How to get the JOKER look Part 1 | DaVinci Resolve 16 Tutorial

>> QAZI: What's up guys. This is Qazi. Welcome to probably the most exciting video on this channel. And let me explain why when you're working in the real world as a colorist you're given inspirations. You're going to be asked to do a revenant look a fight club look and I'm not going to jump right into the tutorial section. I'm going to break it down and take you through step by step what you need to know when you're given an inspiration and how you can have a dialogue with your client. You have clear expectations. You can educate your client on what is and isn't possible. That being said if you want to take your color grading game to the next next level then you have to click on the link in the description below. I have a one hour long intense color grading TRAINING FOR YOU AND IT'S FREE. Check it out. Link is in the description. Guys had the thumbs up for enjoying the kindness subscribe to my channel for more awesomeness and make sure to follow me on Instagram. I have a huge community there and I would love for you to be a part of it. And on that note let's roll the intro I just want to take a moment to analyze this shot and take you through a few things. That way when you're dealing with a client who brings you an inspiration such as this shot you can give them a realistic expectation. You can just look at it and break it down for them and then show them what we have to work with and how far we can push the image what we can and can't do. So if I look at this image I can see that there is this slight you know a kicker that's coming from the side which is this warm light. So this is obviously on a different color temperature than that light right there or the lights in the back. Right. And that's happening on set. That's not something that we're creating in post. Then you look at his cue light which is overhead and is giving him this like racoon eyes right here which fits the profile for this specific scene and the kind of character we're dealing with. So there is another source that's coming from that side which is this cyan light that's filling up this entire frame. So guys most of the time in Hollywood they're creating those looks on set and then you bringing that into resolve just to accentuate it and take it a step further. Whereas now if we go to my image and we look at this shot that we're working with we can obviously see that there's only daylight that's coming in and then there's more light bounce back into her face through probably a bounce disc which is the circle that we see in her eye. So besides that we do not have three different color temperatures going on to give us this look. So we're gonna have to cheat it by isolating her skin and then you know create that cyan look in the back without affecting the skin and without affecting you know certain parts of her dress and I'm going to pop open my scopes so we can analyze what's happening in this frame. So the scopes are pretty good to kind of give you a general sense of where everything lives if we look at our parade just look at the Reds they're almost gone. They're so compressed. And then look how dominant the green is and then blue is somewhere in the middle right. And then you move over to our wave form the same story will continue. Look at how much Cyan is in there in the entire image. We see that. And then the red is just almost gone. If we look at our vector scope just look at this. So much Cyan is so saturated in that channel and we know now what we need to do where we need to get our image to look exactly like our intention and if we look at our histogram it's going to be the same exact thing. Look at the green. Look at the red. Look at the blue. And then look at the red in the shadow area how it's just gone. If you are not working with a calibrated screen and you can't really trust what you're seeing scopes will tell you that story scopes will demystify that element of color grading where you will know exactly where everything is. If you see this and even when you're grading your image as long as you're getting in this ballpark then you know that you're nailing it regardless of whether your monitor is calibrated or not. So those are certain things that you need to keep in mind. And now that we have that out of the way we can just get to work. So the way we're going to attack this is that I'm going to build my node tree structure and then take you through what's happening here. We're going to label everything and that's going to give you a good understanding of how I build my grades. I would say use this as a building block and then find your own style and then modify your node tree structure accordingly. But what you're about to see is really going to help you understand if you have a proper node tree structure per shot how easy it can make your life over time when you're dealing with a hundred two hundred five hundred thousand shots whatever you got when you're working on a project. Another thing that's going to happen is that I'm gonna be using my control surface. So a lot of the times my mouth might be sitting right here. But then things are moving here so don't worry I'm gonna make all my windows bigger when I'm working on a specific window. And on top of it I'm going to commentate what I'm doing so you guys are going to see exactly what's happening. I'm going to have some annotations going on some arrows and things like that. So it's