Fix BAD Footage EASILY with JUST ONE TOOL in DaVinci Resolve!

so I'm going to broadcast calories for many years now and I get to work with some fantastic footage but every now and again you'll get a shot that looks something like this and you have to fix it this might be a really important interview piece that I have to just save somehow so I'm not expecting it to look fantastic but I certainly want it to look a lot more usable than it is now so I'm going to show you how I do that it's a tool that has been in DaVinci Resolve for well I've been using resolve for 13 years now and it's always been there it's not one of the new cool features that use the neural engine or anything like that it's a good old basic primary RGB mixer now this is available in the free version so you don't need the studio version for it either and it seems quite undocumented so I just want to show you exactly how I use it to correct shots that look like this so to start with I've got a good clean image so I'm just going to explain how the RGB mixer works and you'll find the RGB mixer down in the bottom here and you've got your primaries you've got your HDR tools and then next to that you've got your RGB mixer just to show you my color management I've already color managed this shot so it's going from Arie to Rick 709 color space and I've got in here I've got my color management settings to set to Auto so it's DaVinci ygb color managed automatic color management I've just taken the absolute default normally I work with a CST workflow but that is very well documented on my channel so go and have a look at some of those episodes if you want to see more detailed but this is purely to show you how the RGB mixer works all right so what's going on here I've got my Vector scope up this is the main tool we want to be looking at with the RGB mixer all right and you can see this has got a nice even spread all the way around the vector scope showing us that our shot is pretty well balanced and it has a good level of saturation in it so the RGB mixer is splitting our channels into three got your red Channel your green Channel and your blue Channel and with a value of one of red green a value of one and the blue channels blue set to one means nothing is being affected so one equals 100 regular video feed going through all right if I start playing with these numbers then things start happening so watch what happens if I increase them all to two so we can go up to two by the way and we can come down to negative two so I'm going to push it up to two two and two and what we've effectively done there is double saturation okay so we're not a one we're now at two so when all these values are equal so the blue the green and the red channel in their perspective outputs then we have not affected the color balance at all we're just increasing or decreasing saturation so let me show you what happens when I go to zero so I'll type 0 there and type zero there I'm just doing this on my keypad and zero there we've effectively got a black and white image and you can also do that with the RGB mixer by pressing this monochrome button so this is a kind of documented feature on how to do cool black and white because when you press this the other channels disappear and you can now mess around with these different channels giving you very different black and white looks than just pressing saturation down to zero um the values here are slightly different this is basically how our eyes see those different wavelengths coming in so don't worry if they look slightly out of balance uh we we are more perceptible to a green Channel coming in than we are to a blue channel so that's why they're slightly staggered so I'm going to take monochrome off I'm going to reset these back and let me show you what's happening now so if we take our let's start with our red Channel okay watch what happens with the scope okay so red is sitting up here and if I push my red Channel only up everything starts moving towards red and if I bring it the other way because we're not in monochrome if I bring it the other way it now goes to the opposite of red which is cyan all right so you can see that moving there so let me reset that same with the green everything starts pushing towards green and going in a negative Direction everything's going to go towards magenta and the same with the blue channel so we're going to go blue and then the opposite of that is yellow and there we go all right so let me reset those so now you kind of know what's going on let's have a look at our faulty shot and see how the RGB mix is going to help us so I'm just using my panel here just to go to my next shot and first thing we need to do is analyze this on our scope so on the vector scope we can quite clearly see and it's pretty visible looking at the shot anyway that this is very yellow so what we obviously need to do is push blue into this shot to negate that yellow cast so again just to reiterate I'm not trying to make this look fantastic I'm trying to make it look usable all right so let's straight away go to our blue Channel and if we push blue up as we've already seen this is all going to start moving towards the blue side so I'm going to push it up as hard as I can and we don't get very far because that yellow cast is so strong that I don't have an opportunity to bring it as far over as I want to I'm just going to reset that I'm just going to show you what would happen in the primaries if I did the same I'll take my offset here push away from yellow and push towards blue and I can indeed neutralize it a little bit but we're getting this weird cast going on now I'd have to start