♪ Pull up on some yellow
cab, street shit (pull up) ♪ ♪ Faded off a Xan, you
be sneakin (sneakin) ♪ ♪ Tell me where you be
at in the night time ♪ ♪ Baby, hit me on that life line ♪ ♪ Damn, I love your bad Americano body ♪ ♪ Ferragamo on me ♪ ♪ Probably left the party ♪ ♪ No dinero on me ♪ ♪ Imma shoot ♪ ♪ Got that barrel on me ♪ - Now let me ask you this, why do you think people
hate teal and orange? The answer is simple. There's too much garbage out there okay? People don't like to learn
they just like to do things but when it comes to creating
a modern day, teal and orange as we can see in joker, John wake, Madmax these are the movies
that do it right. Okay? And that's what a lot
of beginners try to do but they don't have the
skillset to do it right. Well, in this video,
we're gonna change that. I'm gonna start off by showing
you the wrong way first, so you know, not to make those mistakes and then we're gonna do it the pro way. And the way I'm gonna create this look, you can save it as a power grid and then use it on your future projects. If you're a beginner filmmaker who wants to make their work stand out, color grading is one of the
most effective ways to do that. If you're coming from
premier pro or final, cut 10, then looking at a node based software like resolve will just
confuse the heck out of you. In this free training
you're not only gonna learn everything about nodes, you will also learn to
build the perfect node tree regardless of the project
that you were working on. I will end the session
with an extended Q & A. These questions came from you guys, click the link in the description to sign up for this free training. Now guys, if you're enjoying the content you know what to do. Smash that like button, subscribe to my channel
for more awesomeness, make sure you're following me on Instagram and let's roll the info. (bright upbeat music) Let's get this party started. So first I'm gonna play as a beginner and then I'm gonna show you the pro way, and for our beginner I'm gonna give him a
benefit of the doubt okay. This right here is
considered a hero frame, and our beginner usually
wouldn't even be parked here because that's not a thing
that they would usually do. So I'm gonna try to set everything up the same way as a pro would do just so we have a level
playing field okay, and it will make more sense. So let's go under the project settings and here we're gonna choose color managed and I'm gonna select DaVinci Wide Gamut. If you guys have any questions
to why I'm selecting this I've already done a video on that, so go check that out. Let's go ahead and hit save. And when we do that, nothing
really happens, right? Nothing really changes. So we know that this footage is from red. So I'm gonna go ahead right click here. And I'm gonna go under input color space and I'm gonna go ahead
and select a red gamut a wide gamut, and then log three, G 10. As soon as we do that we have a proper rec 709 conversion. So like I said, a beginner
wouldn't know all these things but I'm just gonna give him
the benefit of the doubt because I wanna keep my focus on the teal and orange execution more than anything else
for this video. Okay. So it doesn't get confusing. The biggest mistake that
most of the beginners make is that they don't have a
proper node tree structure. And that's why I did an entire
free training link is down below that you guys should
absolutely check out. It'll turn you into a
freaking node tree Ninja. Everybody should be watching
that before watching my videos. Okay. But first thing
a beginner would do is he's gonna start with exposure, right? So let's go into our primaries and he will start with his
lift and he'll bring it down. I'll take his gain and he'll raise it up. And you know, he'll open up the image because that's
just what beginners do. Like you just wanna max
out your range here. Right? So you'll do something like that. And you'll be like, okay,
this is looking pretty good. So now a beginner will open a new node and he will jump right
into creating the look. So he'll take his lift and bring it down toward that, teal kind of situation. And then he'll take his gain and he'll raise it up to
add that orange, right? They'll do something like that. And then he'll keep pushing his teal. And then he'll keep pushing his orange to something like that. Now, on YouTube, it might look cool especially on a small screen, but once I punch in and you look at what's really going on and all the degradation that's happening and how the hair is looking
green instead of black and then all this noise
that we have coming in, just because we're doing unnecessary push and pull on our image and then look at what's
going on with the scope and ultimately look at what's
happening to our vector scope. The middle point represents balance. Look how far off it is. And this is what gives our
teal, an orange, a bad name. Okay. So people don't
know how to create it. So they just go, Hey, I'm
sick and tired of seeing it. Then you watch a movie like Tenet and you're
like, this looks great. So if I punch in and look at this, see there's so many new
colors that we introduced by how this image was pushed. And that is the rookie way of creating a teal and orange look. Okay. So if I do before and after somebody like I said, might
say, well, it is a big change and a rookie came along way. That's pretty cool. But you won't know until
you see the pro version. So let's stop talking and jump right in. Obviously there's different ways to do it. This is just my process. Okay. So first node is gonna be our highlights. I'm gonna start off by structuring my node tree and guys, again you got to check out that training, cause I'm telling you if you don't know what goes where, it's gonna throw your entire grade off and going from shot to shot
is gonna be a disaster. Okay? So you really need to understand get proper node tree structure. It's a free training link
is down below this one. I'm gonna call it printer lights. And if you guys wanna see
a video on printer lights let me know I'm gonna put
something together for you. This is gonna be my primaries. And then right here we're gonna have our
healing orange correction and you'll know what that means. And then this is gonna be
