How to Color Grade like Star Wars: The Rise of Skywalker | DaVinci Resolve 16 Tutorial

>> QAZI: Guys this is Qazi Welcome to another epic tutorial. Star Wars the rise of Skywalker. Before we jump right in let's look at some cool facts behind the color grading on this film. It's a shot by Arriflex and Panavision cameras greeted by the one and only company 3 and specifically by Stefen. He's the founder and president of company 3. You guys should definitely check him out his looks are by far the hardest to recreate. I personally think he's one of the best colorist in the world. And the negatives are used with the usual suspects 5203 5207 5219 guys if you want to take a cut of getting him to the next next level make sure to check the link in the description below. One hour of intense color grading training that takes you from not knowing anything about resolve all the way to grading your first professional gig hit a thumbs up. Subscribe to my channel for more awesomeness. Make sure to follow me on Instagram I post there every single day. Let's roll the intro. Right now before we get going. I want to give a shout out to filmpac. That's where the footage came from and I highly recommend you to check them out if we're gonna be working on professional gigs. You're working with different cameras different locations and this is going to give you the opportunity to get comfortable before you jump in to the real world projects. All right let's get back to the tutorial. All right before we start grading let's analyze this image. Break it down deconstruct it and let me tell you what's really happening in this frame. Before I even get to my scopes I'm going to drop in my color palette a fact on our first note and just let's read the scopes. Let's see what's happening. So the first thing we notice is that the color scheme that got going on is very analogous like pretty much everything is happening right here. OK. Just look at it. So we got nothing even goes into our reds like I mean it just stares right here. And then we got some green obviously again like around here. And if we look at our white they're more like off white they never get pure white. And we can see that here. So that's the color story. Let's leave that on and now look at the scopes and analyze what's happening. Look at where the Greens are. And that's what's creating that sky. And then the Reds are sitting underneath the Greens and then the blues. If you look at the contrast it's not really pushed. Okay. That's why look at the Reds and the Greens in the shadows where they're sitting. It's because it's not highly contrasted shot and just even if you look at the vector scope and see how warm the whole thing is. I mean if I were to quote unquote white balance it I can grab this and drop it right here and look at how everything is like now. Oh great. It's white balance. But look at this image compared to what we had before. I mean these are the things that you got to think about. OK. Like this is the look that they're creating. They don't care if it falls under the caution category which you know the color grading one on one that your black points should be neutral. Your highlights should be neutral. They're breaking the rules. Obviously you want to learn the rules before you break them. But this is just to give you an idea what goes down when you're talking about Hollywood movies. Now that we have a color story right. Let's just jump right in and I can tell you right now the frame that I'm working with is not going to be easy to get in that world. OK. So I'm going to go into my gallery. I'm going to select my image and then I'm going to do this and choose selected still images. Now we can see them back to back and just look at how different these two shots are. There are nothing alike. Yes it's in the desert. And that's the only common denominator because once I started grading you will see exactly what I'm talking about. So we're gonna have to approach it in a unique way. I'm not going to be using my signature. No tree because I'm going to break each element down into its own nodes. So it makes much more sense. But when you translate this into your own workflow you can go ahead and mix the notes and follow my signature no tree structure that I've shown in the previous videos that said First no it is going to be our noise reduction so we can leave it there. Second node right here is where I'm going to do my exposure. Third is gonna be my balance. This is where I'm going to start creating looks. Start with these four so noise reduction and then this is my exposure. Balance look and let's just go to my exposure and start giving it a contrast and dilate in again it's not really heavy I'm just looking at the here where the hairs sit and I'm going to live in that world to I don't want to push it too much so somewhere around here for now. Okay all right. So what I'm gonna do in our balance is give it some saturation first. So we're gonna crank it somewhere around seventy six ish somewhere around here. Now we want to pull all this blew out. There's way too much blue and the best way to do that in this case will be with