How to get the Mad Max look | DaVinci Resolve 16 Tutorial

>> QAZI: What's going on guys. This is Qazi. Welcome to another amazing tutorial. Mad Max Fury Road. So now I want to show you how the talk went between the director George Miller and the colorist Eric he pretty much says that George told them it should be saturated and graphic. And the night's scenes should be blue. Come on. But just think about it. We're talking about Mad Max the movie that probably shook the entire world when it comes to color grading and the look. And this is how basic and simple. The director kept it. Guys don't look too deep into it. Don't overcomplicate it at the end of the day. That's it. Just remember this quote. So basically they use it conversion LUT which is C-log to P3 with a film emulation baked into it and then in the color grading process. Eric used the LUT as a base and then on top of it he did the lift gamma game for basic correction. And he also did keys because that look you can not get without pulling keys. So he did end up using that and that's about it. On that note if you want to take your color grading game to the next next level make sure to check the link in the description below. One hour of free color grading training that takes you from not knowing anything about resolve all the way to grading your first professional gig. And guys hit the thumbs up if you are enjoying the content subscribe to my channel for more awesomeness. Follow me on Instagram and let's roll the intro before we get to grading. I want to look at this shot and analyze it. This is my hero image. That's what I'm using as a reference. I don't know about you but when I think of Mad Max this is the shot that comes to mind. I'm going to go in here really fast and drop in my color palette effect. And this is gonna tell the color story here. OK. So I'm gonna grab my scopes. Move them over. Make this bigger. And let's start with our highlights. It's really interesting if you look at it there's the salmon thing going on here. OK. And you can see it right here. There is no pure white and it's just so cool it's so stylized. Then let's look at our mid tones. Just look at this ground deep pushed it as far as you possibly can before breaking your image. Just look at right here or right here. This image is pushed to the max which I absolutely love. And then my favorite part of this image is the shadows just focus right here and right here how there is this undertone teal even right here there's this really nice teal color going on that complements perfectly to our orange. So that makes it a perfect deal an orange sort of story. And they even added that right here because if you can just imagine a sky during almost midday because it just look at the shadow where the shadows are so it's like one o'clock or two o'clock when you think of the sky at one or two o'clock. You don't imagine it being this different. Right. So this is just a creative choice and this whole movie was like that and that's why it's probably my favorite movie when it comes to color grading because they just took the creative liberty and they ran with it even if it doesn't make sense like this cyan where's it coming from like it should be like this. It should be like this blue. It should not be deaths but why the hell not. That's what gives us the perfect complement to this color that's happening here. So let me make this small. Let me bring my scopes back over. Let me turn this off. And now I just want to analyze the scopes really fast. Let's start with parade and look at how red by us the images. And we can tell if we just look at it. But then what balances it out is the teal that's happening here and we can see what's creating that. So look at where the Reds are. Look at where the Greens are. The mid tones and then the mid tones of our blue are almost gone and that's what's making the entire image a little bit more on the yellow side. If this was lifted then it would have been pure red when the Blues are down and reds and greens are lifted. It gives it that yellow tone that we got going on over here. Now if you look at the highlights in the blue channel they're pretty lifted and not as close to or equal to green or red but this lift is what's causing this. So for us to have the salmon colored. That's coming from the lifted blues. If the Blues were down here this would have been yellow. Let's look at the vector scope. Look how colorful this images. I mean there's just so much juice in this image. It's going towards orange and it's just so saturated and then they have the perfect complement which is that teal that's seeping in that we notice right here right here and even here. And that's what's giving it that color contrast which makes this visually appealing. And now if I look at our shot and see what we have to work with I can tell you it's actually not a bad deal. We have a similar time of day which is one or two o'clock and I think once we start dialing in the colors things are going to play in our favor for the most part. I'm just so excited to jump in and figure this out because look at where we are right now and where we need to be. This is not going to be easy but if it was easy it wouldn't be fun and you wouldn't be watching this. So let's jump right in. I'm gonna go ahead and create my no tree. So the first snow you guys know is all this noise reduction. The second one is my primary is the third is where the luck starts and then we're going to do the same thing. I'm going to do a layer node and another layer node and then we're going to come here. We're going to create another node which is gonna be our look adjustment. We're going to create one more node. I'm going to bring this down. We can do parallel for the windows and then I'm going to go to our next node and this is going to be sharpening. This is gonna be green. And then this is going to be global adjustment. So this is the node tree structure. Now I'm