Advanced Techniques To Get The Film Look | DaVinci Resolve 17 Tutorial

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(upbeat music) - What's going on, guys? Welcome back to the channel. My name is Jake, and today's video is part two of a three-part series on film emulation, and if you missed the first episode, I recommend checking it out here, and in that video, we really only scratched the surface on film emulation. That just kind of lays our foundation, but in today's more intermediate tutorial, we really get into the grit of film emulation, and start making our digital image feel more like film. We're going to be bringing in real film stills, analyzing elements like flaring, halation, grain, and overall image sharpness. And then by using only Resolve's built in effects tools, we're going to be recreating those elements in our digital image, and if you're an overachiever, and really want to take things to the next level, part three, we're going to be diving even deeper into this topic. Then I'll begin showing you some of the third-party plugins I use as alternatives to the tools built into Resolve to get even better results. We're going to cover how to build out your node tree at the group, pre clip and post split level for more efficient grading, and of course, we'll have a whole section dedicated to shot matching, as well as some excellent shot matching tips that are gonna make things incredibly easy for you. I also want to mention we're running a limited time offer on the Masterclass for the next seven days, so starting August 11th, and running until August 18th, you can pick up the Masterclass for 35% off. And if you're wondering if the content in the Masterclass is any different from the free content and posts here on YouTube, 100% yes. The freelance colorist Masterclass features 10 modules, with over 27 hours of training, and we're constantly adding more to it. With FCM, you get access to a private Facebook community where we hold weekly competitions, and you get tailor-made feedback on your entries, and you actually get an opportunity to make money, because at the end of every season, we have cash prizes up to $1,600. You also get complete access to a hundred gigabytes of professionally shot footage for you to practice with, not to mention there's some awesome discounts on things like Thumb Convert, DaVinci Resolve Studio if you're in the U.S., and many more. And to top it all off, there's also a 30 day money back guarantee, so you can join with absolutely nothing to lose. As an FCM member, I know how valuable the course material is for somebody who's just getting started, or someone who just wants to brush up on their skills. The trainings and downloadable content are always available, as you'll have a lifetime access to the course, not to mention the incredible community we have on Facebook, where you can ask questions, get feedback, and gain insights. Don't miss out, join before the offer ends, and you can do that by clicking the link up top, or in the description, or in the comments below. There'll be pinned in the comment section. Now, if you're just here to see how I build this look, feel free to jump around based on the chapters of this video listed in the description below. But if you really want to learn about the why behind film emulation, and walk away from this video with a better understanding of each step of the process, I recommend grabbing a notepad, sitting back, and watching this video from start to finish, because there is a lot to unpack. So with that being said, let's roll the intro. (upbeat music) All right, jumping right into this one, I want to address a couple things, just before we actually get started in building this look, that is one that film emulation can be very technical, but it's also very artistic. And so I don't want for any of you is to place the importance of the technical accuracy above what I would consider the artistic expression, because sometimes those two can compete, and we may sacrifice some of the art of this technique, and color grading in general for technical accuracy, and I just don't have any interest in that. So keep that in mind as I go through everything here. So in a past video, I teased a film simulation process, and you guys were quite receptive to it. I saw a lot of comments that were asking why I didn't touch on film emulation, and the main reason is that I wasn't trying to do a full on film emulation tutorial. It was more of graining your footage, and then I also used a film print emulation LUT, in building that grain. But because there were so many in such interest and controversy over omitting that halation effect, which is, I'll get to exactly what that is if you don't know in just a few minutes, but because that was such a hot topic in the comment section, I decided, let me go ahead and make another video. and we'll do a slightly more technical film emulation tutorial. This would actually be less of a film print emulation, more of just a film emulation in general. So that's what today's video is about. Want to touch on some more of the techniques, and some of the technical elements here, and possibly even more videos after this one, if you guys are interested. Now, another thing I mentioned in that video is that grain sharpness should be matched with the