How to color grade a TV commercial

[Music] what's going on guys this is Kazi welcome to another amazing tutorial this time I'm gonna talk about how to grade a TV commercial this is this is not a click bid okay I'm gonna take you through the email process how I've been approached and what happened step by step I'm gonna keep it very entertaining I'm gonna keep it all in bullet points so you get it and you understand what's happening so we're gonna talk about some soft skills then we're gonna get into the hard skills and I'm gonna show you exactly how I graded it the note tree and everything in between usually that's not something that you see on the internet for free this is insane and I'm so thankful for the client to letting me use this here because I get approvals to use stuff in a more private environment like my paid course my master class but this they were just so gracious and this is so great if you watch this and you love it then take this and ten exit that's what's in my master class you have two days left before the doors close and then it will just magically vanish you won't be able to sign up for the master class 23 hours of content 157 videos and the testimonial is out the wazoo people have taken this course it's changing their lives it's it's really really crazy and if he does take my 30 minute videos imagine what can happen if you watch something that I've created which is for start-to-finish and everything in between and turning you into a profitable filmmaker not just color is profitable filmmakers so check it out link is in the description and on that note if you're enjoying the content smash that like button break that like button subscribe to my channel for more awesomeness make sure to follow me on Instagram this is the quickest way to get a hold of me if you just want to talk to me ask me a question I will send a voice message back at 2 if you DM me on Instagram so on that note let's roll the intro let's start with the soft skills number one how did I get this job let's get into it now I'm gonna be reading through the email and you're gonna see it on your screen so check this out okay I get an email with the subject golf video need a grading quote alright so let's look at it hey there Kazi I found you on youtube today social media guys great content dude I almost dropped three hundred dollars on your training series instead I figured I would just save myself even more headache tonight and just ask you how much you would charge to create a video I'm working on I looked at the locked edit which is a picture lock basically it's ready to go sound design everything is good it just needs finishing he says it's black and white and I'm trying to get it to look like this Genesis commercial and totally missing the mark he's talking about one of the spots that I worked on for Genesis so this is the anthem video you can check it out the post village comm on my website but how freaking insane is that and then I give him my day rate and then look at what happens he comes back to me and he says god it thanks for cause a little out of my budget maybe next time okay so 99.9% of the people are just kind of like okay it is what it is lost a job moving on nope so I go let's talk what's your budget thank you for getting back to me this is an internal marketing video or company's reps being so clients budget is small we had estimated these shots to take about five to six hours blah blah blah then I asked him if he's local he says he is then he asked me hey how do I deliver this project to you and I tell him let's just meet face-to-face so at that point I know that the dude is just hooked and this is very important but you have to play your cards right you can't do it too much you can't do it too little it has to be the right balance and that's what you're seeing in this email exchange how I was picking up on that energy now look at this email so obviously the client is happy because the subject line is next project he says everyone loved the color work and the little touches of gold that you did they've asked me if I could do a same to that other 30-second spot now this is the TV spot that he's talking about so it started off as an internal gig that they were going to throw on their website branded content and then from branded content it converted into a freakin broadcast TV spot okay and then look at this weeks later I know you said you were slammed this week I have a new 30 that needs some color and this is why I titled this section one job to infinity because it's all about that once you get past that B s corporate like facade that people create you'd get to develop something that's way more than that and especially as a freelancer that's all you got like at the end of the day you have to be personable you have to be enjoyable to be around and when you do that just look at what happened within the matter of weeks went from a branded content to a commercial to another commercial we're calling each other buddies it's game over but now I'm this person's go-to guy now it's up to me if I can handle the bandwidth I'll take it if I have to pass it along to like one of my soldiers because you know I run a virtual studio then that's what's gonna happen and it all started with an email where he said I've discovered you on YouTube food for thought now let's just jump into the hard skills section and see how I approached it created my node tree how I went about it let's check it out all right so let's start off with one of the most exciting part of the jobs which camera was used so they used Alexa mini LF that was one of the main reasons why I took the job it's a large format camera bigger than 35 millimeter I think it's around 42 millimeter and look at the movies that are shot on it I mean do we even have to keep looking after we see 1917 and also the amount of times people ask me to do a look from Outlander they used the