gonna go ahead and name it. And then once I name it I'm going to show you a quick tip which can save you tons and tons of time. OK so let's start naming them. This is noise reduction. This is my primaries this is gonna be my background. This is my. In this case it's gonna be crowned and then this. I haven't thought of what this is gonna be so I'm going to leave it as is for now and then this is my look adjustment. This is gonna be Sky left and then this is gonna be sky right. This is sharpen this is foam grain and then that's my global adjustment. Once you have everything set up what you can do is you can click on gallery still you can come to your power grid. Everyone should have power grade one right click here and say grab still. Now the beautiful thing about power grade compared to dropping it in your stills is that this is gonna be available throughout your projects all your projects on the same database. So wherever you go this is gonna be available. So let's just say if tomorrow you're working on something else and if you just want to get there really fast you can just click on this and this is gonna bring everything ready to go. Then you can depending on the shot that you're working on or seen or whatever you can modify the labels accordingly. But the structure for the majority of it stays the same. All right let's get going so I'm going to click on my primaries. So the first thing I'm going to do is use my contrast just to get in the ballpark. So let's get going. I'm gonna park it around here somewhere and I'm going to use my gain and just bring it down a little bit and then let's just give it some saturation I'm going to give it around sixty five ish and I'm gonna take my gain we'll just move it over a little bit toward that yellow somewhere around here. So the one thing that you need to know by the layer mixture is that node 6 is gonna take precedence over node 5 and then 5 is gonna take precedence over the prior node. So if I leave this on and do anything on this node it's not going to show like look it it's not gonna do anything. And if I go on this node and I move this over and everything is gonna show because this takes precedent over that. So that's the last node. So what we need to do before we click on our ground node because that's the one that I want to work on. I'm going to go in here and turn that off. Then I'm going to go to my ground and try to select the ground to effect. And the best way to go about it in this case would be color presets and just go to yellow. Okay. And look how great of a job it's gonna do it picked all my yellow OK. Most of the yellow is picked out. So the one thing to make sure that it picks all of it even does a better job. I'm going to go back to my primaries and I'm going to take my gain and just move it toward yellow. A little bit more so I'm going to move my image over a little bit more. And now if I come back like look at it it's Steven doing a better job. So now that we have this selected I'm going to pop my image open again. And now let's start going in that direction to get our dirt our ground looking like this. And for that I'm going to use my offset because I want the entire ground to be affected and get in this ballpark as fast and as accurate as possible so I'm going to start with my offset. And when I started going in that direction. OK I'm going to be pretty aggressive. Let's just keep going and eyeball it to where we need to be that's not a bad spot somewhere around here. Now what I want to do is there's way more detail in here than there. So I'm going to use my contrast and pivot to create that. So I'm going to jack up my contrast and a little bit and then I'm going to take my pivot and I'm going to bring it down. And that's gonna give me that detail like we can already see it's coming in and now what I want to do is pull my all set back a little bit. Maybe I've pushed it a bit too far but that dance is going to keep happening. So we're going to say OK we're going to keep playing that game until we get where we need to be. So this is looking pretty good. Another thing we can try is we can go in here and use our highlights and bring our highlights down so then I want my highs in the ground to be somewhere around here. So I'm going to just bring them down. And then that also add saturation in the colors. So that's looking really freaking good to where we started. Now what I want to do is I want to go in here and I want to go in queue versus luminous and I want to take my read and I want to pull it down a little bit and then I want to do the same to my yellow. I want to pull it down a little bit. OK. So now we're getting somewhere right. Like just look at right here right there. We're getting somewhere what I think is missing right now is I need to pull some blue out to add some yellow to get in that world. So the way I'm going to do it is by using my curves are G.B. curves and I'm going to go into my blue channel and I'm going to grab this and I'm going to pull it down a little bit and we're adding a little bit of that. This is doing it. OK. Now what I want to do is go to my green and try to pull this down a little bit but I don't want to pull it down from here. I just want to pull it down from the highs when I want to do is let's do this. Let's take this and bring it to the middle and like really see where we're at and what we need to do. So what I'm going to do is communists looking really freakin good. So what I'm going to do is I'm going to use my left cam again to get in the ballpark but I'm going to start with my gamma and let's just start moving it until we get in that zone you know what else it can be is like matter of saturation and then basically we were just adjusting our again and if I go back to this mode I can look at what's happening and make it bigger so one thing that I do need to do is go in here illuminates versus saturation and or maybe saturation versus saturation and