How to get the James Bond look | DaVinci Resolve 16 Tutorial

[Music] what's going on guys welcome to another amazing video this time I mean I wanted to go with no time to die because that's what's hot right now but you know what I just have to pick a James Bond where Roger Deakins was the DP and that is Skyfall we're gonna be creating a pretty crazy look I'm taking a shot that's nowhere near where we want to be and I'm gonna try to manipulate it and get it in the ballpark and make it seem like it belongs in that world now I must say I'm gonna tell you right now that it's one of those that I'm gonna say don't try it at home and that disclaimer is important because if you're working on a project for a client you have to give them realistic expectations and the look that we're creating here it might add an extra day or two so just keep that in mind now most of you ask me hey can you work with something that's not Alexa Minnie or red footage well this is shot on groan it's 8-bit and it's shot in logs so pulling clean keys is gonna be near impossible you guys are gonna pick up some really awesome techniques but that said guys if you want to 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 creating your first professional gig and if you're enjoying the content hit it thumbs up subscribe to my channel for more awesomeness make sure to follow me on instagram i'm dropping value bombs there every single day let's roll the intro so for the tech specs the usual suspects they used re Alexa M plus and studio as well as red epic and then the last note they didn't use any film emulations to create the look let's jump right into the tutorial section alright so this is the look that we're gonna be creating from Skyfall and I mean one of the most gorgeous frames in the movie hands down and so first thing that I'm gonna do is go under my open effects and drop in our color palette to really see the color story here so I'm gonna make it fullscreen I'm gonna move this over my scopes out of the waist so we can just analyze what's happening here through our color palette so we have our neutral blacks but we don't really have our neutral whites maybe like the top of the car is a little bit more neutral they're creating a very nice like this tone right here is created in the lower mids like we can see it right here and right here this is created you know nicely in the color grading but this land and that color is probably natural it was not necessarily a humor C's hue action that's happening here so just keep that in the back of your head and I'm gonna pull back my scopes and let's look at the color story through scopes now and if we look at it right here see how the image is just sitting in the middle like it's not touching the bottom it's not really peeking up top and you can also see in the vector scopes how there's just a little zing but nothing more than that you know he's not really pushing the colors I mean the same frame with a different DP and a different colors like could be a completely different look than what we have here and that's what's interesting about Deakins because his work looks so gorgeous yet when you understand the color grading behind it it's not necessarily heavily driven through color grading is just his craftsmanship on set and then it's just enhanced through color so that's what we got here now let me bring in my frame and show you what we're working with so you can see if I go back and forth to how different these two shots are this is obviously in the winter and again like a set shot in a place that looks like that whereas here we're just looking at a early-morning summer day where the grass is super lush green and to bring everything into that ball park is not gonna be easy but this was one of the reasons why I picked the shot in particular because I want to show you guys how much we can do just through color grading and for this to live next to that shot right now seems impossible well once we're done with it it might as well be the adjacent shot to what we're seeing here so first things first I'm gonna click on my gallery I'm gonna click right here go down to Skyfall and then pick out our frame [Music] this guy right here and then the next thing you guys want to do is you can hide that now and click on this split screen button hover over here and just go to selected still images and now we can see the shot that we picked in our gallery I'm gonna move things over a little bit so you guys can just see a bit clearly cuz you know especially with YouTube compression and everything sometimes it gets pretty hard to look at the nuances so this is not bad and okay so let's just look at the scopes right now this is our log image and is sitting somewhere in the middle but it's not there at all like where we want it to be one thing that we can see on the right-hand side is like look at how the Reds are lifted then the greens and then blues or even lower than that so keep that in mind that offset that's happening on the top end but bottom is sort of like the same thing where the more red then green and then blue so blue overall is just kind of squeezed you know in this frame which I can easily tell just even by looking at it that there's more red there's more green and then the blue is pretty restricted so no tree wise this is what I'm gonna do and then if we have to modify it we will first of all you know noise reduction and we will be using noise reduction because with drone footage you get a lot of chatter and that chatter is really hard to get rid of unless you use