How to get The Witcher look | DaVinci Resolve 16 Tutorial

what's going on guys this is cozy welcome to another amazing tutorials this time we're gonna be creating a look from The Witcher it looks absolutely stunning I'll probably do three to five videos and picking out different looks and different color palettes they absolutely killed it on this show we're gonna look at the tech specs and you're gonna find something very interesting before we do that if you want to take your color grading game to the next next level make sure to check out the link in the description one hour long training that takes you from not knowing anything about resolved all the way to creating your first professional gig hit a thumbs up subscribe to my channel for more awesomeness make sure to follow me on Instagram I post there every single day let's roll the info as always let's start off with the tech specs so this particular show is shot with Panavision milling MDX l2 and with their Primo 70 lenses this thing is an absolute beast just check this out 16 stops of dynamic range 35 megapixel and 1600 native ISO and that explains why everything looks so beautiful on this show because most of the stuff is shot under really dim lighting conditions and it just looks absolutely stunning and primo 70 lens series is known for their pleasing flesh tones and uniform bokeh it's an absolute visual treat especially if you're watching it in HDR so this is the shot that we're gonna be working on and I picked this carefully because there's a lot of extreme things happening here and it would be really nice to show you guys how to create something like that first thing that I'm gonna do is go under my open effects type in palette drop in my color palette get rid of this I'm gonna hide that for a minute make this bigger and let's analyze these colors and see what's happening here so I look at my highlights and there's the salmon and off-white thing going on there is no pure white here and that's what's giving us this warmth in the highlights if I look at my mid-tones there's really nice rich Browns debtor living in the mid-tones along with this nice teal and then if we go into our shadows it goes pretty heavy on that teal and in the lower mids we see green and in the bottom we see more blue as you can see right here now I'm gonna get rid of that I'm gonna bring back my scopes and let's look at it and let's look at the color story through our scopes so the bottom is looking pretty even to me when I look at it right here the black points are leveled out and the entire image is super super contrasty we can barely see the detail in what he's wearing and that's okay because the focus should be this and that and that's exactly where our eyes go when we look at the shot in the mid-tones we see red is a bit more dominant than any other color blues are kind of pushed down and that's what's giving it a nice warm skin tones even in the vectorscope we can see that majority of the image is sitting in this orange area and then we got some nice teal action happening in the lower mids something very interesting about this frame is look at this vignette how heavy it is and obviously it's not in the lens because we don't see it at the bottom at all like look at this area it's perfectly fine it's just an aesthetic choice and I think I freaking love it any time when a colorist takes a crazy risky route and really really pushes the image I have so much respect for it because I feel like most of the time they're playing it safe so this is a gorgeous look it's gonna be so much fun recreating it and without any further ado let's get right into it all right I'm gonna push this to a side and we're gonna start off with our signature node tree so first note it is gonna be for noise reduction although I don't think we're gonna be using any noise reduction but let's just leave that there this is gonna be for our contrast exposure this is gonna be our fine-tuning our contrast this one is gonna be my saturation and here we're gonna start creating our look then I'm gonna create another parallel node and just to be on the safe side one more parallel node then we're gonna have our look adjustment node then we're gonna come down we're gonna have that vignette that they got going on we're gonna do some sharpening we're gonna have our global adjustment and then we're gonna have our grain right here so let's go ahead and name these noise reduction my exposure that's gonna be my fine-tuned exposure set we create our look and I'm gonna leave these open we'll see what we to do here and then this is gonna be our look adjustment that's gonna be our vignette global adjustment green one more thing that we'll probably do is let me push these over and create one more note after this and let's call this light rays because I feel like we're gonna have to add some extra light rays like we see here but or maybe a glow we'll figure it out when we throw it on maybe we can try a glow because there is all this halo and obviously here I'm sure it's created because they have a heiser machine that's creating this atmosphere and we have a ton of that coming in this light shaft through the window as well but if we want to exaggerate it I can try it this is gonna be one of those take-it-or-leave-it things alright let's get going so I start with an exposure I'm gonna make it fullscreen I'm actually gonna do this since this is a two three nine crop I'm gonna go right here and alright so the first thing I'm gonna do is we're gonna start off with our contrast right here I'm gonna leave it somewhere around here then I want to go into my fine tuning contrast and I want to bring my gain down I'm gonna go into my gain and I'm gonna pull it down just to get the sting off and this right here I want to get it in this world so somewhere around here is not bad at all and then what I want to do is I'm gonna take I'm gonna go into my log wheels and I'm gonna take my highlights and now I'm going to lift them up because look at our top on the right end is like hitting the top of our scopes so we want to do the same thing to kind of not have murky highlights we want to give our highlights as much juice as possible so I'm going to lift those up and if I do before and after you can see like right here now they're looking nice and juicy so we're gonna