(upbeat music) - What's going on guys, this is Qazi, welcome to probably the
most anticipated tutorial on this channel, I'm talking about Tenet. We're gonna be creating a
look from this epic shot that we've seen in the first trailer and then all the trailers that followed. There's gonna be so many
techniques that I'm using here that are gonna blow your mind. So grab a note pad, like all the say and also, I need to know if you guys have a suggestion on how
to watch this film legally, at home, because I know it's
released in some theaters, but not in California. I'm dying to see it. Also a sidebar. I just finally got a chance
to watch Parasite with my wife and oh my God, I mean, it lives up to the hype and then some, I am completely blown away. I wanna do a look on it if
you guys are interested, if that's something that you wanna see, drop a comment below and guys, a couple of announcements, first of all, check this out, got a brand new panel, so excited about it and if you guys wanna
see an overview video, unboxing video, something
like that about the panel, let me know and for
those that wanna level up their cor grading game, check out the link in the description. One hour long free training, where I will show you how to
get the perfect skin tones out of your Sony S log 8-bit footage, how to get the clean white look, it's the go-to commercial look. How to get the creamy film look, how to fix the dreaded gamma shift and much much more, link
is in the description. And I totally forgot to mention, today is our kitty's third birthday. This little guy right here is Ghost and that's Gilly. She's so sassy and this
dude is just the dumbest cat you'll ever meet. And guys, I just wanna take a second and thank each and every one of you, we're hitting hundred K subs
either today or tomorrow and it wouldn't be possible
without your support. I mean it, from the bottom of my heart, I really appreciate each
and every one of you and if you wanna congratulate me, then go ahead and smash that like button, subscribe to my channel
for more awesomeness, follow me on Instagram, you know value bombs
are being dropped there every single day, let's roll the intro. (upbeat music) I am so excited to be
working on this film. I genuinely kid you not, it is probably the most asked look and for a very great reason. It's so pushed but feels so right. So there's a lot of things going on, we're gonna go through all of it and let's just jump right in. So first thing that I'm gonna do is I'm gonna go ahead and open up my OFX, I'm gonna type in palette, I'm gonna that boy right here and then let's look at this and tell the story
through the art of scopes. So what is really going on here? One thing that we can
see right off the bat is just look at what's
happening in the shadows, they're not even. So what I mean by that is that
look at how red is down here and then green is up there and then blue is kind of in the middle between the red and the green and that's, what's creating
that cyan in the blacks and we can see that,
right, like right here. So the pure blacks are not there because this is basically
reading this right there but the actual blacks are
somewhere around here. This air is still sitting right here, it has a hint of a teal and that's what's coming from here and we can see it in the scopes. Also, let's just look at the vector scope and see where the entire image is sitting. So the entire image is sitting
in this cyan-ish blue world and you can see it's cyan and blue and it's sitting in that world, it's pretty dominant but then we see a little
hint popping up here, which is the skin tone. So the skin tone is pulled
out right there we can see it and then there's a little
bit more right here, which is what this yellow
is in the highlights. So check this out, it's very interesting and that's what's creating
that complimentary color. We got these right there
going on in the highlights, it's not pure white. Then we got the perfect skin tones. They're a little bit de-saturated, the reason why it looks
so poppy is because the rest of the image is
pushed so much in that world and that's what we're
gonna be creating and guys, even in the wave form,
we can read that, right? Like look at how green is so dominant and then red is sitting down here, that's what creates the
cyan or the teal look. So now that we have this in mind, it's gonna help us quite a
bit jumping into our look and then figuring out a game plan, how we're gonna attack it. I'm gonna move to our clip right here. So this is our clip and
I'm just gonna turn on loop so it is set to loop and then let's just go ahead
and park it to our hero frame, which is gonna be
somewhere around two-ish. So this is our hero frame. So I'm gonna park it right there. I'm gonna go ahead and
get rid of our effects. So just let's hide the
open effects windows so we can buy some real estate and now what I wanna do is I wanna go ahead and
I wanna click on this guy so we can actually pull