image sharpness. And after doing a little more research, I'm not actually a hundred percent sure I still believe in that as much as I did before, and the reason for that is that after examining some film stills, which we'll pull up here, I think for a lot of true film, the grain is usually sharper. And I think the reason for that is that images captured on film aren't known for their sharpness necessarily. It's typically a less sharp image, a less perfect image. There's a lot, I mean, it's an analog format, so it's going to look more natural and less digital, and part of that digital look is sometimes sharpness. We're actually capturing the image in pixels. The way that film images are captured is not a digital sensor that it's controlled electronically. It is a piece of organic material, a sheet of film that is briefly exposed to light, and that light's coming through the lens, it makes contact with the photoreceptors on that piece of film, and then through a chemical process, it is transferred into the image that we would have seen it as in real life, so it's a very different process than digital image capturing. We're talking about a digital process with ones and zeros, versus an analog process with chemical reactions happening. Because of that, there are some downsides, and some upsides, and some of the upsides are obviously dynamic range, and skin tones often look incredible, but some of the downsides are elements of that chemical process that lead to what some would consider flaws in the image, but that we've kind of come to love them, and so now we actually try and recreate those, and emulate those film characteristics in our digital work to make it look more like the actual film stuff. So back to the whole grain sharpness thing, the image, as I was just explaining, is usually less sharp than what we consider sharp in digital world, but the grain is oftentimes more sharp. It's a chemical process that's happening on the actual film itself. So regardless of how sharp or blurry the image is, the grain sharpness, and even the presence in general may vary based on a number of factors, but we can create a similar effect here in Resolve. And then we also may want to add some saturation to the grain that is an option in Resolve's built in film grain effect, or effects, and that can be very useful. We're probably gonna experiment a little bit with that here in this video. But aside from the grain halation and glow, there are a few more elements that and effects that we can add to our footage to achieve a more film like effect, but I'd like to work our way up, starting with that video last week, kind of just being an introduction in using a film LUT. And so today we're just gonna kind of build off of that, and go a little bit more technical with things, as opposed to just strictly creative. There are some more technical tools out there to create what would be considered a more true to film look, but I think 99% of you are going to mostly benefit from creating this film in Resolve without any additional plugins. But for those of you that are interested in looking for some of those other options, Film Convert, Film Convert Nitrate is an excellent plugin for Resolve. It's also very affordable, and then Dehanser as well is an excellent plugin. So let's go ahead now and start diving into building our sort of film emulation here, and like I said, you can take this as far as you want to, you can limit and omit some of the effects that we're going to be throwing in this video. But overall, I think this is going to help a lot of you, and it's going to be, if your client asks for sort of a film look, or if they've shot it to be sort of filmic, I think this is going to be a look that your clients are really gonna like, or if you're the director or DP, and you're coloring stuff yourself, then I think this is going to really step up your game, and allow you to create some incredibly professional looks. So the first thing we're going to do is a proper conversion, and we're going to do that using the color space transform. So we're going to drive that color space transform onto this node. This was shot in the Arri, and of course was shot in Arri log C, so we're going to set our input gamma to Arri log C, and our output gamma, this is sort of that rec 7 or 9 look, and also, let me go ahead and address this, since some of you were asking. Our color management settings are DaVinci Wire GB, and the timeline color space is rec 7 or 9, gamma 2.4, and that's it, no ACEs yet. But we do have that live training, so if you guys want to check that out, and see what ACE is all about, be sure to check that link down below to get yourself signed up, because we have an awesome webinar coming up on Monday, August 9th. So input gamma, that's still at Arri log C. Output gamma, we're going to set this, because we're doing a film print emulation with the film lab built into Resolve. Those are meant to accept a cineon film log input, and so our output for this color space transform is going to be cineon log film. So we're inputting Arri log C, and then we're outputting cineon film log, and that's going to give us the best result. On the next step, where we are just going to right click on the node, scroll down to LUT, and then in film looks, we're going to select Rex 709 Kodak 2383 