Juice it up | Commercial vs. Film Grading | DaVinci Resolve 16 Tutorial

[Music] what's up guys this is Kazi welcome to another amazing series this time I'm very excited because you guys know my goal from this channel is to make you profitable turn you into a trendsetter it tastemaker you get the idea so this series is perfect for that because we're gonna be comparing a natural look to a commercial look to a foam low and they're very different cuz just look at the screen a commercial look is completely different and look where it sits on the scopes compared to a film look which this is what we talk about when you watch movies and we just think that it just looks so bored just what makes it so special well there's so many different factors that are playing into that right so we have to approach it differently - and we're creating them because one of the main comments I always get is that cause II nobody can spend 40 minutes per shot you know and you take your suit I'm creating these great looks but when I'm working on a documentary it's not the same as when I'm working on a corporate video well there is no one-size-fits-all we know that we're artists we're all this innovating we're all this creating so in this series you're gonna get an idea when we're approaching each project how to go about it and how to make sure that you use the right approach to get the best results and for those that want to level up their collaborating game check out the link in the description one hour long training where I'm gonna 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 on that note smash that like button subscribe to my channel for more awesomeness make sure to check out my Instagram I'm dropping value bombs there every single day let's roll the intro let's just jump right into it first look is gonna be our natural look or rec.709 look if you're working on a documentary or events based show this is what you're gonna be doing right so let's just make it super simple let's not overcomplicate it that's the first thing that you got to think about time is money and you got to move okay so what I'm gonna do is I'm gonna leave my first node as is I'm gonna go to my second node and then obviously you're gonna have information knowing which camera this is from so I know for a fact that this came from RE so I can just go in my Lutz under re and drop in the re lot that comes with resolve and look at everything is looking pretty good okay pretty natural and even on the scopes nothing is going out of whack everything is looking good even if we look at the vector scope we can see that it's really well balanced shot and we don't really have to do much but the reason why I have a node prior to that is anytime you want to make primary adjustments you want to do that before the LUT node to get the cleanest results and that's just a point right so here what I can do is I'm gonna go under my offsets and I'm gonna bring it down a little bit not too much just a little bit like that just to get more saturation so if I turn it on and off to see we're getting a little bit more depth out of our image right and then what I can do is just give it a little bit more saturation just a little bit more juice not too much I'm looking at my scopes and I don't want to go crazy right so I'm looking at my Reds like they're kind of touching right here and the yellows are right there so that's enough if you're creating a rec.709 look this is it you're done if it's shot right which this is you don't have to do much like this is your rec.709 look this is a corrected look it looks great the sky looks proper her skin looks good everything is looking good there's nothing to write home about but from this to that you're kosher and look where you're sitting at on the Scopes you're perfectly fine it's broadcast legal ship it out you're not gonna get any complaints you're ready to go so that's it if you want to create a wreck 7 or 9 look I just gave you the quickest way to do that my goal is to make you understand that if somebody asks for a wreck 7 or 9 don't over complicated use the proper channels and just get it in there and that said call it a day move on because it doesn't matter you can create 19 nodes and it's not gonna serve you anything they're gonna want to see this because I've worked with many clients and they prefer the rx-7 or nine look over any other jazz you want to add to your footage so we're done with the natural look now moving on to the commercial look now I'm gonna go ahead and create a version and I'm doing that so then at the end we can look at all three different grades and just see the characteristics and how different they are from each other okay so let's go ahead and get rid of all of this this time we're creating a commercial-grade and the thing that you need to know about this is you can really take your time yes when you work on commercials you create tons of qualifiers tons of windows per shot you take your time because you only have 10 15 20 maybe 30 shots in a holes commercial and sometimes less than that so you can really really really massage everything and you'll get a day to color grade a commercial okay so keeping that in mind let's just go attack it so first note is gonna be for noise reduction I'm just gonna leave it there I don't know if I'm gonna use it or not but let's just leave it there then the second node is gonna be our primaries then we're gonna do our saturation then we're gonna do our skin qualifier and after that we're gonna do a few other selectors okay so I'm just gonna leave these here and then we're gonna go through them so I'm gonna create a parallel node another parallel node and I think that might be it maybe just create one more just in case then we're gonna have a look adjustment then we're gonna go down here we're gonna create a vignette