My Start-To-Finish Davinci Resolve Color Grading Process for a FULL SCENE - Get The Look FAST!

there are a ton of videos about color grading on YouTube but most of them focus on just color grading a single shot and even within that they usually only focus on one aspect of that grade unfortunately that leaves you without a full grasp on how to color grade an entire scene to make sure that all the clips look good and work together so by viewer request in this video we're going to take a start to finish look at my color grading process of a short scene in DaVinci Resolve including how I make sure that all of the clips match and have a consistent look secure the cup and let's go now I'm going to try my best to be as thorough as possible and also I'm going to try to be as beginner friendly as possible in case you're just starting out with color grading or DaVinci Resolve but because we have a lot of ground to cover in color grading an entire scene if I do go over something too quickly or I don't explain thoroughly enough make sure to go down to the comments leave me a comment down there with a time stamp and ask any questions that you might have I'll try and either answer you down there or I'll keep things in mind for future videos if something needs a bit more of a deep dive and of course there's always the option to re-watch parts of the video if you don't quite catch what I'm doing on the first watch all right feeling good let's get into the grade so this is the scene that we've got to work with it's about 10 Clips long and 40 seconds it's just me walking across the rocks and then I sit down I have some coffee while the sunset's going by and just kind of enjoy myself for the most part it's pretty simple but there are some interesting challenges that come up with this kind of shooting so the first thing that I would do before I start color grading anything is just think about kind of what I want for the scene foreign obviously in this case I want it to have that kind of warm Sunset Vibe it's pretty chill so nothing too like Intense or anything like that kind of have a soft look to it one thing that's going to be a bit of a challenge is that I shot everything a little bit out of order and if you've ever been around a sunset you'll know how fast the color changes so once we get into the actual matching we're gonna have to keep that in mind so first things first let's go down to the bottom here and we're going to go into the color page as you can see we've got our 10 Clips across here if you're not seeing that you can click Clips up in the top right and that'll pop up I'm going to pick a clip to start with and I think I'm going to start with this one because it's a nice Dynamic shot we've got the really bright area over here where the sun is and then we've got some dark stuff down in the Rocks we've also got some skin tone and we've got my white shirt that might help us with some white balance so I'm going to kind of use this as my kind of main shot to start with and I'm going to set up my node structure on this shot foreign so just in case you're not seeing what I'm seeing there is a button up in the top right called nodes and you're going to want to have that open so we can see our nodes and then you're just going to also want to make sure that you're on clip here generally it'll start you off with one node that's connected from the input and to the output via these green markers here now a quick explanation of nodes basically these are kind of like layers so if I add a couple more nodes here using option s or alt s now we can see the order of things going from the input into the first node into the second node into the third node into the fourth node so what I mean by that is if I go into my second node and I crank my offset up all the way so that it's basically all highlights right so we're all blown out you can see that all of the nodes afterwards the little thumbnails that are in here have updated to show you that they're super bright but the one before it didn't because it's still seeing just what's coming out of the input because I did all of that changing on the second node here now if I go to my third node and let's say I pull back the highlights it's going to do a bunch but if I undo that and I try and go to my first node and pull back the highlights you'll notice that it does something completely different because it doesn't see all the highlights it sees things as they were in the original clip and there's not a whole lot of highlights there right now because we're still in s log 3 and there's just not a whole lot in that high information so we just want to keep that in mind as we're going forward that we're working kind of in a linear fashion or a Serial fashion they call these serial nodes and there are different types of nodes that we can use but for today we're just going to be using serial nodes so now that we've got our four nodes in there that's going to be our basic node structure I'm actually going to start on the third one and this brings us to our next step which is the color space transform now a color space transform is basically going to bring us from this kind of flat looking gray image that we've got here and make it look a little bit more normal what we call Rec 709 which is what we typically view on our computer monitors and there are lots of ways that we can do this I'm going to show you two of my favorite first we're going to have to go up to the top right and hit this effects box the first way that I really like to