up our image from here and that can happen by clicking right here and saying Selected Still Images. So, boom. Now we got our image right here and I wanna go ahead and
make it a little bit bigger so you guys can actually
see what's happening and I'm gonna pull this
over, something like that and we're gonna keep our node tree here and still should be legible, you guys should be totally fine. So first thing that I'm gonna do, I'm gonna go ahead and hit
tab so I can label my node and I'm gonna and tab is basically, I went under keyboard customization and just used tab as my
label or re-namer you will. So I'm gonna click on tab and then I'm gonna go ahead
and call this, basically, this is my exposure. So EXP, that's my exposure. So let's get the exposure going and we're gonna do our
traditional contrast and a lift gamma gain. So I'm gonna start off with contrast and let's just get going. So I'm gonna come to
somewhere around here, not anything crazier than that then I'm gonna go into
my lift and pull it down. Something like that and
then I'm gonna take my gamma and lift it up. And lift down, gamma up, right? Lift down, gamma up and
somewhere around here and I'm just kind of looking at my sculpts and they're not bad. I mean, if you look at it,
we're kind of in that world, I'm gonna take my gamma,
lift it a little bit more, something like that, bring my lift down and I'm just looking at
the hair to hair match, boom, boom, like here to here, it's not bad. So this is looking pretty good, I'm gonna take my gain and
just raise it a little bit, not too much. So somewhere around here, because I'm just really looking at this hottest part right here and my lights, obviously have the reason to be
as hot as they can be. So something like that is not looking bad. I'm just gonna give it
one more push with a gamma and then lift down a little bit. Maybe something like that. So if I do on and off
just in the first node, we come a long way. So if we look at our anchors, you look at the black points right there to the hair right there and we can even see it in the
sculpts how we're matching and then how much I lifted the gamma, I mean, look at that .11, I lifted the gamma up
to like really put it in the same zone. Like look at this to that. So our gamma's looking good and then look at our gain
up top, boom, gain to gain. So we're matching on many levels, even in our wave form, you can see that. So that is looking pretty good. I'm gonna go ahead and create
a new node and then here, let's go ahead and call this our balance and the way I'm gonna do the balance is I'm gonna start off at the saturation so let's just crank it a
little bit, like around 75-ish and then what we're gonna do is we're gonna use our color temp and tint it kind of just balance out
the image, not too crazy, we still wanna keep it in that little cyan world a little bit but I'm just trying to get the green out, I'm using my tint right now and I'm gonna pull it back and then I'm gonna take
my temp and pull it back and then kind of bring it back. So keep doing that a little bit just to get the skin looking right and get everything else
just looking proper. So let's a do before and after. So this is taking a lot of the dinge out and it's making my image
look somewhat neutral, right? And the reason why I wanna make it neutral is because we're gonna
be using our layer mixer and for a layer mixer to work really well, you have to create enough separation so it can push and pull very nicely without destroying your image and this will all make sense
once we get into that part. So let me see, what else can I do. So let me just do a little
bit of more push and pull and see how, if I can separate
my image a little bit more, maybe not, so let's just keep doing it. My skin is looking good. All right, I think I'm happy here. So I'm gonna leave my balance here and I think this is totally fine. So I'm gonna go ahead
and create a new node and then this one is
going to be be our look and we are going to get
pretty heavy with our look. So I'm gonna leave my look there but I'm gonna go ahead
and create a layer mixer. And in the layer mixer, this is where my skin is gonna go. So I'm gonna go ahead and type in skin and this is my skin. So I'm gonna go into my qualifiers and I'm gonna come out of this mode or else it won't let us pick the skin and I'm just gonna go ahead and do this, actually select our qualifier. Boom, do that. Look at how clean our
key is at this point. So now all I have to do is move this around a little bit to see if I can get it even cleaner and that's already looking good and then go into my saturation
and see what I can do here. So not much to do there and then go under my luminance
and see what I can do there, not much to do there and then what I can do is
just go into my Denoise and crank it up to around
10-ish as we usually do and then I'm gonna come out of here and now we've done a pretty
good job picking our key. So let's go back into