my gamma. So I'm just gonna go in the opposite direction of that blue try to pull some of that blue out and even that is looking pretty good. Now I'm gonna go into my left I'm going to bring some of that undertone cream that we're seeing here then I'm gonna take my game try to put some blue out even more I'm gonna go in my gas mine see what else we can do. Left somewhere around here for now. Now let's go into our look and try to grab the yellow which is the sand to give it the right color. So I'm gonna go ahead and I'm gonna go under color presets. Yellow. Let's see if it does the trick. So it's grabbing pretty much all the yellow that I need. So it is doing that which is great. Now I'm gonna go back in here. I'm going to use my gamma and gain simultaneously to dial that color in. So let's go now. I'm not worried about her face because we're gonna mask it out. One thing that I can show you to get this deep seeing that they got going on here because we don't have that happening here. I'm gonna give it some contrast and just watch this a little bit of contrast and then I'm going to use my pivot and pull it down see it's putting us in that ballpark. OK. Now what I'm going to do is I'm just going to dial back all my colors a little bit because I can see that there is more green here than the red that I got going on in there. So even something like that. And then another good practice to like really dial it in is this. Like look at how far off we are. Here it was looking fine and then you look at it here and you're like What. So somewhere around here and then let's pull some saturation out and I'm going to use my gamma and just pull it down a little bit somewhere around here and then I'm going to take my gamma and just add more green so I mean this is where we started. This is where we end up when you pull back and you look at it there is a little bit more magenta happening here so let's just add some of that back in right even something like that. Now what we're gonna do is we're just gonna go ahead. I'm gonna make this smaller. We're gonna go ahead and we're gonna just key out her face and then we're gonna track it. So I'm gonna go to my first shot. I'm gonna go in here create a window make sure we select window here and what I wanna do is I wanna say hey affect everything but the skin. And now I'm going to go in and I'm gonna keep it pretty tight on her something like that. Give it a little bit of softness. Something like that and then let's go ahead and track it subtract forward. Pretty simple. And now if we pull this back in and we look at what we created. So one element down. Right. I mean this is looking really good and it's super clean so it's doing its job. This time we're gonna create a parallel No not layer parallel because parallel nodes are perfect for blending in and layer mixer is used for isolating. So in this particular situation I want to blend everything in. So I'm going to create a parallel node go here and now what we want to do is we're going to pick her skin and the way we're gonna do that is again we're gonna go to color presets red and it does a really good job. It just picks her skin and that's exactly what we need. And now what I want to do is start getting in this world. So first things first Let's pull some saturation out and and go back pull some saturation out. So then what I'm gonna do is I'm going to go under my hue versus hue. I'm just gonna pick my yellow and I want to take it into this world which now we're doing. And then I'm gonna take my red and I'm going to try to do the same thing but not too much. Then I'm going to go under my hue vs. saturation and I'm going to pull it down. Just take the sting out from the yellow and from the red. Now what I want to do is I want to go into my primaries and when I left my gamma level I just give her a little bit more love. So this is before this is after even if you look at the lips. It's looking really good. Now let's create another parallel node and this time we're gonna try to pick out the sky and get it in this world and the best way to do that is using qualifier. We're going to start with luminous I'm going to add some softness Like around four point four ish. I'm going to turn on my highlights right here and let's go it's going to be something like that. Then what I'm gonna do is I don't want to affect this area right here OK. Everything else is gonna be fine. So this is what we're gonna do. We're gonna create a window like that and I'm gonna leave it something like this and even if we move the frame it looks fine. But what I want to do is I don't want to affect this area right here because it's gonna get blown out. So in order to control that I'm going to go in here I'm going to mask it out mask it out just like that I'm going to give it some softness. Nothing too crazy. Something like that and now I'm gonna say Hey exclude this and then effect everything else so we can see that we need to make it a little bit bigger so it really captures the whole thing going to move it up a little bit. So I think that's good enough for now. And then let's track it all right. So now the tracking