(tense music) - What's going on, guys? This is Qazi. Welcome back to another epic video. I recently did a poll and asked you guys which tutorial should I work on next? And most of you picked the Batman look, so that's what we're doing here. I'm breaking it into two different parts because to me at least just
looking at the trailer, the movie is split between
two different looks. We got these cool tones, and
then we have these warm tones. So we're attacking the warm tones first, and then we're gonna move
on with the cooler tones. So the purpose of this channel is to turn you into a tastemaker and show you ways that
are practical enough that you can apply right away
after watching the tutorial. And we recently did a survey. Majority of you, regardless of the skill, said are struggling with shot matching, skin tones, balancing and working with eight bit footage. So I created a one hour long free training that covers all of that, plus we'll wrap up the
training with an extensive Q&A, and you'll also get a link to download the practice footage, power grades, and some of my personal LUTs. So do not forget to check
out the free training, link is up top and in
the description below, and if you're enjoying the content, do me a favor, pause this switch, smash the Like button so
we can reach more people, subscribe to the channel
for more awesomeness, make sure to hit the bell icon so you can be notified when
we pump out new content. Follow me on Instagram
for more behind the scenes and quick tips and tricks,
and let's roll the intro. (exciting music) All right, guys, let's do this. I'm excited to be attacking
this particular film, because I genuinely feel
like it looks different than what Christopher Nolan
did, which was amazing. And that's why I'm so shocked to see what these guys came up with, which is as beautiful, but in
a completely different way. Okay, so this is the frame that I picked because majority of the film, I feel like either lives in the warm tones or cool tones, okay? So what's really happening? First of all, my waveform
is on the left side. Then I have a colorized
waveform right here. Down here, I have parade and here I have vector scopes with the skin indicator turned on, okay? First thing that we see
in our colorized waveform is that the entire image is
made of warm tones, right? There is not a lot of complimentary
action going on at all and we can even see it here. So none of that, right? Everything is living in
that top left quadrant. So that's what's creating this warm look. Now I must say, they do
have a little bit of teal seeping in around here on the edges, around here we can see it, around here a little bit, like right here. But that's about it. Our blacks are desaturated, so I'm gonna show you
a really cool technique to do that using our
Resolve 17.4 new tools. So now let's go to what we got going on. This is the clip that
we're gonna be working on. It is already parked on our hero frame. The node tree is gonna be super simple, and get excited because I will not be using any LUTs to create this. We're just going to use primary tools available inside Resolve
to create this look. This is going to be based
on five simple nodes. If you wanna learn a proper
sequence to your node tree, then make sure to check out the training, link is down below. The final note here is
going to be our CST. So this is where the color space transform is gonna take place. The first one is going
to be our primaries. Second one is going to be our basically primaries adjustment. Here, we're gonna throw on a window and then this is where
we're gonna create our look and adjust our look. So let's start with our CST. We know this is shot on ARRI ALEXA Mini and we're gonna drop our
color space transform tool and go ahead and give
it proper parameters. So input color space is ALEXA, input gamma is log C. Output is going to be rec.
seven or nine and gamma 2.4. So as soon as I do that, this is what I end up
with, which is not bad. So this is where we want to be. This is where we are. Once again, if we pull
it up next to each other, we still got some ways to go. Now, one thing that we
should look at is right here. So every time you're
doing a look recreation, I highly encourage you to
go on IMDB or shotdeck.com where you can look up some technical specs about the project that
you're trying to recreate. So cameras that they used were
ARRI ALEXA LF and Mini LF. Now they went through
FotoKem Creative Services and Burbank for their DI, so all the jiggery-pokery
that happened there is not revealed, so we can't really see which
type of negatives they used or film prints or anything like that, and that's another reason why
I'm avoiding it altogether and trying to create a
similar look inside Resolve. That's not to say that
this is how they did it. This is just to show you what we can do to get close to getting a similar result. All right, guys, so we're already done with our CST, looking good. Now what I'm gonna do is
I'm jump into my primaries. I'm gonna pull up my image by clicking right here, split screen. So the first thing that I wanna do is I wanna go under my HDR palette. I wanna go under my Global Offset. I wanna start pulling down my image, because my image is way too bright compared to where we want to be. So I'm gonna go too far
and then bring it up and keep it somewhere around here. So if I do before and after,
makes a pretty big difference. Maybe pull it up a little bit, just something like
that looks pretty good. The next thing that I'm going to do is I'm going to start using my offset in my primaries right
here, my printer lights, to start dialing in