do this and this is the way that I do it most of the time is using a plugin called cinematch This is made by film convert and the way that it works is you're gonna go in and choose your camera Source profile I happen to know that this was shot on the Sony fx3 which has the same sensor as the a7s III so I'm going to choose the A7 S3 since the fx3 isn't available I know it was shot in s-log 3s gamut 3 cine which is the picture profile that I used and then I'm going to hit apply underneath that there's the camera Target profile and if we want to we can go into here and we can choose let's say something like the re Alexa and then we can hit apply and now it changed I don't know if you noticed that waveform down there but if I disable this node and then re-enable it it changed it just ever so slightly so now instead of s-log 3 we're dealing with something that looks like Ari Alexa log C this can be really handy if you're trying to match multiple cameras or if you just want to try to get the look of a specific camera that you really like in this case I'm actually just going to leave this off so I'm going to go back to select and that's just going to do nothing and then down here we've got a button that says apply Rec 709 transform and this is the big thing that we're using the plugin for right now and when I click that you can see that it's stretched out our image so that it's no longer all squished into the middle it now stretches it back out and it starts to look a lot more normal our highlights look super bright our shadows look a little bit more low and then one of the beauties of cinematch is that they've got this exposure slider so that if I find okay well maybe I'm a little too bright going into this I can just pull this down and it's kind of a nice easy way to get things going and this exposure slider is working in conjunction with the color space transform from s-log 3 into Rec 709 so that was a whole lot of talking to say that you choose your camera you hit apply Rec 709 transform and then you set your exposure super easy three little buttons it takes no time whatsoever now because that's an extra plug-in that not everybody's gonna have I'm actually going to reset that and I'll show you the other way that you can do it if we go back into our effects panel and we search for color space transform and we drag that onto that third node again here we can do something very similar so we're going to choose our input color space we can find S gamut3 cine then if we go to input gamma and hit s again we've got s log 3 and then because it's saying use timeline it's already going to whatever I have set up in my preferences so if we click the gear down in the bottom right here for project settings and then go to color management we can see I'm on DaVinci yrgb Rec 709 gamma 2.4 output color space is also Rec 709 gamma 2.4 which is kind of a standard it is a good habit to get into to actually choose that in here as well so let's choose Rec 709 and Gamma 2.4 and all I'm doing is I'm putting down the drop down menu and then I'm hitting R to bring it to the R's in that menu makes it a little bit quicker to get where you want to go so if I disable that node in our waveform viewer down in the bottom right here we can see how squished in everything is and we've got that flat gray look again and if I re-enable it it stretched it back out now if your footage isn't shot in a log profile you can totally skip this step and of course if you're shooting on some other camera or your footage that you have is from some other camera you choose the ones that correspond with the footage that you've got now the next thing that I want to do is basically copy that node structure the four nodes and the color space transform to all of my other Clips since that's consistent across the clips they were all shot on the same camera they were all shot with the same settings so basically what I can do is click on my clip that's kind of my main clip here and hit command a or control a if you're on PC to highlight all of the clips and then right click and hit apply grade alternatively you can just middle click on your main clip that you want to apply the grade to all the other ones so if I middle click here you can see that it immediately applied those four nodes so three blank nodes one two and four and then our color space transform on the third one and actually now that I think about it I'm going to go back to my main node I'm going to highlight that color space transform node hit Tab and I'm just going to put CST and then on node number two I'm going to hit Tab and put pry for primaries a node number one I'm gonna hit WB for white balance and then the fourth one is kind of an extra one just in case we need it and then I'm going to do that one more time just middle click so that it applies all four of those with the new names to all the other Clips so now that we've got our basic structure and our color space transform applied to all of our Clips we're going to do what's called color Corrections foreign color grading is generally thought of as kind of two steps so we've got color Corrections and then color grading color Corrections generally are just getting the image looking good looking almost normal if you will then the color grading part which we'll get to later is kind of putting our own creative spin on it so the first thing that I want to do is go back to our main clip and color correct that and the way that we're going to do that is by going backwards from our color space