How to Color Grade like Once Upon a Time in Hollywood | DaVinci Resolve 16 Tutorial

[Music] [Music] what's up guys this is Kazi welcome to another amazing tutorial this one it kind of upsets me a little bit and makes me want to hate turn T no because we're gonna be creating a look from once upon a time in Hollywood and we're gonna be breaking some rules let's look at the tech specs so you can see what I'm talking about so this film is actually shot with film cameras specifically with re flex for 35 and Panavision millenium XL 2 and the negative that they use for their present time in the movie were two different stocks so Kodak version 3 200 T 52 13 and version 3 500 T 52:19 and the shot that we're working on is using the 52:19 I know I know you don't have to say it look at this I just dropped a freaking March and now I gotta do this that's why I said I hate turn T no the thing is when you're creating a look the reason why I say you have to spend a lot of time doing your research and figuring out how it was done is because if I create this look without using the film emulation LUT we're gonna be missing that DNA we're gonna be missing that mark and it's just not gonna be right so you have to stay true to really get the essence down and we're just gonna have to do it guys if you wanna take your color grading game to the next level make sure to check the link in the description below one hour long training that's gonna take you from not knowing anything about resolve all the way to grading your first professional gig and guys if you want to see more content like this then make sure to smash that like button subscribe to my channel for more awesomeness follow me on Instagram I post there every single day let's roll the intro all right so we already saw in the technical specs that there's some really exciting things that are going on and the techniques that I'm gonna be using in this one is very very different than the tutorials that you have seen in this series so first off let's start off with our color palette so I'm gonna type in PAL and then I'm gonna drop in my color palette from the effects and then let's make it big so we can analyze what's really happening in this shot and majority of the shot is sitting in this mid deep Browns like we can see it right here and even our highlights are more off-white than pure whites and we can see that here so just remember this is what's giving us the vintage feel this is the essence of the 52:19 vision three Kodak negative that they're using and that's the signature look of the film emulation used on this but the real sauce here is how much saturation we see in the skin tones and if you recall anything from this era 80s 70s like if you remember the movies from that time period there is tons and tons of saturation in the image they successfully were able to recreate that now let me bring in my scopes and let's see the color story through our scopes so let me just break it down the essence of this particular film emulation and it's this look at the lifted Reds on the top and look at the lifted Reds on the bottom it's almost like a staircase right going that way and just look at the saturation in his skin how far it's going I mean this is freaking pushed so one of the things that you have to keep in mind is having an image that's more than 8-bit maybe 10 bit and on could be very beneficial to recreate something like that when we look at the crushed blacks that's what was going on back in the day the contrasts were really really pushed and they're doing that here like if you just look at the bottom I mean they're touching zero you can see that here on the histogram too so that's about it let's get into our shot and let me show you what we're working and how it's different in its DNA the way it was shot compared to what we have here so first of all when you look at this image there's way too much light on them almost like a spotlight on them and then the rest of the image and that's not what's happening here this image is pretty evenly lit I mean I would go as far as saying this is the brightest part of this image so it's not even him but what separates him from that is the contrast that they're creating through the light and also the saturation that we see in his skin tone and you know the focus is on him not on here like we got shallowed up the field going on but here there's gonna be some jiggery-pokery we have to do to get in the ballpark since they are just sitting like pretty hot it's gonna be challenging to get their skins in the right ballpark because it's just not shot alike at all all right let's jump right in so I'm gonna start off with my signature node tree but we're gonna be switching it up a little bit okay so the first one is noise reduction let's leave it at that the second one is going to be my primaries and that's where I'm just gonna do pure exposure and then the third one that's where we're gonna introduce the LUT yes I know you're probably thinking what the hell man your shtick is know lots given this one that's why I always tell you I spend more time reading the tech specs than actually the re-creation of the look and because you can find some vital vital information and you're gonna see without this LUT it will always be missing the mark so we're gonna be using a 52:19 vision 3 LUT by impulse they sell packs and obviously they're not sponsoring the video whatever I just happen to be using their products for a while and let's just leave that and go back here then what we're gonna be doing is this is gonna become part of our look node trees so I'm gonna go ahead create a parallel node this is where I'm gonna select my skin tones and if I were to do this step after the LUT it's gonna be crummy it's gonna be really hard to pull clean key so that's why I'm doing it as a parallel node to my lot just an FYI this is a pro tip then we're gonna go ahead create another one and this one I'm gonna select my tablecloth and try to match it to what's going on here then we're gonna go ahead and this is where we're gonna add our saturation to the image then I'm gonna go ahead and