noise reduction and the right amount of noise reduction and then filling it up with grain so it doesn't look too classy and too plasticky so once you add grain then it just blends everything in so noise reduction up top second note is gonna be our contrast basically exposure this one is gonna be saturation but I don't know if we're really gonna be using saturation I'm just gonna leave that note here then this one is gonna be my balance this is where I'm gonna balance the image not necessarily get it in this ballpark but just balance everything out so when we're pulling Keys we get the cleanest qualifiers then we're gonna start getting into our look and I'm gonna be using parallel nodes so I'm gonna be doing two for the grass I'm gonna be doing one for the sky I'm gonna be doing one for the road and then I'm gonna just leave another one you know just in case we'll see do another one here and this is gonna be our look adjustment then we're gonna have our vignette there's gonna be a vignette that I'm gonna be using here then I'm gonna do a global adjustment sharpening and grain so that's our know tree 15 nodes let's start with our contrast and we're gonna go right here and this is gonna be the first step so I'm just gonna go in crank it a little bit I'm gonna bring it around 15 ish and then let's pull my gain down to bring that detail back in the sky and then I want to like really crank my gamma because look at how much detail we have in the mid-tones right here so I really want to kick that up then when I can just kick this up I'm gonna take my lift and I'm gonna go down okay because if you look at him right here his suit looks really nice and dark and has the right amount of contrast so we want to do the same thing to our girl here okay so I'm gonna go down a little bit I'm gonna pull it up it's just that's the tug of war you know that's the game that you gotta play so look at our skulls right now we're pretty much in the same ballpark if you really look at it as of now I don't want to do saturation I will very soon so let's just go in here and start balancing our image out so the first thing I want to do is I'm going to take my gain and I'm gonna start matching the top end here right so let's add more red and then let's subtract some blue and then let's bring the whole thing down just a little bit so now if I just go back and forth I mean just look at this - that I was borderline just matching that by the scopes I wasn't even looking at the image when I was doing it just a disclaimer I was just looking at my scopes and tried and get him like in the ballpark so that can really help you and like look at in our waveform the Scopes how close we're getting obviously this side doesn't look right to that so we'll fix that I'm gonna take my gamma and then pull it up okay so that's doing it alright maybe somewhere around here so for now I'm just gonna Park it here I mean just look at it already okay because in this shot the Sun is up because we can see the shadows right like this is the car like look at where the shadows are the Sun is right above them but obviously it's in super overcast day so the shadows are really nice and soft so this was nice for the highlights now let's go into our gamma and try to get some colors out so I'm gonna start leveling it out like I said I'm just looking for a good place to start where I can just pull the best keys so I'm gonna leave it hold on I'm gonna leave it somewhere around here this is fine for now and the scopes are looking okay I'm gonna take my gain and just like nudge it a little bit again just to kind of really keep it in that world up top alright it's looking good this is before for this node and this is after so that's sort of like a rough balance that's fine we can just leave it there now this is where I'm gonna give you that disclaimer shouldn't try at home because if you're working on your reel and there's just a one or two shots that you gotta make them look like Skyfall you can do that but if you're working on a project and getting in there and keying out that many elements per shot can be very cumbersome and can add a tremendous amount of time just to perfect everything and it might not be practical so just a disclaimer just an FYI so keep that in the back of your head okay all right so first thing that I'm gonna do is I'm gonna go under color I'm gonna go under presets and I'm just gonna grab my yellow okay and I'm gonna show you what its gonna grab so if I go here and I hit shift H this is what its grabbing right so that's exactly what I need now don't worry about the top because ultimately I'm just gonna be grabbing this area so I'm not even worried about that okay but it's okay if it's grabbing it we can just like leave it as is we don't need to mess with it now what I'm gonna do is just I'm gonna go under my hue like right here and I'm just gonna bring it up and I'm gonna park it somewhere around here and then I'm gonna take my saturation and I'm gonna just dial it back let's make it a little bit bigger so you guys can see it better and I'm in my hue control now and somewhere around here and now if I do before-and-after pretty believable it's not bad at all so I'm gonna leave it somewhere around here for now then I'm gonna go under node seven and I'm gonna go back into color I'm gonna go under presets this time I'm gonna grab my green okay so basically what's happening is that the green now we're gonna grab everything that the yellow didn't pick up on okay so that's what's happening here now I'm gonna go back in here and