D60. That's my go-to, my preference, however, of course, you can also select any of the variants here of the film LUTs that are built in to Resolve. And obviously I prefer the look of the 2383 LUT, but you can go with either of them, and then the D60, D65, and D55, those are just different color temperatures of that film LUT. So you're gonna see the same thing, same results. You're just going to have different color temperatures. So let's go ahead and drag this over here, and we'll start labeling these nodes now. So this first one, or second one is actually going to be called our LUT, and the first one is our CST. Now these are going to go at the end of the node tree, and that's going to lead to a much more technical and proper conversion of everything. The whole image pipeline is going to be managed more effectively this way. So we know that all of the nodes happening prior to the CST is going to be in the Arri log space, which gives us a little bit more room to work with, and then our LUT is going to be properly applied directly after that conversion. And we're not going to be adjusting the properties that the LUT has applied, and done so in a beautiful way. And on the last video, doing that, grading your footage episode, I didn't necessarily do it this way, because I wasn't as concerned with how technical the film look was. I was concerned with making a good looking image, and sometimes those two don't always coincide. But in this case, we are specifically trying to create a film look, so that's why we're doing it as technically accurately as we can. So now let's go ahead and start adding some nodes beforehand, before the CST, and you can just do shift S, which will add a node prior. So you I just threw in our node before the CST, and we're just gonna bring this one over here, and this one is going to be our primaries. Now in our primaries node, there's a couple of things I want to do, because you see this image was pretty dark whenever we started, and also a great thing to mention, if you're on set shooting and you have the intention, you know that you're going to be doing a film print emulation, I actually recommend doing your best to protect your highlights at all costs, and trying to preserve those details in the highlights. And if you have to cross the shadows, oh, well, a film does a lot better job of capturing the highlights, and it kind of suffers in the shadows. So if you're trying to emulate it, it'll help you get a better result by underexposing a little bit. So in our primaries node, we're just gonna take our shadows, actually that's logs. We're going to go into our primaries wheels, and make sure this is reset. We're going to take our lift, and just pull up a little bit, maybe the same with our gamma, and actually come back down a little bit on the lift. And my goal here is just to bring a little more details out in the shadows without crushing those blacks, all while making sure that the highlight stay pretty protected, and pretty low overall. So right in here, that's probably going to be fine, and might even take some of our highlights here, pull them down just a touch, and using our shadows slider, bringing this up some. That's gonna give a little more information back here in the shadows. Now, our next node, alt S, just going to label this one sat, and that's going to be our saturation node. And here we're going to jump into the RGB mixer, and here we're going to take our red slider, max it out, our green slider, and green output, max it out, and then same for the blue. And now we have a pretty saturated image, and that's okay. What we're going to do is in our node key tab on the key output, we're going to cut this in half. We're going to type in 0.5, so we're setting this to half the intensity. So the output of all the changes in node is going to be set to .5 as opposed to one, which would be the full intensity, so we're just cutting it in half. And then we may come back and adjust this a little bit more later, if we think it's still too saturated, but for now, we're just gonna leave it right there. So at this point, we have a pretty overall nice looking image. All we've done is add saturation, and in our film LUT, and through our proper conversion here, we just had a little bit of work in the primaries, and you could call it here. This could be a fully functional film emulation. As the comments came in last time, I know you guys wanted to see some more of the characteristics of true film introduced, the artifacts from that chemical process be introduced here. So how do we add those? The halation, the grain, the glow, this, the flaring, how do we add that in? So today's tutorial, we're going to add in a blur effect, a halation effect, and a little bit of a glow, just to give it that soft, dreamy film look. So the first thing we're going to do from here, go to alt S again, and we're actually going to use a simple OFX here. We're going to go to our gloss and blur, and drag this on, and obviously that's a little bit too blurry. What we're going to do is zoom in so we can see all the detail in this image, bring this to zero, and we want to just increase that blur a touch. We don't want to make it too sharp. We want to make it too blurry, and I'm actually going to, I'm actually going to go ahead and bring in a still that