add fine-tune our contrast to dial everything in this is gonna be my look adjustment and down here is gonna be my vignette then we're gonna have our global adjustment where we're gonna find tune the entire image and we're gonna add our sharpening and we're gonna have our grain so let's go ahead and I'm gonna sort of naming him noise reduction exposure LUT skin table set fine-tune exposure look adjustment vignette global adjustment sharpen we have grain alright time to get started I'm gonna go click right here into my split screen mode and I'm gonna select selected still images and the image I've selected is obviously from once upon a time in Hollywood one thing that I want to do before I actually get into that is go under timeline output blanking and I want to set it to 239 because that's what's being used here right so that just it's not for the cinematic reasons or anything it's just staying true to what we're trying to create so we don't get distracted ok that's that let's go back into our split screen view and let me pull up my scopes I'm gonna bring them down here and let's start dialing in our contrast I'm gonna start with the contrast and then use my primaries and go from there something like that for now you know what I want to do is push everything to the side like that maybe something like that so at least we can see all our nodes and then I want to make this bigger so we can see a little bit better all right so now I want to take my gain I want to pull it down and let's just keep an eye on the scopes - right so we're trying to stay in the same world so just focusing on that I'm gonna keep it somewhere around here for now that's fine actually I'm even gonna bring it down and then I'm gonna raise my gamma because if you see there's a lot of detail in the mid-tone so I'm gonna bring that up because I'm trying to make it less spotty how it was shot so we're trying to fiddle with that to change the nature of the way it was actually lit I'm gonna take my left I'm gonna bring it down just a little bit not too much I'm gonna raise my I'm gonna keep my gamma around here somewhere I'm gonna keep my left there raise my gain it's a little bit more keep it somewhere around here for now that's okay now let's move on to our LUT and I'm gonna go under my lots I'm going under impulse that's the LUT that I'm using then I'm going under rec.709 because I've already adjusted my image so I'm using a lot not for log but rec 79 where it's already been worked on and in the ballpark and then I'm gonna go ahead and I'm gonna select their vision 3 500 T 52:19 negative that's the one I'm gonna select from Kodak I'm gonna apply it and you might go well that's not changing much but you're about to see once I start injecting saturation into my image how much it's actually doing so what I'm gonna do is I'm gonna come back to these two nodes let's move on to our saturation start cranking our saturation and like really I'm going to jack it up I'm gonna go like as far as like 95 ish then what I'm gonna do is I'm gonna go into my fine-tuned exposure and what I want to do is I want to bring my black stone ok I'm focusing right here right now so I'm gonna bring like you see my scopes I want to bring my blacks down to kind of match what's happening here and image so I'm gonna go under my log I'm gonna take my lower range I'm gonna bring it down I'm gonna keep it around 20 and then I'm gonna go down like I'm gonna pull it down quite a bit raise it a little bit and now one thing that's happening is that I have to balance my image a little bit to get even closer because there's just a bit too much red right now and don't worry about it we're gonna get there we're gonna fix everything so let's make some adjustments I'm gonna go ahead I'm gonna start with my left I'm gonna pull it down a little bit just to make even the blacks are looking here which are pretty neutral so I'm gonna keep it somewhere around here and then what I want to do is I want to go into my gain and I want to take it a little bit towards that warm tones just a little bit not too much then I want to take my gamma and I want to pull it down a little bit not too much again I want to pull it I'm gonna put it somewhere around here and if we see it like just as a DNA like we see that something is happening we're getting somewhere in the ballpark one thing that I do want to keep in mind is look at what's happening in the once-upon-a-time image our reds greens blues whereas my greens are higher than my red so let's fix that so I'm gonna do somewhat like this then I'm gonna and I just use my gain now I'm gonna go to my gamma and I'm gonna counter that so bring it somewhere around here then I'm gonna go back to my lift and adjust it just a tiny bit then I want to go back to my fine-tune exposure I want to go into my log and I want to pull it down even more just a little bit and now if I look at my black points right here they're very close to my black points right here okay so this is looking really freaking good there's ways ways to go to get in the ballpark but let me just go in the luck node turn it on and off and show you what I mean what this LUT is really doing for us so like this is without the LUT this is with the LUT and you see how these colors that are coming in that's exactly what's happening just look at the wood panelling there to hear how we're getting in that ballpark you cannot do that and even like look at his jacket and look at their jackets like we're in that ballpark getting those deep pure neutral blacks that look so nice and give it like a film touch so it's happening now and that character is near impossible to create without using film emulation that's why it's very important to look at the tech specs to see what kind of look you're creating and how can you successfully achieve that now I'm going into my skin and this is where majority of the magic is gonna happen so let's go ahead and select it it's doing a really really good job it's so clean and then what I want to do is move it around and see how I can just more of it I don't want to grab his jacket though and then