transform node we're going to go to our primaries node now you don't have to call them what I've called them here WB and primary and CST you can call them whatever you want this is just a way that I have to remember what I'm doing at the time so I'm going to go to my primaries I'm going to turn off my effects panel so that I can see my nodes a little bit better here and then looking at this image knowing that I've got this really bright area on the left side here we can see in our waveform that we're way up close to the top and then we've got some dark shadowy areas down in here in the Rocks as well so we've got a really good spread a really Dynamic looking shot so maybe all I want to do is bring my shadow Parts down a little bit so I'm gonna go and grab my lift and I'm gonna push it down a little bit and then maybe bring the middle areas up a bit it's just a little bit of back and forth until I'm feeling happy with how it looks also going to switch over my waveform I just find this view a little bit easier to know what I'm dealing with and that's looking pretty good for me if I disable that and re-enable it and then what I might want to do is just add a tiny bit of contrast here just like that much so I think I like the way that that looks for now the next thing that we're going to do is we're going to go back one more to the white balance and we're gonna try and fix the white balance of this I do actually have something white in my shot so I could technically use this for white balance the way that we might want to do that is by grabbing our little white balance picker tool here and clicking on something White as we can see the problem here is that because it's like golden hour and it's making my shirt nice and yellowy golden then when it goes to correct that for white it makes everything look more blue than it should be so we could try it again and this time doing it let's say on one of the more shadowy parts of my shirt click it again it corrected the other way so now it's way too yellow so that's not gonna work one of my favorite ways to do my white balance is just by using the offset so basically you kind of look at your picture you use your waveforms if you want to and then you can kind of push around the image and in this specific case because we've got skin tones in here I'm gonna pull up the vector scope and on our Vector scope there's something called the skin tone line and the way that you see that if it's not already showing is you go down into these three little lines here with the sliders on them and we're gonna show skin tone indicator make this a little bit brighter I'm actually going to go over to my primaries node here and crank up my saturation a little bit it's just going to make it a little bit bit easier to see what's going on let's crank it all the way here one thing that can help us too is if we choose these three little dots here you can choose display qualifier focus and now if we choose our qualifier from this menu at the bottom left of our viewer wherever we're hovering you can see a little circle in our Scopes in our Vector scope there and that's showing us what we're pointing at so right now you can see that my skin tones on this side of my face are just a little bit to the right of that skin tone indicator it gets a little bit better as I go under my chin so what I'm going to do this time for this specific scene is I'm actually going to kind of white balance based on where my skin tone is and if it doesn't look good when I'm done I will change it but this is kind of where I'm going to start so I'm going to grab my offset in my white balance node and I'm just going to push it over to this side a little bit warm it up a little bit and get that little kind of cloud of pink there move it over a little bit onto that skin tone line and I'm going to go back to my primaries and turn this saturation back down to a more reasonable level if I go to my white balance and disable it and re-enable it that is looking a lot better so getting a lot more like a sunset golden hour kind of shot the shirt still looks reasonable it still looks like white if you were to see this shot you would think that person is wearing a white shirt and there is a golden sun on it basically as long as it makes sense to your brain your brain's pretty smart it can figure this stuff out so again our white balance and primaries before so this is just the color space transform and then with the white balance and primaries we've got a lot more of kind of a natural looking shot this is probably similar to what we would have seen if we were there at the moment so this single clip is color corrected but now we need to make sure that all of the other Clips are also color corrected and we need to make sure that they match against this shot [Music] now because we know that I shot all of these at the same time you'd think maybe I I could just kind of copy and paste all of that information our white balance and our primaries over to the other Clips but I know that's not going to work because I was shooting things out of order the colors were changing a lot and a lot of the clips have different exposure levels so we're gonna have to go one by one and make sure they match back to this main clip the way that I like to do that is let's say we choose this second one here so we're going to do this close-up version of this shot the first thing that I'm going to do is I am going to copy that over so I'm going to highlight the new shot I'm going to middle click on that first