leave it somewhere around here and then I'm gonna take my shadows and I'm gonna pull it down and I'm gonna keep it somewhere around here now I'm gonna go into my saturation and I'm gonna give it some set that not more than that and then let's start creating our look and let's start off with our primaries so the first thing I want to do is I'm gonna create that separation that we got going on so we got nice Till's and we got warm tones we got plenty of warmth here but as soon as I take my lift and I bring it down in this world see what happens so just a little nudge and just look at the difference before and after like how much of that we're bringing in to our image just look at this this it's looking really freakin nice for a moment I'm gonna leave that as is I'm gonna go in here I'm gonna take my go into my log wheels and I'm gonna take my highlights and I'm gonna push it toward this I'm gonna take my time with the highlights anytime you're in the log wheels just make sure you don't push it too far because you can introduce a lot of artifacts so just massage it and get it where it needs to be now I'm gonna go back into my top node in my look so this is what I want to do look at our parade at the bottom how in this image our reds are down here our greens are down here but then our blues are lifted we got to do the same thing here because right now it's pretty even reds greens blues so let's lift those blues up a little bit okay so I'm gonna ahead and do that right here and as soon as I do that now it looks like oh man like we lost that green and now we started adding a lot of blue which is totally fine because that's not difficult to get that back at all I'm just gonna take my gamma and I'm gonna take it towards that green okay so now we got that separation like look at this to that and then look at this to this we're getting it we're in that world as a reference look at this and look at right here I'm getting that color right there for my yellows look at this right here to his skin we're getting that and now I can go back in here and inject even more red throughout my image by using going back to my log wheels taking my highlights and just cranking them up a little bit I can push it too much and then obviously always push it too much and then dial it back you know what I want to go back to my fine-tuned exposure and what I want to do is take my gamma and just bring it down around here I even want to take my gain and bring it down a little bit more take my live and pull it up a little bit take my gamma bring it down even more and now if I turn it on and off yeah it's doing a really nice job so that's much better now what I'm gonna do is I'm gonna go under my look adjustment and I'm gonna use my color boost and I'm gonna pull it back just a little bit and let me turn it on and off it takes the sting off the entire image but I feel like it also takes away the character that we're creating so I don't know let me leave that on for now and then we can go back and maybe split the difference first so I'm gonna go back in there and instead of sevenish that I was at I'm just gonna come to around five ish somewhere around here so let's leave it there for now now what I want to do is go under my vignette and create that vignette situation that we got going on in the other image like this absolutely love it so let's create that this is an extreme example of creating a vignette that's so heavy and doesn't have that much feathering so it's a pretty good technique to know so I would I'll go right here first of all I want to go back into my window and I wanna affect the outside of my vignette and then I want to bring it down like somewhere around here and then let's go back in here maybe less softness and then maybe pull it down and now I want to look at let's bring this down make it bigger and see if we're doing it this looks great I absolutely love it I even like what it's doing here bringing back some of that detail and just look at that like how the detail is gone here this is exactly what's happening and what they're doing right here so I'm definitely gonna leave that in now let's go into our light rays and like I said we're gonna try to create this haze couple of different ways I'm gonna try glow first and then I'm gonna try light rays but I genuinely feel like there is enough ambiance here that we don't necessarily have to keep that in in the final image but let's just try it so let's drop in glow first and that's what glow does so you see this window I feel like they are applying glow on it too because look at before and after the glow and let's look at it with this and see like how close we're getting to that now so the glow will usually do that and we can do multiple different things to control it so let's start playing with it a little bit so what I would do is keep it somewhere around here and then spread it quite a bit and then control the brightness obviously I can also go in here and then inject more of this color like what they got going on here maybe I pushed it a bit much something like that and then if I go under timeline and drop in my 239 now that's gonna get rid of that artifact that was happening and now if we go back and forth it's definitely adding a nice ambiance I will go into my log wheels and I will still push this a bit towards magenta so it's a little more in this world and then let's see if I want to bring my brightness down a little bit if you want to spread that atmosphere more than you're just gonna bring the threshold back so it affects more areas and then keep playing with the brightness to see where you like it so say something like that if I'm gonna keep it in then what I'm gonna do is I'm gonna go under my note input I'm gonna bring it to half like I'm gonna give it I'm gonna keep it somewhere around here so it's just doing a touch then let's turn this off go back into our sharpen and I'm gonna go in here and give it some sharpening because there's a lot of sharpening going on here some very sharp image and then in our global adjustment I'm gonna use my gain to bring everything down just a little bit and then I'm going to log wheels and lift just enough now the only thing that's really bothering me then the rest of the image is too much of the salmon that I got going on in my highlights so what I'm