How to Color Grade like The Jungle Book | DaVinci Resolve 16 Tutorial

[Music] [Music] [Applause] [Music] what's up guys this is Kazi the most exciting part about this video is that you're going to experience the full power of calibrating I'm gonna be creating these two looks from the jungle book by using the same exact shot and guys I've noticed some of you mentioned in my Joker and Mad Max look that why is it taking so long if it takes 40 minutes to grade one shot then how long does it take to create a feature film and to answer that question I'm gonna tell you that what I'm doing here is something called creating a look DNA we're creating a color palette for the entire project so if you just look at this example from Mad Max it took them six to eight months to develop that particular look for the film so that gives you an idea puts everything into perspective now Before we jump in let's check out how they approach color grading for this particular movie color grading and finishing were done by Technicolor and the tool they used was lustre by Autodesk it's the same company that makes flame and Maya those are considered like the juggernaut when it comes to 3d modeling and compositing and it makes sense that they went that route specially because this movie is so heavy on CGI that said it's a lot easier to isolate individual elements in the shot when you have an element and a plate whereas this is the same environment and isolating our character will be much harder since there are a ton of similar color values spread throughout the frame and yes you get to write I have merch now go check it out it the thumbs up in Vernon during the content subscribe to my channel for more awesomeness make sure to follow me on Instagram I have a huge community there and I post every single day and guys if you want to take your color grading game to the next next level make sure to check the link in the description below one hour long free training that takes you from not knowing anything about resolve all the way to grading your first professional gig and on that note let's roll the intro my whole goal for you guys is to learn ways to do things that are not just applicable to one shot but to an entire scene and to an entire project so and I also want to always show you new ways and new tools in resolve to get you familiar with everything that we have available in this software so when you're working on something you're never limited you always know your way around how to tackle any sort of situation you're in so first of all let's analyze this shot what is happening and what kind of emotion we feel so obviously we can see the shot is so dark and D saturated and the life is just sucked out of it and then we see it even through the emotions of our main talent what's happening so all those things are very obvious and then the color grading is just taking it a step further to sell that idea to us now if we look at the Scopes one thing that I see right away is that there's more red in the shadows then green and blue keep that in mind okay and we can read that here there is like a cyan undertone and that's what creates it at the bottom so it's almost like they're using offsets to create that and I'm gonna show you by using printer lights which is something that you guys should get familiar with same story we can read it here Reds are dominating the shadows and then blues are dominating the highlights and then the whites are somewhat balanced right here we can see it's somewhat right here now that we have this in mind let's build our node tree and I'm gonna take you through it it's gonna be a little bit different and then we're gonna go ahead and start attacking it so first note is always gonna be reserved for noise reduction second node is gonna be our primaries and then after that I want to create one more then we're gonna have our actual look where we're gonna create this and then I'm gonna create a layer node we're gonna pull his skin and it's gonna be so hard to pull a proper key that I'm gonna have to show you a very unique way do get a cleaner key and for that we're gonna have to create an later note as well so we're gonna be basically selecting isolating grabbing the darker brown parts of his skin and then lighter brown so that's what it's gonna be happening here to give us a cleaner key then I'm gonna have our look adjustment and then after our look adjustment I'm gonna create one more node to adjust our contrast then we're gonna create a node and this is gonna be up for a debate if I want to add sharpening to this image or not but I'm gonna leave it there for now and then we're gonna have film grain and obviously we're gonna end it with our global adjustment that's out of the way let's start jumping into it so I'm gonna start off with my contrast so I'm gonna dial it in and I'm actually gonna pull up my image and you guys know how I do it so split screen then go right here and select select it's still image and then let's just start going a little bit and see what's happening for now I'm gonna leave it somewhere around here because if you see there's not a lot of contrast happening here it's just everything is sitting really low it's almost like a log image with some juice just because the black points or brought down usually if it's a log image it might be sitting right here and if the black points are not right everything looks great but once you adjust the black points which in his here you can see everything then seems