same camera it's the best camera I've ever worked with in my entire life period moving on all right so let's jump into the project and see what we got in this case this is gonna be a round trip since I picked up the physical hard drive and I'm working off of that and what I was hired to do was a 90 so we're gonna start off at the 90 and then the 30 is basically a lift from this 90 so once I grade this the 30 is pretty much already done with the few minor adjustments first thing that you always want to do is in this case it's already prepped conform ready to go so I don't even have to worry about it I'm just gonna get to work and I'm gonna start grading and few guys are fortunate enough and if you guys are at a senior colorist level 99% of the time that's what you're gonna be dealing with you're not gonna be prepping your own footage you're gonna have a online editor or you know assistant colorist like somebody that can prep it for you so just keep those things in mind I'm not gonna show you guys the whole thing it's a 90 second spot so I'm just gonna start it off we're gonna watch a little bit and then we're gonna jump right in and take you through how I went about creating this [Music] experience something a little different a little lighter a little smoother and a little easier the way it looks is phenomenal we have all the dynamic range in the world that we need so I'm gonna jump right into my color page and the first thing that I want to do is I'm gonna click on this lightbox tab and what that does is that it gives us a bird's eye view so we get to see what we got here what we're dealing with one thing that I would say a pro tip is click on this little guy this eye icon and it's gonna give you some very valuable detail and then if you double tap on this it can give you your clip names it can give you which version you're working on it can give you the codec that you're working with so I usually leave it at that and then depending on what I'm doing I will switch it up if I need to I'm gonna just zoom back a little bit so we can see everything in one place this is the entire spot 52 shots it's not a lot okay so this is a short form that's the beauty of working on short form you can really go ham with your node tree and like really get in there and you know and fine-tune the hell out of your images because the objective is to make it look like outside of this world something so beautiful so great that at the end of it you just want a freakin start playing golf even if you hate golf so now let's break it down by location slash scene so I can just look at it in this bird's-eye view that's why it's so helpful and I can see that hey shot 2 through 8 is scene 1 let's just call it scene 1 shot 10 through 26 is my second scene second location then 27 through 32 is another scene then 33 is its own thing its Sun is going down they're gonna go in have some dinner then 34 through 38 is another scene 39 through 41 product shots Beauty shots 42 43 one scene one location 44 a loner 45 46 is one shot 47 through 51 another shot now that we have our scenes broken down and we have a better idea what we're working with the next step is to come up with an approach how are you gonna attack it since this is a short form there's multiple ways you can attack this so I took the lazy route and graded shot by shot since there's not a lot of shots I'm used to grading five to eight hundred shots a day so this is not that bad the second approach my recommended approach would be how I broke down each scene for you you will group clip those scenes and then when you apply a grade it applies it do a whole batch and then you go in and make micro adjustments all right so now I'm gonna go ahead and pick a hero shot hero shot is basically a shot that represents your entire scene or your entire project so in this case we're selling golf clubs and this could not be a better representation of what we're working on plus the client asked to separate these colors pop them out and make everything else black and white so it'll be a good practice to start off with this one to see what's gonna happen and then that look DNA is gonna be translated throughout this entire piece so I'm gonna start off with that let's just close this out and I'm gonna bypass this bypasses this button right here bypass means like now we get to see like you know unfiltered basically a lock footage or raw footage whatever you're working with and I'm gonna pop open my node tree so I can start taking it through what's happening here and the choices that I made to come up with this specific node tree structure it's loosely based off of my signature node tree but obviously each project has its own requirements so then I build on that but as a good starting point my node tree will get me there 90 percent of the way the way I structured this tutorial is that I'm gonna take you through different environments and different shots and break them down and flip each node on and off and so you can see what's happening and I can sort of like narrate and explain to you how I built it and what was going through my head so I'm gonna go ahead and deselect all of these nodes first thing we want to do is we want to make it black and white there's so many different ways to do it the way that I found works best for me is this you go under RGB mixer you turn on monochrome so look at this okay if I turn this off and if I just uncheck this and like you know this goes back to default like nothing is applied to it and if I just turn on monochrome boom okay this is by far the best way to go about it then what I did is I went back one and then I started working on my primaries and we really pushed it I'm gonna bring up my scope so you can see what's happening everything is under control look at this nothing is popping out of this graph and they really really wanted that pushed look like that black and white James