How to use resolve SCOPES - In-depth with a Pro Colourist

hi my name is darren austin and in this episode we're going to be looking at the scopes so the scopes in resolve are really adaptable uh if you're working on a laptop or you're working on a large screen you can really find a configuration that'll work for you so down here we're currently looking at the keyframe editor if i click here you'll see we have now uh one element of the scopes and this i button here just gives us clip information and uh general project information so clicking on here that gives us just a one-up view of the scopes and if you want to see more than one view you can actually expand the scopes out of this little part of the gui here so by pressing command shift and w you see that it expands into a much larger view and we can change the size of this quite easily we can move it around you can even actually put this onto a second monitor so if you're running a dual screen system you can actually put this to fill the entire screen on a separate monitor so really flexible there there are in fact five different scopes in here but we can only view four at a time but if i just show you down here we've also got the cie graph so i will explain all of these scopes throughout this episode but what i really want to get across is some of the more unusual menus and how they work and also give you some tips and tricks on things that you can do using the scopes so before i do that there's one user preference that you need to look at for the scopes and it's up here davinci resolve preferences so here in the system and memory and gpu option you have this check box called use gpu scopes so since version 16 the scopes have been gpu accelerated so they're much faster much better response time and much better quality than they used to be the downside of that is obviously it's using a bit of your gpu processing power so if you're on a laptop or a less powerful machine you might find that these are a little bit slow to run so you can deselect it here if you deselect use gpu scopes you do lose the cie graph so if you do have good graphics capability keep this checked on because you're going to get much better quality and much faster response time out of your scopes okay so up at the top here we've got our different viewers so we've got a single view we've got a dual view and we've got the quad view and each of these different views can have a different item in it so i can change the waveform to be a vectorscope and i can change the vector back to be a waveform so you can decide easily which scope you want in which box so the main menu for the scopes is here at the top we have a low pass filter which will basically filter out any signal noise so if i press this you see it cleans up our signal to give us a much nicer display of the scope so it becomes much cleaner and clearer to read so to complement the low-pass filter each different scope has a sub-menu and in there you've got something called extents and what extents does is show you the actual extent of the reading that it's taking including what's been removed with the low-pass filter so it's quite nice to have that on to complement if you take the pass filter off next we have this video level scopes i'm going to show you this a little bit later in this episode because it's quite specific what it does so the display qualifier focus is a really useful tool for analyzing your image so if i switch on my qualifier wherever i am in the image is displayed now on each of the scopes so can you see i'm looking for my white level here okay black level skin tone wherever i am i can see it clearly on each of the four scopes so it's a really useful tool for analyzing your image that's the main menu the ratio allows us to view the scopes in either 16x9 or 4x3 now if you're on a small screen if you're on a laptop you might want to just put them onto 4x3 because you're still getting the same reading across ie from left to right we're still getting the whole image but we're just showing it in a smaller area of your gui this ratio has nothing to do with the video aspect ratio you're working to it's just the shape of the scopes and then we have a quality button so this is deciding what quality the scopes are running at so you can have low medium or high again totally depending upon your graphics card capability if i put it onto auto it will work at the best quality it possibly can so let's start with the waveform the waveform measures luminance and in the sub menu here we have several options so we're looking at the minute red green and blue channels together we can isolate any one of those channels so just the green channel for example or we can just look at the y value on its own now the minute it's set to colorize this is a new feature that it kind of shows you which color is being represented so this yellow handle here you can see quite clearly is here i tend to take the colorizer off because i like a cleaner view let me just move this over so you can see what we're looking at uh so zero is obviously our black level 1023 is our white level and we can adjust the brightness so each of the different scopes has the same setting here so you can change the gratitude brightness and you can change the actual display brightness show reference levels will give me an indicator line set to the value that's here so at zero it's on the bottom and 1023 is at the top and i can adjust that to be whatever i want i'm going to show you how to use that a bit later cbcr is the blue channel minus luminance and the red channel minus lumens i don't use this at all i tend to work in the y channel only on the waveform and i use the parade for my rgb levels so moving on to the parade and the parade is showing us our red green and blue channels all at once into the sub menu again we've got the colorize i leave the colorize on on this then i can see which channel is which sorry let me move that over and we've also got the extents again which is showing us the extents when the low pass filter is enabled there's just little bits of video that you might not be able to see on the scope clearly but are actually present in the signal uh you can also have the y channel on there at the same time i tend to just work with rgb because i've already got the waveform up over here and again you've got the yc dcr again it's i