proper so for my contrast I'm gonna leave it somewhere around here and then what I want to do is I'm not gonna touch saturation and this one I'm gonna leave it there and I just want to adjust this shot a little bit so I'm gonna use my lift gam again just to kind of get it in that zone meaning getting my science situation right like make the Reds dominant down here and make the Blues dominant up top so we're just gonna do a little bit of it we're not gonna push it too much okay so let's start off with pulling my left I'm gonna bring it down a little bit and you can see that our red is peeking through now just like how it is in the jungle book and then I'm gonna raise my blue just a bit something like and and I'm gonna bring my Gama up and I'm doing that just because I want to get a proper key so I'm gonna leave that there and just bring my LIF down a little bit more I just want to live in this if I can get there a little bit more it's better makes my life easier so somewhere around here and then I'm gonna just play with my gamma for the skin pull it up a little bit and I think this might be good for the primaries node and then what I want to do is I want to go in here and I want to go under my hue vs. saturation and I'm gonna pull my yellow down and that's gonna take the saturation out of the leaves a little bit and kind of balance out my image and then I'm gonna take my greens and I'm gonna do the same thing and I want to pull that quite a bit almost like really desaturate that image somewhere like that and then that's gonna make it easier for our look node to get us there faster and this for our primaries is not bad this is looking good now I'm gonna move to my look node and the best way to get in this world would be by using our offsets so I'm gonna go ahead and start right there so what I need to do is go in this cyan world and before I get there you guys remember how the layers mixer work fifth and sixth have precedent over the third node so I'm gonna go ahead disable this disable that then I'm gonna go back to my third node so I can make changes and see what's happening and right there so now we can study what's happening there I'm looking for that I'm focusing on just all of this we're going for that and let's see we have to pull some saturation out too so I'm gonna go under saturation and kind of pull that and bring it up a little bit take my gamma and bring it down a little bit just to kind of get it in that world where we're trying to go and then go back to my offset and just keep working at it keep picking at it until I feel like we're getting somewhere there and let's not worry about the highlights we're gonna adjust those later so don't worry about that I'm just looking for this sort of color to get that in and now what we're gonna do is I'm gonna go in here I'm gonna pull my dude out so we're gonna pull a key and like I said this one is not gonna be easy so I'm gonna start from this area right here and make sure that this is active and you see what I'm talking about like it's basically wants to take everything so in that case I want to restrict that and I want to move that over somewhere around here now as much as I don't like to do this we're gonna have to create we're gonna have to window it out because there's just way too much going on and I'm just giving you an example to still get a successful result if you're working on a commercial or something like that 30 to 60 shots hundred shots then it's not a huge deal if you're working on a narrative I don't recommend this approach let's go ahead and give it a nice soft blur and that's one okay and then what we want to do is we want to go ahead and create a window and we're just gonna keep it closed and we're gonna soften it out and go in here in our tracking trackback first and then just click right here and track forward and it's gonna be a really simple track shouldn't be hard you can already see that the skin is coming through that's okay like the other part of the skin was the highlights so I'm gonna go in here I'm gonna click right here I'm gonna go back here and I'm just gonna click that part basically everything that wasn't selected before so I'm just gonna select this section and let's try to restrict it a little bit and then let's give it some blur and there you go so just look at it so we're bringing that information back quite a bit and now what I want to do is pull up our image and just if I take these two nodes you can see what's happening we pulled them out now one of the biggest rookie mistakes that I see people make all the time is they get so stoked about pulling a great key that they're just like yes like that's it job is done like I don't want to blend it in like this looks great I killed it I learned how to pull keys I'm gonna leave it as is that's that gives away that you're an amateur so what you need to do is blend it in like this is blend they're blending it in like I said this is shot on green-screen which means there shouldn't be any cast on him he should be perfect pristine great skin but they're blending it in into this lifeless environment and still giving it a hint of proper skin tone so we need to do the same thing but first what I want to do is I want to go here remember that window that we created I'm gonna go ahead and do this I'm gonna say copy window I'm gonna come here click on this guy doesn't say paste window and if we see right here and if I go right here click on window it's created it then I'm gonna go back