(energetic music) - What's going on guys, this is Qazi. Welcome back to another epic video! In this video, we are not going
to be grading just one shot or even two shots, or three
shots, four shots, five shots. We are going to be grading six shots from completely different cameras and, best part about this process, is not only that you
can grade really fast. This technique takes full advantage of your camera's color science. Before Resolve 17, it was rocket science to set up your color management properly. Now, it's a cakewalk. 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 are coming from
Premiere 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 are not only going to
learn everything about nodes, you will also learn to
build a perfect node tree regardless of the project
that you are 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. And guys, if you are enjoying the content, you know what to do!
Smash that like button. It will mean the world to me. Subscribe to my channel
if you haven't already, make sure you are
following me on Instagram, and let's roll the intro. [Qazi] All right, let's
get this party started. It's 2:00 AM. I'm going to try to get
this video out by 6:00 AM. So let's see if we can make this happen. As promised, we have six shots right here. Ready to go, okay. And we have a couple of them in Pro Res four two
two, which is eight-bit. We have couple in HQ, which is 10 bit, And then we have one red clip. Okay. Which I should, I don't know- Okay. There you go. So now that there's nothing applied to it. What I'm going to do is, I'm going to break this video down into four simple steps for you. It's going to be crystal clear and it will make a lot of sense. Okay? First step, let's go
into our project settings and see what's going on. When you go into color management, this is what you're
going to see as default. Okay? So it's set to DaVinci
YRGB as your color science and timeline color space has
set as direct silver nine. Basically, it's not managed right now. You can manage your
timeline by your nodary. Okay? So this is how
you can do it right now. You can throw a color space transform and turn it into whatever you want. It's not managed and that's
what needs to be fixed first. Let's go back into our settings. So, what I need you to do is
click on this color science guy and just select color managed. Now, we are managing everything before it gets into our timeline. We're saying, "Hey, bring everything as SDR rec seven or nine. So keep everything in that color space." And then when you output
it, output it direct seven or nine gamma, 2.4, which
is perfect for broadcast and internet, web, anywhere.
YouTube, v-mail, you name it. Okay? So these are the
settings, it's already set. As soon as you put it in color managed. And, like I said, it's a cakewalk compared
to what it used to be. That's all you need to know. Don't worry about the other flavors. Maybe I can make more
videos and go in detail. Now, the beautiful thing about setting everything up
in color managed is this: SDR Grading environment can
be mapped to HDR for output. So you are basically
future-proofing yourself. Even if you keep this to SDR, don't think, "Hey, what if tomorrow I
want to turn it into HDR." It's telling you, spelling
it out for you that Hey, you can. Okay? So this is step number one. Like I told you, pretty simple. And once you set it, you can even save it as a pre-set and then you have it. Okay? So let's go ahead and hit save. Now let's move on to our step number two, which is which camera
your footage is shot with. Okay? That is vital. Now, there's a lot of
misconceptions around RCM out there where people just go, "Once you set everything into
resolve color management, automatically your clips get converted direct seven or nine." That is not true. That is true, but I will
tell you what it means in step number three. So right now, let's
stay on step number two where we need to find out more
information about our camera. So, if I click on my metadata
right here, this i button which is for info, it
doesn't really tell us much. I mean, it tells us that, "Hey this is 10 bit, it's
four res four two two. But, it doesn't really give
us anything more than that. So, one way to get that
information is go under edit, scroll this down, and
go under your metadata. And as soon as you select your clip, you get this information. Which is very similar to
what we were looking at. But, if you click on this guy right here, you can change it to camera. Now, the problem with consumer cameras is
that it doesn't really record all the necessary
information that you need but that won't be the
case when we click on this because this is shot on Alexa Mini. So we can see it. Alexa Mini, we see frame rates, shutter ISO, color temperature. We see the camera update. We see the lens used. I mean, it gives us every single bit of information that we need. So we know exactly which camera's used and all that good stuff. So we're good here. Okay. When we go here, we don't know anything. When we go here, we don't know anything. So what do you have to do? We don't know anything. When we go here, we know,
because this is shot on Red, gives us all the information. Again, even tells you about the lens used. Very important information. Now, what can we do when
stuff like this happens you need to get a spec
sheet from the producer. You need to ask them, "Hey,
what kind of cameras were used? Can you get me in touch with your DP?" And then you can get that answer. So it's not that hard,