shot or right click and hit apply grade and it's going to copy all of that over now you can see this shot is way darker than the first one is so what I like to do now I'm going to put away my Luts panel here and I'm going to go up to the top left of the viewer there's something called split screen and then I'm going to right click and I'm going to go down to split screen and I'm going to choose selected clips now what this is going to do is while I have this clip that we're going to be color correcting highlighted I can command or control click on the main one one and then I can have them both in the viewer so I can be comparing it also will show up on your waveform on your Scopes down here so that you can be comparing between the two now right off the bat you can see that they are looking very different this is a lot darker it's even a little bit more kind of pink I'm going to disable my white balance node here the way that I'm doing that disabling and re-enabling so we can see before and afters just by hitting command D or Ctrl D if you're on a PC I'm going to leave my color space transform the same and I'm going to go back to my primaries and I'm going to reset so now we're just looking at just the color space transform we want it to be a lot brighter to try and match that so I'm going to grab my gain and I'm going to Crank It Up now one thing that we can do here again because we chose that one selection where we display the qualifier Focus we can have our qualifier and we can hover over the skin tone and see where it is so you can see the little circle in the waveform showing me approximately where that level of the skin tone is and so if we go back to our main shot and do the same thing we can see that it's right around that kind of 384 line on my cheek and in this one we are actually a little bit higher now so we're going to pull that back until it is close to matching so there we can see that it's at that 384 line I'm going to go back into my split screen view add some contrast [Music] and some saturation now going back to my white balance to me this is looking a lot more pink whereas this one kind of has a yellowy green tone to it let's just go to our Vector scope and I'm going to come out of that split screen view and as far as zooming in and out on the viewer here I'm just using my scroll wheel to zoom in and out if I want to go back to fitting it I hit Zed or Z for my American friends and if I want to move around while I'm zoomed in I'm just middle clicking and then holding and moving things around that way so going back to the qualifier seeing where that is so you can see again we're just a little bit over to the right of the skin tone line like we were in the last one so it just needs to go a little bit further this way here something like that I don't want to go too far because it'll start to look really green okay I think those are looking pretty good we've got a decent match on everything I might just pump up the gamma on this a little bit [Music] it's a lot of this like back and forth cool I think that matches pretty well the next shot is actually the same as the first shot they're pulled from the same clip I just kind of go back and forth so I'm just going to apply that middle click so now we've got three of our 10 shots matched up so going back to this one I'll start by applying from our main shot then again I'm going to go into my primaries I'm gonna reset my lift gamma and gain if you're not familiar with lift gamma and gain I have a whole video on that so you can go check that out just a quick explanation lift is kind of like your shadows gamma is kind of like your mid-tones and then gain is kind of like your highlights the way that I always think of it is that lift is like moving this bottom part of your curves up or down gamma is like moving a point in the middle up and down and then gain is like moving this top point up and down again if you want a more in-depth look at that I have another video on that I'm going to pull down my gamma on this one quite a bit I'm going to go into split screen mode here with my main clip so I can kind of see what's going on so kind of basing things off this arm here I probably want things to be a little bit darker and then on my white balance I definitely want to go a little bit more over to Green I might even want the whole thing to be a little less saturated and this back down there that's looking like it matches a little bit better [Music] checking my Vector scope again here using my qualifier that's looking pretty good it's just just on the right side of that skin tone indicator which is basically where I also left this one so I think that's looking pretty good sort of play through these four clips foreign [Music] [Applause] [Music] they look like they match pretty darn well okay moving our way back let's apply from our main clip and we might actually have just gotten lucky and not have to change much on this one so again we are comparing the two and we do want them to somewhat match but we're also looking at what's going on in the individual clip and making sure that it has to make sense so in the shot that we're correcting now there's a lot more shadowy area with the sun in the background so we do want it to be a bit of a darker shot but we want to make sure that the Shadows here kind of match the Shadows here and then it should look natural so in this case I think I can bring up my lift just a little bit and we can watch our waveforms here so we can see the bottom of our kind