here I'm gonna go under my tracking and I'm gonna say copy track data I'm gonna come in here I'm gonna say paste track data boom job is done you don't have to redo it it's done it for us okay so let's go here and let's blend in the strength so it looks pretty good so I'm gonna bring this down I'm gonna keep it around somewhere around seven ish I'm gonna go in here kind of do an exactly a similar thing so before I move on to my look adjustment I think we can do a little bit more in our background layer right here I'm gonna pull a little bit more saturation out and then I'm just gonna inject a little bit more into it and then what I want to do is take my offset and just move a little bit more towards that blue I want to pull some saturation out of him - and I'm gonna do that by using color boost color boost is great for taking some punch out of the skin tone so even like what we did there is pretty cool let me go back into this and alright I'm just looking at overall just like kind of picking up a feel and I think it's not bad it's somewhat there so that's that's good we're done with this section let's move on to look adjustment and here I'm just gonna take my offset and move it around a little bit just to see if we can get even closer let's make it a bit bigger and then analyze it it's adding this haze that I like you see it in this area for that reason I might leave it in and then I'm gonna go into my log and just correct my black points so I want to correct that Green that's being casted in his hair let's make that bigger this is looking a bit better and then what I want to do is just go into my curves and pull it down a little bit like see how hot this image is I want to just pull the whole thing down and I can just play around with it and leave it somewhere around here this is for our contrast so what we want to do is go in and lift the image up a little bit so then it just keeps that disc in this world and I'm gonna take my saturation and dial it up a little bit and then let me just take my gain and move it toward that cyan and I'm gonna turn it on and off I'm gonna grab my gain and move it around a little bit see where it fits a bit better and basically my focus right now is right here and then obviously the lightest part of the image and then I want to take my gamma and move it over a little bit I'm also gonna take my gamma and just dial it down like crush it a little bit and then what I'm gonna do is I'm gonna take my lift and raise it a little bit not that much all right guys I'm happy with this and I'm gonna go under migraine and go ahead select the film grain put it on 35 400 T and I'm gonna make it bigger because we can still see our grain and I'm just gonna take the strength and I'm gonna crank it I like a lot of grain and I think there is grain in that image too and I can see it and it's looking delicious and I think we're looking really good so let's go back turn all of these off and go one by one and see where we started to where we ended up so primaries started with balancing everything and then sucking some colors out of it to make our lives easier in the look nodes and then we just dialed in that tint to get us in that world we isolated our skin one step at a time this was the cleanest way to do it and it was pretty freakin simple you saw we did not struggle with our key at all so that was a pro tip that I would highly recommend you guys use when you have brown and brown and you got to pull your skin then we went to our look adjustment and brought everything down made some changes d saturated the image a little bit moved our offset just a tiny bit to get it to get us closer to where we want it to be went into my contrast made some pretty huge adjustments because the way this shot is it has a lot of contrast and I had to pull the contrast out and then inject contrast where I wanted to kind of get in that ballpark and then finally we added a lot of gray and this is what we ended up with and let's check this out in fullscreen [Music] [Music] all right now on to our second look this is gonna be very interesting because the way I'm gonna build it is gonna be without using any keys that way you can turn this into a look DNA which can be applied on the entire feature film and then you're just gonna make micro adjustments which would be balancing your shots it's a different approach very popular when it comes to working on feature films so the first thing let's analyze the shot and see what we have to work with and right off the bat I can tell that this is gonna be a lot easier to create because look what we're working with where we have to get compared to what we had to do in the last grade if I look at this shot and just read the Scopes pretty balanced I mean my reds are just a tiny bit lifted compared to my greens and then blues or bit crushed and we can see it like blues on the left hand side or lower than the green and the red Channel but other than that if you look at the meat it's pretty well white balanced and then the whole thing is shifted a little bit toward red and yellow so more yellow and then a little bit of red and we can see it in our vector scope vector scope is pretty good to tell you a general story of your grade even the contrast is like super punchy which is you know also could be the time of day and that's where we have to get it's gonna be very interesting the way we're gonna build this look so first note is gonna be noise reduction second is gonna be our primaries and