same exact technique I'm gonna start with the hue dial and park it somewhere around here go under sat and just bring it down a little bit okay so that basically picked up majority of it now if I play it through mind you this is gonna be a clean key this is not gonna be like some cheap little key that breaks apart as soon as we started doing a playback I mean it's holding up okay so if I take these two nodes turn it on and off we are already selling the effect okay so when I'm creating these looks my goal for you guys is to learn the thought process like how are we breaking down each element how are we attacking each shot each scene and then the entire project like that mentality is so important because once you approach things from that perspective the rest is just filling in the blanks that's easy so now in my node 8 what I want to do is another problem child that I'm looking at which is the road I mean look at this road compared to that road so that's gonna be a major major selling point so what I'm gonna do is come out to this mode go into my qualifier this time I'm actually gonna grab it right so look how much it's gonna grab it's gonna grab everything it goes nuts so I'm gonna grab this and I'm not worried about anything else that it's doing how it's just freaking out that's okay I'm gonna grab that I'm gonna go reduce this I'm gonna move it around and let's see until we just grab what we need and then what I'm gonna do is go into radius and just crank it up to like 40 ish I'm gonna go under here in my window and all I want is just really to grab this I'm gonna give it some feathering and now let's make it smaller extend this baby out all right so I'm just gonna extend this quite a bit make it a little bit bigger like that bring it down and let's see if it just like stays on yeah we don't even need to track it I'm just gonna leave it like that yeah this doesn't need to be tracked what did what we can do is just give it a solid keyframe so you can do it in the track window or you can do it in here in the keyframes I'm just gonna show you a different way to track it like which is basically row toeing it manually right so see the red dot when I switch it to frame so now if I go right here my bad now if I go right here I can just lift it up and do that and it just recorded that information red dot is for recording like and and now it's gonna do a dynamic little move like watch this see that so it's like just creating a dynamic keyframe so that will do the trick right so now what I want to do is let's just go back in here make this bigger and what is this and where does this live this is our gamma okay so this is living right in this wheel so I'm just gonna take it and start adding some green so basically I'm subtracting magenta and automatically adding green by doing so and that should get us in that ballpark so just watch this okay and then another thing that I want to do is I want to lift it up a little bit but I'm gonna lift it up by using my curves and I'm just gonna go under around 40-ish and lift it something like that so now if I turn it on and off like look at the amount of difference it's making right I mean that's a big big change and then so for now I'm happy with this if eventually we have to make changes we will now what I want to do is I want to control my sky so this is what I'm gonna do you guys have seen me use this technique let's try it again so I'm gonna go under luma in my qualifier I'm gonna soften it up do about 8.5 ish and then I'm gonna hit my highlights so you guys can see what's happening and then I'm gonna start selecting it and somewhere around here alright now we got our sky selected now I'm gonna go back so we can see our image and I want to pull some of the magenta out because you can see there's a bit much here it's pretty heavy compared to what we got going on here alright so now I'm gonna go under my gain and try to just pull some of that color out okay even just something like that so it's just a touch I mean it will be really hard for you guys to see on your end I'm gonna go under gain and what I want to do is look at this side right and look at this this sort of green I want to kind of seep that in here instead of like this cyan that doesn't exist in this image right so I'm gonna go under my gamma and I'm gonna try to pull this cyan out even like this is just leveling it out right so I mean you might go dude this is looking crazy so let's just go back to our gain and then counter that and then go back into gamma in all honesty no need to obsess over the sky because we got it I mean just look at this - that we got it so another thing I want to do I want to go into my highlights and pull them down a little bit just to bring back some more information not too much though so even like this much is just really cool and then I want to go under my gain again and let's see let's just level them out a little bit all right I'm gonna take my gain and just lift it up a little bit so that still gives me more information in the sky but then I got my contrast back by raising the gain just a little bit I just touched it a bit so this is like I mean if you look at this top end to this it's looking really nice and it's looking it's right there and then what I want to do I want to go in here and I want to lift my gamma up a bit more because you see like how much emphasis is on here or actually you know what let's just let's do something even better so this is what I want to do I'm gonna do this I'm gonna create a gradient layer and I'm gonna do this