of shadowy areas bring those up till they approximately match and we might just want to pull back a little bit on the saturation maybe I'll go to 60 and I think that's looking pretty good so again watching in context with the other shots that we've got going on here [Music] cool nothing's jumping out to me as problematic so that's good so now we've got a fun one all of the shots so far that we've done have been pointed basically directly at the sun this one was shot I think it was actually later and it's pointed kind of across from the Sun so it's much more blue looking so we're gonna have to try and give this that Sunset look so that they kind of match again so I'm going to start by applying from our main shot that actually did a decent job with the white balance in there I do think I'm gonna reset my lift gamma and gain and start over on that one and then I'm gonna go into split screen mode and I just want to try and match where my skies are so if we're looking down at our waveform here what I want is a nice consistency from even this part of the sky over here to this part of the sky so it's not going to be the same as our super bright sky where the sun is but maybe this guy over here could be somewhat close to that sky so looking at that we're actually not that far off but to my eye for some reason I want it to be a little bit brighter so going into my primaries again bring up the gain like so I'm going to bring down my gamma and bring down my lift just a hair that's looking reasonably consistent now because of the way that I'm moving you can see the front of this shirt here is like a little bit more yellow than it is in this shot so we're going to go back to our white balance and we're just going to move this a little bit towards blue I think that's looking pretty good we can get the contacts that it is sunset because we can see the golden on the Rocks here we can see it on the front of my shirt and on my arm similarly to how we can see it in certain areas here the fact that there's a lot of water and a lot of sky in this shot makes it feel a bit more blue if we really wanted to we could maybe go into our lift in our white balance tab here and push a little bit of yellow into the kind of shadowy areas see what that looks like in our split screen view here yeah that actually looks pretty good we're gonna move back one more I'm going to copy actually from the one that we just did this time because this one's got that same same kind of blue problem and with this one for whatever reason the blue looks a lot more purpley than it did in the last one we're gonna have to play with our white balance on that one I might also want to fix my horizons so that they match back in the edit page but I'll save that for another time so yeah we can see that the blues don't quite match in these two and the sky actually looks like it's a bit darker in this one as well so let's go into our primaries to start with I'm going to go with my gain and bring that up until our sky is a little bit closer to the same we can also kind of look at these mountains in the background to kind of know where we are let's go to split screen grab our qualifier hover over the mountains just under 896 and then going back to this one those mountains are kind of between that 768 and 896. I think we're pretty close might be a little bit brighter actually let's pull down our gain a little bit actually bring up the gain and bring down the gamma something like that looking at them both together again lots of back and forth looking at them both doing it individually looking at them both doing it individually now our white balance let's see what we can do about that [Music] bringing it a little bit warmer fiddling with my offset some more to see if I can get that blue somewhere around the same that's looking pretty close and part of that was because I still had that little yellow tint that I did in the lift let's try and emphasize that a little bit more there we go I think we got a good match on those two then moving back one more this is kind of facing the opposite way so the sun is hitting the front of these rocks I'm going to copy from our main clip to start with going into our primaries going to reset lift gamma and Gain [Music] saturation on that one [Music] and our blue is really intense here so I'm going to try and pull away from Blue again [Music] I've got the color of the water pretty close to matching this yellow is feeling a little too intense and just pulling down my gamma making it a little bit darker makes it feel a little bit less intense and the blue in the water kind of matches the darker areas of this other shot here everything's looking pretty good so far we've just got these two last shots and these were when the sun was at its most intense this is like pure Sunset Vibe so we're gonna click on this one we're going to apply from our main clip this one's specifically a little bit interesting because we've got this really kind of faded low contrast Vibe because we're shooting directly at the Sun so we're losing a lot of contrast it might be tempting to try and draw more detail out of that maybe by going into your curves and trying to make like a S curve down in the lower parts here and get some of that contrast but you don't actually need all that detail necessarily in this shot so again taking a look at the shot as a whole what does it need how does it fit into the sequence what I really want out of this is the kind of glow of it and it feels like it makes sense for it to be