(dramatic music) - In this video, you're
gonna learn how to get the perfect sports look. This is exciting because
a majority of the time, you will be asked to create a natural look with a lot of pop, and that's exactly what's
gonna go down right here in this tutorial and let
me just break it down, what we need to focus on to get this look. (graphics whooshing) One, balance, two,
saturation, three, contrast. And obviously, in the tutorial section, we're gonna further deep down and show you exactly what I
mean by each of these points. And for those that are more
than creating looks, like, if your pain point is shot matching or, I don't know how to get footage
in and out of Resolve, or, I can create cool looks, but I am struggling with getting the perfect skin tones, then you need to check
out my free workshop. Link is gonna be in the description. Check it out after you
finish watching this video. If you're enjoying the
content, do me a favor. Smash the Like button, subscribe to the channel
for more awesomeness. (bell dinging) Let's roll the intro. (energetic, upbeat music) (graphics whooshing) All right, so now, we're inside Resolve, and we already have an idea
of what we wanna do, okay? So, this is one of the two
shots we're gonna work on. So, this is gonna be during the daytime, and then we have an interior shot, so it's gonna give you
a different perspective and especially with this shot because it's not properly balanced. So, these techniques
are gonna come in handy when you're working on your project, okay? So, let's just jump in and let me show you my
project settings real quick under Color Management. So, basically I'm just leaving it as-is. I'm not using any color management here. I'm gonna build that out
in a node-based setup. So, right now, Output Color Space is set to REC 709 Gamma 2.4, and the rest is Davinci Wide Gamut. So, what I'm gonna do is
just lay out a few nodes. We're not gonna be using a
lot of nodes for this one, so the first one is going to
be our color space transform. This is shot on Alexa, so we're just gonna go ahead and select the appropriate settings here, and then I wanna keep it in a Davinci Wide Gamut sandwich,
all my nodes in between. So, I'm gonna set this
to Davinci Wide Gamut, and then in here, we're gonna drop that on
again and then this time, we're gonna select Davinci Wide Gamut and Davinci Intermediate because that's what's being outputted from here. So, that's gonna input here in the input and then for output, we're gonna do REC 709
and then Gamma 2.4, okay? So, this is a properly converted image from log to REC 709. Looks pretty good. I mean, you can actually just say, well, what else do we have to
do to make this better? I mean, this already
looks great, and to some, that could be it, but as I always mentioned before, color grading is all about
taking it to the next level. Rec 709 is never, ever, ever
intended for the final out, you know, unless it's sports, right? And even with sports, they
will have their own version of REC 709 that's gonna
push the colors a little bit to give you that look that
we are used to seeing, especially when it comes to sports. So, this one is balanced really well, so I don't have to mess
with balancing this shot. So, what I have to do is I'm just gonna build my S curve, okay? And the exposure looks pretty decent too, so I don't have to mess with
it because I just see enough in the areas that I should
to actually do a push and pull on the top and the bottom and just kinda leave the middle
sit where it is right now 'cause it looks good to me. So, we're gonna go under node
number four and then in here, under my Custom Curves,
I'm gonna do this, okay? I'm gonna turn on Editable Splines. I'm always trying to show
you newer ways to grade and then you get to decide
after you try out everything which ones you're gonna stick with and color grading is so organic that your process is gonna evolve and it's gonna change depending on the project you're working on, okay? So, when we click on the top here, it creates this little point and if you grab it and raise
it, see what it's doing? So, it just, it's a very
interactive curve, okay? And I love that because
it's quick, it's easy, and if you're intimidated by using Custom Curve or don't
know where to put everything, this can just be super,
super helpful, okay? So, I'm just, like, really
gonna push it, right? And then I'm gonna grab it from here and like really go for it. I'm just kinda looking at where we get the most pop in our midtones and, like, it's really, really extreme. So now, if I do before and after, like, look at the amount of difference we made. Like, we really were
able to push our image. Now, we are losing some
detail in the shadows, so we obviously don't want that. So, I'm gonna pull that back a little bit and then I still want
the same pop on the top. I love, like, what happens to the ball. I love what happens here. Like, basically she's being separated so well from the background, so you might go like, whoa! Everything is blown out in the back. So, what we're gonna do to fix that is one of the recent releases
Resolve added, Depth Map, and that's one of the O effects, so we're gonna use that
to pull out the background because you can use
Qualifier too, but again, I always wanna show you
newer ways to do things. So, what I'm gonna do is this. I'm gonna go in here and just type in 'depth,' and then grab that depth map and just drop it on right here, and then what I wanna do is this. I wanna send a feed here and I wanna grab the output of that, put it down here, and then grab another
point, our actual key data, and send it here as well. So here, I'm just gonna invert this because I wanna grab
everything from the back, and let's pull this down and work on it a little bit and this is not a tutorial for Depth Map, so I'm basically just gonna do, like, a very quick and fast, like, matte here so we can just affect and make the changes that
we wanna make to our image. And Post-Processing, we can turn it on 'cause it usually does a pretty good job. And now, we can turn this off and go here, and all I'm gonna do at this point is go under my
HDR Palette, take my offset, and I'm gonna start pulling it down. Now, just remember, we don't
wanna go too extreme, okay? What I'm gonna do is
three quarters of a stop. So 0.75, that's what I wanna drop, and look at the difference it made. Look at that. And it's all done in real
time, so if I do Play, it will play it through. Now, Depth Map is pretty
tough on your machine. Obviously, Resolve is gonna
optimize it over time, but right now, I'm getting
about 10 frames a second, so it is choking the system a little bit, but it's worth it for what it does, okay? So, I absolutely love it. Now, another thing that I'm gonna do which is very interesting is that, under HDR, under Highlights, I'm just gonna go grab my saturation and crank it and look, this
