How to get the John Wick look | DaVinci Resolve 16 Tutorial

[Music] what's up YouTube this is cozy welcome to another amazing tutorial this one is gonna be part one of many part series I'm talking about John wick one of my all-time favorite films for so many different reasons but most importantly they kill is dog and you're probably wondering why I chose this particular frame two reasons one so you're not gonna find other tutorials like this too I wanted to challenge myself I wanted to take something that does not belong together these are completely different shots one could be 4 p.m. overcast and the reference images clearly evening time so getting everything in the ballpark is gonna require some jiggery-pokery but we're ready for it and that's what's gonna make this tutorial also freakin exciting now before I jump into our tech specs I have an exciting news no we're not pregnant instead you can finally sign up for my free lance colorist masterclass for limited time only you should be seeing the link up above go ahead click on that for watch the video on my main page to learn more most of you go crazy when I drop a 30 minute tutorial on here now imagine 23 hours of content 157 training videos not only that you get access to me as your mentor 24/7 via email or DM and it doesn't end there you're gonna be able to pay off this course in one day after the skills you gain but don't take my word for it click the link above and listen to what filmmakers around the world are saying about fcm enrollment and soon back to the tutorial let's hop on and check out the tech specs the only noticeable thing here is that they used vintage anamorphic glass which is partly creating this glowy soft looking image guys I want to take a moment to thank each and every one of you does it right now we are the fastest-growing color grading channel on YouTube this is all because of you smash that like button so we can keep the streak going subscribe to my channel for more epic content like this follow me on Instagram where I drop value bonds left and right let's roll the intro all right so the first thing that I want to do is as always let's go in and drop in our color palette and I'm gonna move this over for a minute I'm gonna make this full screen so we can analyze what's happening in this image first thing that I see is obvious that this is CGI heavy they did a cloud replacement obviously this lamp just doesn't seem real so let's just ignore all that let's just imagine that this is a real shot so how can we approach this so when I look at the color palette I see that the contrast that they are creating with colors is in the highlights they got warm tones happening and then in the mids and in the shadows they have a lot of cool colors used to complement the warmth and I also see that there are no primary colors right so even their choices of greens and blues is very meticulous it's a very sophisticated grade when I look at it it just looks classy and if you remember it from the movie this is the Intercontinental Hotel which is supposed to be this James Bond den you know love it absolutely love it let's bring in my scopes and analyze the color story to our scopes one thing for sure and that makes sense how the Reds are you know lower then the greens and then the blues and this is where that nice cyan comes into play so that's perfect and then what I see is there's more green overall and I can even see that here right because I mean it's just leaning a little bit toward that then pure like red sodium vapor that you would see in Joker or any of those other movies and then when I look at the wave form that you know what's giving it that cyan look right here is this any time you have your blue is higher than the greens and reds are sitting lower it creates that cyan look that's like a signature Hollywood look when I look at my vector scope but I see is that there's not a lot of saturation going on right so they're really controlling the palette if Derek weren't using warm tones like they are in the Heil this might as well have been a monotone grade all right so this is the shot that we're working with let's play it a couple of times check it out all right cool so we got our sky we got our skin tones we got some clothing and then we got our ground so those are the things that you've got to keep in mind I'm gonna go ahead and pull our reference image there you go and then let's go ahead and click on split and select it still images so we can see them side-by-side so in this one I'm not gonna be creating a noise reduction node because I won't be needing it so I'm gonna start off with my exposure then we're we're gonna balance our shot we'll pull his skin I'm gonna create a parallel node and that's gonna be our grass then we'll have our look adjustment afterwards I'm gonna call this node pop then global adjustment sharpen let's get going okay so the first thing I'm gonna do is as always start with the contrast I want to leave detail in our shadows so I think this is pretty good it gives us enough top but doesn't take away everything