a little bit more faded again because we're shooting directly at the sun our brains can make sense of that reset my lift gamma and gain here really quick I'm gonna pull my gamma down and kind of silhouette this area here let me give it just a little bit more contrast [Music] and then in our white balance I'm going to reset this because remember in our original clip in our main clip we made it warmer this doesn't really need the help to make it warmer and then on my last clip what I really want out of this is to kind of silhouette myself out so I'm actually going to pull from our previous clip here from that one as a starting point since it's much more similar to this clip than this one was so I'm going to go into my primaries and I'm going to pull down on my gamma you can just kind of see it here so our low end is kind of in the same vein and then maybe we bring up that warmth Again by going back into the white balance pushing it over into the warm a little bit and back into our primaries we're going to push up the gain so this is the water here I'm looking at this over here it's a little bit more yellow in our last shot with me silhouetted so I'm going to push it back to Blue just a little bit I think that's looking pretty close it's a bit of a combination of using the waveform and the Scopes and then a bit of using my eye to make sure it looks good nice thing about doing your split screen this way is that you can actually highlight multiple clips so I can go in and highlight all of these and generally they're looking pretty good it kind of looks like it's all the same scene so that like I mentioned before is what we would call the color correction process and then making sure all of the clips match each other now we're going to go ahead and apply a look to all of these at the same time now you don't have to necessarily do it this way where you do them all at the same time you can individually apply looks to each clip and make sure that they all match together but this is one of the ways that I like to do it especially when I've got something that was kind of all shot at the same time on the same camera like this so what we're going to do is go down to our Clips here I'm going to click on any of them and then hit command a or control a if you're on a PC I can right click on any of them hit add into a new group I'm just going to call this all and then something will have changed up in the top right of our nodes panel here so under here we used to see clip and timeline now we're seeing group pre-clip clip group post clip and timeline so what we've got is the ability to make changes to all of the Clips in the group either before the color grading that we already did that would be group pre-clip or we can do it after all of the color grading that we already did so that would be group post clip so we're going to go into group post clip because we want to make all of these changes after our current changes that we've made I'm going to create three serial nodes the first one I'm going to hit Tab and call it look the second one I'm going to call Sharp and the third one I'm going to call film so first and foremost when I'm shooting with my fx3 in s-log 3 I know that it pulls down the sharpness as it's shooting so I like to add a little bit of sharpness in post so all we're going to do there is go to our sharp I'm going to go down to this tab here that they call blur I'm going to go over to sharpening which is this second one I'm going to pull my radius down I have a number that I like I go down to 47 and then I pull down my scaling to about 20. I'm going to go to a clip that has some detail in it here I'm going to disable and then re-enable so it just adds a little tiny bit of sharpness in there so then we're going to go back to our look node and what I actually want to do here is go into that split screen mode and I'm going to highlight all of them except for the double that's in there so that I can see all nine and I'm actually going to hide my Clips at this point too now as I make changes on all of these group post clip nodes I'm going to see it applied to everything so on this look node one thing that we can do is we can add a Lut if you've got some Luts that you like to use I have a Lut pack that I literally put out with this video so if you're interested in that it's now up on my website on my store so we can go to any of these and we can apply them just by double clicking so if we want to do calculator rabbit's nice it gives it a little bit more of a sunset Vibe whoopee really brings out the red in that orange sandpaper is a little more faded [Music] I think this grease is the one that I want so if we disable and enable that you can see what it's doing there but let's pretend first that you don't have any Luts so we're not going to use a Lut I'm going to show you what I would actually do to create a bit of a look here so I reset that node basically what I'm going to do here is I'm going to go into my curves and I'm going to start playing with these hsl curves so the first one here is called Hue versus Hue and what that does is it changes colors from their original color to other colors so for example I'm going to make little dots all across the color spectrum here and then if I were to let's say grab the red and drag it up it's going to turn it more purple if I drag it down it's going to turn anything that's more red into in this case green because I went so far so basically we can alter specific colors to look a little bit more like other colors