I just want to take my saturation on the top end and bring it down a little bit and then keep it for the most part I just don't want it. Like what's happening here. I just want to control that all. I think there's still too much magenta in there. So what I'm going to do is I'm going to take my game and I'm going to move it a little bit toward yellow and then move it up a little bit. You know this is looking really good to me. One last thing that I'm going to add is in my Y channel I'm going to go in here and I'm going to click on Add default anchors. So you know how there's so much detail on the ground here then compared to what we got going on here we can do that by using this technique. So now I'm going to go ahead and start punching in some things here like just look at it already to like really grunge up the ground. And it did that and I think to be honest with you I think we're really close. I mean look at this. Look at this and look at that compared to this. So we're getting there. OK. Now I'm going to go in my background basically. It's going to leave everything that's happened here and affect everything else around it. So what I want to do is just get some of these colors right as much as possible. In this note before we go in and affect them individually I just want to add a little bit of the salmon that's happening here and then I want to go in and grab my gamma and bring it down and then let's take this and even bring it down even more because remember that teal that was happening so this is giving me that feel like now I'm getting that teal. You can even see it on the car right here right here. So that's pretty cool. And then this is closer to getting a stair and I'm going to take my log wheels and I'm going to take my highlights and just take them to that salmon color so that's looking pretty nice right there. If I come in here and if I want to adjust our ground a little bit more I can just take my gain and just move it towards that like somewhere around there OK so this is good for now. Let's keep moving on. I'm going to go in my look adjustment and I'm going to turn on my offset and I'm going to move this wheel around to see if there is a position where everything comes together a little bit better I think this is not bad at all. I'm liking the ground better but more importantly I'm liking how even her skin and everything else is like in this zone right here. So like all this area that's looking really nice I think the look adjustment came in clutch one more time how it all does. So that's looking pretty good. I'm going to leave it there. Now let's go into our sky and I'm going to kill this for a second and go in here create a window right here. Stretch it out. Something like that and then blurred out quite a bit. And what I need to do is just in this area go ahead and pop in our reference again and all I need to do is one just take my gain and raise it up. So I'm going to raise it till they're in the same ballpark. Like around here. And I think other than that to be honest with you I feel like it's already looking pretty good. So I'm going to park it somewhere around here. So I'm going to go into my sky right and I'm going to create another window. And you always want to make sure in here that you select power no where else you're not going to be seeing your window. And then we're going to do something like that. I'm going to move it around here somewhere. And then what I want to do is do that. So what I'm going to do to get there is I'm going to use my gamma and gain. OK. So let's just keep pulling them down until we get in that somewhat of that world that I'm going to use my contrast and pivot to kind of add that punchy contrast that's happening here. So I'm going to do that. Oh. And then I'm going to pull this down and then I'm going to raise my gamma a little bit and I think that's not bad but I want a blended better like right now it's not really blending it it's just kind of giving away the window action. So I'm going to just keep going with this. And then what I'm going to do is selected go back to my window and move it up and let's see. So yeah it's pretty crazy how they have it. One more thing I want to do is like you see how it's seeping into my mountain. I don't want that. So to avoid that we're going to create another circular window and I'm going to come in here I'm going gonna make it the size of the mountain. I'm going to stretch it out we're going to move it like that and we're going to just give it some feathering and then I'm going to click on this guy right here so basically I'm saying hey exclude everything in this window but then keep everything that you have in this window. So now if I bring this in and look at it we've got our color going on. I like it. I just I don't even think that this is natural looking but just because for the sake of like you know the look that they're going for they're leaving it in so then we're going to try to leave it in but we're going to try to blend it better. And right now it's not blending better at all. So let me see what we can do to make it work for us. So I'm going to go back here before I do that I'm going to do a quick detour and add noise reduction to our image. I'm going to set my temporal threshold to four point eight. Then I'm going to move on to my spatial threshold and I'm going to break the chain and only affect the Chroma. Now that's done let's get back to our teal sky. So I personally feel like this is pretty heavy handed. So what I'm going to do is just move my window up quite a bit because I don't need to have this effect that heavy and then I can even pull this in a little bit and then just keep it somewhere around there. And then let's go to the second window and I just want to make sure that that set somewhere there and then let's see how this looks. So I mean it's blending in. It's definitely looking much better than before. Let me pull up this picture. It's