gonna do is I'm gonna go in here I'm gonna go into my log wheels and I'm gonna try to pull that and turn it a little bit more into this and I think this matches better with the overall image way way better I mean look at this and that color does not exist in this image at all compared to what I just did and how this is right here and if you look at this right here - that right there it's looking way better I'm gonna try one more thing right now which will be in this node I'm gonna go under my curves and hue versus saturation and in my hue versus saturation what I'm gonna do is I'm gonna lift my Reds up and give it a little bit more juice and I'm just looking at his skin if I undo that and go back you can see all this red that we're bringing in and I think it's looking closer to his skin right there especially if you look at her did that even this right here to him I think I'm gonna leave that in and then final node let's go ahead and drop in our grain and let's go 2:35 crank it up when I look at the two images like this I feel like we need to pull some saturation out of our image let me try doing that in our look adjustment right yeah yeah that helped a lot so this is before this is after with the look adjustment I think that helped so much it's so one thing that's still not sitting well with me is the exposure I feel like I just really want to get it in this world and it's just way too bright and the two environments are somewhat different there's Sun just directly beaming on her so it should be brighter than here but I still want to respect our reference still and try to get in that ballpark so what I'm gonna do is I'm gonna select my global adjustment I'm gonna go into my curves and I'm really gonna push this down okay so I'm gonna grab it from the middle and just look I'm really gonna go hard on it and then pull it up a little bit maybe keep it somewhere around here and now if I look at it we're starting to get in a similar ballpark now one thing that I need to do is I gotta raise my highlights because now my highlights are looking pretty crummy so let's go to our look adjustment and I want to try something else I wanna uncheck this and I feel like there's way too much red in our image overall compared to what I see here so right now my reference point for this is dis so what I'm gonna do is I'm gonna go on my red Channel RGB curve and I'm gonna pull this down something like that that's not bad so now if I look at this to that it's looking pretty good now raise our highlights now and then let's try to give it some magenta and now want try is this okay I'm gonna go under my luminance versus saturation I want to pull luminance out of my highlighted areas like this and I'm gonna put it somewhere around here because now look at this to this it's matching really nicely one thing that I'm gonna do to control that is use my high range and only affect the real top top top and and not affect everything in between so I'm gonna grab this and move it to the right blend it in a little bit so that's not bad and now if I look at this to that it's matching pretty nicely and if I look at this that we have in the skin here is also in the dark areas there and also we can see it right here so we haven't lost that color we just added a lot of these deep teal mid-tones that we have here in here I'm gonna go into my mid-tones and try to put a little bit more warmth and see how it plays out like right now my focuses all of this right here so I'm gonna undo it and then see how much it's helping I think it helps but it's a bit much so I'm gonna split the difference because I'm looking at this area right here that that one last thing that I want to do to really clean up this image is create what's happening here with the windows and the way we're gonna do that is by creating a layer node on our global adjustment and then I'm gonna show you a trick to pull super super clean keys okay we're only gonna use luminance I'm gonna come out of here I'm gonna hit shift H so I can see what I'm doing and I just want to grab this right here and we can blur it out a little bit but we don't need to blur it out too much and then I want to restrict any color so that is good and now what I want to do is just go ahead use my gradient put it right here and just soften it out and we know that it's gonna be protected throughout our shot we're gonna be good now when I come out of here look at this see how much cleaner it is and now we have so much more control so now that we have this selected I can just go in my log wheels take my highlights and just add a little bit of that salmon's situation we see in all of these look at this as before look like a mistake and now this is after so much better and everything is smooth out looks pretty clean let me get rid of this let's move this over make this bigger yeah that looks way cleaner so let's revisit everything let's start from the top and see where we started and where we ended up so I started with the global exposure and then started to fine-tune the contrast then I added some saturation to really separate my mid-tones from my highlights and then we started creating the look and that's where the main DNA that we see here was created and then I fine-tuned it by adding further color separation in my image and then finally just added a bit more juice in her skin then I dial back the colors a little bit just to pull the sting out then we created that specialized vignette that we see here then I added some glow just like what we see here sharpen the image and that was a pretty big big big jump and then I went ahead and pulled my window out just to even it out how we see all the windows here added our grain and there you have it now let's look at our finished look in full screen [Music] I hope you guys had a blast made sure to drop a comment below let me know which look should I do next hit a thumbs up subscribe to my channel for more awesomeness make sure to check the link in the description if you want to take your color grading game to the next level I will see you guys in the next video [Music]

Channel: Waqas Qazi

Views: 42,153

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, the witcher look, the witcher color grading, the witcher color

Id: QYfOURi5XLM

Length: 28min 29sec (1709 seconds)

Published: Wed Jan 22 2020