I want to go into my feather and then just take it and go over this area right here and that's okay if we grab a little bit of the hair and stuff that's totally totally totally fine then I want to give it blur always just blur the hell out of it like you will never regret it okay if you want cleaner keys always use blur and just remember we're using a parallel node we're not using a layer mixer because layer mixer is gonna give away the magic here we're gonna use parallel notes everything blends in I'm gonna make this bigger so you guys can see what's happening I'm gonna start off with my gamma right here I'm really gonna frickin push it to get in that world okay so just watch this okay so I mean we really really really freaking pushed it now one thing that I'm gonna do is I'm gonna go under my gain and I'm gonna pull it down a little bit I like to take the edge off I'm gonna take my gamma do the same thing then I'm gonna take my lift and do the same thing just pull it down a little bit to create that contrast take my lift raise it a little bit okay another area that I do want to grab is her lips because I think that's kind of important so I'm gonna go back there I'm gonna punch in and I'm going to select my qualifier and I'm gonna try it let's see okay okay this is way better now let's do pull these two next to each other make it bigger now let's add a little bit more magenta into it so I'm gonna go into my gamma and just kind of slide it up not too much though okay let's park it somewhere around here let's go ahead work on our table and then we're gonna fine tune their skin a little bit more but I mean if I go to their skin and turn it on and off you see what's happening and that's after the challenge that we were dealing with like how there's flooded with light there's so much light on them so it's it makes them desaturate it and to pull color out and then take it in this world there's too many different variables that we're dealing with but I think we are getting really freakin close without making it look too cheap or weird I mean we're just like we're in that world we're in that ballpark so I'm gonna go into my table that's up to you what you want to do with it but obviously we're trying to create that look so we're gonna get as close as possible but you absolutely can leave it there and it looks nice and has this warmth and inviting feeling so you can really leave it there but if you want to push it let's do it so gonna do is I'm gonna use my luminance luminance gives you the cleanest key so always remember that I'm gonna hit shift H so we can just focus on what we're grabbing and I'm gonna come right here then what I want to do is I only want to grab this I don't want to grab their skin so there's two things that we can do I'm gonna take my saturation and I'm gonna start bringing it back until I start getting rid of their face and only focus on right here at the table so that's one and now we can give it some blur another thing that we're gonna do to tackle this is we're only gonna use in our log wheels our highlights so then that way it's not gonna go there anyways because we're doing a very control fine-tune adjustment so I'm gonna go ahead do that I'm gonna go into my log wheels in my highlights and then I'm gonna start now we have two choices right to make where do we want to take this table do we want to make it look like this we want to make it look like that super clean so let me just go and make it look clean honestly I like that because I feel like the scene is just so warm to begin with that to create a color contrast is not a bad thing let's try to fix our key so I'm jumping back and forth but this is how you're gonna be detecting problems and fixing them so I'm gonna go in and I'm gonna try to fix what's happening the chatter that's happening with our key here so let's clean it up let's see okay dad way way way better it took care of all of that it literally took care of all of that so that's great now let's go back and yes so if you see how much we change but then his shirt we're not changing it too much we're cleaning it up it's almost like a clean white we cleaned up his shirt and separated it from the background but let's just say if you're saying this is good but I don't want to affect his shirt at all then in that case you're gonna create a window you're gonna put it right here and something like that you're gonna blend it in a little bit and then you're gonna go ahead and you're gonna track it so track forward track backward and that's gonna take care of that but once again like I said I am NOT a huge fan of this because that just creates more work for you if that's just few shots and it doesn't matter you can do it absolutely go ahead do it I liked how it cleaned up his shirt but if you want different variations just to keep it really cool like how they're doing it like they could have just made this table the same as that but they're just adding more character so if you're going for that let's leave it in so now we got our shirt one color our table another color and we're just trying to create a really nice interesting image by creating all this contrast to be honest with you I don't think we're gonna be needing a vignette because our guys are already popping out so much from the background so I'm gonna leave this node as is I'm gonna go into my global adjustment and what I'm gonna do is I wanna just get some of the sting out so I'm gonna do that by taking my gain and pulling it down not too much just a little bit some that and then let's see what else do we have to do to like really really get in the ballpark so let me take my gamma and bring it down a little bit I'm bringing my gain down I think we're good on saturation to be honest in the skin because that's this image and then thats our image we're right there and then Leo is more tan than them so also remember that like I mean make the changes as much as you can until it's realistic like as soon as you start compromising your image and it starts going somewhere else completely that's where you gotta hit the brakes so I'm gonna raise my gamma