then we're gonna I'm gonna undo that we're gonna pop her out so I'm gonna create an outside node and then after that we're gonna create another node for global adjustment then sharpening and then our grain and yes that is a 15 node grade and that's just the way it is when you're working on commercials you're taking your time like I said now you can save this as a power grade in here so then next time like if I were to save this right right click and say grab still in my power grades not my stills now this is available throughout my database so anywhere on any project that I'm working on I can just do this I can just get rid of this and then say this is a new commercial I'm working on and I can go I want to bring in my node tree structure you know that I use for commercials so I can just come in here and right click and say apply grade boom so it brought in my entire grade just like that and now I can just get going so let's just go ahead and name these so it's less confusing so first one is noise reduction second one is my let's just call it exposure this is my saturation this is my skin in this case and so this one is gonna be the dark grass and then this one is gonna be the light grass I haven't thought about this one yet so I'm just gonna move on and then this one is gonna be our sky this is our look adjustment vignette and then this one is outside and global adjustment sharpen grain so that's the node tree structure and again you can save it like this but you probably don't want to do that because it's always gonna change you're not never gonna always have light grass and dark grass so that's why I like to keep it blank and then fill in whatever it is that I'm working on okay so that's a node tree structure I'm gonna start off with my exposure but let's just bring in our scopes so we can see what's happening alright let's keep these here and let's get going so it's a commercial keep that in mind okay so when I'm adding contrast I'm gonna start off with my contrast one thing to keep in mind is not too much because somewhere around here because I do want all the detail that I can have in here okay I'm gonna bring my gain down a little bit again like I just want to see more detail in the sky and everything and then I'm gonna raise my gamma up because we just want to see the products and everything and this happened to be an Olympics commercial that I worked on and this is Alex Morgan that you're looking at so she's a freaking rock star if you guys watch soccer and women's soccer she's an idol so this is where we're sitting at right now I did some adjustments some gamma some lifts that happened here and this is looking pretty good as my starting point then I'm gonna go to my saturation and I'm gonna crank it and if it's a commercial crank it don't hold back cuz that's the whole point you just really want to juice it up because in commercials we want to make things look better than real life that's the whole point of it if this is an Olympics commercial then I want to be in the stadium okay I want to be there I want to experience this with her and then some so it has to be outside of this world keep that in the back of your head don't hold back when it comes to commercials go all out baby just go ham go nuts okay so this is looking good right here all right and we needed this separation so when we grab her skin we can really get to work on it and it will give us the cleanest key that we're looking for okay so you'll see what I'm talking about now let's go under our qualifiers and just make sure that we're on this selector range there that's selected and now let's go ahead and I'm gonna click right here and then let's just start right here and bring it all the way down and let's see how it looks so obviously we're gonna have to work on it to like really tighten it up like that and then move it around so we really grab all the areas that we want to and I'm gonna bring this down a little bit like that now if it's grabbing some of this we can get rid of it here so we can say hey don't grab areas that are not saturated so even something like that and we can bring this in a little bit that's okay like something like that to keep it clean and let me move this around and see what we can do okay so this is looking good now just give it a lot of softness okay and don't worry about grabbing these areas because that's totally okay we can just create a window in this area and keep that out but most the time even if you're grabbing some of that it's never really gonna hurt the image okay so just keep that in mind now if I bring this here and start giving her skin some juice so I'm gonna do that by using my gamma and gain at the same time and I'm just gonna start like really exaggerated okay this is what I'm talking about so something like that and maybe we can bring it back dial it back a little bit something like this and then we can even raise my gamma up a little bit just to give her some extra love so she really pops out and you get what I'm saying like if you look at the back and what it's affecting it doesn't hurt at all and now if I play it through you're not gonna see any artifacts so watch this like you guys are watching this in 4k okay so I'm playing it through so you guys can really see that we're not getting any artifacts this is the beauty of shooting 12 bit or 16 bit image in this case it's a 12 bit image shot in pro res 4 4 4 X Q on re Alexa mini and that's why you know you spend so much money in shooting stuff in these cameras to get this image now if it is bothering you up here and you want to control it then control it like let's just go in here I'm gonna create a window I'm gonna create a wide window like that and I'm gonna make it something like this I'm gonna put it here I'm gonna give it a little bit of softness and now it's