bond-like classy look that's really pushed but then still like we want to make sure that there's a nice roll-off on the highlights and shadows and all that good stuff so this if you just look at it if I display it through I'm gonna turn off the audio but if I play it through I mean we could have just turned it in like that and that could have been great I mean look at this like I mean if I do before-and-after how far we've come just with my primaries and then the next step was to take it a step further right and that's where I wanted to create a look DNA well how do you create a look DNA with black and white footage well just like how you would with color footage so you're gonna see what I'm doing here okay when I turn this on just notice the shift what's happening look at my scope right here and just look what happened how I separated these colors I pull my Reds down to add a little cyan in my shadows but then I balance I'm out so my black points are proper but then if you look at my lower meds we got that little flavor going on before it was just pure white nothing else boom we started creating or adding some personality into our image and you can see it here and just nudging it guys you never want to push your grades too much that's the reason why I love working with the panel over say working with the mouse because with the mouse you can just click here and just drag it like it's a video game or whatever have you but when you're working with a panel there's this gentle like little movements like it's just so organic and it's very important to getting that nuance getting that taste right and if you look at my lift its barely touched like it just says negative zero but it's just pulled down a bed to give me that little cyan that I was going for then I went into my gamma and I pulled it down a little bit too and that's where we get to see this action happening where my Saiyans are pushed in the lower mids and then my gain I just pushed it toward a little bit toward yellow and orange because I just kind of want to counter when I'm doing here so I'm kind of adding the cyan and then I'm adding orange and I'm kind of going in that world but just a hint so when I turn it off I'm gonna make it big and turn it on and off off on this just looks like you know ain't like somebody who just dropped a black and white on it and did a contrast cup you know and called it a day this gives it that elegance this gives it the look DNA I wanted to just make it something more than just a black and white monochrome grade then what I did is I went ahead and wanted to adjust my highlights because if you look at this shot even if I just go before and if you look at this shot it's controlled but at the same time we're working with objects that reflect a lot of light plus we got this window situation going on in the back dust just has floods and floods of light coming through the window so in order to in order to do some damage control on that I went ahead and created my highlights and it was pretty simple so look at this what I did okay and look what it did right here in the scopes boom brought everything back that's the beauty of working with Alexa meaning LF my god by this camera I love it so much look at how much we were able to pull back we brought back everything so the way I created this is simple I started with the qualifier and I'm gonna do shift H so you can see what I'm selecting so I started with my qualifier and special illuminance and luminance gives you the cleanest keys and I just went ahead and added really nice softness so I was pretty generous with my softness and I started pulling my lows up until to the point where I'm like okay I'm selecting all the problematic areas and then at that point I went in in the second tab in my color wheels and then under highlights I pulled it back to about negative 25 and that's what gave me like just look at this control all of a sudden like it went from a digital image to looking like film it has really nice shoulder and knee Roelofs then I went ahead in my look adjustment and this is basically my node that's gonna be used to do my balance for this entire commercial so this is the note that I used I copy pasted this entire grid over everything and then I would go into my look adjustment and I will balance out everything to make up for that difference then we went ahead and I created a vignette and this is basically a window I'm gonna turn it on and off it's a gradient window down here and what it's doing is it's just pulling everything down from here because I don't want the eyes to go here I want the eyes to be right here so I just pulled all that down and that was pulled down by using just my curves RGB curves and then I just pulled it down just a touch to take that edge off then I created another vignette and this time we just grabbed our clubs and then I pretty much pulled everything around it down quite a bit so you can see it in the scopes and then I went around and then popped did the reverse and just pop the image up a little bit and what I'm doing here is I am using my editable splines that's what I ended up using to kind of lift it and give it that life and pop then I went ahead and used light rays and I'm using it in a very specific way I'm gonna open up effects so you can see what's happening I set it to bright regions and then from a location and then especially the Ray drop-off I set it to bloom soft so basically what it's doing is it's just taking everything right here and blooming it a little bit it's just like giving it that nice like even in Joker if you saw the lights had a little bloom around them this effect can get you there it can create that really nice bloom like around anything that's up that threshold that I set up and then it's just gonna bloom afterwards so gives it a really nice feel and again takes that digital edge off the image this was the clients request