not going to be confusing. I'm just giving you a heads up. So let's get started. So my first node is always reserve for noise reduction so I'm not going to touch it. I'm going to leave it as is and I'm going to create another node and I'm going to pull this down and I'm going to explain everything as I go so my no treat the way I set it up is in rows and the top row is you know just one node which is noise reduction. Then the second row is for my primaries usually and then this is where I'm going to have all my primary adjustments and we're not going to be using any let's so we're going to be just doing everything using our primaries wheels right here. And then the next node is going to be where we're going to start creating a look. So for this one I'm going to bring this down right here. And for this particular one since this wasn't left to where we want to be I'm going to be using layer nodes. And when we get into it I'm going to explain to you how to properly use them. But right now I'm just going to create a few. So this is gonna be for skin. This is going to be our background. And then this is gonna be our dress. So right now I'm going to leave it at three and if we need to add more we will add more and then I'm going to click right here and create another node. This note is gonna be my look adjustment. So the looks that we're going to create here this is gonna get us a little bit closer to where we want to be sort of like a global adjustment for our look. So we're going to create that here and then what I'm going to do is I'm gonna make this a little bit smaller so you guys can see what's going on. I'm going to create another node and then this one I'm going to pull it down. So this is gonna be my vignette. So this is where we're going to pull her out and then I'm going to create an outside node so the outside node is going to be what ever I do to her here. It's gonna be it's gonna select everything outside of that. And then after that we're going to create another node and then this is where we're going to do sharpening. So I'm going to show you how to do that. So that's where we're gonna be doing all our sharpening done here. And then we're going to create one more where I'm going to drop in our film grain just to give it that film look. And then the last one is gonna be our global adjustment and that's where we're going to make our final micro adjustments just to bring everything home. So this is the node structure. Now I'm going to go ahead and name it. So you guys can just follow along. And then when you create your own military structure is going to help you with that as well. So I went into my keyboard and customize that key for naming my layers. You can set to whatever but minus that to tab. So now I'm going to call this an hour which is noise reduction and then the second one is gonna be primaries and I'm just going to type in primaries and then this is gonna be our background and I'm going to give it some gap and then this is gonna be our skin and I'm going to pull this down and then this is gonna be our dress and right here is gonna be our look adjustment and I'm going to leave it like that and then this is our vignette and this guy is gonna be our outside of the vignette. This one is sharpen and then this right here is our grain. That's our film grain. And then this right here is gonna be our global adjustment. So this is the no tree. If we have to add nodes to it no big deal we will Adam but this is just basically the foundation. This is what we're going to use to as a starting off point. The best thing about this is that once you get used to this. And then when you're making some adjustments and the client comes in and says hey I don't like this green can you try this can you try that you will know exactly where to go and what to do to make those changes if you are just somebody who just keeps hitting new node new node and make all these changes then it could be really difficult when you have to go back and trace it back like it might be impossible. So that's why I have my structure set up this way. So let's get going. So the first thing I'm going to do is we're going to start off of the contrast. So what I usually do is instead of using an image WIP to get my colors in I use split screen. And then in the split screen you're going to click right here. You're going to select selected still images and basically Dennis it's gonna go ahead and pick whatever image you have selected here is going to pop it open. First thing I wanna do is all this start with the contrast. And in this case I'm gonna use contrast and pivot to do that. So I'm gonna go ahead and start dialing that in and that's what's happening right. So like I told you I'm going to be using my panel but just kind of keep an eye on what's happening there. So my contrast somewhere around here something like that and that's fine for now. And now what I want to do is grab my log wheels and I'm going to come in to my long range and I'm gonna bring that down. I'm going to bring that down to around two ish because I want to just select the bottom of my shadows to be affected right now and then I'm going to go ahead and grab my shadows right here and just bring that down. So I'm trying to bring that down to kind of match the black point that we have over here. Okay. So that is looking fine and now don't freak out with the color temperature because this is so red and let's just pull up our scopes right now