and then I'm gonna pull my gain down okay let's see let's put these two next to each other and then one thing that I do want to do is I'm gonna go into my log I'm gonna raise my Reds so let's make this bigger I'm gonna undo it and then see what it's doing I actually really like what it's doing because now if we see it's very close to what's happening in this image I mean just look at the Reds look at the Greens look at the blues look at my Reds my greens my blues okay all right let me go on under here and do one more thing so I'm gonna go under my RGB curves I'm gonna select this and I'm gonna grab it from the middle and I'm gonna pull this down don't freak out we're gonna be fine because what I'm gonna do is I'm gonna go under my game I'm gonna reset that and then I'm gonna go back in my curves and I'm gonna pull it down even more now I'm gonna go into my log wheels and grab my highlights and pull it down a little bit okay so you see what it did like it's a different technique but a very important one because it just saturated the image so much more yet put us in this world way more so now what I want to do is go back to our skin revisit it a little bit and I want to go in here I want to take my gamma and take it a bit more on the orange side like something like that I mean look at this right this is right here that image to the right side this is us just look at how we're in the same freaking world we took the table we took it in this world like right here in that world if it's too blue for you we can go back in there go into my log and add a little bit more green like if exaggerated to how what we see in the back like right there we can do that too well well you got a look at is the top so now I'm looking at the top and it's like that's what what what I got going on this is before this is after so we created that separation one thing that I noticed like all this noise you know how I feel about noise I mean the gunk is the worst thing in the world so I'm gonna go in here I'm gonna go right there three keep it around four point eight ish I'm gonna type it in four point eight I'm gonna uncheck this link and then let's just affect the chroma values only we're gonna keep it around six point eight and that cleans it up you can see it right here and even if I move it like that is gone but the biggest inherent difference between these two shots is how sharp this is compared to my shot and to bring that sharpness obviously in our sharpening we're gonna go right here and we're gonna pull it down to forty seven ish and now for my favorite thing so we're gonna go into our effects and obviously when you're creating a film emulation it will never be complete unless you have a foam grain so let's try thirty five 400 T since 52:19 vision three by Kodak is a thirty five millimeter negative and I'm gonna go in and I'm gonna raise that up quite a bit my strength and I'm gonna bring this down to around seven somewhere around here I think we're there and I think it looks pretty freakin phenomenal even if we put it next to each other and you just look at it and now let's turn off all my nodes and then I'm gonna go one by one and see where we started where we ended up I'm gonna move this over a little bit bring it right here move it over even more bring it right here make this bigger and let's start with our exposure that was the first thing that I did then I moved on and dropped in my lot didn't look like it was doing much when we dropped it in I went ahead and moved on to my saturation and that's where my node tree got modified and then what's been done in the past and I had a saturation we cranked it quite a bit then I did fine-tune exposure adjustments to like really get in this world that we see here but there was a missing piece which was the look adjustment so we had to balance our image first and then that did that just got everything somewhat similar in this world and then the biggest differentiator in this one the actual sauce what this was the skin tones and we had to push it do an uncomfortable level like if you don't have a reference like this that's why showing you these looks is so important is because it gives you the permission if you don't have this image and if you're creating your own image you will never push it this far but like once you have an actual image to go back to then it's easy because you know that it's gonna look this good at the end then we went ahead and we worked on our table and give it this nice cool feel to just separate it from our overall image because there are so many warm tones happening to have some separation is really nice then we went ahead and we didn't do anything to our vignette because obviously there's tons and tons of that's happening already in our image then I went ahead and did some global adjustment and look at the difference okay look at the skins how they're just looking flat and how his skin is so saturated and blending into the shot and by doing that we were able to take everything into this world I mean it makes all the difference in the world and then we went ahead added sharpening and then I added noise reduction because there was a lot of gunk that was happening here and finally we added the grain to finish it off let's check out our final look in full screen I hope you guys had a blast and told you before we even got into creating this look that there's gonna be some jiggery-pokery I even had to break some rules I mean using a lot are you freaking kidding look at this so but we just have to stay true so I had to do it drop a comment below let me know which look should I do next it a thumbs up if you want to see more content like this guys really really smash that like button subscribe to my channel share this with friends and make sure to check out the link in the description for the free training I will see you guys in the next video [Music]

Channel: Waqas Qazi

Views: 43,627

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, once upon a time in hollywood color grading, blackmagic design

Id: YvtQLrl5S78

Length: 29min 22sec (1762 seconds)

Published: Wed Jan 29 2020