definitely not as dramatic but we still have a few steps to go so you might get pretty close. So that's OK for now. Now what I want to do is go in here and add some sharpening and I'm going to go in my grain and that's where the magic is gonna happen and I'm going to call right here and type in grain pull this guy down and I'm going to use 35 millimeter 400 tea and then I'm going to just put like I'm going to crank it call it like I really like a lot of grain it's like all that looks so good. That makes it look like film right there. And then in my global adjustment I want to do a couple of things OK. First thing I want to do is this and that's a really good trick to get a film contrast. Raise your left a little bit. Bring your gain down quite a bit and then go ahead in your contrast and crank it and I'm going to keep it somewhere around here. And then what I want to do is go to my blog we'll pull up my image so I can see where it is. And now what I really want to see is this. This is my black points for the reference and these are my black points for this image. So I need to bring this down to match that. OK. So I'm going to go ahead and go to my lower range and pull it down because I only want to affect the lowest part of the shadows. So I'm going to bring this down like somewhere around 2 ish and then I'm going to go in my shadows and I'm going to pull them down and just keep an eye right here I'm going to pull them down somewhere around here. When a pocket right there so this is what I was talking about so like global adjustment is the real source like this is where everything happens to just look what we did. Disable and enable it like look at now I got that deep colors coming in and now my sky is looking like that. Now there are certain colors that might be a bit much like down here. So the good thing is how we have everything set up is that now we can go in here in our ground and we can start pulling some color so I'm going to actually use my color boost and pull this and see what color blues does if it's not doing much then I'm going to click on it again and I'm going to try to pull my saturation. So now I'm in my situation I'm pulling it and maybe I can leave it somewhere around here and then let's just try to get it in the ballpark actually you know what couple of things I want to take my camera and raise it just like bring some of that in here and now I want to just add a little bit more red I'm actually going to go ahead and adjust my gamma so that is putting us in the ballpark quite a bit. But you know I want to go in my log wheels. I want to grab my highlights and I want to move them into that red like right now in my seat. Now we're like getting into this on this. This is where I wanted to go if I turn this on and off just focus right here. Boom that is giving me what I wanted. I'm happy about this. I'm going to take my mid tones and Mentos should be this area and I'm going to pull them towards yellow because I feel like they're a bit too red and here they're like yellow. Now I want to pull her out a little bit if possible so let me see this I want to do two things. I'm gonna create a parallel node. The reason why you want to create parallel nodes because parallel nodes are perfect for blending layer mixture is perfect for isolating. So those are just simple concepts that you got to keep in mind. So what I want to do is I want to just grab I'm going to keep this out OK. I just want to grab all my blacks and I want to lift them just a tad bit. So I'm going to do that by going into my qualifier. And then in my qualifier I'm only going to use luminous. And you're going to see what's going to happen on the screen because I'm going to turn on my highlights right here. I turn it on and now just watch what happens. So I'm going to add some softness I'm going to add about eight ish eight point five and now I'm going to just keep coming back until I just grab my mike right here. I just grab my blacks and now I'm going to come out of my highlight mode and I'm going to lift it. Someone lifted by using my gamma I want to lift a little bit not too much. So like even something like that and then I'm going to go back to my log wheels and I'm going to bring this down to 15 ish and then I want to pull this down again we just want to match it to the seven and pull it down and leave it where it is right now. So we were able to bring quite a bit of detail back. You see right here and you see on the car we brought back quite a bit. OK. So this detail matters now what I want to do is I want to create one more parallel node someone to create one more parallel and I want to grab her skin on and grab right here and I want to go in here. This is not right. So let's click on our picker and go and just do this not that. So let's go try it again I just want to pick our skin and I just want to add like not too much like something like that a blur and then I want to go in here and just on the low end lifted a little just a little and then also go into my saturation and pull it down. I give it a nice slow film look so we were able to pull quite a bit of color out of her skin and that's kind of cool. That is definitely a film look. And now I want to go back here and see what's happening where we are if we're nailing it. All that good stuff. So let's look at it in this mode and I think what I'm seeing is I'm going to go in here and what can get us in the ballpark is basically the saturation here is kind of lacking. But then the rest of the image is looking good. So one way to correct it is this and that's nitpicking picking guys. I mean we're pretty much there. OK. So I can go under my luminous versus saturation and the brighter areas I want to add saturation in my brighter serious. I'm going to click here and I'm going to raise it and you see how it's adding saturation in everything. So I don't want that so I'm going to bring it down but now I see if I turn this