one more thing that I want to do here is I'm gonna go under my log wheels and I'm just gonna bring this down to about 18 my lower range and then I'm gonna pull it down a little bit I'm gonna keep it somewhere around here then let's go in our balance let's give it a lot of sat somewhere around here I'm gonna go back into my primaries take my gamma and start taking it towards yellow now what I want to do is just bring my Reds down on my left just a little bit to add that cyan like even that is good enough like we just started seeing this right here and that's helping quite a bit now we're gonna skip these two nodes and I'm gonna jump to my look adjustment okay and something very cool and interesting is gonna happen in this node I'm gonna go under my curves I'm gonna grab my curves right here from the top and I'm gonna bring it down I'm just looking at my sculpture is one we're going pretty heavy based on what our scopes look like so I'm gonna bring it somewhere around here and then I'm gonna break the chain then I'm gonna go under my red and I'm gonna start pulling it down and this is where you're gonna see we're gonna start creating that look we're after I'm gonna Park it somewhere around here I'm gonna take my green bring it down just a tad to add some magenta this is looking not bad at all okay I'm gonna go back in my red that's the dance that you wanna do like right now my focus is how to just get in that world I'm not even focusing on this part cuz we're gonna fix it I'm not even focusing on his skin because we're gonna fix that so let's go and fix those so I'm gonna start off with his skin and guys as you're picking up on the theme lately in the popular looks series what I'm trying to do is give you guys these looks that you can apply from shock the shot and scene to scene and do the entire projects I'm gonna be avoiding using too many windows and too many qualifiers because in the real world you want to keep your grades very clean so those are the techniques that I'm showing you okay they're coming straight from like commercials that I work on so everything that you're seeing here is how I work professionally so what I'm gonna do in my skin note is I'm gonna go ahead in here under hue versus hue and I'm gonna grab my red and move it towards so we can start giving some juice to the skin because it was looking pretty yellow if I went chin a little bit you can see it and we don't have to overdo it right so I mean maybe a little bit more like something like that then I'm gonna go under hue versus saturation and I'm gonna raise it just to give it some color again not too much at all okay because the whole scene is like very d saturated so even something like that so this is where I'm gonna Park it for now if we have to make changes we will be making changes but as of now I'm gonna leave it right there one thing that I do want to actually try is I'm gonna use my I'm gonna go under log wheels and use my mid-tones and just give it a little bit more juice let's see what we can do cuz I mean ultimately I do want to create some drama you know and get warm colors out as we see in here so if I do before-and-after now like this is a big difference okay but what I want to do is I don't want to affect this area I just want to affect his face so the way to do that is by taking your low range and cranking that up until we get rid of this and only affect this area so watch what's happening okay now if I do before-and-after we're only affecting his skin and we're not affecting the bottom again did you see what I'm doing like I'm not using any qualifiers I'm not using any windows just with the tools that are available to us having a better command of your tools you can create some magic without going the extra mile and we know for a fact that it's not going to be breaking apart nothing is gonna be happening if we go back and forth everything is gonna stay intact and look super clean okay so the skin is looking good we got rid of that Hulk green that he had on a skin because of our look now what we're gonna tackle is grass and there is no reference point for the grass so it's totally up to your imagination but I do want to get it in this burn area likes to keep that warmth versus cool tones and the green is just kind of ugly so I don't like it anyways so what I'm gonna do is I'm gonna go under my hue versus hue this time I'm gonna grab my yellow and I'm gonna move them around I'm gonna go up to just burn that grass quite a bit and watch it's not a affecting his face at all okay because his face is living in the red zone and we're only affecting the grass so that right there is sort of like my reference point I'm gonna burn it a little bit more I'm gonna leave it somewhere around here so this is before this is after looking way better okay so now that we're done with these steps I'm gonna go under my global adjustment and what I want to do here is this the thing that keeps bothering me is how uneven the sky is here compared to here so to even it out I'm gonna use my highlights and I'm gonna bring them down to