I have saved here, and as you see here, we have much less sharpness than what we'd see in digital, but you still make out, like you can still see the texture of his skin. You can see these, some of these smaller details, but what I really want to draw your attention to is this little flaring here, this sort of red glow on this sharp highlight, sharp contrast, anywhere those sharp edges and contrast of luminance, we start to see that halation there. So our goal in recreating this film look in this film emulation here is to recreate some of these effects. We see the grain, you see color in the highlights. We see halation, we see a softness to the overall image. And another great example of that relation is this still from Django Unchained, and you can see just, this is obviously was also shot on real film, and the glow, and just that flaring coming from these harsh edges between shadow and light in this tree here. I mean, we see that just bursting through. There's not any sharpness, there's not any detail in that fall off between shadows and highlights, and just the colors constantly bursting through. So there's not really any rules to this, unless you want to be a hundred percent technical, but you know, me, I'd rather just have an image that I think looks good, so that's what we're going to be doing and recreating here in this one. So the first element of that is making sure that our image softness is down in. We don't want it to be too sharp, and so we have our Goaussian blur here, and I think it might be fine as is. I'm going to just a rather highly detailed area, because also whenever you're determining how much blurring you need to add, it's best to work on an image, or a part of the image that is actually in focus, and as sharp as can be, because that's going to determine the overall effect, because it wouldn't make sense for us to use this blurry section of the screen, section of the frame to determine our blur intensity. So you want to work on an area that's actually sharp. So for now I think this is going to be a close enough effect for us, and the next thing we're going to do is gonna be, we're gonna start to build off of that halation, and I'm actually going to do it in a compound node. And the reason for doing it in a compound node is that it's going to be more than just one step, but I want to be able to control it all as one node essentially. And also want to be able to go into that node and make changes later if I need to, but I just like to keep it a clean node tree, if possible. Let's go ahead and label this one our blur, that's our blur node, and we're gonna add another serial node. It's going to be alt S, and alt S again. We're just gonna go ahead and make these a create compound node, and that's going to put them into this little compound node you see here. It's going to send it out sort of as one signal, and continue on as one signal. You can disable it and re enable it. We're just gonna label this one halation. And now to go back into this compound node, we're going to go into show compound node, and now we can make all of these changes within it, and bounce back out whenever we need to. So there's a couple of different ways to add halation, in Resolve using the built-in tools, and one of them is a little bit more complicated, using two CSTs, and what you're essentially doing is converting your camera space into a linear space, making some changes to the image, and then converting it back from linear into your camera space. But I want to keep things as simple as possible, so I've actually kind of come up with my own version of that, that I think will be a little bit simpler for most of you to follow, and eliminate some of the chances for you to mess anything up. So we're just going to go ahead and grab our eyedropper, or our qualifier, excuse me. And our luminance is going to be the only tool we're using. I'm going to go ahead and highlight this. We're just gonna go shift H, and we're going to drag our low end up, up, up until we start kind of getting rid of some of these shadows, and then turn on that low soft. We're going to bring this up a touch, and right around here, we just want to get rid of those shadows, because we really just want to be working on a sort of anything mid range and up, because as we noticed in the still here from Django Unchained, almost all of that halation is happening in the upper regions of the image, upper mids, and in the highlights. It's not so much happening in the shadows, except for where we have that convergence and that fall off between shadows to highlights, so we're going to be covered there just by qualifying the highlights. So this is our qualification, it's just using the illuminant slider. And now we're going to go into our sharpen tool, and in the blur tab, we're going to, de-select the link red, green, and blue channel, and we're going to start working on them independently. And the reason for that is that halation usually has a bit of color to it, so by working on the red, green, and blue blur separately, it's going to give us a little bit of a tint if we do it right. So we're going to zoom in here to an area where there's some sharp contrast, this area with her highlights, or her hair, sorry, contrasting against the shadows in the background, and then also it's gonna be