but it's a good practice as a colorist to know
that that's something that you have to figure out. Okay? So anticipate that. Now, I fortunately know
which camera's which because I downloaded this
footage from art grid. So I know this one is a Fuji XT-III. This one is already
Alexa Mini, which we saw. This one is Black Magic Pocket 6k. This one is C200. And then this one is shot on Red. We can even see that there. And then this one is Sony A7R III. So I told you, I picked
out the hottest cameras in the market to show you this process. And it's going to blow your
freaking mind, get pumped. We're getting into step
number three right now. Step number three, we are ready to go. All you need to do is make sure that you pop this open so
you can see your clips. We're going to start
off with our first clip. Right-click, go under input color space. And since we know that
this is shot on Fuji XT-III I'm going to go under Fuji film F log. And as soon as I click it, boom, okay, let's look at the scopes. I'm going to reset it again
so we can actually see it. So now we're looking at our log. I right-click. I go under my input color space. As soon as I click on Fuji film F log, it's converted, done. Look at this, how beautiful it is. And I gotta be honest with you, I am blown away by the way it looks. I mean this looks so good. Now guys look at it fastest
way to grade, right? You're done. That's it. Okay. If you say my
blacks are really crushed we can fix that. But right now, I don't want to get into that. First, I'm going to show
you how to convert each clip from different cameras, And then we're going to go back
and do primary adjustments. But just look at that! One click, and we are ready to export this. Like, look at all the colors. Camera manufacturers put in a lot of time and effort in developing
their color science And that's why each camera
has its own characteristic, its own personality, So you can see how beautiful this looks. I mean, Fuji film has been
developing film forever and you can just look
at their color science, It's gorgeous. Now let's move on to our next shot, which is Alexa. Again, rinse and repeat. So we're going to go back in
here and input color space and I'm going to go to RU log
C this time and boom, done. Look at the scopes. We are ready to go. Let's move on to the next shot. This is Black Magic Pocket 4k. I'm going to go back
into input color space. I'm going to go find Pocket 6k film. Boom. Okay. We're going to move on to our Canon C200 and I'm going to park it
somewhere around here, right-click, and I'm going to go find Canon
cinema gamut, Canon log two. I'm ready to go, look at my scopes. Now, the thing that you need to understand is that you only have
to convert log footage, which is converted to pro-res
or something like that. But if you have raw clips, they're going to get
converted automatically. Okay? Resolve is going to do that for you. So yes, if you shoot in
RU raw, Black Magic raw. If you shoot in Canon raw, if you shoot in any of the
cameras in their raw settings, it will get converted automatically. So in this case, this is
already rec seven or nine. Now we're going to move on to our Sony and we're going to
right-click, input color space, and get ready for this, okay? As soon as I go to, this is S gamut three, Sony S log three. As soon as I go there, I mean,
just look at the skin tones. Usually you don't get that from Sony, but once you converted properly, you get beautiful skin tones. So yes, it's a bit
overexposed, blah, blah, blah. Now, that's what we're going to get into in our step number four, which is primary correction or what's commonly known as a base grade. Alright, step number four. We're going to do our base
grade, nothing extravagant. Just, we're going to get the
image ready for proper grading. Okay. So what do I see
when I look at this image? I feel like we can pull up
the blacks a little bit. Right? And we can see it in our scopes too they're kind of crushed. So I'm going to go into my offset, and I'm just going to
raise it up a little bit. I'm not doing too much. Okay? I'm just raising it up
enough, something like that. And I'm leaving it right there. If I do before and after
my image is ready to go because the more I raise it, the more pop I'm going to get rid of. Like this saturation, these colors, I'm going to start ruining them. I don't want to do that. So I'm going to keep it
somewhere around here, and I feel pretty good about it. I mean, I'm going to actually just
keep it somewhere around here and it looks really good. Maybe bring it up a little bit. Just something like that, I'm not doing anything more
than that to this image. And just look at it. I mean, I told you the Fuji film is
blowing my mind right now! I mean, I'm about to pick one up. Like, I want this camera. I mean, just look how gorgeous it is! It's perfect. So good! All right. Let's move
on to our second shot. So what do we need to do here? I mean, we honestly don't
really need to do much. There's the right amount of warmth, everything is looking good, but let's just say we want to
get the right white balance. All we can do is just grab
the wide balanced picker right there and just go click
on the wall in the back. Done. Like, our white
balance is completed. Okay. Now if you think,
"Okay, this was a bit much." We can go in our key mode and we can just split the difference. We can go to like about 50% and now it's corrected halfway. But once again, the shot is ready to go. Okay, let's move on to the next one. Now, what do we need to do on this one? I feel like this one can use