our teal and orange look. And then we're gonna
have a look adjustment. And our next node is gonna
be tried and tested low and then we're gonna have grain. Okay? So this is our setup. We're gonna start off with our primary. So first thing that I'm gonna
do is go under my offset. Bring my image down a little bit not too much, something like that. Now I'm gonna go under my contrast and I'm
gonna juice it up. Okay. And I'm gonna keep it
somewhere around here. I'm gonna take my offset. I'm gonna raise it up a little bit. I want the image to
breathe a little bit when I'm creating this look, my focus right now is just on a skin. Where do I want his skin to be? And now let's give it a
little bit more contrast not too much, something like that is good. And let's leave this here. Now I'm gonna go back
into my printer lights. And like I said, if you wanna
see a video, let me know. Basically I'm gonna be
messing with these right now. Okay. But I'm missing it on my panel. So what do we see, on this image? There's way too much magenta. So let's subtract some
magenta by adding green. And as soon as I go,
boom, boom, boom three and our image is already
looking pretty good. Now red is down here. We can bring it up. So I I'm gonna hit red once, that's headed twice as too much. So I'm gonna bring it down. I'm gonna keep it somewhere around here. So our image, just by a couple of strokes we were able to balance our image and I mean look at this before and after. Okay. That's the beauty and that's the power of printer lights and if you wanna see, like I said, a full fledged video let me know. But this is where we are right now already off to a great start. A pro would balance their shots first before they go in and create a look and then they will do this will
be considered a base grade. And they would do that
to their entire scene. So everything is balanced. Everything is good to go. And then you will create a local, okay this will save you a lot
of time in the long run. So now we're gonna go under our lift and lift gamma again, our primary is just
like the amateur did it but we're gonna approach it differently. So I'm gonna start with my Lyft and I'm gonna start
adding some of that teal. Right. So just like really go there. Right. It's okay. And now I'm gonna subtract that. So the amateur used his gain
to subtract and add orange. I'm gonna use my gamma. Okay. And I'm gonna
explain to you why that is but let's just do that first. So I'm gonna take my gamma up and try to get the skin back in right where I want it,
something like that. And then I'm gonna take my lift and keep bringing it down. Something like this. Right? So keep it somewhere around here. I'm being a bit extreme with this. Okay. So that's okay. And now I'm gonna take my gamma again and I'm gonna subtract some of that green that we're adding by adding
a little bit of magenta here and I'm gonna keep it
somewhere around here. So this is not very different than what the amateur was doing. I mean, we can do at least this. So let's see when he keep it somewhere around here. That's okay. Okay. So why do I have the corrector node? Because that's the difference. That's what differentiate
the pro from the amateur. We are gonna go into our log wheels and I'm gonna take my shadow. And here's the thing that
you need to understand before I even do this anchors. Okay. And I break up my anchors into three different
categories, blacks, whites and skin tones. So as long as my blacks look black, and as long as my whites look white and my skin looks somewhat similar to what it's supposed to be. Now, that's gonna change if you're shooting
something in mixed lighting, RGB lighting something like that. But outside of that if the skin looks somewhat
proper, hair looks black if it's black and then white looks white then everything else that I do in between I can sell you that look that's what Hollywood
does to us all the time. And that's what makes your look feel mature and expensive
compared to a cheap look which we can see in our amateurs grade. So I'm gonna go take my shadow. And I wanna cancel that. I wanna cancel that green that we had in the hair and just look at his hair now. So now his hair is looking
way better than before, and what I'm gonna do is
I'm gonna undo this one step and his hair is looking way better. And not only that, if
I do before and after look how much it helped the
skin just by pulling that out. So this is where we're sitting right now. Now what I'm gonna do is
I'm gonna take my mid-tone and I'm gonna start adding
more orange into a skin something like that. This is for the sake of
this exercise, right? Like I'm just really pushing
it to kind of give you a sense of like what we're going for here. So this is where we're at and we corrected our black points. So now our blacks are looking
black or white look white and our skin looks really, really good. I mean, this is before the correction this is after the correction. Okay. So this is correcting that. Now what we need to do is I'm gonna go under my look adjustment and let's give our look
a bit more juice, right? So we can do it multiple ways. We can do the editable
spine ways, add a little pop into our shot, but I
will just keep it simple. I'm gonna go under my lift gamma gain. I'm gonna take my Lift and
I'm gonna pull it down. I'm gonna pull it down, do something like this. We need to realize that the, it's an African-American gentleman says skin is kind of dark, right? So we don't wanna keep it too bright. So I'm gonna keep it somewhere around here and we're looking pretty good. Okay. This is not looking bad at all. So I'm gonna keep it
somewhere around here. And now I'm gonna go ahead and type in glow, drop that on. And all I'm gonna do here is soft light. Take that all the way back and I'm gonna take my
spread all the way back and it creates this crazy, the movie 300 sort of effect, like,
look, it just pops our dude out right from the background,
but that's too much. I'm gonna go into my blend
and I'm gonna blend it in. So I'm gonna mess around
with it until I'm happy. So even something like that
is looking pretty good. And at that point, our image