our reference mode here and all we have to do is now
let's try to get the skin in where his skin is by
using hue vs hue options. So I'm gonna go right there, we're still in our skin node. So just so you guys know, I'm gonna keep it somewhere around here and we're gonna go ahead
and we're gonna select our hue versus hue, hue versus hue, that's what we're under right now and basically what I wanna do right now is go ahead and start
moving my red channel and just see what I need to do. So basically I need to add more magenta, that's what needs to happen. So if it is sitting
right here, super yellow, this is magenta so let's crank that up hue versus hue, my red channel is up now, I'm gonna do the same with my yellow and look at first, it's gonna
look kind of ridiculous, like it's just like,
dude, what are you doing? It's too much. So let's pull that up first
and now what we need to do. So if I do before and after, there's a big difference here. Now what I need to do is simple. Like I'm gonna go under my hue versus now I'm gonna go under
my huge vs saturation. So now we're under hue vs
saturation and just watch this, I'm gonna pull my red down because I'm trying to
pull some saturation off, like look at what's happening here, right? Like it's not very saturated. I'm gonna do the same thing with my yellow and all of a sudden, like if I do before and after, just look at the difference, how we're sitting in that world. Now we have to do a few more things. So I'm gonna go in here and click on my hue versus luminence. Now I'm under my hue versus luminence and I'm gonna go ahead
and same two channels. So I'm gonna take my red and I'm gonna crank it up a little bit, I'm gonna take my yellow
and I'm gonna do the same. I'm gonna bring it up and like look how close we're getting. In terms of saturation
and the hue values right? So now what I wanna do is just simple lift gamma gain. So I'm gonna go under my gain and I'm gonna raise it up and just look at how much
of a difference it's making. And obviously I don't wanna overdo it so I'm gonna bring it
somewhere around here and then I'm gonna go under my gamma and just pull it down a little bit. It kind of creates the similar contrast that we got going on on
his face right there. Now what I see is that we need to do a little bit
more hue versus saturation and we need to pull it
down a little bit more. So I'm gonna go under my
yellow and pull it down and let's just leave it here for now. I can even bring my red up and pull my yellow down a little bit. So, let's go far, all of us go far and then kind of pull back. All right guys if I do, are you ready for before and after? I mean, look at that, before and after. So obviously we're not done, we're gonna be making more changes but the difference is night and day but that's my skin, it's locked in, it's not going anywhere. I'm gonna go ahead and
create another layer mixer and in this one, once again, we have to come out of this mode, all I want do now is
just grab the highlights. So I'm gonna go ahead and do this. I'm gonna create a pretty hefty softness in my luminence value and then I'm gonna start cranking it and basically just look what I'm doing, I'm just selecting my highlights. Like almost this and then I'm gonna come out of this and all we need to do is
let's go back in here. I'm gonna try to bring
this warmth in there. So I'm gonna go ahead
and start with my gain and just start with my gain
and start just cranking it in. So like really push it, always us push it first to kind of start seeing some big change and then we
can modify it as we like. So right now, if I do before and after, it may seem like man, it's way too much but once we have our look completed, it's not gonna look that bad. Another thing that we can
do with our low softness, we can play around with it and see how much it helps us. So if I like, look at this, if I like really do that, like now it's very gentle, right? Like, so it's not as abrupt
so it's a little bit better. How much is it affecting? Let's check it out. So I'm gonna turn that off and then see how much it's affecting. So I can control that a little bit more, something like that and now if I come out and go back here, it's looking a little
bit more doable, right? So it still has that warmth. Now guys, don't forget
that ultimately, yes, we wanna get closer but
we want it to look proper, we want it to look right, we don't wanna make it look too fake. So I think we can still
push it a little bit and give it a little bit more yellow. So even something like that and pull it back a little bit maybe, so, big difference. Where we were to where we are now and we're gonna go back and forth and make these changes
until it just looks right. So for now we can park it here. Now we get into our look node. So the first thing that we need to do, this is a very, very crucial step. The first thing that we need to do, we need to even out everything. You see that there's some