these tones into my image and under Color, you can turn on your printer lights hotkeys and then you can just hit these keys to get a certain color, add or subtract a certain color. So here, what I'm looking at is that, okay, there's too much green and yellow. It's more like a Fincher-esque
action happening here, whereas I wanna go into this Batman world. All right, so let's start by adding tons of red into our image. So I'm gonna go ahead, add some red. Okay, this is looking pretty good. This doesn't look bad. All I want to take out- There's tons of green in my image, so I want to take that out
by subtracting my yellow, add more red, and now I feel like there's
too much blue in my image, so I'm gonna subtract
some blue from my image. And now we're getting a
pretty good, similar tones. I'm gonna go ahead and add more red, and let's do one more and not bad, right? So what do we see? We see that there's still a lot more saturation
in this image than that, which will come from
dialing in the contrast, and also the black points. You see like how so much red
is in our black points, right? And we can even see it right here compared to what's happening over here. So now what I'm gonna do to adjust that to see what's really happening
is go under my adjustments, go in my log wheels, take
my reds and pull it down. And boom, like all of a sudden, we started to get this right there. It's looking really, really good, and it helping us out quite a bit. So we're gonna be ping
ponging, going back and forth. Now, what I wanna do is like,
I wanna go back in here. One thing that I can clearly see is that look at the
saturation in this image compared to my image. You see the saturation? Like, I need to add more saturation. So what I'm gonna do is just go in, global saturation, start pumping it in, go too far and then pull it back. And I'm gonna keep it
somewhere around here, and let's just pull out
and like look at it. So even if you look at our
saturation to what's happening, we're looking pretty good in terms of the saturation. So now what do I need to do? I need to go back in here, take my black points
and again, work on them, so pull it down a little bit. Okay, so that is looking good. Now at this point, I mean,
we've made a big difference. Like between this and right here, we've come a long way. So now all we have to do is work on our contrast a little bit, and to be honest with you, again, we're looking really, really good. The contrast is kind of
soft here and I like that. That's what gives it the
quote, end quote film look, whereas here we're kind of harsh. So I'm gonna go in here, pull this up so you guys
can see what we're doing, but you know, before we even do that, let's work in our window first. So basically you see how
hard the vignette is, right? Like it's basically this right here and then feather it out and
everything is pulled down. So we're gonna try to
create a similar thing using this light source. I'm gonna go under my
windows, click on this guy, and just generally create
something like this, put it right here, something like that. And then go under my Softness, pull it up to around 25-ish, invert it. So we select everything outside of it, move it over here, take my Lift and pull it down, because Lift is gonna give us like this sort of action
that's happening here. So I can do something
like that using my Lift. Then I can go under my
softness and keep working it. Let's go to, okay, so let's
keep it around 30-ish. And if I do before and after, let's go more. Feather it out a little bit. And before and after. Personally, I think it helps, right? Like if we just look at
what's happening on the edges, it helps. And another thing in
this window I'm gonna do is you see like how they're bringing in that teal around the vignette? So we can cheat it and
do the similar thing. We can go under our log wheels, take my shadows and just creep in a little bit of like, like, see what I'm doing? That right there that I just added? So if I do before and after, like right here to here, right? We didn't have that before. So here to there. Such a small change goes a very long way. Okay, if I go before and after now, let me just look at the vibes. Like we just added that teal in. Now, one thing that
obviously I see is like, you see like how
everything is kosher here? Whereas my blues are
gone, they're crushed, and if I do this, they come up but they're pretty much gone,
so we have to protect that. You see these blues? They're gone, so this
is what we're gonna do in our custom curves, okay, right here. So now I'm gonna work my custom curves. I'm gonna pull up my reference so we can see what's happening. And I'm just gonna go in,
lift it up quite a bit. So I'm gonna bring it up. Something like this. I'm gonna pull down my highlights. And now I'm just going
to create a point here. I'm gonna do a very, very
gentle point here and here. And now what I wanna do is lift this up. So you see like how we open up the whole image quite a bit? I think the highlights
are just not as harsh, so we should work on that. 'Cause the highlights here
are just like really strong, and I think we did it. So if I go before and after, right? And if I turn this on and off, you can see how we brought
back all that information that was clipped before? And now if we do before and after- Another thing that we
can do at this point, I mean, this is looking pretty good. If I go here and here, the contrast seems pretty
similar to what's going on. We can try to go back in here, log wheels, and then lift it up and see if
it brings anything of value. And I think it does, right? Like, I mean, we do
want to see a little bit of like definition here. And now if I do before and after, it has a very, very similar vibe. Guys, you got to take your
time creating these look DNAs, because once it's created, it can easily be applied