and I'm going to leave my scopes right here so you guys can see what's going on so obviously our reds are really lifted as you can see right here compared to where the Reds are there. And that's OK because this is our primary adjustment that I'm going to go ahead and give it some saturation. So let's go ahead give us some saturation and the reason why we want to give it saturation is so it can help us when we're pulling keys. OK. So that's going to help out quite a bit. And now I'm looking at this and you know the red is even farther apart now than where it was before. So let's balance this image out and the best way to do that in this particular situation would be what I'm going to do is I'm going to go in here and I'm going to go into my offset and I just want to grab my red and I want to pull it down because look at this right. Like so the green and the blue is down here and then the red is just lifted all of it is just lifted. So in order to adjust that I'm just gonna go in here I'm going to grab my red. I'm going to pull it down a little bit. I'm gonna keep it somewhere on here and you can already see how much of a difference it made so I'm going to do before and after before and after so it's making a pretty big difference. This is looking pretty good. The saturation is looking pretty good. Now we're at a point where we can pull a pretty good key. The contrast is looking pretty decent compared to what we got going on over here and we can attest to that by looking at the image right here. So everything in our image right here is sitting around here somewhere. And that's exactly what's going on in our image as well. But we have to pull it down even more eventually. But for our primary adjustment I think we've come a long way. This is looking pretty good. Now what I want to do is I want to go into my skin. One thing that you need to understand about layers the way the layers work and resolve is the opposite of how layers work in aftereffects or Premiere Pro or final 10 whatever have you. What I mean by that is any node that comes later is going to take precedent to the prior one. So this node is gonna have a priority over three and then six is going to have priority over five and it will make a lot more sense in one second. So now I'm going to get rid of my split screen view. I'm going to go into right here. My qualifier and then we're gonna go ahead and pick her skin right here. Now it's done a pretty good job but you can see there's a lot of noise and this gun key stuff is happening because there is actually a lot of noise in the image. OK. And what I can do first of all is try to minimize it as much as possible so we can do some of this and then we'll see what else we can do to control it. And then we can blurt out quite a bit. Don't ever be shy with blurring of the keys like go ham. And now what we can see is that there is a lot of noise right here. So in order to reduce that first of all let's uncheck that and then let's go into our noise reduction and do this and this is the source right here and then uncheck this break the link right here and just effect the chroma in right here. Now if I take you Up Close and show you what's happening here compared to before and after you can see how much of her skin and the entire image we're cleaning up without really sacrificing the detail resolves noise reduction is insane is so good. So now if I go back right here and pop this guy open you're going to see that it's a lot cleaner the way to get better at qualifier is to practice. You really have to get in there understand all the parameters and then play around with them until you have a deeper understanding of how each tool reacts this looks pretty good. All right so let's go ahead and see how good our key is. So I'm going to go back to our inspiration and start dialing in the colors. So this is where we want to get to. And I'm going to get there by using my primaries. OK. Some going to go back in here and I'm going to use my primaries to get right there and just watch what's happening right here so as we can see that the key is pretty freaking good. Let's play it back. I mean just look at this without the key would be like this with the key it's like this. So it's holding pretty freaking well but obviously we're not going to leave it like that. We have to blend it in and find the right balance. Now I'm not the biggest fan of this green there's way too much green. So in order to address that I'm going to go into my curves and I'm going to go into my hue versus saturation right here and I'm going to select my green. I'm going to pull it down so that's taking care of it a little bit. I'm looking at this right. So this is my green point my Green is going to be around here not more than that. So this is not bad. Now what I want to do is go under hue versus hue grab my green raise it up a little bit raise it down to turn it into a little bit of a cyan situation like that's going on over here. OK. So now my greens are not looking too bad. One thing that I'm noticing is that there's a little bit more saturation over here in the background than we have here. So let's go ahead and add some saturation just global saturation right here and now I'm looking at the colors like right here right here like we're bringing a lot of those in. Now in this case even our highlights we don't have to make these white points white purely because look at what's happening. These points are not necessarily