a little bit of work because it's just barely touched, it feels like. So what I would do is, I'm gonna go click on my
editable splines, turn those on. I'm going to click right here. I'm going to grab it. Let's try it again. I'm going to... grab it from here and try to raise it just to kind of add a
little bit of a punch, but I still like the high-key looks, I want to kind of keep it there. Okay. So I'm going to take this and I'm going to add a
little bit of contrast. I want to add some drama, but I want to keep that
film kind-of contrast thing that they got going on. So I'm going to just
do something like that. I don't want to do more than that because I think it's really
nice the way it looks. Maybe we can take the highlights and just try to push it a bit more, but nothing too drastic. So maybe something like that. I don't want to push it more than that. If I do anything more, I feel like it's going to be a bit much because it just looks so good as is. Now, obviously you can add more
saturation stuff like that, but I feel like it just
looks very film-like if I just leave it to this. Beautiful color science from Black Magic. Huge fan. Let's move on to our Canon. And here, what we can do
is we can take our gamma and kind of bring it down, right? So then we can start
seeing some information in our mid tones. So, this is looking pretty
good, big difference. Right? And now I'm just
going to create a new node. Once again, I'm just
going to do a little bit of a pop with my contrast. I'm going to take this, keep
it somewhere around here. And then, this is what's going
to give us that film look. So, maybe somewhere around here, let me just bring it back a little bit. Split the difference. So let's see how it looks. So something like that, And then... I don't know what else
you guys want to do, but what we can do is we can go in here and pull the reds down a little bit. Right? Just kind of give it
a bit more of a film look and then kind of twist it and
add maybe more gold than red. So if I do before and after in this node, I think it's looking pretty good. And let's go back in here, in our curves right here. I'm just going to go and grab them from right here and kinda pull it down. I feel like this just looks better. I mean, this is where we were, which was direct seven or nine. And then this is where we
are for our base grades. I feel like it's in a good spot for us to do whatever we want with it. It's in good shape. So let's move on to the next one. Now, in this case, this is shot in raw. So we can go in here and click on clip and we can just go ahead and raise the ISO little bit and then that's just
going to do it natively instead of us doing it here. That's the beauty of raw. And then at that point, I mean, it's already looking gorgeous. All I can do here is, again,
just go under my curves and... really try to push it,
like something like this. And let me see... and just like really open it up. I want to kind of give it
a high fashion look, right? So like just open it up even more. And then, let me just see... something like that. I mean, that looks cool. And what we can do is just a quick temp. I mean, I want to add a
little bit more warmth in her skin tones because I feel like she's
picking up so much yellow from the background that is just kind of making
her look like she has jaundice, and then cool it off a little bit. And that's not looking too bad, right? Again, we're just doing a base. We're not getting into
our secondaries that much. We don't want to do too much. Okay. Let's move on to this shot. I'm going to park it
somewhere around here. And what I'm going to do here
is I'm going to take my offset and I'm going to bring the
whole shot down a little bit, not too much. So I'm going to park it... somewhere around here and come on. This is shot on a Sony. Just look at how gorgeous it looks, everything's protected. Look at the skin tones. I mean, do I have to do anything else? I mean, for my base, I don't think so. So I mean, everything is protected. Everything looks gorgeous, again. Our first shot, second shot, third shot. All different cameras,
different personalities, and grade was achieved
by doing barely anything. I mean, skin is kind of bugging me here. So what I'm going to do is I'm going to go under my curves and I'm just going to... pull her out a little bit like that. Even something like
that, doesn't look bad. I'm going to bring the reds down, something like that. And then, let's look at our final shot. And there you have it guys! All right, let's check
these out in full screen. (energetic music) - Now, you clearly saw how
effective this process is, especially in this day and age where we're working with
multiple cameras on a shoot and I'm not talking about
like same manufacturer. You could have like a Sony camera, with Cannon, GoPros, stuff like that. So sticking with this process
could be a game changer. And don't forget, this is
just the tip of the iceberg. If you really want to deep dive I have a free training,
link is down below. It's going to teach you
everything that you need to know about Resolve's node tree. And that's one of those things
that when you're switching from Premiere Pro or Final Cut 10, it's like the hardest concept to grasp. I break it down in the
simplest way possible in my training. Link is down below, check it out. On that note, smash that like button, subscribe to my channel
for more awesomeness. I will see you guys in the next video.