now let's go back and I'm go under my curves I'm gonna turn on editable splines and I'm gonna just pick this up and watch this I'm gonna raise this guy up and look what happens at the bottom so just look at it right very subtle but look at how this is just pulling like our eyes just go straight to him I mean obviously it's a composition to but everything is just more lifted in this area than everything else so that's what we just did in this note okay again we wouldn't need to track it I'm gonna play it back and you guys can see it okay so this is clean that's great now what I want to do is I want to go under 12 and I'm gonna create a circular window click right here so we can see our window and I'm gonna Park it right here okay so this is this window is for this section only I'm gonna tilt a little bit so it looks a bit more believable give it some okay something like that now I'm gonna go in here and watch what's gonna happen so I'm gonna start with my contrast and I'm just really gonna kind of bring this down because I'm looking at this area right here right so I'm just trying to create some drama here so I'm gonna do something like this and then I'm gonna go in to my hue versus saturation and I'm gonna pull these colors down like I'm gonna take my greens I'm gonna take my yellows and I'm gonna bring them down quite a bit and then what I want to do is hubris is hue and kind of flip them see if we can get our burn colors back but not much right I'm just trying to like take the sting off the green like how heavy it is on the green I want to take that off that's all I want to do so something like that and then blessed is going to main saturation and just bring it down a little bit maybe something like that and then I'm gonna take my gamma and start moving it take my lift and bring it down just a touch let's go into contrast and crush it a little bit more and I'm gonna take my pivot and just bring it down so now we're creating somewhat of like dis action over there I'm gonna take my color boost and suck some of that out because that's what gives you dis see like ever since I started doing my color boost like now we can see that we're getting that kind of look and let's go ahead and track it so I'm gonna track it back track it forward so this is what I was going after and it's a pretty pretty big difference I mean if you really think about it obviously like you know this is sort of like a magic giveaway if it does bother you then you can even create a custom shape so let's do a custom shape instead then so basically I'm just going boom boom boom I'm not a huge fan of custom shapes ever but you know there's a time and place for everything now let's track it and see what happens I mean it's not too bad and honestly this looks better than what I had before to be honest with you because this just blends in better now this node is gonna come in handy because what I want to do is like you see in the back I want to shift the hue on these to match that right there in the back so that's gonna be pretty easy I'm gonna go under hue versus hue hue versus hue I was on it and I'm in my node 10 and what I want to do is I'm gonna start off with my cyan and then my blue but I'm gonna shift it so I started getting this color and now I am already and then I'm gonna go into my blue and I'm gonna do the same thing and then I'm gonna go under hue versus saturation and I'm gonna pull these down okay so I'm gonna turn them on and off and just look right here see how it's on the magenta blue side and then I'm gonna activate this node and boom all of a sudden like right look right here to super small subtlety right may be hard to see on your screen but trust me these are the subtleties that sell the look so this is where we sit right now this is gonna be my global adjustment I'm not gonna touch it right now maybe I will like in a second I'm gonna go in here I'm gonna drop in my sharpening I'm gonna go in here I'm gonna drop in my grain and this time I'm just gonna go to 35 and definitely do want to crank it so let's bring it let's bring this boy down let's see one thing let's go here and add our noise reduction so I'm gonna go right here type in 6.8 and that's gonna get rid of that chatter that we were seeing actually this is gonna be six point eight this is gonna be four point eight and let's see if that takes care of it yeah it's gone it's gone it's a pretty clean frame okay all right so I'm gonna show you guys a really cool technique so now we see that our land or grass is not really matching up like look at this to that it's not really matching up so without affecting the entire image how can we attack just this portion because everything else I mean even like the asphalt is looking pretty good like I buy it you know everything else in the frame the clouds I mean everything else is sort of like where it's supposed to be but the grass so how can we do that let me show you a really cool trick okay so I'm gonna go right here and I'm gonna click on key mixer then what I'm gonna do is these two nodes right here was our grass right so I'm gonna take the output of that put it in here I'm gonna take the output of that put it in here I'm gonna take the output of the node mixer or the key mixer and I'm gonna put it in our global adjustment and now basically it's using combining these two so we can affect it in OneNote so now when I'm in here all I can do is I'm gonna go under my offset and then I'm gonna start putting everything in this world from where it is right now so just watch this so now if I do