restricting it so it's not spilling anywhere else now if I play it through okay and then again we're just doing a gradual shift so it's not jarring and now it looks totally fine if I turn this on and off and you guys watch it okay so that is the skin work as of now we can go back and massage it more okay now let's go to the dark grass and let's just Park it here and now what I want to do is same thing like I'm just gonna go under my qualifiers and I'm gonna do this and see what it grabs and it just did a really good job let's make this a little bit wider and really restricted to this and now what I'm gonna do is honestly give it a little bit of softness and again this doesn't matter but you want to control it let's control it again like when you're working on commercials you're gonna have all the time in the world so you will be doing these things okay this is totally totally normal so I'm just gonna do that and now if I play it through I'm only selecting this area let's freakin give it all the love we can okay so what I'm gonna do is I'm gonna take my gain and I'm just gonna start adding some more green and more like a forest green and I'm doing that because that complements very nicely with the warm skin tones okay like look at that right so this is before this is after see how it just pops everything out so that's beautiful let's play it through and see if there's any artifacts there's absolutely zero artifacts okay so this is looking great now I'm gonna go under my light grass and I'm just gonna grab all of this okay and then why just open it up a little bit so it grabs everything that we need there and again just lets go in here and just a little bit of softening not too much something like that and now I can just come back out and now I'm gonna go in my gain and add warmth okay so like just again see what I'm trying to do I'm trying to create that drama so I added warmth here I added some cool forest II green tones here to like pop her legs out there and these are things that I'm constantly thinking about when I'm creating these grades right I'm going for that drama again like I told you here what I want to do is this okay let's do this so in this node I want to add some depth into my image and I'm gonna do that by going into hue versus luma and this is what I'm gonna do I'm just gonna grab the whole thing and I'm gonna pull it down I'm gonna pull it down around somewhere around here and just look the amount of depth that it adds into everything even the sky and everything now maybe it's doing a bit too much on the yellow spectrum so what I'm gonna do is I'm gonna create a dot here and then I'm gonna take my yellow and I'm gonna pull it up a little bit so it's not affecting so much of the yellow but always keep your strokes really broad okay it's like how I'm doing it don't be creating tons of freaking points right here cuz that's just gonna create so many artifacts because just look at that there's zero artifacts here okay everything that we're doing here is super clean so look at all the detail that we brought back here look at the sky is looking really nice even there's more three-dimensional aspect that's happening in the skin tones now and everything is just popping more like more detail in the shoes grass legs everything okay so that's what happened in this one even like look at this shirt the color is coming in right there's just overall more detail now in my sky I'm gonna do this you guys have seen me do this before great technique so I'm just gonna go into my soft range I'm gonna get it around 8.4 I'm gonna hit shift age so we can see what we're doing and let's just grab this but this time what I want to do is we're gonna go into our width so then that way we can just in our hue and we can just grab the sky like that right and then we can add some softening there and then we can add some blur here too so now if I play it through look it's super clean right so now when I go in there all I want to do is just this I want to take my gain I'm gonna pull it down a little bit and maybe something like this that's it like see I just created added this little cyan in there but just give it a nice Pleasant warm tone in there in the sky and now if we play it back just a touch does a lot right so now we can just leave that there I can go into my look adjustment and here we can just play that little game that I always play although it's looking really clean and because the white balance is correct everything is just it belongs you get what I'm saying like everything belongs and in commercials most of the time they want a lot of pop and they want a really stylized look yet they want it natural and to tie it all together is if you keep your white balance correct then you can go around and create whatever it is that you want and you can sell the look so just to keep that in mind but let's say if I go under my offset focus right here I'm gonna start moving it around to see if there is one area that we like better than where we were and if we want to leave the whole thing in that world we can do that so I don't know though I'm gonna just reset it because I like where we're at we can go back into my skin and we can just kind of get aggressive with it and see if there is somewhere we like it more even something like that I feel like it's not too much I think it's not too much and we can go in our again and we can raise it right like so even something like that and now play it back like just look at okay so if I park it right here and if I do before and after like we're just popping her so much and that's the whole point of it and now in this area if there's too much red then what we can do is we can pull our color boost down a bit in here right so see I can just do a little bit of that and I just like just to touch nothing too crazy and that's that now