How To Fix A Bad Shot In Davinci Resolve 17 FREE

what is up i'm marcelo welcome back to the modern filmmaker in this video i'm going to show you how to fix a bad shot in davinci resolve 17. and with these techniques you could even save shots that seem completely unusable [Music] so of course we are in the color tab of davinci resolve because saving a bad shot is all about color correcting usually whether it's white balance or noise or underexposed or overexposed typically if you have a bad shot maybe something went wrong with the camera or something went wrong on set the color correcting stage is a huge part of how you'll be able to rescue the footage and then the grading comes in when we go to match to the rest of the shots in the project now the project that i'm working on at the moment is a live performance with a lot of great shots and everything was going great even ungraded if i deactivate the grade these shots look fantastic and they're all looking good until i got to this one and if this is a safe space and i can be honest here i don't know what happened i wish i did but all i can tell you right now is that the shots around it look nothing like this and then i even have shots down the timeline of the same uh keyboard player and they're completely normal looking so i'm not really sure if if maybe a light that was moving across the stage happened to hit the lens or the sensor at a certain way that kind of made the camera freak out but i can say i'm confident that we can fix this so this is going to start with white balancing i'm going to hit alt s a couple times just to get us a few nodes and then this first one i will actually label to exposure and the next one i will label to white balance and then the third one i will label to depth and in the exposure um here if we look at the scopes to the bottom right if you don't know anything about scopes totally fine check out my how to read scopes uh video it will blow your mind so looking at the scopes we can see that this image is pushed pretty hard towards the red and it's a little underexposed i'm going to try to get back a little information by correcting this exposure with the lift in the color wheels uh just by going over the lift and i'm going to raise this a little bit my best advice for lifting the shadows or underexposed footage would either be the lift or the shadow control here in the color wheels if i reset the lift and just raise the shadows it's pretty cool at raising just the shadows i actually want to raise a little lower than just the shadows i actually want to raise the blacks so i'm going to use the lift in this instance to really lift all the blacks and shadows up a chad and then from there i'll go over the white balance and we can start working on the white balance and there's two ways you can tackle this you can try to use the auto white balance which works really well and it's definitely a great place to start out so if i go to the white balance auto white balance tool click on this it'll give me this little pointer here and i can click on something white or grayscale something white would definitely be best way to go so these keys are supposed to be white so i'm going to click on these keys and see how far that gets us uh that's done us okay it's definitely got us closer but i'm going to go ahead and reset this and just start off from scratch and you can just start off from that point of from the auto white balance and kind of just take it from there if you want but i'm just going to start from scratch to kind of teach you guys a little bit more in the process so if i go to the primaries bars i can control each spectrum that we're kind of seeing in the scopes and i can do it in the red green and blue from each spectrum of light which is really useful so i'm going to go straight to the red lift down at the lift i'm going to push this red down a little bit i really want to bring the green and the blue up but first i'm just going to bring this red down slightly just do a nice safe level about right here just minus 03.03 and then i'll go to the green and i'll bring the green lift up a little bit oh let's see about to filter right there maybe a little extra because the blue will make quite a difference when we add the blue yeah maybe right there and then add a little blue and that already looks pretty incredible compared to what we had and before we go any further if you guys want to hit the like button down there that would mean a lot for me and the channel just saying and it might make you feel great i mean just try it just just try it i'm going to move over to the gamma for now and lower the reds in the gamma just a little bit maybe minus dot zero one and i'll raise the blue a little and i may even raise the green in the lift again a little bit more yeah that looks pretty good and then in the red gain i'm gonna bring this down a little bit as well his skin just looks a little awkward maybe pull the green up a tad and then the red back up a little bit and see how we have this really fine control and we're really leveling these scopes back out to a solid point and if i deactivate this node this white balance node i mean we were looking all kinds of crazy all kinds of crazy and now we are back to at least a really good starting point from here we can move forward you know all the colors are separated at the very least i can say um we don't have uh one kind of red cast over everything we can tell that this is skin and this is red and you know this guy's wearing a blue looks like a jean shirt um you know opposed to this guy who had a black jean uh jacket on um you can just see those little color separation and that's really where white balance and color correction begins by separating those colors and getting them back to just a normal looking spot and then from there you can stylize to your heart's content but that really is a great place to start and there's a couple little things i might do here i'm seeing a little bit more green in the shadows if i just lower the green lift a little bit and then i'm actually going to shift his skin tone um so if i just go over to the hue versus hue in the curves i can click on his skin and i'm going to shift this dot it'll make three dots for us and this one in the middle is exactly where i just clicked in the spectrum and i can just move this down a little bit yeah to get a little more olive of a tone not so reddish and that looks really good um okay so one thing that's happening now is the image looks kind of flat it looks a lot better than it did but it still looks pretty flat because it's still kind of a bad shot overall when you have a light blurring into the sensor like that and it makes a cast over the entire sensor it also gets rid of a lot of depth and a lot of variation in shading and shadowing so by creating depth will really enhance this image and when we can do that i want to give us a little bit more room by just clicking this clips button and so if we go into our qualifier and that's this little color picker here we