is very interesting, okay? This is something that's really hard to do besides this tool, and I'm just gonna crank it to, like, show you the power of it, and let's see, if we grab the light, which
are basically midtones, and push it, what that does. I like that too. I like that too and again, guys, we're working on a sports commercial or anything related to sports. I told you, like, we need
tons and tons of color, okay? We need a lot of juice. So, just look at the difference that this Depth Map node made,
and again, it's in effect. It works in real time, so it's just, like, going through and just
doing its thing, okay? So, it's really, really powerful, and then I'm just gonna hold it here. I'm exaggerating it, obviously. You don't have to go that far, but I think I'm really happy with the results that I'm getting. And then in here, what I wanna do is I wanna
swing a few hues, okay? So, that's all I wanna do in this node. I wanna go in here. I wanna click on this. I don't like the kinda
blue that I'm getting here. I wanna kinda swing it
and get a different blue. So, I'm gonna click on it
here, and then 'Hue vs. Hue,' and then swing it up a little bit, and I like this sort of like
cyan thing that's happening, so if I do before and
after, so I like that, and then I wanna click here in this region and do the
same thing, but first, I wanna make sure that I just kinda do a damage control, so I click right there and
now, I'm gonna go up again, and I just wanna kinda match it where it just looks exactly
like what we got goin' on here. So, if I do before and after, right? It's subtle, right? It's not extreme, but once again, one of those things that I just, like, really like how easy
it is in Resolve to do, and then another thing that I wanna do is I wanna grab my sky and
I wanna kinda pull it down, not too much, but I wanna pull it down and it's gonna give us the
the illusion of just, like, having more dynamic range, right? So, like, look at how
powerful these tools are and how clean they are and easily translated from shot to shot. So, just look at this, okay? This is all we did here and look at the difference. Before and after, and
we thought that REC 709 was really, really good, remember? We thought, like, hey, like, this is it. What else are we gonna do? And just with a few things, I was able to get this out of my image and everything sticks. Let me just play it back and
you guys are looking at it. So, that's the power. Go in with a plan, with a goal, and then go attack it because then you just
take out all the guesswork and you focus on the essentials to get an impeccable result
like this within minutes. Now, let's try to apply, basically copy and paste
the grade that we built. So, I'm just gonna
middle-click and bring that on and then obviously,
I'm going to reset this and have our depth map
available, but right now, I'm just gonna uncheck it, so it doesn't really affect
what I'm trying to do, and then here, let's just
say that I leave my contrast, you know, pretty strong. So, I'm just gonna leave it
there as-is, and then here, this is my Primaries node, and here, what I wanted to do is a couple of things. First of all, I wanna kinda
pull up my image a little bit. So, I'm just gonna pull it up about three quarters of
a stop, something like that, and now what I wanna do is I wanna go under my 'Lift, Gamma, Gain'
and I wanna grab my offset and I wanna pull all of that nasty yellow that we're getting there, okay? And I kinda wanna take it here. I like what this looks
like, but at the same time, I don't want to just make it to pink, so I think I like this a lot. Maybe we can drop the exposure
by a quarter of a stop, so let me just bring it down to this. I think it retains highlights and everything a little bit better, so I like that. We can obviously, right? We're not married to it, so we can go in here and
adjust it a little bit. So, like, I feel like
we can pull our shadows a little bit more here, and then this looks pretty good. It's pretty aggressive and I like it and at this point, what we can do is this. Like, let's just look at what it's doing. So, our depth map is doing
an excellent job based on our previous shot. That's the beauty of it. So now, what I want wanna do
is I wanna hide the preview. Go here and all I wanna do here, click right here and I'm gonna
pick this area right here and I'm gonna swing it until
we get, like, these, like, really foresty green, right? So, like, if I do before and after, like, we're getting that and
that, I just feel like, is just so cool and this is what I mean by
affecting the saturation, but doing it in a way where you don't have to just use global saturation. That's not what we were doing here, okay? And then the last step is gonna be I'm gonna create a U node. I'm gonna grab my yellows and basically, I'm just focusing on her skin tone, and I'm just gonna raise
that up a little bit, okay? So, I'm gonna raise it
up and I'm just, like, looking at her skin tone. I wanna have a little bit of magenta. I feel like it's more pleasing than having that yellow
that we had in there. So, guys, for this shot,
that would probably do it. So, if I just hold it somewhere
around here, grab this, the changes that we made, so this was our REC 709. This is our log. And then, again, look at
the changes that we made and how we popped our image, and if I just do a play
through, now, in this one, just remember that the depth
map is not necessary, okay? Like, you don't need to do this. We could've just grabbed our
greens here, 'Hue vs. Hue,' and, you know, swing it a little bit, so this wasn't necessary, but since we were just
respecting the node tree that we were borrowing from
the previous shot, you know, we just basically took advantage of what we had already
worked on and built. So, you can just see the impact of, like, a few things that we did to,
like, pop our image like that. So, there you have it. Let's check it out in full screen. (dramatic music) So, hopefully you guys
got some golden nuggets from this video and guys, my goal is always going to be to give you different ways
to attack the same problem. That way, when you're working on a specific project that requires that unique outlook, that unique action, you will know exactly what
to do in that instance. If you enjoyed this video, do me a favor and smash the Like button,
subscribe to the channel, hit the bell icon so you could be notified
about our latest content. (metallic whooshing sound from icon) Make any suggestions that you might have in the comment section below. Do not forget to wash the free workshop. I'm telling you, it's gonna
be worth more than a bootcamp, all right? Link is gonna be down below. It's absolutely free and
on that note, work hard. Get obsessed. Get possessed. I will see you guys in the next video. (energetic music)