to this entire scene and it's gonna look very similar. All you will have to do at that point is go under your primaries, and then under your HDR, adjust your exposure for majority of the shots to match them. Everything a else is
gonna fall into place. So that is extremely important. Just look at what we created. Happened before your
eyes, how easy it was. And now one thing that I can do is I can go under this mode right here, put this next to my image. Look at how close we are. The only thing that I see is that I can go in here, actually in here, in my Hue Versus Hue. I can take my yellows and swing them so they're a little bit warmer. So I can take my yellows and just pull it down a little bit. See? So now it's a little bit
warmer than how it was before. And if I do before and if I do after, I mean the difference is so subtle that it's barely noticeable. I think it helps. I can also go under Hue Versus Saturation, I can take my yellows and
try to crank it a little bit. So not too much, crank it a little bit, and see if it does anything. Personally, I think it helps. I mean, look at here to here, how close we have gotten
to where we were before. So I personally think
it really, really helps and brings it all together. And guys, don't forget,
we did not use any LUTs, we didn't do anything. We created everything inside Resolve. And this little touch, how we went under our shadows and just added a little bit
of teal went a long way. Just look at this teal that
we're getting around the edges. It really brought the entire
look together right here. So we're gonna go through here and like look at it. Almost like the same exact shot, because if I take all of these, basically if I go to
my rec. seven or nine, you can see that the
difference is night and day. Look right here what we created. It's absolutely insane
how far we have come. I'm gonna go through all of
these options in my image wipe for you guys to like really
see what's happening, and honestly, we're nailing it. We're there. We don't necessarily have to do anything. And then this is a great way to kind of see not just the hue, but the saturation of your entire image. And when I move it and kind
of see what's going on, one thing that I do notice is that I can swing the hue of my yellow to bring a little bit more warmth. So I'm gonna do it right here. I'm gonna go under my Hue Versus Hue and I'm gonna try to swing it a little bit and see what happens. Like even something like that. And then I'm gonna go back
to my Hue Versus Saturation, I'm gonna take my yellow and
raise it up a little bit. Obviously I wanna go too far
and then kind of pull it back. So even if I park it somewhere around here and now I open up my image, you can see that overall, we're getting even a closer look to where we were before. Once again, I wanna go
back to my Hue Versus Hue. I do like the warmth, so I don't want to go
too far with the yellow because we wanna look
at our overall image. So this does feel much better. Now let's go through a different style, and this is, again, very, very cool, because look at that, come on. I mean, look at this to this. What the image that we're trying to mimic to what we created here. I mean, look at it. So if I were to just take
this and turn it on and off, you can see all the magic that
happened in this one node. And once again, if we go
to our rec. seven or nine, because this is our log, this
is our rec. seven and nine. And then this is what we created. I mean, come on. And this is all done using the tools available to anybody that's using the free version of
Resolve or paid version. And then this is another good
one to see how close you are. Once again, rec. seven or nine, that this is what we created. And if we turn off our main node where majority of the look was created, you can see the difference. I mean, you can't tell the difference. Like come on, like look at it. What we were able to cook up. This is rec. seven or nine. This is what we ended up with. So if we were to just kill all of this, and that's our image, I'm gonna pull up our
reference next to it. We started with our CST, then went and worked on our primaries. There was a ton of red, which I went in, used my log wheels to control that. And then we created a vignette and that helped us out quite a bit, and we also added this really nice teal that we see here that brought
the entire look together. And then finally, I think
this did quite a bit. So we swung the hue of our
yellow to make it a bit warmer. We also used Hue Versus Saturation and pumped up our yellow quite a bit, just like what we see here. And then we used our custom curves to really dial in that
film curve that we see here compared to what we had before. Because if I go here
and turn off this node, you see like how digital it looks compared to like how
much more cinematic it is with this custom curve
change that we added here? So let's check out the
final look in full screen. (tense music) My goal from these tutorials
is always the same, which is to show you the
simplest way to go from A to B. Hopefully it was accomplished
in this tutorial. I think what we ended
up with was incredible, especially using all the
tools that are available to free version of Resolve
and studio version. So if you found this tutorial helpful, again, do me a favor,
smash the Like button. If you haven't subscribed
to the channel yet, do so right now, hit the bell icon. And guys, if you really want to take your color grading game to the next level, do not forget to check
out the free training. Link is up top and in
the description below. And on that note, remember, work hard, get obsessed, get possessed. I will see you guys in the next video. (exciting music)