let's go under vignette and here what we can do is just broad strokes just think broad strokes so I'm just gonna go pretty wide I'm gonna do this and let's spread it out a bit like let's just make it pretty wide and then let's bring this about to about 23 ish and now what I want to do is let's start reverse so I'm gonna invert it I'm gonna go in here and I'm gonna actually uncheck that and then grab it somewhere in the middle and then start bringing it down maybe not too much right so even something like this and then in my reverse one because it's a commercial I want to take advantage of the top and the bottom and I really want to push my image so it just pops like out of everything else that's playing on TV I want this commercial to just jump freaking out okay so I'm gonna click right here I just turn on my editable splines and I'm in the outside node and now I'm just gonna go here and I'm gonna pop it somewhere around here and let's just play it through right so if I turned these two on and off just look at the emphasis on her like there was tons of emphasis on her before but now there is even more and now I can go in here and I can even bring this down something like that let's see now this is all believable okay like nothing here is jumping out to me nothing at all I can go in here and [Music] go to these dots and turn them off and then bring it back up a little bit to make it even more believable and then what I can - honestly in my global adjustment in my global adjustment I can go here turn the editable splines on and then give it even more pop to be honest because like I said I just really want to take advantage of the entire gamut that we get in our scopes for rec.709 okay I want to go nuts so if I take these three and turn them off and on look at where we started where we ended up and then in my sharpening I'm gonna go in as usual we're gonna subtract Laura to add sharpening and that does just that it just pops everything out even more and then in this one we're not gonna be using grain since this is a commercial and most of the time the client is gonna ask you to give them the most porcelain like clean clean cleaning look so this is it I mean just look at it there is not a single speck of noise but let's say that even you want to attack if there might be anything remotely then we can go in and do our standard 4.8 here and then break the chain and then here let's type in 6.8 and then let's pop it open and look how much of a difference it's making and it's cleaning it up but let's say if this is too much then what we can do if it's too much then what I can do is I can go in here and say hey let's split the difference point five percent so do half of what you were doing before select look at it right so if I look right here let's just punch in see so this is before this is after it's cleaning just enough but when you pull out and look at the image like this it's doing a lot so that's what you got to remember let's just break it down what we just did so let's start from the top started with the exposure okay then added tons of saturation like cranked it out 200 then started pulling her skin out we weren't pretty aggressive we were pretty pretty aggressive that's fine then we this drama with the dark grass to like really pull her legs out then we added some warmth in the light grass then we added depth in our entire image by hue versus luminance and then for the sky we just added a little cyan to make give it that summer feel and make it look very inviting and then in the vignette I just brought everything down just a tad around her and then in the outside popped her out a little bit and then in global adjustment pop the entire image out by using editable splines in our curves and then did our standard sharpening and this time we did not use grain because it's a commercial so we want to keep it clean we want to keep it pristine and then in added a little noise reduction to just take care of any issues that we might run into and this is our final look let's check it out in full screen [Music] let's create a new version and now we're moving on to our film grade and this is where we start having a lot of fun and we have a ton of freedom and it's all about the story what's the story so let's say here it's a super warm day and it's one of those who remember the Titans or Million Dollar Baby sort of movies and she's just hustling day in and day out and there's no end in sight but she just keeps going she keeps pushing so that's the premise now keeping that in mind all right so let's start off with our node tree so the first one is gonna be our primaries and this is where we're gonna do more than just exposure we're gonna do our exposure we're gonna do our saturation here okay and we're gonna move on and this is where I'm gonna show you a really cool technique I'm gonna create a layer node and you guys are gonna see in a minute what we're gonna do let's just call this one skin and then this one will be a look then we're gonna move on here and this is gonna be a look adjustment but more of the look is actually gonna be created in this one but you're gonna figure it out in a second then we're gonna move on here and consider this one like a global adjustment and then after that we're gonna do our sharpening or mist or blur whatever we're gonna just run with that and then finally we're gonna do tons of grain so this one is our global adjustment this guy here is our glow and then finally we're gonna have our grains so the inherent difference that you can see right now commercial versus film is that you wanna create a look DNA in a film because you have tons more shots and way less time that you would on a commercial sometimes tighter budget too when you're working on independent short films or feature films whatever have you so you have to come