before-and-after I just look at how close we are and now if I play it back yeah so I'm not loving like what it's doing to this side see it's getting a bit much so I'm gonna split the difference I'm gonna go under my key and I'm just gonna go 2.5 instead so that just kind of blends it in a little bit more and probably gives us the best of both worlds all right so let's do this let's bring this shot over again and let's look at it here the only thing that I can think of right now is to pull some magenta out of the sky so we can do that in this node I'm just gonna go into curves I'm gonna go under hue versus saturation I'm gonna grab my magenta and pull it down a little bit then I'm gonna go in under my red and pull it down a little bit and that's gonna take some sting out and I can also just go into my saturation and just dial it back a little bit like even something like that and I'm gonna turn it on and off this is off this is on so obviously it does help and let me just get closer get a closer look so now I want to just go into my gain and bring everything towards yellow a little bit like even all right I'm not gonna obsess over it anymore I think for a drone shot and where we started to where we ended up and how different it was compared to what we have going on here I think this is the closest match we can get what I'm gonna do is I'm gonna kill all my nodes go one by one and we can see the entire transformation so I'm gonna hide this right here I'm gonna go ahead and kill all these nodes and also kill these two as well and we can just leave the noise reduction and all all of these on that's fine let's move this over so we can make it a little bit bigger alright so first node was exposure got everything in the ballpark in terms of just the contrast in the juice but we didn't touch the node 3 and then we moved on to node 4 and that's where the balancing happened we just kind of got it in this world like look at this before this is after so we started to pull everything in the ballpark to pull really clean keys then we started with the yellow by using 6 vector technique and we started just pushing in this color by using huber TSA's hue then we grabbed our greens just to fill in what didn't get picked up by yellow and then fill that in to even everything out then I went and grabbed my road that's one of those elements that really sold the effect and then we went ahead grabbed our sky and even everything out then I went ahead and pulled our biker girl out from the background and it's just giving her a little extra pop and then in 12 I created this random shape and then tracted that really sold the effect that we're in this world and it could be the adjacent shot to this because what you're seeing here is what I try to create there ok and again is they're just not in the same environment it's really hard to get all these colors in and as I did this then all of this started jumping out and I wanted to take that as an inspiration and inject it here so that's what happened in this node it's very subtle but you can see I just pulled out the blue and the little undertone magenta out of this and put it in that world ok it's just a hint then we went ahead and we sent the key information from these two for our grass to our key mixer a newer technique that I haven't used yet on my youtube channel and then I sent that feed into my Global adjustment node and then if I turn this on and then I turn this on you see a very very subtle very subtle effect but it does like look at this did that look at this too that it does really just brings it that much closer and I couldn't take it any further because light is hitting these two shots differently because the Sun is in different spots and for that reason you see this patch of grass is somewhat like up there too like this patch of grass which is something like this over there so it's not necessarily directly dad so you can't eyeball it and match it to this because then you're gonna throw that off so that's the dance just remember those things okay all right so now I'm back in my sky node and I just want to pull some magenta out I feel like it still bothers me how much magenta is there so let's split the difference I'm gonna reverse that by adding a little bit more green and then just go back and forth until I feel like it looks more believable something around here I think I'm happy with that let's check out the final look in full screen [Music] I hope you guys had a blast and just like I mentioned before I even got into creating this look that it's one of those that you have to use it sparingly do it if you have time if you don't then give your client you know clear expectations now you have an idea to how long something like that would take that's that drop a comment below let me know which look should I do next and if you found this video helpful then you have to check out the link in the description below one hour long training that's gonna cover so many different things if you're just getting into DaVinci Resolve or even if you're intermediate on that note guys hit a thumbs up subscribe to my channel for more awesomeness please share this with friends I will see you guys in the next video [Music]

Channel: Waqas Qazi

Views: 50,024

Keywords: davinci resolve 16, resolve 16, davinci 16, davinci resolve, 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, davinci resolve color grading tutorial, blackmagic design, james bond color grading, no time to die

Id: xomZdkvFbMk

Length: 34min 51sec (2091 seconds)

Published: Fri Feb 28 2020