fixing and pulling all that around the RGB mixer allowed me to do this in a little bit of a cleaner fashion all right so I'm going to reset that I'm going to go back to my RGB mixer I'm not going to do this time is I'm going to borrow from the other channels so I've got a green and a red input here and I can push the green and red video signal Into the Blue Channel which is going to help us get this a little bit more neutral so watch what happens it's easy to show you so I'm going to press on the green Channel and I'm going to push up and I'm watching the scope here and it's going to start pushing it towards my green Channel okay you can see already that has done a really nice job of just neutralizing this heavy color cast that we've got and you can also see on the image it's looking much better already so let's just see what happens if I put a little bit of red in there okay there we go so we've really cleaned up that image if I just press shift d i can switch that on and off and that's done a great job already now what we can do is take these values where we've got one one and one and if we increase them all by the same amount we're just going to add a little bit more natural saturation back into the shot because this is looking very flat at the minute so let's start off with let's add 1.25 Maybe so it's 25 saturation in order to make that work I need to do it on the red and green channels as well otherwise it's not balanced so that's 1.25 so all I'm doing is increasing the spread here not the actual balance itself okay so it's 1.25 1.25 and 1.25 so we've got equal amounts of saturation in there just to check now I'm going to have a look at my green channel here in the blue remember the reason we're using these channels is because I can't get enough out of this blue Channel I can't get it to go over enough to reset that so it goes back to 1.25 and I'm just going to check my green channels good I'm just looking at my Vector scope I'm not looking at the image at all let's just have a look at the red Channel just to be sure and somewhere around there and that is looking much better now it's certainly usable already just to finish it off that's pretty much the RGB makes sense but just to finish this off let's add another serial and then what I'm going to do is go to my waveform because I want to have a look at the levels going on now so let's go to our main primary color wheels I'm going to use my offset tool just to lift up the exposure there and let's get that obviously needs to be lifted quite a lot here I'm just being careful of these highlights up here which are clipping so and obviously with this shot I'm not overly worried about that and let's just bring this down I'm doing this really quick obviously this episode is about the RGB mixer but let's just try and finish it off and see what we can actually get out of this image I'm gonna add another serial now we want to lighten their faces up for sure so I'm going to use my windows here let's do a power window so I probably have a shape something like this with lots of soft Edge on it because you don't want to see the window and then I'm going to use my offset tool just to lift up a little bit more maybe a bit again in there maybe a little bit of saturation as well and in fact they look a little bit soft as well so I might even go to my blur tool here and add negative blur which is going to give us a sort of sharpen there something like that now what I'm going to do is I'm going to add a parallel here so I'm going to say option p and I'm just going to do a little bit more work on her face again I'm just going to be really quick about this but Let's do let's just take a window like this and I think it's more about her sort of eye line here really do that nice and soft again and let's just give her a little bit of a boost there I can't actually see what's going on so to do that if you click here and just click off you can actually see what's going on if I press command and D I can enable and disable that so I think we still need a bit more of a boost I'm going to add another serial here so option s and let's have a look at what's happening with our temperature actually let's just pull that up a little bit a little bit a little bit more gain Maybe just to give it a proper boost and I think really the work here this could do with a little bit of care so I'm going to add another serial here I could use a curve for example but I might just go straight for the warper here to be honest I'm going to grab the color warper I'm going to take a sample there and I'm just going to increase the saturation there we go so we're getting some nice color contrast going on now get nice and yellow so that is looking much better let's shift d to switch it off and back on before and after so I'm sure you'll agree that the RGB mixer really helped us out there it got this shot usable that's what I wanted it to do um I hope that has enlightened you a little bit how the RGB mixer Works look after yourselves and I'll see you in the next episode [Applause] [Music]

Channel: Darren Mostyn

Views: 121,563

Keywords: how to use the RGB Mixer, how to grade 8-bit, grading rec709 footage, grading drone footage, color correct 8-bit, 8bit, 8 bit footage, color grading tutorial, how to color grade, color grading, darren mostyn, motionvfx, looks, resolve 18.5, resolve 18, davinci resolve, grading, colour grading tutorial, how to colour grade, professional colorist, pro colourist, Brighton, RGB Mixer, How to fix bad footage, Resolve RGB Mixer, How to use RGB Mixer, RGB Mixer tutorial

Id: 8V9CdNthfs4

Length: 9min 57sec (597 seconds)

Published: Wed May 24 2023