they really wanted a sharp image not particularly how I got there but they just said that they wanted it to be like ultra sharp so the way I achieved that is by going into my mid-tone detail this is a great tool if you're coming from Photoshop and Lightroom you understand this tool you guys know how magical it can be it's a really smart tool unlike just regular sharpening like if you crank that up it looks like garbage but if you use this properly and when to use it it could be a game-changer and this one it was so I'm gonna turn it on I'm gonna get rid of this I'm gonna turn this on and I'm gonna pop in I'm gonna toggle on and off so you can see just look at the letters and just look at how much detail but look at the edge right here okay how much it's bringing back so that did the trick very nicely and was a superhit like they absolutely loved that and then this is a traditional sharpening that I use and I use that I always leave it on and then finally I added grain I'm gonna punch in a little bit so you guys can see it so this is on this is off this is on and I just didn't want to push it too much like if you look at it up here I don't want to push it too much because in commercials people freak out clients freak out when you make it look too crazy too risque they want to keep it somewhere in the natural world quote endquote so I just used a little to give it a flavor but not too much where they just go back it off or get rid of it completely and then I can show you what the settings were so I started with the 35 millimeter cranked up my grain strength a little bit and then brought down my texture just a tad and kept it right there and then finally I'm gonna show you what we did this is where we did our selections and we brought back the colors of the sticks and then also the gold in the logo I'm gonna show you in a second but this is why this node tree is structured the way it is because I wanted to do my balance before I pull my keys because once I have my proper balance then the black and white could be its own thing but then when I want to pull something like a color out of what the color was before anything was applied to it I can just reference this node how I am and by using the layer node I was able to get back in there and just pull the colors that I needed and then I adjusted it accordingly and in this case we're just using the blues so I picked out the blues adjusted my key and the color was so poppy to begin with that it was not bad to select that and then run with it so let's play it back and see how cool that looks so I mean we've come a long freaking way so that looked pretty good and then we I went ahead and pop the gold out how they wanted it but we had to do some tricks to get it in the ballpark so I started with my curves and in my curves I used hue versus luminance and I pulled everything down and what that does is it just gives it a little bit more richness it makes everything deep so that's what I did here and then obviously selected my key the same way I selected the blue and then what happened here is I had to go in and create these little windows so I ended up using curves and then I created a bunch of these that were very close to what I was doing because there was a lot of spillage happening so that was the only way to get the proper key it's not I didn't have a clean key but this just ensured that everything was perfect and then I went in here and tracked each window that I created here so you see that little symbol that means it's tracked and then I went ahead and tracked all of them and now if we just play it back so you can see how clean this is so started here ended up here tons of cool stuff happening bringing back those colors all that good stuff sharpening grain there's so many different factors going on pulling down like exposure down here these are the kind of creative choices that you start to make when you are experienced so you don't just get the job done you get the job done do its perfection and that's one shot breakdown let's go ahead and look at some other shots so I'm gonna go back into my light box mode I'm gonna get rid of this for one second and I want to show you I want to show you different shots so then you really get a better picture of like the whole get a sense of the entire thing let's look at this shot in particular I'm gonna go in here and turn everything off some bypassing actually let me just do that so everything is unchecked and basically so you you see exactly what I'm talking about I brought in the entire grade which is exactly the same as the other shot that you saw and then we just have a fewer nodes in this one because we don't have a yellow that we're pulling back we only are pulling back blue so I left that in there but let's just go ahead and see how this one worked out so started with the black and white so that's our first node where we do the conversion then I went back and gave it as much juice as possible I'm gonna right click I'm gonna bring back my scope so you guys can see what's happening everything is looking kosher everything is in the parameters we're not going out of our way to make it look papi this is just all contained and it's a mix of a bunch of different things I'm really really cranking this contrasts I mean look at it right here I'm cranking that contrast so when I crank this contrast it makes everything bird ark so then I used my gamma to lift it quite a bit but point zero seven is really high so then I pulled that up when I did that it had blown out my highlight so what I had to do is go into my gain and just dial that baby back like really dial that baby back to point seven seven to get into this world but like again if I were to just go before-and-after and submit this we're done like they would have been more than happy with this but you know that's not what I do so I went ahead and again applied the same look and this