like maybe 40 ish negative 40 so you can see it takes the edge off quite a bit right so that's looking better now what I want to do is I'm gonna take my mid-tones and I'm gonna start going in this world a little bit more so I think there's maybe just like I'm looking at these clouds right here like this right here and I'm trying to create that because it was just a little bit too on the green side it's looking way better now what I'm gonna do I'm gonna go under my pop and let me show you this technique because what's happening is everything is looking good I gotta be honest with you but you know some of these areas have like a pretty solid contrast and I want to see if we can try to replicate that so I'm gonna chain these up again I'm gonna click on these three dots and this time I'm gonna use add default anchors and what that does is puts all these points here right so that gives us some more finite control on what we're trying to do and here what I want to do is I'm just gonna let's see I'm gonna go right here grab this point and pull it down like it's gonna be literally negligible like just barely and then I'm going to lift that up I mean it's barely noticeable but it is right so it's cleaning up his skin a little bit adding a bit more contrast and drama overall and it's just super subtle I mean we can try to push it make it a little bit more where it's not so subtle let me see all right so now we can see it on his skin it's actually doing quite a bit one thing that I'm just gonna do just for myself it doesn't need to be done you guys don't have to do it but what I'm gonna do is I'm gonna go right here and I'm gonna create another parallel node and this time I'm gonna use my luminance actually let's get rid of that let's make this smaller I'm gonna use my luminance qualifier right here spread it out quite a bit I'm gonna hit shift H so we can see our what we're grabbing and I'm gonna go right here I'm gonna keep it somewhere around here and then what I want to do I'm gonna pull the I'm gonna limit that so we only select the blues so we don't select his skin that right there and I'm gonna bring my reference back let's make it bigger and I'm gonna use my highlights again and just pull them down because I think there's still some sting there obviously I'm gonna pull them down until they look natural so if I look at my scopes I mean we are pretty or pretty spot-on maybe on the lower end we can't let me just get rid of this again I I don't know I might just leave this pop off no I do like it I'm gonna leave it on but now I want to see what is happening so let me make it bigger for one second this is what I'm gonna do I'm gonna go in here and I'm gonna reset my black levels and I'm gonna bring it down a little bit just to match them right here I think that's better so let's look at it right like look at the blues greens reds blues greens reds same thing over here bottom look at the bottom I mean I think I think we've done it this is what I'm gonna do I'm gonna go ahead turn all of these off actually we're not done yet so here let's pull these down and this guy down to here let's add sharpening obviously we're subtracting blur meaning we're adding sharpness that gives it that extra pop as well and then let's go into grain drop in our grain I'm gonna go to 35 millimeter 400 T bring the strength up a little bit bring that down a little bit and just look at this beautiful like boom like man just watch this all of a sudden it looks like film I mean seriously if I turn this off and we add blanking this might as well be the same shot I look at this I'm obviously gonna turn this off and that way we can see the entire image let's go back make it bigger I'm gonna turn this off let's grab all our nodes and let's start going one by one so we started with our exposure then we went to balance our image then I isolated his skin just give it some juice then we worked on the grass burned it out then we moved ahead with our look adjustment and that's where most of the heavy lifting happened pretty much think of it as our look DNA that was created right here then we went in took some of this edge off just to kind of get it in this world and then I added just a very very subtle pop then I went and further selected my sky and brought it down a little bit more and evened it out and then finally sharpening ingrain and just look at it now let's check out the final look in full-screen hope this was entertaining and equally educational don't forget to sign up for the master class link is up above or you can check out the video on the home page of my channel smash that like button subscribe to my channel for more awesomeness please share this with friends and I will see you in the next video [Music]

Channel: Waqas Qazi

Views: 42,317

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, theqazman, davinci resolve tutorial, davinci resolve color grading, color grading, how to color grade, john wick look, john wick color grading, john wick color

Id: yUKrBHRA3e4

Length: 22min 29sec (1349 seconds)

Published: Fri Feb 07 2020