white. And another thing that I'm noticing is that you might say hey there's some science seeping into her eyes. But the thing is look at how much Cyan is in his eyes right here. So that's what's helping blend the entire thing together. So we don't have to really worry about that too much. I'm actually pretty happy with where the colors are right now. Now I want to go into my skin and I want to blend it in. And the best way to do that is right here. So this is where think of it as like opacity if you're coming from like the adobe ecosystem. So right here in your key output we're going to control how much we want to blend the sensor right now it's that 100 percent. That's the strength I'm going to bring it down to kind of like blend the two together a little bit right. And then what I want to do is just like how there is more magenta and his skin right here on add some more magenta and the highlights of her skin. So I'm going to do that by going into my log wheels right here by my log wheels right here and then I'm going to grab my mid tone right here and I'm going to raise it up to magenta and that should add a little bit of it. And then I'm also going to take my highlights and do the same thing. So that's definitely adding some of that and that's looking pretty good. I mean look at guys before. If we would have just let our image you know if we wouldn't have selected the skin would have been like this by selecting our skin were right here which is pretty freaking good. Another thing that we can try is try our saturation bring it down a little bit and that will also help kind of blended in and that's not bad at all. I'm also gonna go in my primaries wheels and I'm going to grab my gain and I'm going to take it toward that magenta just a little bit not too much. So this is looking pretty freakin good. I'm happy with that. Now let's go into our dress. And like I said whatever comes later takes precedent over the no prior. So what I'm gonna do is I'm going to turn off my split screen again and now I want to go back into my qualifier and what I'm looking for is I'm going to select my picker and then what I'm looking for is my red. So I'm going to go in here select qualifier and then I'm going to go ahead and just pick all of this red and let's go in here and see how good good of a job it did. It did a really good job. I'm going to widen it up a little bit just to grab everything and then I'm going to pluck it out quite a bit. And what that's gonna do is it's going to preserve my red. So now my red is kept pristine how I want it and again if the eyes are too much for you guys first of all the eyes are not too much because look at so much science seeping through his eyes. So I'm leaving my eyes as is. But for those who want to critique and say it like you know this is too much for us. You guys can easily go in here create a window around her face and then mask it out basically inverted. So then the eyes are going to be pure white. But because I'm going for this and that's my inspiration I'm going to stay true to that and I'm going to leave it as is for this one. Let's go back to our split screen mode and see how close we are. This is looking really freaking good guys. Come on. Mike look at this right here. These highlights too like how our highlights are looking like look at all the other colors. We are there. This is already we have come a long freaking way if I just take my look nodes and if I just turn them off and then turn them on we're looking really good. Some in my look adjustment node. I'm going to play around with this and what I do is I just rotated around and see if there is something that I can do to get in the ballpark even faster and get even closer to where I want to be. So I feel like this might be doing it. Let me just let me just sit on it for one second. I think I like what it does to her skin. I also like how it takes out the green bias that's in the image before the look adjustment and I think the skin gets closer to what I wanted the skin to look like. And then the background and the shadows get deeper on that bluer side. I don't know though. I mean it might be a bit much. Let's just keep moving it around. Hold on. Let me make it a little bit bigger and then look at it all right. I personally think it's definitely a welcome change. So I'm going to leave it in and that's what I mean that's what the look adjustment is for. You know really quickly can put you in the ballpark. So I love it for that reason. Now for a vignette let's get rid of this split screen again. Let's go back to our shot. I'm going to make it smaller and for vignette. Basically this is what we're going for so let's analyze this real quick and just look at what's happening. Look at how harsh the vignette is like how we get to see him and then everything kind of fades away and fades to black almost. So it's pretty heavy like the vignette that's happening here is pretty heavy so that's what we're going to go for. And it's pretty simple so I'm going to go in here. I'm going to create a circle and I'm going to make it kind of big oval and then give it a shape you mean not that much something like that. And then I'm going to soften it up quite a bit and then what I want to do is I want to go in here and I'm going to click on editable spines and I'm going to click right here up top and just raise it just a tiny bit not too much. OK. Just like something like that. That's it. Just pops it a little