time I didn't even have to do anything it was already applied so all these nodes are just coming through from the other grade and then even the highlights are coming from the other grade I did not make any adjustments it's still set to the same thing and like I said the only thing that I was changing from shot to shot was the look adjustment really because that's where I was just making sure that everything is matching from one shot to another so if you look at this I brought it up and everything is in control like just look at how clean everything is and we're supposed to be with so much pop yet we're retaining all the information then I went ahead and created a vignette even the vignette is coming from the other shot just like how we had it so it's just covering the bottom so our focus could be his face and not like this white down here that we don't need to pay attention to then I create another one from the top and if I were to hit shift H you can see it's just a very subtle one and it's pretty it has a really good feathering on it so like it's just very very subtle but if we look at the result it does the trick like our eyes stay right here on him then I use the light rays the same way again did not make any changes kept it the same way and it's still doing the trick it's really nice like just blooming all these areas and then adding more emphasis and it opens everything up like if you just look at it here it just opens boom like look at this area right here and I'm gonna turn it on boom it opens it up so these nuance go a long way when you see the entire thing in action when you go from shot to shot and you honor not like toggle something on and off you know is it really doing something but when you watch the final product it makes a world of a difference then I went ahead in my mid detail again same thing it's coming from the other node these two nodes same thing they're coming from the other node so you saw most of the grade was a copy/paste and then look at justement is the one where I made some adjustments and then also these nodes where we're selecting keys those are also the ones that we have to adjust shot-by-shot but basically everything else really stayed the same for the most part so then here I went in and I popped the blue out so I just grabbed the blue and I popped the blue out and all I had to do for this one has just created a gradient and pull it through because this umbrella right here was picking up some blue so I didn't want thats are just like create a gradient which is very gentle and it just got rid of that so then we can only adjust or affect this club right here and that's what happened and guys just look at this right so I mean I'm gonna make it fullscreen and just like a look at on and off and if I play it through like the grade is clean like I mean it doesn't matter like I mean it just like this is before I'm gonna turn this off too after so that's how we attacked this particular shot let's go back into our lightbox and now I want to show you a different example let's look at this shot and I'm gonna turn this down and let's look at it so here's our shot again everything from the other shot came through and then we're gonna make changes here we're gonna make changes here we're gonna make changes to adjust everything down here and then I look at justments I start with a black and white then go to our exposure where most of the magic happens then I'm gonna go under my look same look highlights like really bring everything down then go under look adjustment pop it back up so it matches with the rest of the shots then we went and brought the bottom down to kind of create like almost like a 3d effect it just looks so cool and then added the bloom and that's what blends it in like if you look at right here it boom like it just takes the edge off and blends everything right in then we added our sharpening and you can just see a big difference here by using our mid-tone detail then we added traditional sharpening grain and it just really started to pop everything and then you went here we picked out the blue so the blue came back and then I went ahead and I picked out the gold and gold has been challenging throughout this piece so I really have to like pick out the gold create some windows and then track them individually but then once the work is done they look phenomenal and that's what happened here so I mean it looks really good and before and after so that's this shot now let's move along now I'm gonna go ahead and pick this particular shot this one was a lot of fun to work on and there are a few things that are going on here so these two nodes I did not end up using okay so I'm gonna put them to a side so I don't turn them on by mistake and then let's turn these off and now let's start going through what's happening here so I mean let's look at the shot really cool now let's start building it so I went ahead started with the black and white then I did my exposure and just look at the difference I mean boom right there just with this like it's crazy how much like when I say I do most of my heavy lifting in my exposure I'm not playing around or in my primaries I'm not playing around like I mean this is done submit it move on to the next project then I went ahead and created a look again that just came through from the other nodes highlights stayed the same look adjustment just to bring it up a little bit not too much then I added the light rays to give us that bloom back and everything and then I actually went ahead and added glow and that was really cool that was a really really good use of this effect because just look at how everything just became angelic and it has that nice feel compared to like dispute or pure black yet I'm still keeping my blacks really close to the bottom like where they're pure blacks but I just felt like it really did the trick and then I'm gonna turn on my