great, because similar to that ring in the other original still, we have this sort of gold highlight that's being hit directly by the sun, and it's going to be pretty reflective. So we're going to get to recreate pretty accurately some of that halation that we saw in those stills. So in our radius tool, we're going to go ahead and take our red slider, bring it up just a touch, and same for the green, and then same for the blue. And we're doing these at just slightly varying levels, because we're almost, you can think of it as sort of like gain. We're adding a little bit more green than blue, and we're adding a little bit more red than green, which is going to give us this sort of yellow, just warm glow around some of these sharp edges. So this is looking pretty decent. You can see the difference we made here, especially on these little tiny little hairs here, as we enable and disable that, we're starting to bloom those out, which has given us that bloomy effect, and we're really starting to see the halation do its work. So before and after, super small change, but anywhere there's sharp details, especially like right here in her arm, this is looking really good. We're just softening off those edges. Now, the other technique that I like to use, I'm just going to combine them here within this compound node is another OFX tool, and this one is actually called edge detect, and so we're going to drag this on. And at first, obviously it looks terrible. We're going to make some changes here. We're going to set the mode to gray scale edges. We're going to take the threshold, and bring this up a little bit, because this is just showing us all the edges we're going to be blurring here in a second. And then we're gonna take our smooth, and just kind of soften this out a touch, and we'll come back and make more changes there in just a minute. Now we're also going to select edge mask overlay, and as the name implies, this setting is going to overlay the edges that we've detected, and this outline that we've sort of added to them. It's going to overlay that on top of our original image, so we get this. Now, this is obviously not exactly what we're looking for yet, although it is a cool effect, and if we play through, you see it follows us those lines and those edges, but obviously for what we're trying to do, this is not halation, so we've got to make some changes here. Now first, I'm just going to be selecting the color. As you know, we have that warm tone that is really going to get us in that ballpark of a real film emulation, and these are again, using simple tools. There are more technical ways to do this. I just want to show you guys a simple method that gets the job done. So we're just going to take this color and drag it all the way into the top, right, as red as it can be, and we're going to take our luminance, and just pull this down just a little bit. It's going to give us a little bit of a deeper red. And now on our smoothing slider is going to smooth things off a little bit right around here, and now we're starting to see the overall effect take place. The de-noise string is going to help us eliminate some areas where it may think that noise is actually an outline, or an edge, and so we don't want that, so having this turn up to about 0.2 is going to be a good place to be. Now on the global blend, we'll start to pull this back, and really start monitoring the effects here. And this is going to give us a much better idea of what the final result is going to be. So as you see, I do like the way that these edges are looking. They're starting to bloom, and that sort of red color. I do think I want to bring it to be a little bit more orange, though, especially after seeing that still from Django Unchained. So that's looking pretty good. Maybe leave the threshold where it's at? Yeah, I like where it's at now. Maybe increase the smoothing? And we have the brightness of course, as well, and that's going to also help with the intensity of this effect here. So now let's see, let's zoom in over here, and we're doing some really good work with her shoulder. If we just disable these two nodes that we've changed here, that's not bad. One thing I'm starting to see is we have the edge detect effect taking place in the shadows, which I don't want, so to eliminate that, we're going to go back into our qualifier. Actually to save ourselves from having to qualify everything again, let's just take the mask from our first node, and drag it to our second node. So what that does essentially is it just copies our composite information from the first node, which is where we set our qualifier, so we just eliminated the shadows, and it sends it over into our second node as well. And I actually do want to limit this a little bit more than it already was going to soften it out and touch more. And just so we're getting rid of even more of the shadows there, so that we're only affecting the highlights with these two nodes. So now just looking in this area where a lot of these highlights are, because that's where we're mostly going to see the changes take place of the halation there. We're getting a really, really nice effect, and this is looking incredibly filmic, and we haven't even had a grain yet, so I'm really liking this. So now we're just gonna go ahead and close