basically I'm just gonna do contrast in this and this note is where I'm gonna do my proper balancing and then this node is gonna be our creative LUT node you know I am all things against using lots but if there is a time and place for it I will use it and I'm gonna show you how to properly use lots and after that I'm gonna use one more node which will be our look adjustment then the usual sharpening grain global adjustment let's go ahead and start naming them primaries this is gonna be my balance this is gonna be my creative LUT this is my RGB curves the usual sharpen grain global adjustment now that we got that let's get going so I'm gonna go in my primaries I'm gonna start with my contrast so let's pull up the other image I'm gonna start with my contrast and I'm not gonna be shy because we can see that it's pretty contrast II so let's park it somewhere around here so that's good for contrast I'm not gonna really make any other changes what I can do is bring my lower range down around 20 ish and then pull my shadow down just to match where everything is sitting over here and that's about it for this now I'm gonna go in my balance and what I want to do here is just try to get some of these colors in place so I'm gonna take my gain and I'm gonna move it toward that yellow and raise it up a little bit and then I'm gonna take my gamma and I'm gonna move it up toward that yellow red situation that they got going on and the thing is that I'm seeing a lot of red because you can see the red is a little bit lifted in our shadows and I'm trying to do the same thing so just look I lifted my red a bit just to kind of mash that in the undertones and it's matching really well I mean look up before look at after its matching really really well and I mean we're almost there right like it in two nodes and that's what I mean there's many ways to approach really cool looks without really going overboard and you know ripping your hair out and for the creative blood this is what I'm gonna show you so under light I'm using impulse makes really nice film emulations you can also use film convert but I'm just gonna go under there rec.709 generic which means you know your images already have the contrast and proper balance and everything is ready to go you just want to apply a look on top of it and the one that I'm using is one of the three really popular looks which is the Kodak vision 3 and this one is 5207 so that's the one I'm gonna use and when I drop it in just look what happens boom I can just look at it we're done like look at this color that we have in the leaves I'm gonna move this down for a second but just look at that like before this screen was too rich to match it to that and like see how there's a yellow brown undertone on the leaves here and boom this gets us there now we're just gonna have to balance a little bit I think it might take us a bit too far so we're gonna push back a little bit but other than that I think this has done a freakin phenomenal job so I'm gonna stay in this node and what I'm gonna do is just take my lift and bring it down just a little bit so I'm just trying to match it I'm trying to see what's happening here and then what I'm gonna do is I'm gonna take my log and because I see that it lifted everything you can even see it here like look at where in the jungle book everything is sitting right here touching the bottom now what I'm gonna do is I'm gonna go in my RGB curves and I'm gonna do a couple of things first thing I'm gonna just bring my shadows down to match our reference look so I'm gonna go under my log I'm gonna go down my bring my range down to around 19 ish and then I'm just gonna bring this down to get in that ballpark and I'm just gonna see how crazy it's getting right like if it's just too much then I'm gonna bring it up a little bit this is looking pretty good cuz I'm like seeing this did that and it's looking really really good rest of the scene I mean honestly I can park it here and that should be good if I pull some warmth out of here we will be in the ballpark but if you actually see right here in the back this warmth might not be bad it's almost there it's almost like we have to pull some read out of it and keep this yellow in and that's exactly what we're gonna do here so I'm gonna go break this chain so then I can individually affect my color channels and my curves and I'm gonna take this blue and minus it so I'm gonna add some yellow and just look at to the left what's happening I'm not gonna go too far I'm gonna Park it somewhere around here and just look at how it's warming up everything and that's looking very nice and I feel like we might be stylizing it just a tad bit more than what's going on here so let's keep those things in mind too and I think to take care of that I'm gonna do a couple of things one I'm gonna go back in my balance and what I want to do is I want to take my mid-tone my gamma and raise it up a little bit I want to see more like I can see a bit more there so I want to do that here as well and let me see that okay so that's already looking better now I'm gonna take my gamma and I'm gonna pull some of the red out okay so I'm gonna just pull it down a little bit I wanna just take it easy a little bit so just something like that and we just pulled the sting out a little bit all right that's not bad at all all right this looks really really good one thing that I do want to try is pull some saturation out just a little bit all right I'm gonna put some saturation