discoloration going on, like this is green then this is like a bluish hint right here then this is also cyan. But there's multiple
different tonalities going on so the way we're gonna control that is we're gonna go back into our primaries and I'm gonna go into my
hue versus hue options. So now I'm under my hue versus hue, and I'm in my look node and I'm gonna go ahead and start messing with a few parameters and see what happens. So now when I bring my green down, like, look, it's kind of evening it out. So if I go before and after, like it was way too green
and now it's less, right? So now I'm gonna go under my cyan and pull that around and now I have to
actually pull the cyan up to get it close to that green value because as long as all these
colors are in the same world, it's gonna be a lot easier to then just apply that
one big cake on look, which is like bringing that color in and it will all make sense. Now I'm gonna go under my blue and I'm gonna start moving
it around and once again, so, bringing that up a
little bit, it evens it out. So now if I do before and after, like, look how hodgepodge all these colors were to like how even they're getting now, I'm gonna go back to my
hue versus saturation and I'm gonna take my green and I'm gonna pull it down. So it does help a little bit. So what this does is that, look at it, okay, so it's evening out
the whole thing a little bit. So now that we got that going on, what we're gonna do is we're
gonna go in our RGB curves, we're gonna break up the chain. So usually it's like selected like that, break that up and I'm
gonna go in my red channel and just watch this I'm gonna take that here
and I'm gonna pull it down. Boom. So like, look what I'm doing, that's pretty dramatic, now I'm gonna go under my green and I'm gonna pull that
down, not too much, take the sting off a little bit and now I'm gonna go under my blue and let's see what we need to do. So we can take the blue up a
little bit but not too much and now if I do before and after, it's a pretty big difference right? We're still not there but it
is a huge, huge difference. Now I'm gonna go and do an append node, like create another
node, I'm gonna call it look adjustment and in this one, I'm gonna grab my offset and I'm gonna start moving it around. Basically, now I'm just
trying to get that green in, the greenish teal that
we got going on there. So I'm bringing that color in and it's coming in pretty hot, right? So if I do on and off, like look at now, we got that hint going
on through and through. What I'm not liking is that how we have a little bit of the
greenish teal in the hair here and we have bluish teal too
much here so let's fix that and fixing that is pretty easy. I'm gonna go on my log wheels, I'm gonna take my shadows and I'm gonna start countering that. So just look at it. Now, I'm bringing that back in there. Just look at this. If I do before and if I do
after, just look at the hair, you get what I'm saying? Massive difference. Same thing with the jacket. Just look at that jacket,
look at the jacket. We're getting there, this made a massive, massive difference. Now there's a few things
that we have to do. So I'm gonna right click right here and I'm gonna say key mixer. What's the point of this? This is gonna change everything. So I'm gonna put the key mixer here, I'm gonna send this output up here, I'm gonna send this output here and then I'm gonna send this through, I'm gonna feed it into my look node and you're gonna be like,
dude, what did you just do? Everything looks like garbage and it does, until we do this. Now I'm gonna go in my
key settings right here and I'm gonna go ahead
and I'm gonna invert it. So now I'm saying, leave everything else like the face and the lights but affect everything else around it. If this is a bit too
much, it's a bit to push. We can go in our key gain right here and we can pull it back, it kind of split the difference, so let's see. Maybe something like that, like that's already looking better. Now what is happening with our lights? Because our are just not really giving us this yellow that we're looking for and that's when we can go back in and we can mess with it a little bit more. So I can kind of just put
a little bit more yellow and like I said guys, I
don't wanna overdo it, I don't wanna make it too artificial. So I just want to introduce another color. So if I do before and after now, we have like a fun, little color going on that like breaks everything up and it looks still realistic,
it doesn't look fake, so I'm gonna hold it right there. Now I wanna go under my look
adjustment one more time and I wanna split the
difference a little bit 'cause I feel like it's breaking up a bit, like too much for my comfort,
I want it to be even. Now I just grabbed my cyan and I raised it up quite
a bit to bring the gap a little bit closer between the two. Now I can go into my offset again and then pull it down until
I get that Tenet teal. Get it a little bit more. So now we're getting that Tenet teal but we have to make up for