from a different approach so you can attack tons of shots at once and just knock out scenes and full-on projects a standard time to work on a film is about two to four weeks okay and that depends on your experience and the budget and how many shots different cameras all those things alright so keeping that in mind this is what you're gonna go with when you're working on films that's gonna be the necessary evil you're gonna always need to do qualifiers to control your skin tones doesn't matter what you're working on but this is our node tree let's just jump right in I'm gonna start with my contrast and I'm gonna go somewhere around here I'm gonna pull my gain down I'm gonna raise my gamma up gain down somewhere around here I'm gonna pull my lift down and then I'm gonna keep it somewhere around here and then I'm gonna just sit with my gamma and then gain down just a little bit somewhere around here so we're keeping our image in the middle it's pretty nice and now let's just give a saturation we're gonna crank it let's just keep it here that's fine let's keep it at 100 so this is our image right now looking pretty good not bad at all so what I'm gonna do here this is our layer mixer I'm gonna right click here I'm gonna go under my composite and I'm gonna choose soft light that's gonna give it this crazy pop all of a sudden it's like whoa like almost like a you know one of those crazy Luntz so what we're gonna do is the way layer mixers work is anything that's underneath takes precedent over the node prior to that or above it okay so it will make a lot of sense here I want to go in I want to go to my saturation and I want to dial it back I want to go to zero see because we're using a composite mode right here it's not going to zero altogether it's blending these two nodes and giving us the soft light effect okay so that's what's happening another thing that I want to do here is I'm gonna pull back the contrast it's way too punchy okay so I'm gonna go under my contrast and I'm gonna dial it back a little bit just ease off on the contrast a little bit so somewhere like that because I'm going for a nice creamy film like look right so we're gonna keep it somewhere around here that's not bad has enough punch I like it now I'm gonna go in here and I'm gonna qualify the skin and this time I'm gonna keep it pretty broad okay so let's go in here I'm sorry so I'm gonna select this and then go ahead and select my skin tone and let's see so this is doing a pretty good job but let's just restricted a little bit so somewhere right some somewhere around here and then open this up quite a bit and then let me just move it around to see if we can do a better job and then I'm gonna blur it a little bit more something like that and now what I want to do is just go in my gamma and gain and start raising it maybe something like that and then I want to take my gamma and just lift it and take my gain and lift it just like kind of pull her out a little bit right let's go modify our qualifier a little bit to be honest so this is looking a lot cleaner and it's making a big difference what we just did right so if I take these three and turn them on and off like look at how much of a cool look that we created and then we're keeping our skin separated right like a look at that okay then I'm gonna go under my look adjustment and that's where the look DNA is gonna be created so the way I'm gonna start off is with my RGB curves and I'm gonna break this chain so I can move them independently and because I said I want to add a lot of warmth and make it look like you know the movie traffic and we're in Mexico like warm I'm gonna take the top end of my blue channel and I'm gonna pull it down and just look and I'm gonna keep it somewhere around here okay then I'm gonna go into my red Channel and I'm gonna raise that up to like really warm it up something like that I'm gonna go in my blue Channel and I'm gonna pull some of that yellow out of the skin and I know the skin is sitting somewhere around here so I'm just gonna add a point here and then raise it and now I'm just like eyeballing and I'm looking at everything on the screen and even thing like that is not bad at all now what I want to do is I'm gonna go in my luma mix I'm gonna turn that off to zero and I'm gonna move to my primaries bars and I'm gonna start making some adjustments here so I'm gonna start off with my gamma and I'm gonna take my res and I'm gonna pull it down a little bit and then I'm gonna take my blue here and pull it down a little bit now I'm gonna go in my gain and I'm gonna lift my red up here maybe somewhere around here then I'm gonna take my blue in my gain I'm gonna pull it down okay then I'm gonna come in my lift and I'm gonna add some magenta so look at that and that's for my skin you just look at her legs right and then I'm gonna take my red in my left and I'm gonna pull it down just a little bit and if I turn it on and off like look at the amount of work we did here and guys we're going for a look I don't care like we're just trying to create something fun something cool something cinematic and that's what's happening yet we're keeping the skin's looking proper so that is very important to have the skin tones looking proper then I'm gonna go under my global adjustment and I wanna soften up my contrast even more and I'm gonna do that by bringing my gain down lifting my gamma up to open up the image a little bit and bringing my lift up and then going into my log wheels and pulling it down okay and what I want to do is I want to control my lower range because I don't want to effect too much I just want to affect the bottom part and bring it down and I want to go under my gamma and pull it down a little bit and now if I do before-and-after then the adjustment is gonna be going through my contrast and