this down. We're going to jump back into the original node tree, and as you see here, actually, I do like to typically leave the halation effect stronger than it needs to be, so that in the halation compound node, I can also go back into our node key tab, and in our key output, pull that slider back, and just adjust the intensity to wherever I want it there. That's an easy way to do it all in one step. So now we're looking pretty good. I like where this is sitting as is. Let's add a couple more nodes, just to continue adding on, and building this film emulation effect. So the next thing we're going to do is add our glow node, which is a must for me. I pretty much am always adding a glow node, whether it needs it or not, and we're going to use this tool in a couple of different ways. One, it's going to give us more of that softness, and just that creamy look that would resonate with film. And the other thing it's going to do is it's going to help us tint our shadows in a slightly different hue. I want to give them sort of this blue and cooler tone to counteract the orange highlights that we have here. And again, that's totally optional, and this is a totally subjective step. That's just me looking at this image. That's what I want to do to this image. So we're going to take our shine threshold, set that to zero, and now we're going to take our composite node and set this to soft light. And now we have a very different effect than what we originally started with. Another thing I want to do is take our colorized tool, and this is going to select the color of our glow. You know, right now it's just white, and we want it to have a tint to it. So I'm just going to give it a little bit of a teal tint, and you see the changes taking place as I'm dragging this around with our hue picker here. And that looks pretty good to me. Now we'll go to our global blend, and we'll just pull this back a touch. Right around here is good. That's another thing with film, you're usually going to see some blooming in the highlights, and so this is another nice effect to add there, and it's going to give us that bloominess to the highlights on top of our halation. So I'm gonna go ahead and label this one in glow, and you can spend a lot more time with this effect, just dialing in, and getting it exactly how you want it. But for me, this is pretty good as it is. The last thing we're going to do, after our CST and LUT, is we're gonna add our grain. Our grain is going to be the final step here, because as we talked about earlier, like with that grain, I just talked about earlier, the grain is going to be, I mean, on the actual film, it's a chemical process that's happening, and it's going to be, it's going to have its own characteristics, regardless of how sharp or in focus the actual image is. So because of that, I like to add it last, whenever we're doing and more technical film emulation. So we're going to select grain, drag this on top, and we're definitely gonna want to zoom in here, just to get an idea of exactly what we're looking at. So we're gonna set our film grain preset, I'm going to start off with a 16 millimeter 500 T preset, and we're going to increase that size a little bit. We're going to increase that strength, and for the texture, may even increase this a tad. And then for our softness, we can make it as a sharp or as soft as we want it to be, but overall, I want it to be kind of big and sharp, so that's going to give me the result I'm looking for. So let's see, now we can take our saturation, as I mentioned, some grain is saturated, so if you don't have a super noisy image to start off with, and you can make this look even more realistic by adding some saturation to that grain. And so that's looking not too bad right there. In the advanced controls, you can of course control the effect of the grain, the intensity of the grain in your shadows, mid-tones and highlights. I'm leaving it all as neutral right now, just to keep things simple, but that again, if you wanted to take this to the next step, and go even further with your grain optimization, you can do that here. In the global blend, I'm just gonna pull things back a touch, and that's going to give us, yeah, that's looking really authentic if you ask me. It's a really authentic emulation of film, I would say, so let's go ahead and just play this clip back a couple of times, and the last couple of things we're going to do in this video is we're just gonna watch through this clip, and then we're going to go one by one in each node, and see how it affected our image. So we're playing through, and we've got this beautiful grain. I hope you guys can see it coming through on YouTube there, but it looks absolutely stunning right here. We have this halation that we've added. I mean, everywhere over here in our shoulder, this is looking fantastic. The highlights hitting her face. This is the right, the way that the sun is hitting her eyes here, and then you have the sharp edges, and the contrast from his shirt highlights to the shadows. We have this incredible glow, and overall the image, just the right amount of softness, just I'm a huge fan of the way this looks. So it's an excellent process, pretty easy to follow. You see we really didn't do much graining. Personally, if you want it to customize this