finishing nodes and if we just look at it I mean but come on on and off so I was super super proud very happy how that turned out and the image again was so clean that I didn't even end up using noise reduction even for this one so I just kept it as is it looks so clean going back I want to talk about this particular one because that's different than our male clubs this is for female so we had an additional variable additional color and I can tell you how I attack that so majority of it stayed the same and then some differences let's just go through these because the rest stays the same so I don't even have to turn those on and off so this was like my initial grade that we created and let me just actually let me take everything off and play it through so you guys can see what we were working with and now let me turn this on and play it through so I mean super 3d looking really cool everything is in control if you look at the scopes I mean it's just really holding everything this one I ended up using noise reduction and that's why it's kind of taking its time because I really wanted to just clean it up before I add in grain and it it did that it just made it like so freakin nice and juicy I mean again guys on the product shot you're gonna take your time because that's the whole thing that's the bread and butter that's why you're hired on this job to like make that look good so then I started right here first of all popping my blues so my Blues came in there looking tight they were easy to work with I don't have to create any windows looks amazing moving on job well done blue so blue looked great then I went ahead and had to window out again my gold because it just wasn't having it it would always have like some spillage and to counter that you have to kind of control it by doing this and it's so clean I mean there's like there's no chatter or anything like that super super clean so that's how we pulled that out and then at the end is where I created another color selection to pull out this pink but this one was kind of tricky too so what I ended up doing is this I ended up creating these this one window which was this awkward looking window because I was getting a lot of spillage right here like I would get spillage right here so to get rid of that or GABA gets village right here from that pink so with this window would control that and then I went under my tracking and if you guys have used Grizzles tracking it's just a piece of cake so then I went ahead and tracked it and that just did the trick boom it just latched on so that's what happened on this particular shot at this point I was very confident I had a good grasp I'm I just know what's happening it's looking great um really freaking stoked I want to take you guys through this shot do it's a pretty specialty shot it's like really really cool and what I want to do is right now I'm in my bypass mode so I'm gonna turn these two off I'm gonna turn this one off too but then the rest is basically the same again like when something is shot really well you don't have to do much and in this case the way I had my no tree structure setup I was just adjusting my balance to just bring everything in the ballpark so it matches and then it was just down to certain nodes where we wanted to adjust the qualifiers or add another window or things like that so in this particular one again I have the bottom window that stayed the same but like really really effective in this shot if you look at it like boom like my eyes are just gone from here to here already and then here is where the magic happened like I created another window and in this case it's a circular window and it's a pretty large one with the really big feathering on a twenty three point zero eight feathering on it and that just brings everything back like look it's gone we lost all the information we brought it back we can even see the mountain now like the top of it everything came back and so this one was tracked and it just like latches on up top and it doesn't spill down on to our actors so everything worked out beautifully I pulled everything down how I usually do with my windows so I would go under my curves and I would just like drag them down around the middle most of the time and that did the trick here and then I went ahead and I just selected I selected this right here so we just brought this back so if I do before and after so we just brought that back a little guy right there and that's the noticeable one so I just brought that back and they were really happy with that so started here ended up here and then even like the glow works really well in this shot again just look at it okay keep an eye on that top of the mountain and like boom like how it just blends it in it just wraps the entire shot around even if you look at this to that like right here before after wraps it around so it's just a really nice effect on how I have it adjusted here it's one of the main ingredients of the look DNA in this particular project and then the rest stayed the same so here's before here's after I mean like just you know you feel like you're in a different world and then once you grade the entire thing this is a great view to kind of check out everything and see if you nailed it everything is in the right ballpark when I just started going from here to here I see that everything is in the same world everything belongs like it all works and nothing is blown out yet we pushed it as far as we could and I personally feel like Alexa Mini and laughs played a huge role in that there's one more shot that I want to take you guys through and there is a reason for it obviously same grid is applied just like the other one so I'm not gonna take you guys through that but you see something interesting right here and this note is called sunburn and I'm gonna turn it on and off.you you're gonna see what I'm talking about so look right here right