is done. Now we can turn this off. Go back to our image and now we can just get to work. I'm going to make a full screen and now basically we need to do a ton of things. So first things first let's raise our highlights. Somewhere around here. Now let's start getting in that ballpark. I'm going to use my gain I'm going to use my gamma and then I'm going to pull saturation out and then I'm going to keep using these to keep dialing it in and keep pulling saturation out and then keep going. In that world and then raising my left even more and again just keep going in that world so if I turn this on and off you can see how much work we were able to do here so a couple more things that I want to try. I'm gonna go into my log and I'm gonna raise my highlights. Park them somewhere on here. OK. One thing straight off the bat that I see is that now our window is not blending in I guess kind of sticking out. So let's blend it in. I'm gonna go in here I'm going to raise my softness and then I'm just gonna move that there and see how that is so that's looking better. I'm going to leave that there. And let's try a couple of more things and then I think I'm not going to obsess over it more than that is it. So let's go into our highlights raise them a little bit. That's good. And now what I want to do is I'm raising my highlights a little bit and I'm just kind of keeping my eye on here for this area in seeing if you're getting any closer. You know I'm still not happy with this one. So we gotta definitely do something about that. Let's see so now if we go into our look adjustment and I'm just going to play with saturation I'm going to bring it down bring it back up a little bit. I'm going to go into my offset and move the wheel around a little bit to see if there is a spot that fits better to what I got going on. You know what I actually don't mind this only thing that I'm not liking is the skin so I'm going to go under my skin and I'm gonna try to match it better and give it a little bit more juice something like that. I'm going to try to give her a little bit more love in her skin all right. So let's pull some saturation out let's go into my log and I'm going to try to get that in the same ballpark try to pull more saturation out keep it somewhere around here. Let's do this actually you know what. Let's give it a little bit more saturation. Bring that back somewhere around here and then OK so this is looking good. All right. Before and After. I think I'm calling it. I mean just look at this I think to me we've done it. So I'm gonna go ahead here and let me just look at one more thing I'm going to make this bigger and analyze Yeah. I don't think they have any vignettes going on so I'm not going to worry about it. Let's call it. So this is gonna be sharpening. We're just gonna go ahead and bring it down to forty seven. There's gonna be global adjustments I'm going to leave it as is. I'm going to go in here. I'm going to drop in my grain and grab that puppy and go to thirty five four hundred actually twenty five four hundred and then let's go into our strength and crank it until we see it and let's name sharpen global adjustment and grain. Now what I want to do is turn all of these off go back to our image and go one by one and see how far we've come. So first note we just did our exposure. Second we balance some stuff out. We added more saturation. That helped us with our qualifiers then we went ahead and pulled out our ground got it into somewhat of that ballpark. Then I went into her skin and just try to balance it out and got it in this world. Lastly that's what brought everything together we went into our sky and we try to match it as close as possible to what we have going on here. Then this is our look at adjustments so I'm gonna go ahead and call it that and then let's turn it on and see and look adjustment did quite a bit I mean it just added that green back in there and I feel like even if you look at the sky and everything it just like stylized it and this is a very very stylized. Now if this is not your cup of tea and you think man there's a bit more green in the shadows you can pull it out but I promise you if you look at this there's a lot of green happening here. So I'm totally fine with it. I'm leaving it in and then I did go back into her skin and then balanced it out and then we added sharpening. Finally we added a green to bring it all home. And if I turn it just go back and forth. You can just look at like where we started to where we ended up and let's look at this in full screen you guys had a blast drop a comment below let me know which movie should I be next comes up subscribe to my channel for more awesomeness share this with friends and remember work hard get obsessed get possessed and I will see you guys in the next video.

Channel: Waqas Qazi

Views: 42,343

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, davinci resolve tutorial, davinci resolve color grading, color grading, cinematic video, cinematic look, blackmagic design, star wars color grading, star wars look

Id: 7DzBrgE6Y8k

Length: 20min 13sec (1213 seconds)

Published: Fri Jan 10 2020