if I kill this and bring it back you can see the saturation we're adding in this area and that's doing a lot. One thing that I'm noticing is that there's a little bit more warmth here meaning there's probably the blue channel is brought down a little bit compared to what we've got going on here so let's try to do exactly that. So I'm going to go in here. There's a couple of ways we can do it. You know what. Let's try a different way. So I'm going to go in two right here and I'm going to use my offset. Let's just bring our blue down a little more and you will see what happens. OK. So I'm going to go in here. I'm bringing my blue down and I think it's putting me in this ballpark. And now what I want to do is maybe bring the green up a little bit. All right. I think that's much better. I think we can still pull some saturation out of this. To be honest with you I'm going to go ahead and do that and I think we can pull more saturation out of let's try this somewhere and going here from my shadows. Let's try to pull some more and I think we're getting more in the ballpark. OK again nit picking you know at this point I mean we might as well be just done but I really really want to get it there and I think if we look at the sky if we look at the salmon color right here that we have coming in now I can raise this. I can show you what it can look like if we try to match this. So let's try it. OK I'm just gonna do it for the sake of it. All right. So let's try to match it a bit more so what I'm going to do is I'm going to go ahead and I'm going to go in my curves and then we just bring it up and like you can just see right here what's happening I'm trying to match it. Bring it up to that point and even something like that is pretty good. And then what I want to do is same window that we had for here. We can just copy and I'm going to show you what I mean. So I can go in here select this window. That was our block or window and say copy window. Come to my sky left create another circle and say paste window. So now you see bone it's basically saying hey you are not supposed to come down. So when we are adding this brightening up the sky it just stays right there. So now let's look at it and see what's happening. So it's not bad. I am not the biggest fan of it but I think it does help sell our look. So let's go and look at it again and this is before and this is after I feel like it puts us in the salmon world. So it's OK although I'm going to go into my gain and I'm just going to give it a little bit more of that color so just wanted to give it a little bit more of this. And now if I go before and after you can see that and let's see the other side and the other side is looking pretty good. And now let's see a side by side thing the side by side is looking pretty good looking at it from this perspective. I think we can put more color in here because you can see there's a lot more going on over here. So again I'm just going to take my gamma and gain and kind of push it in that direction all right. So let's look at this full screen back to back and I don't know about you but I feel like it looks freakin spot on. One thing that I do want to make sure is going here go to my color management come down and make sure that my broadcast safe is on and then go back in here look at it and one thing that I'm noticing is that we are clipping right here compared to what's happening here. So we're definitely clipping and let's try to bring that down so that does not happen. And that's obviously happening right here. So what I'm going to do is I'm going to go right here and I'm going to pull this down a little bit. So we are broadcast safe and that's much better. We're broadcast safe now. So let's leave it here. Make it full screen and look at the two images and see how close we got them. This is pretty freakin insane. And now let's go ahead and break them down from where we started to where we ended up so I'm going to click right here grab all my nodes and kill them. Actually we don't need this. I'm going to go ahead delete it. This is where we start it. That's our primaries. Then we went ahead and worked on the ground which did a super super heavy lift. Then we went into our background and tried to get everything in the ballpark as much as possible. The look adjustment did its magic and put everything in to this world right here. The salmon situation that we've got going on it really helped us with that. If you look at it before and then after then we went ahead and worked on our left side of the sky. Then I went and worked on the right side of the sky to create this theme up there. Then we went ahead and added sharpening in green and green is what really sells this whole thing. Then I added extra contrast that adds this depth that we have here. And then even like the entire image like it really pulls everything together I even like what it does to the mountains in the back. And then we went ahead and pulled more detail out of our our talent stress. And also in our car you can see the grill and everything. And then we went ahead and just pull her out a little bit and just added some color there and that is the final look. And if you look at it this way I mean just look at it. It's where we started where we ended up where we started and where we ended up. So I hope you guys enjoyed it. Let's check out this look in full screen I hope you guys had a blast measure. Drop a comment below. Let me know which look should I do next. I have an idea but I would love to hear from you. Check the link in the description if you want to take your color grading the next level. Hit a thumbs up. Subscribe to my channel please share this with friends and I will see you guys in the next video.

Channel: Waqas Qazi

Views: 75,806

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, mad max fury road, cinematic look

Id: PdxtBlOJM2s

Length: 39min 26sec (2366 seconds)

Published: Thu Dec 12 2019