it with our shadows again. Remember we had to offset that. So I'm gonna go under my blacks and I'm just gonna keep raising it until we cancel it out. And once again, I'm just
focusing on what's happening here and making up the difference. Let's go into our lower
range and raise it up so we can affect it a little bit more. So now we're really
getting into her jacket and then let's keep going and bring in that pure black. I'm just focusing on her hair right now. And then I'm gonna go back in my low range and kind of crank it. So now I'm grabbing her jacket and it's getting in that
similar zone right here and what we need to do is
just go back into the skin and manipulate it a little bit more. So I'm gonna go into my curves and I'm gonna go under
my red hue versus hue and I'm gonna try to
pull it back a little bit and then do the same thing with yellow because now we just kind of have to give it a little bit
more juice if you will. And then I'm gonna go under my gain and kind of raise it a little bit more. And at that point, let's just bring in a
little bit more saturation in our yellow and pull it down to somewhere around here and go back into our hue versus hue, gamma down, gain up. Let's go back into our lights
and give it more yellow. So something else that
I'm noticing right now that needs to be fixed
is definitely the skin just needs more juice. So let's try to do that. So I'm gonna go under my
red and yellow individually in hue vs saturation and then I'm gonna try to crank it up so you are gonna see the
saturation coming in, see? And then I'm gonna park
it somewhere around here and now I wanna go under my hue versus hue and take my yellow and try to bring back some
of these skin tones, right? So just take it toward that magenta. And now if we just do
a quick back and forth between the two. so we're getting a little
bit more color in her skin and I think we can do more. So I'm gonna go under
hue versus saturation, take my red and like crank it up and now let's do before and after and now let's give it a
little bit more contrast. So I'm gonna go under
my contrast and pivot and I'm actually gonna start
giving it some contrast and then again, take my gain, lift it and now let's do before and after. Okay, so much better. So if I do literally, I mean, this is before, this is after. So now we're really creating a cool, like look at this to that, we're getting really, really close. If I do before and after
on the skin, I mean, it's just a night and day and that's what's really
selling the whole thing and then we got a very similar tone in terms of the background going on and then we pushed the lights. I wanted to push them
but once again, guys, like I said, I mean, if you look at the, on the sculpts level, it's looking really good. I mean, look at the blue to the blue, green, to the green and
then red to the red. So it is looking good but I just don't wanna
push more than that. I feel like it's gonna
start looking cheesy and it's just not gonna look right and look at the green to the like, like the shirt to the shirt, skin to the skin and here to the hair, like, I mean, we are hitting like, look at the hair right there and even let's just look at the sculpts, how close we are to what we got going on. So let me just do before
and after a couple of times like this to like really
see if anything sticks out that I need to fix. Now, the last two things that I'm gonna do to really wrap it all up,
I'm gonna click right here, create a new node and basically it's going to be be a vignette and I'm gonna go ahead and tilt it and add it somewhere around here and then give it a little
bit of a aspect right there and give it just a little
bit of a rotation and then, soften it up quite a bit. So I'm just gonna go around 60 ish and then what I wanna do is, I wanna go ahead and invert it. So now, I go into my curves and I'm gonna go ahead and
make sure that they're chained and then I'm just gonna
go and select it from 40% point right there and
then start bringing it down and basically let's just
click on this once again so we can see what we're doing and I'm focusing on this side and let's just bring it down even more and keep it somewhere around here. Now guys, let me tell you something. I'm not really gonna worry
about what is happening on this side and some might go, dude, nothing is happening here
so let's just keep it as is. The thing is for me, I want it even because
the lighting is even, you get what I'm saying? Like the lighting is
coming from both sides, it's not coming from just one side. So this is the kind of stuff where you have to be not blinded by what is really happening in the image and when you try to do one to one, you get carried away and you go too hard on that. So for me, I'm doing this and I'm liking what's
happening in this side here and that's pretty good. Now what I'm gonna do is I'm gonna create an outside node and you can also do it