so resetting that I'm going to put my Dots here so I have starting places I'm going to grab my yellow and make it a bit more orange by dragging it up there's not a whole lot of green in this scene I'm going to take my green and make it a bit warmer a bit more yellow and take this cyan and push it up a little bit take my blue and push it up a little bit more to cyan then this magenta I'm gonna bring down a little bit I don't think there's a whole lot of it in there but I have a tendency to like to make it a little bit more red so even just that if we're to disable and re-enable let's put away the Lut so we can zoom in a little bit here so disable re-enable that made a huge difference orangey red glow going on now then what I might also want to do is move over into my Hue versus saturation so now this is going to be picking specific colors and making them more or less saturated so in this specific case I want to bring out a lot of the kind of oranges and yellows but I want to kind of pull back on almost everything else so I'm going to take my blues and I'm going to pull them down I'm going to take my cyan and pull that down so you can see especially in my shirt there where the blue is in the shadow I can pull that down quite a bit and then it's not overpowering the sunset vibes really not a whole lot of that in there so I'm just going to pull that down just a little bit and then I'm going to leave in a lot of the yellow and orange here you can see what a huge difference that makes because our frame is made of mostly that yellow and orange and you can see that as I move up the yellow that curve is happening across where the Orange is and you can see this big spike there is because that's most of our scene so if we were to undo just the Hue versus saturation curve and then redo it the biggest difference is that it's pulled out the blue in my shirt there then we've got Hue versus luminance so now this is choosing specific colors and making them either brighter or darker again I'm going to start out by putting a bunch of dots on here what I like to do here is actually make my yellows a little bit brighter and my Reds a little bit darker leaving oranges kind of where they are since our scene is mostly made up of this kind of red orange and yellow what I want to do is add a little bit of contrast between those colors so by making all of the Reds a little bit darker and all the yellow is a little bit brighter we've got this kind of contrast between colors that are very close to each other on the color spectrum so I'm going to undo that and redo it just so we can see what the difference is it almost feels like it adds a little bit of depth to the shot because you're kind of creating layers of contrast between different colors we're going to go a little bit more subtle than that grab all of these again and I think that's looking pretty good for our look this is a nice kind of simple way to just use the three Hue saturation and luminance curves to kind of do a bit of a look it looks really nice and consistent across all of them which I really like so we've got our look we've got our sharpening and then on that last node there we're going to actually give it a film look and the way that I like to do this is by going to my effects and I have a plug-in called film convert this is the same people who made that Cinemax plug-in that I was talking about earlier there are like Luts and things out there that you can get that do kind of a film look but I found this to be the best way to get that film look I'm going to go back to our main clip to start with here and then what we want to do is we want to to go to film stock and we can choose any of these film stocks so basically what they've done is they've analyzed all of these different types of film to give you the looks from it so we can choose like a Fuji Eterna if we want but the one that I like to use is actually the 5207 the very first one uh or the second one but I think in this case the first one has got a bit of a warmer look to it and I quite like that now below that we've got our film chroma and film Luma film chroma is going to be our color so how much of the film color is going to be on top of our own colors that we already chose so if we go to zero on that slider we're not changing the colors at all if we go up to a hundred we're changing the colors all the way as much as the film would affect them in real life I like to do this at kind of like 50 percent because I already chose the colors that I like I do like adding a little bit of the film color in there too so it generally will kind of fade things out a little bit a little bit less saturation and then on the Luma we can choose as much or as little as we want I generally will leave that at a hundred percent and then kind of try and fix things going into it by using the exposure up here if we disable this you can see it's a little bit brighter before I enable the film so what I want to do is just bring back some of that brightness using the exposure and if you do it on the number rather than on the slider you can go a lot more fine-tuned so now when I disable that and enable it they're looking a lot more similar as far as the general brightness of the scene which I had already chosen what I wanted the other thing that I noticed is that it did cool it down just ever so slightly so what I want to do is add a little bit of that warmth back in by going to my temperature slider and just pushing it ever so slightly to the right and then also I just want