don't use this at all and the rest of these options are exactly the same as in the waveform so into the vectorscope menu and you see here that we have colorize again so this yellow handle is quite clearly being displayed here i don't like to have the colorize on in the vectorscope either this is exactly the same as the waveform before the extents again for the filtering and what you do have up here though is the ability to not analyze the entire image but you can just have a look at the low so the shadows the mid tones and the higher areas okay so this is really cool and you can adjust that range using the low range and high range sliders here so for looking if you put it onto the high you're actually just looking at the um top highlights and we can see here that basically the smaller that dot is the less saturation there is so a single dot in the middle would be pure white so we've got pretty good white levels there let's have a look at our blacks and slightly towards um slightly warm i would say uh in the blacks and of course our mid-tones so let's put them all back on again and if we put the extents back on the combine is giving you the low mid and high as an extent range i'm just going to take those off and down here then so what you've got on here is the show skin tone indicator so if we put that on this line here is um perfect skin tone so what we can do is this is a little trick if you take a window and put it over her face and then put highlights on you'll now see this only showing this region in fact if you want to get that more accurate you could actually pull a key on there as well so we're now just looking at the skin tone itself but it's quite hard to see what level it's at so if i go back to our menu you can do now a two time zoom on that and you're getting a much better indicator so the rule of this is you want to be sitting on that line or slightly north of it slightly to the right of it uh you certainly don't want to be to the left of it so if i just adjust the hue down here you'll see what happens if you go below it you basically get a green face so you definitely want to be on the right side of it so that's the vectorscope so the histogram is showing us a percentage of each channel across the entire image so we have our black level here and our white level here and we can also go in here and show yrgb so you can actually have the y channel as well i tend to just stick with the rgb and again same settings as we had before and so the fifth scope is the cie graph really useful for hdr grading i don't tend to use it for sdr grading but my project timeline is set to rec 709 so it's showing me the rec 709 gamut within this boundary which is basically all visible light um i can compare the rec709 gamut to other gamuts so if i go into the sub menu i can add additional gamuts so if we wanted to see where rec 2020 is lying we click on here and you see you have a much larger gamut in rec 2020 so i'm reaching definitely reaching the edge of what rec709 is capable of showing here you can see that in that corner there um i can zoom in and again if your middle mouse click you can zoom around that so again really useful for hdr grading so let's take a look at the video level scopes i'm going to try my best to explain this as clearly as i can so if we click on this one up view we're going to look at just a waveform so we've got a scale from 0 to 1023 and resolve is always processing in full data range so when i take my lift for example and push it down as soon as the blacks go below that line they start to get crushed let me undo that same with the highlights let's push it up and as soon as they go above that line they get clipped you can see that there okay now let's undo that the actual level at which black gets crushed in which the highlights get clipped is 64 for the black level and 940 for the highlights it's just always been displayed on the scopes in this mode so if we go into video level scopes what it does now is change to be in the correct parameters so there is our black level and that's at 64 and our highlights shouldn't go above 940 which is about here now the problem with this is you can't actually see where those lines are so what we can do is go into here and add our own this is what the show reference levels does so i'm going to go into low and i'm going to type 64 and we're going to go to high i'm going to type in 940 and you see now we get two new reference lines and these are the levels that we want to get our blacks and whites maxing out at so let's bring our lift down and you see when it goes beyond this 64 line we start to get crushed blacks let's undo that same with the highlights let's lift our gain up and as soon as we go over that line we get clipped but what's different about this view i'm doing exactly the same amount of movement but in this view i can see how much it's going over by and indeed how much is going under by so we can see how much we've got to play with whereas in the traditional mode all you get is this clipping so it's the same amount of level the processing isn't changing the amount of grade isn't changing it's just the way that i'm viewing it on the scopes so in the video level scopes i can see much clearer what's going on and just to clarify if i switch between normal level and video level nothing happens to the image the image is not changing it's just the way that the scopes are representing that image so i hope you enjoyed that episode on using the scopes please leave me a comment it's always nice to hear from you i've had some great feedback so far from my other episode so i really do appreciate that hit the subscribe button hit the notifications check out my facebook page called killer tips davinci resolve it's full of really useful little tips and tricks i'm darren austin take care of yourself and i will see you in the next episode you

Channel: Darren Mostyn

Views: 34,829

Keywords: how to use resolve scopes, how to use davinci resolve scopes, resolve scopes tutorials, resolve 17, how do i use the scopes in resolve, scopes in resolve tutorial, waveform, vectorscope, davinci resolve 17 scopes, how to use scopes, How to uise resolve scopes, video scopes, Reading videoscopes, resolve 17 tutorial, davinci resolve 17, resolve 17 color grading

Id: IwqucXqb2zY

Length: 11min 44sec (704 seconds)

Published: Sun Jul 19 2020