here if I turn it on and off I'm gonna make it big screen so you can really see it and I'm gonna punch in on this so on off so this is how it was like if I just like undo everything you can see it and then this is after I fixed it and obviously it's I'm gonna tell you what I did so so what I used is in resolved open effects it's called patch replacer and then you have to mess around with some parameters to get it in the ballpark and this is what I had to do to get there and then on the left side I'm gonna turn on open effects overlay so we can see what's happening so this is what's going down I'm picking a spot and then I'm cloning it people who are coming from Photoshop know exactly what I'm talking about and then what's happening is that once I clone it then I went in here went right here to my effects select that to my effects and then track this effect so basically my pointer is sitting right on top of that burn and then result tracked it magically so that's what happened here and if you come out of this and turn it on and off like I'll play it through and then after I fixed it I'm gonna play it through and it's gone magic so that's one thing that I just wanted to share with you that things that you would have to do as a colorist so it doesn't hurt to learn a little bit more than just the realm of color grading and then one actually shot that I want to show you and that was a request afterwards when they got it they loved it they loved it so much that they asked if I can do this one thing and it was an unusual request but I was like why not so let's watch this shot it's pretty cool so before we had it it's black and white it's all great and then what happened is that they were just like hey this looks really cool but you know now we're kind of spoiled because you're just throwing all this cool like color pops in there can you do something with that so I went ahead and I try to pull this fire out and that was really cool so I'm gonna do a couple of things I'm gonna turn those highlights off I'm gonna go in here and what I ended up doing is I went in there and I selected that specific area and then I created a window so if there's any spillage we don't see it and then at that point if I just scroll forward and you see it created a really nice matte like look at how clean this is like this just looks way better than I expected and I push the blur radius and that was the sauce here okay really play with the blur radius if your keys are not giving you what you're looking for and then remember our highlights node that we created it's always been there and then that node was already there and look what it did it just brought back the juice because if I just go here pop up my scope so look at how everything is boom we lost all this information and the note that was already created has already been sitting there for this entire project look what it did so initially when I was working on the shot this note was already on so I just had to focus on this and boom once it was in the ballpark I was good to go and then one thing that I did here is I went into my log wheels and I just grabbed my highlights and I just gave it a little bit more juice I took it to word that fire color to like really really accentuate it even more and if we just watch it through it looks super super clean and it was one of their favorite shots I mean when they asked me for it I was kind of rolling my eyes I'm like man come on but then I did it and I'm like you know what it doesn't look bad it's actually pretty cool and there you have it let's check out the final version in full screen experience something a little different a little lighter a little smoother and a little easier this is sexy Oh our lightweight golf clubs are exclusively for moderate swing street golfers you can sense this lightness the moment you hold the sexy Oh club in your hands and that lightweight design helps you swing faster for more distance these clubs are a breeze to swing with counterbalance shafts that actively help you strike it pure and solid yet easier is more than a philosophy because easier golf means more golf with far less strain on your body so you can play more rounds more often four full lines of woods and irons guaranteed you'll find the right set for your game with lightweight feel in a class all its own and redesigned with a bold new look this is the pure lightweight easy feeling objects him experience the difference I hope you guys loved it as much as I had fun putting this together this is completely different than what we've put out on this channel let me know if this is something that you want to see regularly drop a comment below and guys two days left to sign up for the master class again if you thought this was cool in my master class I have real-world projects that I got approval on and you get to download those as course materials and then you follow along and these are all infinity one drop to infinity clients okay so you guys two days left link in the description check it out or there's a video on the home page that will tell you a little bit more about the master class I want to see you guys inside the course and on that note hit a thumbs up subscribe to my channel for more awesomeness share this with friends I will see you in the next video [Music]

Channel: Waqas Qazi

Views: 35,590

Keywords: davinci resolve 16, resolve 16, davinci 16, davinci resolve, davinci, davinci resolve 16 tutorial, davinci tutorial, color correction tutorial, resolve color grading, color correction davinci, color grading davinci resolve, colorist, color grade davinci resolve, color grading tutorial, davinci color grading basics, theqazman, davinci resolve tutorial, davinci resolve color grading, color grading, how to color grade, how to grade a tv commercial, blackmagic design, waqas qazi

Id: ChwcxAz49qY

Length: 44min 48sec (2688 seconds)

Published: Tue Feb 11 2020