back in and then in my RGB curves I'm gonna do one more thing okay I'm gonna go under hue versus hue I'm gonna grab my green and I'm gonna turn it into yellow so just look what's happening like I'm gonna raise it up a little bit I'm gonna do the same thing with my yellow I'm gonna just move it up a little bit just to burn it a bit more really just trying to get in this world like look at all this I think I think we've done it we're there now I'm gonna do a extra-credit little thing that I'm gonna show you which I'm sure you guys are gonna love so I'm gonna go in here what did I just do in here this is where I've done saturation this was supposed to be my sharpening so I'm gonna cancel that let me see if I even need to do that I think we can leave it saturated for now I'm gonna create another node and just watch what I'm gonna do now okay you guys are gonna love this and that's like I said extra credit I'm gonna add God rays or light rays and I'm gonna go in here I'm gonna change it to add an angle and then I'm gonna flip that angle to right here and then I'm gonna mess with the source threshold because I really want it to just focus like the brightest points so I'm gonna focus it right here I'm gonna increase the length I want it to be like a light shaft and then I'm gonna brighten it so we can actually see it and I'm gonna soften it a little bit and then go back and just make it a bit more visible then I'm gonna come in here and I'm gonna give it some color something like that and like it looks so nice right but let's just control it a little bit so what I'm gonna do is a couple of things the simplest trick is this I'm gonna go in here window I'm gonna go to my gradient I'm gonna put it on that top right corner and then I'm gonna pull it and I'm just gonna see what it's affecting and this is all I want to affect in the image I just want it to be this much basically the light is just hitting him ever so slightly and let's make it a bit more obvious so I'm gonna go back and see what I can do and add more softness to it brightness is good do I have to add more length or less length this is good all right and then what I can do is just bring the entire thing down so I'm gonna go in here and I'm gonna first of all take my blue channel bring it down a little bit to just even add more warmth then I'm gonna take my red Channel and add some just a little bit of red and now I'm gonna take my intensity and just bring it down a notch and now if we open this image up next to it just look at this morning light coming in how nice that is and that definitely takes it to the next level compared to what's happening here but why the hell not let's take something that inspires us and take it to the freakin next next level so I like it and if you want to control it you can't control it all the controls are right here you know you can just bring the brightness back a little bit you can do whatever I like it pretty in your face so we can actually see what it's doing and I think it's not fake I think I'll buy it and again you can control the intensity of it like how much or how little you want it like I can add more red or I can move back on that and keep it pretty neutral and I think it looks really freakin sweet and then at that point I'm gonna go in here add some sharpness keep it at 47 I'm gonna go into my crane bring my film grain in take it to about 35 400 T let's make this pull this over I'm gonna go under strength and raise it until I see it and then let's go in here and create our noise reduction so keep it around 4.8 ish break this chain just grab our chroma and bring it up to six point eight ish and now if I make it fullscreen I mean this is pretty sweet and once again like I said I mean this is like right here if you want to kill it then we're there we're done but if you just want to take it to the next level you can leave it on I'm gonna leave it on and let's kill all of these and go one by one and see where we started where we ended up primaries just did our contrast then we went into our balance balanced everything out dropped a creative nut and this film lot really really did most of the heavy lifting and put us in the ballpark then we adjusted it a little bit pulled some red out of it and then I went into my RGB and really dialed all the colors in and did a lot of hue versus hue to get the right leaves color in there and then if we wanted to just end it there we could have just like added sharpening grain and call it a day but I wanted to take it a step further so I went in and I created this light shaft and I think it just brings everything together let's look at it in full screen [Music] [Music] I hope you guys had a blast I'm dr. see the real power of color grading make sure to drop a comment below let me know which looks at I recreate next hit the thumbs up subscribe to my channel for more awesomeness please share this with friends and guys check out the link in the description if you want to take your color grading game to the next level and remember work hard get obsessed get possessed I will see you guys in the next video

Channel: Waqas Qazi

Views: 42,080

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, crash course, color grading tutorial, davinci color grading basics, theqazman, davinci resolve tutorial, davinci resolve color grading, cinematography, color grading, cinematic video, cinematic look, the jungle book

Id: Il9CW3KbjPA

Length: 37min 28sec (2248 seconds)

Published: Fri Dec 20 2019