highlight button go to the qualifier I'm gonna move these up these shadows are almost already blown out anyway which isn't good and then I will blur a little bit and we can bump these highlights up which is really just blowing them out even more so let's just go you know 1.5 and then soften them with by turning down the mid-tone details now when we get a little pop you know but it's nothing crazy then with the contrast I'm just gonna go ahead and reset the contrast and come over to the curves make a point here towards the middle because I love the way the mid-tones look here and then I'm just gonna pull down the shadows a little bit just for that extra pop BAM beautiful shot of downtown Nashville beautiful this is before after so let's go before the light that's just the LUT on this footage which we shouldn't be using the light on non lock footage anyway but if you're going to Maxis tiles it can be helpful so this is with this is with our correction to kind of make the footage log again and this is with the white balance the white balance really helped out really warm things up quite a bit I'm even gonna go in here and make a couple more adjustments I'm going to make a point here maybe down here no that's not I'm kind of just going off the cuff your guys so sorry if I seem a little scatterbrain I've needed to color this footage for a while and I'm just now getting around to it and I figured I would kill two birds with one mouse or kill several color Corrections with one keyboard I don't know I don't know I'm I'm have to put more thought into that um and that phrase there alright so yeah with everything else back on now we're looking so good I mean this one those Corrections that just really really it almost looks unreal you know it almost looks fake like a little tiny village like a miniature like somebody put together a little miniature town I love that drone footage is so much fun to play with all right let's move on so this shots gonna be kind of tough because I think this one was shot with the gh4 and the gh4 is trash it's not really trash it's a great camera I love you Panasonic I'm recording this on the GH five and I use it all the time but you know once you get the G H five it's it's honestly hard to even look at the th for at that point it's really difficult all right so I'm gonna reset this white balance because this shot looks surprisingly good the white balance looks really on even though I was using the gh4 I was definitely definitely thinking about the white balance here and this one looks solid the one thing I do want to do is bring down these highlights a little more so we can actually see what's going on in those clouds and I will bring up the shadows so I like how bright it looks yeah about there as good and moving full and let's see the color calibration we can change some things about this color calibration we can I'm gonna go to the Huber's hue and it's really just the sky so let me find this guy I'm gonna make it a little more teal yeah not too much more because the previous shot wasn't that teal the shot here not that teal so we don't want to go too hard here and I'll come to the heater saturation I'm gonna bump up the Blues especially this guy yeah then I can come saturation note is good and the highlight node I will reapply our highlight because I think in this shot it will work because we have so many little details let's go about right there soften that up learn a little bit and then raise these highlights bow just make those pop out of the sky then we go every to the curves and all we got to do well let me turn this off and see what happens all right yeah I like that on all we got to do is put a little more punch in the shadows bring these shadows down to match and maybe raise these highs to give it that extra punch that's the problem when you're trying to create a color grade for like a series that is a really strong color grade and you have to push the footage really far because you know you're working with different cameras different footage and some cameras you can push way further than others so this is one of those situations where this kind of gets a little tough because some of these clips don't want to get pushed too far yeah that looks good we go to the white balance and I can warm this up a tad just a smidge just a smidge I don't even really like that smidge really that looks about good yeah now let's go I'm gonna move a little more purple and actually I don't want to do actually I'm going to do this in the curves go to the red because what I'm saying here is a little more purple in the high miss and I like that so I'm going to do that same type thing right here create a point create one here bring that up create one down here bring this down we're just kind of creating a little pseudo kind of sunset look a little bit of red in those clouds a little bit tiny bed without with without with I like it I like it we can even do less just longer that's in there a little bit bow I love it very good and then I'm actually going to create one more note after the LUT and up the contrast a little bit just to make it pop a little more now I might even increase the saturation to you because these shots are just supersaturated I love that love that look for this alright so for this node we're going back to this here and I'm gonna right click this and apply grade we're looking pretty good white balance looks off but we can fix that of course it's really just a little warm so let's cool this down so let's just reset it and yeah that actually that looks a lot better already only thing I really want to do is bring down some of these blues or I could bring up the red just like this now we're matching a little better yeah I can turn the lot back on hold them pretty good turn these back on and the rest of these you're looking pretty solid I think this shade highlight node in the beginning is a little could be a little less things are getting blown out over there I don't like it but overall I'm not upset with how this looks pull this up pull this down and let's go let's see what the color calibration is doing