is like really popping. Everything is looking good. I'm gonna go in my highlights. I'm gonna hit shift eight so we can see what we're selecting. And I'm just gonna go ahead and start selecting the top end of my frame, something like that. I actually do wanna select his shoulder and a little more to like really add more depth into my image. I'm gonna go back into
my highlights slider and I'm gonna start pulling that down and I'm gonna do, like I said I'm going for extreme because what it's doing is that it's bringing the
teal back in even more. So it's kind of helping me out here. I'm gonna keep it somewhere around here. And I feel like we can just make the image pop a little bit more. So this time I will go in here and use my editable splines and do this and let's pop it up a little bit here. And then I'm gonna take this and I'm gonna pull this down. Not too much but even something like this, right? So this is what we got. Now, if some of you
wanna see a more extreme teal and orange, we can do that. Right? So like, I can go back in here now because my node tree is set up properly. I have the flexibility to kind of go in and mess around with it. So I can now go in here, take my lift. And just take it more toward that, like crazy, crazy green. And what am I doing right now? If I take you here, right? This is from joker. And I pulled this up. You can see how extreme
the teal and oranges and you can see what's happening here. The red, the green, the blue and we have a similar thing going on here right? Red, green, blue. So what I can do now is that I can go back
under my corrector and just pull my green down a little
bit and lift my blue up a little bit to really get this kind of thing going on. And we're still creating
our own flare on top of it. We're not going for that. Like obviously with
Jill, she kept her greens up top here to do like really
have like green sit in there. We're not going for that. We're going more for like a, tenent or think of like blade runner, you would see something
like that in those movies. So we're kind of going for that. So I'm, I'm gonna keep that here. But to me, this is looking pretty good. Now, ultimately, like I
said, if you do want to bring a little bit of
yellow or green in here you can easily do that by going under here and I will just take my, I will take my gain right here and let me go back in there and I will just take my blue gain and I will start bringing that down and look what it does
when I'm bringing it down. So obviously we don't
have to do it too much because I don't wanna make it artificial but that's just to kind
of give you an idea to how much we can control
our grade just by doing that. Now I wanna kind of split the difference. I don't wanna do too much of that. I think I can bring it down a little bit. That's okay. And then overall we can if we wanna stylize the image a little bit and just keep it classy, we can go under our curves and I can take my red saturation and kind of pull it down to
like really stylize our look. So I can do the same thing with yellow and kind of pull it down, not too much. And that just creates a
really interesting look. So guys look at this
it's, it's that right. It's all of this to create a
very finesse, very clean look. And then once you have it you save it and then you
use it whenever you want. There's no qualifiers used. There's barely, we're using HSL curves. I mean, it's not necessary,
but if you want to, I mean this is the kind of look you can slap it on anything and use it as a power grid. And that's it. Now you have the ultimate teal
and orange modern day look. So if we compare this to what the amateur
created, which is right here I'm gonna look at that and
we're not even done yet. So, I mean, we still
have to throw on a green and then that's gonna add so much magic once we have that on there and I'm gonna go for the pretty
aggressive archival print and you should be able to see this. So if I do this and if I do before, look at this right here, after looking at this right there before after ed just makes it look so good. So once again, I mean, if we go to amateurs, look and look at the anchors, right all over the place, like, look at we're introducing this weird orange right here. What's happening with the hand there hair is green, then black. There's so much artifacting
going on right here. I mean, just look at that, right? And we don't have any of this in this look and look how mature this
look really, really is. So let's kill all of this and see what, where we started to where we ended up. So we started with our primaries,
just did a proper exposure and then went in and use my printer lights to balance my image and then created our base, teal and orange using our left gamma gain. And then this is where the magic happened and I told you the power of anchors and how we were able to put everything back together and then look adjustment did a lot of work for us. I mean, this is really making the entire look extremely sophisticated. Use glow to like really pop the image, like look at how it's
just making this entire image 3D and then added the green and then highlights really helped soften the roll-off on the top end. I think it does a lot. I mean, look at this, this just makes it look like film makes it look so good. So this is our final look. Let's check it out on full screen. ♪ Pull up on some yellow
cab, street shit (pull up) ♪ ♪ Faded off a Xan, you
be sneakin (sneakin) ♪ ♪ Tell me where you be
at in the night time ♪ ♪ Baby, hit me on that life line ♪ ♪ Damn, I love your bad Americano body ♪ ♪ Ferragamo on me ♪ ♪ Probably left the party ♪ ♪ No dinero on me ♪ ♪ Imma shoot ♪ ♪ Got that barrel on me ♪ - And see, there are so
many different variations in the teal and orange world and once you do it right you can start playing
around with it, right? Like, do you want a little
bit more cyan then say green whatever the flavor is,
whatever the story calls for you can apply these similar
techniques to your project. And trust me, as I mentioned you really need to learn how
it proper node tree works in DaVinci resolve and what each node does and to find out more about
that, link is down below the training is absolutely
free to check it out and on that note, please smash
that like button subscribe to my channel for more
awesome awesomeness. And I will see you guys in the next video. (bright upbeat music)