can click on this highlight up at the top left of the preview window the highlight button and then raise the lows and the luminance i'm going to raise the lows and the luminance to just qualify the highs of the skin if you guys have watched my color grading tutorials you guys have seen me do this a million times i love doing this there's so many ways you can do this um and so many reasons why you might do this i love it so if i just raise this to where i'm just getting kind of let's say the highlights of his face so once i get past the shadows of his face about to right there and then i'll go to the l soft and i'll soften the key here and then go to the d noise and denoise this little and then blur radius just a tad just to clean it up and i'll even go through and i'm gonna go to the mask the power windows and i'm gonna make a custom mask curve and i'm just going to kind of solo this guy out a little bit get these lights out of there i don't really want those lights it's mainly what i want to avoid and i'm going to actually get this female out of here as well and just kind of focusing on him and this guy right here we can connect that we move it around a little more to get this light out of there get this light out of here and then we can soften this mask maybe soften more so the inside let's go inside that'll help keep those lights out that's solid that's a pretty solid mask we can maybe go back and go inside a little bit more just to make sure you can't tell that it's masked and then from there in the primaries uh bars we can go to the game and raise the gain a little bit oh yeah now we're getting a little bit more depth in his skin which is nice if i turn that off look at that look how flat his face was raise this up a little bit and then maybe go to the gamma rays to gamma just slightly and then pull the gain back down a little bit and one thing i'm going to do as well is go to the mid-tone detail and i'm actually going to drag this down that'll kind of soften that area a little bit and it's a nice kind of soft highlight deactivate activate deactivate activated pretty nice pretty nice what we can do actually let's hit alt s and do another one so i'll label this one depth as well and then come back to the qualifier hit the highlight button raise the luminance and get a higher highlight so before we were about right here we got we got just past the shadows now i want to go past the mid tones just to the highlights of his skin and his fingers about there and then i can hit the l soft button or the uh drag the l soft up a bit and then the denoise a little blur radius a little and maybe a little less blur a little sd noise it's getting blurry all right hit off the highlight button and then come back to the gain in the primaries bars drag that up so now we've got a little bit more highlight on the skin a little bit more super nice i'm actually going to take the saturation of this down a little yeah and i'm going to mid tone detail i'm going to drag that down a little and then i'm going to come over to the key and turn the key output gain down to 0.500 os and if i deactivate activate deactivate activate that is nice that is really really nice uh beautiful beautiful and so let's look at the other clips that are around it to see if we can match a little better all right so we do have a warm cast of light because it is a concert so the light is actually shifting the whole time um you can kind of see let's say in this shot here so there are all different kind of colors coming onto the screen gosh that already looks way better than this red craziness that we were dealing with before i can't believe it so if i go back to this shot take a look it's a little i guess push that a little bit more towards the orange so if we make one more node with alt s this one will be the grade just to match it and we'll go to the primaries wheels and i'm going to go to the lift and i'm going to shift this a little bit towards the i think towards the purple bluish just slightly like you can see that i barely even moved these parameters at all and then i'm gonna go to the gamma and i'm gonna push this a little over towards the orange yellowish i'm going to reset that let me try again here actually let's go to the log wheels so we have a little bit more control and then in the mid tone i'm going to move this a little towards the yellow orangish then the highlights i'll do the same thing and then if we deactivate yeah a little more yellow and come back to the wheels i'm actually going to move this lift back to where it was maybe push the lift a little bit over towards the orange because it still had a cast reset that one more time try that again yeah i can be a little more happy with that and then actually in the gamma or in the game i might try to go the other way yeah that matches a lot closer there and then see she's got a cast as well on the drums oh yeah and then one last thing i might do just for kicks is come to the curves and then go to luminance uh for saturation make a dot towards the bottom and then drag the shadows down because i'm seeing a little bit of seen a lot of color in the shadows looks like yeah like that looks a little better a little more spot on now we can even go to the huber saturation and i can even bring a skin tone up a little bit yeah let's check this out full screen real fast that looks nice okay one last thing one last thing if we add one more node with alt s and then go to open effects i'm just going to add a glow in here and if you go to your glow properties and come down to composite type go to add and go down to soft light click that go up to shine threshold pull this down all the way down to zero and then come to the opacity and i'm going to pull this down a little bit too just to lighten it up lighten up the effect but that makes all the difference in really making this thing look like a great shot before after before after just that glow it has that way of just bringing your eyes to where you're supposed to look i love it [Music] if you guys enjoyed this video definitely feel free to click that like button and if you did not enjoy the video feel free to click the and of course if you have any comments questions or concerns leave in the comment section down below and make sure to subscribe if you want more videos on davinci resolve and as always guys i'm marcel and this has been a modern filmmaker i'll see you all next time peace

Channel: The Modern Filmmaker

Views: 7,603

Keywords: How To Fix A Bad Shot In Davinci Resolve 17 FREE, davinci resolve 17, davinci resolve, resolve 17, fix footage davinci resolve, davinci resolve tutorial, how to use davinci resolve, davinci resolve color correction, color grading davinci resolve, davinci resolve 17 tutorial, davinci resolve color grading, davinci resolve free, davinci resolve 17 free, davinci resolve 17 white balance, white balance davinci resolve 17, how to use davinci resolve 17, davinci resolve studio 17

Id: SkbWW8ZBjVo

Length: 17min 2sec (1022 seconds)

Published: Fri Mar 12 2021