just by right clicking and saying node, outside node, I have a key on my panel
so I just hit that. So this is going to be
our outside vignette and then this is going be our inside and that's gonna be basically her. So I'm just gonna go
ahead and raise her up and basically I'm just
focusing on where he is and I wanna kind of put her there. So maybe bring it down a
little bit, something like that but now if I do before and after, just look at the amount
of difference we've made. So that is pretty epic and
now if I take these two, it's kind of unbelievable how big of a difference this makes, right? Like when you don't have vignette and you don't do this technique, like it just looks like,
oh, this is perfect, like let's print it but then you do this and
there's so much more emphasis on our girl. So now if I just go ahead and do this and we just go to our girl and I take these two nodes
and turn them on and off, just look at the amount of
difference we're making. And now let's bring this image and let's go between the two and just look at the amount of
difference that we're making. Like, if you look at this and then if I just do
before these two and after and now if I just do a swipe and look at the diff, you
know what we've created, I mean, guys, this is
a pretty insane look. If I park it right here
to where we started to where we ended up, I mean, come on and just look at the skin and everything. So now what I wanna do is I wanna go here, I wanna go back into this mode, so now one thing that I am noticing as I am bringing the vignette
and like bringing this down is that it's adding a
little bit more green than the color that we actually want. So in order to control that, we can do a couple of different things. First thing that I'm gonna try is I'm gonna go under my curves and I'm gonna go under my
hue versus hue options. So right now I'm under my hue versus hue. And what I wanna do here is I wanna take my cyan
and kind of twist it and I think that kind of did it, right? So, I mean, it's just a hint and we kind of wanna
just get back into that. Like, we don't wanna go
too far away from it. So actually let me just undo this and then try it again. Too much and then pull it back, obviously do too much
and then pull it back. So even something like that and then this doesn't really do anything. So I feel like even something like that brings a little bit of it back and we are seeing it here too right where the vignette
is that it gets green where the vignette is. So even here we can see that and now we just like balanced it out and it was just, color
grading is all about nuance and especially look
recreations are all about that. So even like a little bit of a blue thing that we got going on
there, we have it here. So you can see it, how close
we're doing like one to one, a little bit of like a
greenish- yellow if you will that's happening here, we have that here. You see what I mean? So it's really well blended in. If you look at it, like if we bring that in,
how well it's blended in. So, all right, so let's go ahead and I'm
gonna kill all these nodes and let's start with the first
one and see where he started to where we ended up. So we started with our exposure then moved on and did our balance and that helped us a lot
with pulling clean keys. And then we went ahead, worked on the skin and that makes all the
difference in the world and then went ahead and
grabbed our highlights and pushed it toward that yellow to kind of bring this juice in and then gone ahead and
dialed everything in so we can start creating
some sort of a look and then in here, in our seventh node, which was a look adjustment, that's where most of the magic happens. I mean, just look at, we were most of the way there and we could have called it here but I wanted to take it a step further because we can obviously see a vignette that's happening here and then how they do
it is just popping out. So I wanted to replicate that and another thing that happened
here is this right here, a key mixer where we pulled our skin and our highlights and inverted it. So basically we affected everything besides the skin and the lights in this look adjustment node. Then we moved ahead with our outside node and mimic this same vignette
that's going on over here and then created an
outside and brought her out just like what's happening here. So like he's pulled out, everything else around him is brought down and that's our final look, let's check it out in full screen. (upbeat music) I hope you guys had a blast. Let me know if there
are any particular looks from TV shows or movies
you want me to recreate, drop a comment below, do not forget to check out
the link to the training, which is also in the description, one hour long training, it's gonna take you from
not knowing anything about Resolve to comfortably
working on a professional gig and guys on that note, smash that like button, subscribe to my channel
for more awesomeness and I will see you in the next video. (upbeat music)