bit. Nothing too crazy. And now the outside is gonna be opposite of that. And now I want to go click on these three dots and uncheck editable spines. And this one I'm going to do I'm going to go ahead and bring back my image. Make it full screen so you guys can see better. And now I'm going to just grab it from the middle and I'm going to pull it down No I'm going for this extreme thing because that's what's happening here. OK. And if that's the inspiration then you got to go all in. That's the thing. Like you can't half heartedly go in to it like you just have to go all the way in. And this is selling it to me. I don't think we need to track anything because she's in the center so she's not really moving. So this works. OK. I'm going to go into my sharpening and I'm going to go right in here on this guy and I'm going to pull it down to forty seven. That's the source that just gives it enough sharpness without making it look tacky. OK. If I turn it on and off you can just see what's happening with her eyes and it's a very intelligent system that does a wonderful job. And I'm gonna go into my phone grand I'm going to come up here and this is one of resolves on effects and I'm going to use that. I'm going to go to 35 millimeter of 400T and then going to raise the grain strength quite a bit. And if you look at it it just basically like look at right here it's just adding enough to give it that film texture that's just highly appreciated and I absolutely love it. Now the global adjustment is always there if we want to mess with it. We don't ever have to mess with it if we don't want to. But that's basically a node sitting there. If a producer goes OK I like it but can we try this can we try that. Then you don't have to go in here and make adjustments you can just do it in your global adjustment. One thing that we can do to be honest with you in our global adjustment is bring the saturation down and let's just say if we just think that OK it's a bit much we can do couple of things. I want to show you the SAT versus sat. So most of the meat sits right here right. And I want to pull saturation from that but I want to leave the saturation in my shadows and my highlights. I can just come up here in the middle and I can pull this down and just look what's happening I can pull it back up I can leave it somewhere around here and let's look at it we were right here. Now we're right here. I can also go to my highlights too and say let's bring that down a little bit to and then let's keep bringing this down so that's going to come down to your preference. I actually do not mind pulling some saturation because I feel like it just makes everything deeper and adds a bit more film quality to it. So I'm going to leave it there and that's what my point was with the global adjustment it's such a great tool that's sitting right there that you can use to like dial it and a few things really quickly. So one last thing that I think I want to change is how much saturated her skin is compared to our inspiration so I'm going to go under my skin and then I'm going to go into my global saturation. I'm going to pull it down and then I'm going to bring it up somewhere around here. And another thing I want to do is I'm going to go into my primary's wheels and I'm going to just add some warmth like I'm going to take it toward like yellow just add some of that and then pull some more saturation out so somewhere around here. Now what I want to do is just get rid of our split screen and then make this bigger and see how that looks. And I think I am more comfortable with that than where it was before. So let's just turn all of these off and then go one by one and see how far we've come. So this is our primary adjustment. Then we went into our skin selected that then we created our background after that we pulled out our dress and then look adjustment is something that I feel like just did a tremendous amount of job bringing everything close to this ballpark. And then we created a vignette just paper out a little bit and then we just brought everything else down around her added sharpening and foam grain to really give it that character. And then in our global adjustment we just brought the overall situation down a little bit just to kind of make all the colors deeper and I feel like that looks absolutely fantastic. Let's check out the final look in full screen. I hope you guys had a blast made sure to drop a comment below. Let me know which look you want me to do next. I have some ideas and this inspiration series is going to continue. But I would love to hear from you guys. And for this particular tutorial I would highly recommend going back a couple of times and just re watching it and letting it come to you and just really absorb the content that's here. And guys on that note if you want to take your color grading game to the next level which I highly recommend you should make sure to check the link in the description below. It's a one hour long training that's going to take you from not knowing anything about resolved all the way the grading your first professional project head the thumbs up. If you're enjoying the content subscribe to my channel for more awesomeness and I will see you guys in the next video.

Channel: Waqas Qazi

Views: 350,173

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, joker, joaquin phoenix, joker 2019

Id: fFINbdzWQNg

Length: 32min 42sec (1962 seconds)

Published: Fri Dec 06 2019