just add a little bit of contrast something like that and again just pull my gain down somewhere around here and just look at even if you just focus right here and see how her skin comes alive like it just pops out so that's what I'm looking at right now and then in my glow the way I'm gonna add glow is I'm gonna go in here I'm gonna go under my mid-tone detail and I'm gonna just type in negative 30 and you're gonna see what it does I'm gonna punch in so you guys can really see what it does so if I go here if I do before-and-after before-and-after like look at this before after it just adds like this softens the whole image up and makes it look more cinematic and adds like this little blooming effect around the highlights that's what it does okay and you can just feel it like all of that see it just took the edge off and soften everything up and then in here obviously we're gonna go in we're gonna drop in our grain and this time I'm just gonna have fun with this so I'm gonna go to 16 millimeter reversal and it just really adds a lot of character I mean just look at that I don't even have to punch him to show you like even down to the contrast but let's just punch in and look at right here before after if I play it through I mean it just adds such a cool freakin vibe and let's just play it through one more that I would do is I feel like we can push to look more so let's try that right let's just try it so I'm gonna go into my gain again and I'm gonna raise my Reds and I'm gonna pull my yellows down [Music] like that and then I'm gonna go into my gamma and make up for it so I'm gonna pull my Reds down here lift my blue up for the skin I'm just keeping an eye on my skin and then add some magenta again just keeping an eye on my skin and I like it and now let's go into our skin I'm gonna take my gamma and gain and just start playing with it a little bit more and then let's just give it a little bit more juice so I'm taking my cane and I'm raising it alright so I think it's a pretty cool look you saw in the beginning like how movies are usually sitting in the middle they're not necessarily you know clipping at the top and the bottom and that's the kind of thing we got going on here very gentle contrast and with a lot of character that's happening here so this is what I'm happy with and that's what I'm going for again like I said you know it's just she's feeling defeated but she's just moving along and she's making things happen and this just fits the bill and the look that I just showed you genuinely a copy-paste now that this can be applied to the entire scene and this is the approach you gotta take when you're working on long-form projects now let's do a fun little thing let's just look at our split screen and all the looks that we created so this is our log image this was our natural look commercial look our film look I'm gonna make it fullscreen I'm gonna get rid of this I'm gonna hide this and let's just play it through and check it out so I mean it's you guys can see it's it's a lot of fun this exercise I hope you see it where I'm coming from - how beneficial it can be for you to see how to approach each one and now looking at the whole thing you can go well come on dude you could have added more juice here whatever but did you see when we applied the LUT in the beginning we thought oh my god it's looking so much better from here to here like let's just print it and that's the beauty of color grading because when you keep adding sweetener to it it gets better and better and better and the possibilities are endless that's the point one thing here that I just caught I don't even know how it slipped my radar is right here just focus right here and see what's happening like there's tons of noise here in the key and we can see that if I do this and see how dirty that key is and how chattery it is so to take care of that pretty simple we're gonna go click right here and then that way we can just like this area right here and I'm gonna go back and that's all we need we need to select that and now I don't want to necessarily affect these areas like the highlighted areas so what I'm gonna do is I'm gonna go in my luminance and pull this down to control it a little bit okay so I'm gonna keep it somewhere around here and now hold on like this somewhere around here and now if I go back and play it now you can see we took care of that so it's not chattery anymore so that these are the things with keys that's why I'm not the biggest fan of them but when you're working with skin tones it's sort of like a necessary evil there's other ways that I showed you that you can attack it hue versus hue options but if you're gonna use qualifiers then keep your eyes peeled and just look at every single thing in the frame to make sure that there are no problem child's like the one that we just spotted now it's perfect I hope you guys had a blast drop a comment below let me know what you think of this series also what kind of footage do you think we should use for the next episode guys smash that like button subscribe to my channel share this with friends make sure to follow me on Instagram and check out the link in the description I will see you in the next video [Music]

Channel: Waqas Qazi

Views: 124,096

Keywords: davinci resolve 16, resolve 16, davinci 16, davinci resolve, davinci, davinci resolve 16 tutorial, tips for beginners, grading, davinci resolve studio, davinci tutorial, davinci resolve free, color correction tutorial, how to colour correct, resolve color grading, color correction davinci, color grading davinci resolve, colorist, color grade davinci resolve, color grading tutorial, davinci color grading basics, theqazman, commercial look, film look, film grading, cinematic look

Id: vk8X980mR8s

Length: 39min 56sec (2396 seconds)

Published: Thu Mar 19 2020