color calibration is doing me good I like the color calibration right now it's doing me good saturation also doing me good highlight don't think that's gonna fit into this shot don't think it's gonna happen people let's just be real just be honest with ourselves let's just let's just be honest don't see it happening here people I can bring up the skin a little bit that's what I'm doing right now in these and this curves bringing up the skin a little bit yeah this shot again can get a little work done on it yeah and let's see some of these things are just blown out and I don't love that I don't love that at all so what I'm gonna do is just go to the highlight note that we weren't going to use I'm gonna go to the qualifier try to just get these things in here that are blown out soften a little bit I can get that little sky in there too you blur it a tad and then I'm just gonna decrease the mid-tone details give us a little bit of a blur it'll kind of take the highlight down a little bit and give a little more softness which I like another thing we can do is go over here to the blur and go but you missed and bump that mist up and that way things will almost appear out of focus I don't know if you can tell see if I turn this down look at these trucks right here turn it up we kind of blend together a little more yeah that'll work it's a little thing but I just didn't want to deal with that and there's our host cover - this curves real quick I'm gonna reset this and just bring it down I just I'll make a buck towards the top and then bring it down leave a point there just make that punch yeah we go this color node and decrease the mid-tone details just to soften things out this curl it's totally photobombing how dare you photo pon my shot jeez lady don't appreciate it yeah it's not bad it's not perfect but it's not bad I'm not gonna lie I just saw in game the other day didn't like it I'm sorry if you did like it and you're offended that I didn't but I didn't like it I thought like I felt like it was lazy it was lazy very very lazy but really what I noticed the most is how many shots I washed and was like oh that's green-screen to all to hell I mean jeez like it's obviously green-screen and this movie had a huge budget what's going on so if they're not perfect we cannot be perfect as well and let's see here we're putting this back to here and then I like that so moving on right click this last node or its last clip apply grade I love this shot it's a just such a cool shot of Nashville just looking all bright and beautiful and awesome and not really many things we need to do this the white balance is pretty spot-on it's definitely where I like it to be maybe a little more warmth the shade and highlight node can go reset that this is good and color calibration is also good I love it saturation boom pop in highlight we can throw some highlights in there don't need to you don't need to we're not gonna do it I'm in the contrast let's see ya know like where it is let's bring down these shadows one more yes I love it I love this shot and this is it with just the light not cool not cool not extreme not overly contrasted or colored it's just lame bland now with with everything else so just the light you know go through white balance our shade and highlight a little modifier there our layer mixer to really balance out what colors we want it to be bright and bold and our color calibration saturation highlights which we didn't use I can get rid of that sorry false alarm and contrast love it that looks so good that looks so good so at this point we are on the last one and all we need to do to this one right click and apply Greg and we're done just kidding just kidding I need to do one more thing got to do one more thing so I'm going to create a node after this highlight that highlighted these little clouds up here and I'm just going to make a power window around the city kind of skyline action nice and big soften it up nice and big move it up a little bit and then what I'm gonna do is add a little contrast and a little mid-tone detail boom that's really it I just wanted to make that pop a little more without it with it without it with it about it with it boom without everything with everything come on people like what are we doing here this is too awesome and without a lot of our modifications good-looking shot but a little flat with a blend so voila let's make it pop and now it's an awesome shot now we just have this whole awesome sequence of not fast running computer but we have a great sequence a few of these things are off like this right here I could bump these highlights a little more compared to that last shot definitely helping yeah that helped a lot yes and in this shot I'm going to bring down the Reds a little bit because they are bumping right now [Music] yeah not bad I can raise this blue to make that blue pop love it geez people yes sick sick sick it only took like an hour or so I'm pleased with what happened here and if you liked it please click the like button just you know give it a little tap oh well you know well clicky click you know I'm saying just just like it and if you like videos like this want more videos like this make sure to subscribe and if you have any questions comments or concerns leave in the comment section down below I always reply whether it be thanks for this video or what the f was that I'm gonna reply and as always guys I'm Marcel and there's been the modern filmmaker and I'll see y'all next time [Music]

Channel: The Modern Filmmaker

Views: 58,165

Keywords: davinci resolve 16 color match, davinci resolve 16 color grading, davinci resolve 16 color, Color Shots From Different Days & Cameras With Davinci Resolve 16, matching shots davinci resolve, color correction davinci resolvve 16, color correcting davinci resolve 16, davinci resolve 16 curves, video white balance, video post production exposure, creating style davinci resolve, the modern filmmaker, professional color grading in davinci resolve, how to, masking davinci resolve 16

Id: k254ku0dq0A

Length: 77min 34sec (4654 seconds)

Published: Thu May 02 2019