to add just a hair of my saturation back so I'm going to push this up let's make this 111.1 just for luck or something and just double checking that with all of my Clips selected and in split screen mode looks pretty good nothing problematic that I can see at this point and then finally in this same plugin they give you the option to add film grain and I like to do this because it gives it a lot more of a film look now right under here they've got some presets so you've got 35 millimeter all the way down to eight millimeter 35 millimeter full frame is going to be the least grainy eight millimeter is going to be the most so you can barely see me anymore and it changes your green settings down below when you switch that preset so we're going to start with the 35 millimeter full frame and you can see grain strength here so right now we've got a hundred percent if we pull that back down to zero so now we're not doing any kind of grain grain size so as you increase the grain size it's more like you're going to an eight millimeter you can see eight millimeter automatically goes up to 100. I like this four like it does add a little tiny bit of grain in there but it still looks like it was shot on a full-frame camera so that would be like with no grain then there's with a hundred percent of that grain size four there's green saturation because sometimes it's kind of like a green and magenta look to it I actually like to pull my grain saturation all the way down I like having the Grain in there but I just want it to be just kind of black and white on top I just want it for a texture not to add any color to my picture and then you can crank up the image softness if you want to give it the vibe that you're like kind of vintage but I like to leave that all the way off because I went to a lot of trouble to make sure that I was all in focus and I even added some sharpening there it is important that I do my sharpening before my film grain because I want to sharpen the image but if I put it after the film grain it's going to be sharpening all those tiny little grains and that can get really intense really quickly so that's our film look the specific one adds a little bit of contrast just a little bit of a pop to everything in DaVinci Resolve actually does come with some film looks as Luts there is kind of a bit of a process to use them but they are there if you want to let me know if you want me to make a tutorial on how to use those in the future so let's get rid of the effects panel so we can just see our nodes and our group post clip and we're going to disable that and re-enable it so the look that we've done has added a lot more of that kind of glowy sunset Vibe it's added a little bit of sharpening and then it's added that film look to it and I think it makes a huge difference pop it into full screen here and then we can look at before and after our look so this includes the look the sharpening and the film grain so the final thing that you want to do once you've got kind of your look is to go back through each of the clips and just make sure it didn't cause any problems [Music] keeping an eye on your waveform keeping an eye on your vector scope if you want and just making sure that nothing stands out as problematic after your look I'm just going to kind of go through each of these clips here and disable the look and re-enable it so like this one that orange gets a little bit intense so what we're going to do is go back into our clip and I'm just going to go to that fourth node that we didn't use on any of them I'm going to go into my Hue versus saturation and I'm just going to pull down on that kind of Orange area here just a little bit so you can see that's before the change and then after the change I think that's a little bit more of a kind of nice subtle Golden Glow going to the second one going back to my group post clip [Music] foreign [Music] gets a little bit intense on this one too so maybe let's go back to our clip same thing Hue versus saturation I'm just going to pull down a little bit on my orange and yellow just a hair we look at our Vector scope here we'll see how far out that orange is going so that's before that little change that I made and then after so I'm just kind of reigning in that orange this one actually doesn't look too bad yeah I'm feeling good about that [Music] [Music] foreign so that is my color grading process for a short scene like this making sure that everything fits together and feels like one cohesive look but of course there are a million different ways that you can color gray there are so many different techniques and stuff out there I want to hear from you are there things that you saw here that you're going to be doing or maybe that you already do or are there things that you would like to do different because they work better in your workflow leave a comment down below and let me know and on your way down there make sure to hit that like And subscribe button hit the Bell notification so you don't miss out on future videos there's a link in the description to my new Lut pack if you want to check that out thank you so much for watching and I'll see you next time [Music] foreign [Music]

Channel: Dunna Did It

Views: 93,603

Keywords: photography, cinematography, learn cameras, learn photography, learn video, video tutorials, camera basics, dunna, dunna did it, color grade, davinci resolve, capture one, sony, dunna did it color grade

Id: joJ5_o278PU

Length: 44min 2sec (2642 seconds)

Published: Mon Aug 08 2022