look from here on, what I would do is kind of just set all these, the actual practical emulation nodes, leave these separate, and right after the primaries, we'd add a second node and if, for example, you wanted to make it a cooler look in the shadows, we just take our lift, cool things off, and then in the gamma, maybe keep our skin tones nice and red. And if you wanted to give our highlights sort of green tint, you could do that here. So just tiny changes in the primaries, and we have taken, we already had a beautiful looking image, and giving it a totally different look. We've got this green cast overall. So that's how I would customize this look going forward. But I like it as is, and we really didn't do much at all ourselves, other than just adding the effects, adding that film LUT, and then making some changes in the primaries. So let's go ahead and go through one by one in order of operations, and see how we built this look from the start to finish. So first off, we have our CST, and this is taking our Arri log C, converting it to cineon film log, which enables us to properly apply our LUT. This is our film LUT, and the film LUT we used here was in the film LUTs tab, rec 7 or 9, Kodak 2383 D 60. And then our primaries tab, this is where we started to brighten things up, and sort of lift up our shadows just to give us a little bit nicer contrast. Now, we also took our highlights slider, because film is going to be a little bit darker in the highlights. It has, it does a little bit better job of protecting the highlights than digital cameras will. There's a much nicer roll off there, so we took our highlights slider, pulled it back a little bit, and then increased our shadow slider as well. And then in our saturation node, this is where we went into our RGB mixer, maxed out the sliders, and then controlled the effect of that saturation by adjusting our gain in our key output in the node key tab. Next step, we applied a blur, and this just takes off some of the sting of that sharpness of digital footage, even though it is shot on Arri, it's still going to have some of that digital effect, that little bit over sharpening there. So this just softens things off for us a little bit. And the next step we have our compound node, and this is where that film emulation really starts to take place. So this is the effect overall of the two collation nodes, and one area I really want to draw your attention to, aside from her shoulder is the eye right here. If we disable that, you see how we add that warm glow to that sharp contrast in highlights and shadows? That's exactly what halation is all about, and it is a beautiful effect. We did that by qualifying the highlights, kind of eliminating the shadows, and you'll see that with our Luminant slider there. And then in our blur tool, we increased the red, green, and blue blur. We took it up to add some softness to those highlights. And then we sent that qualifier to our next node, where we used the open effects of the edge detect. We added some color to it, softened it out, and then sort of just applied this overlay, this color overlay onto the edges in our image, and took it one step further. We're only doing it to the bright edges by setting that qualifier into this next node. The next thing we did was add a glow. I'm going to zoom back out so we can actually see this. Next thing was our glow node, and we also tinted that glow with a sort of teal look, a very soft teal, and that just gives us this nice result in the shadows, being a little bit more complimentary to the skin. And we have a little bit more of a blooming effect in the highlights, and that's easily seen over here in this area in this window, we started to bloom that out. And so just overall, excellent look, in my opinion. And then the last thing we did was, of course, add our grain, and this is kind of a must have, if we're going to be doing film emulation. I selected a 16 millimeter 500 T grain preset. We increased the texture, the size, the strength. We also increase the softness, I believe, just trying to get it sort of realistic, based on the stills we had pulled up earlier, and then added some saturation to the grain as well, because the image was clean enough for us to do so, and then pulled back on the global blend just a touch. So all in all, if we disable this, here's our complete before and after. Let's go ahead and check out the final. (soft rock music) All right, that's it for this one. Hope you guys enjoyed it. I hope you learned something. Don't forget, we do have a limited time offer on the freelance colorist Masterclass. We're offering 35% off from August 11th to August 18th, so do not miss out on an opportunity to get yourself signed up. Again, that link can be found up above, in the description below, or pinned in the comment section. As always, be sure to like this video, subscribe to the channel for more awesome tutorials, and I will see you guys in the next one. (upbeat music)
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Channel: Waqas Qazi
Views: 181,527
Rating: undefined out of 5
Keywords: davinci resolve, davinci, davinci resolve studio, davinci tutorial, davinci resolve free, resolve color grading, color grading davinci resolve, colorist, color grading, color correction, davinci resolve tutorial, blackmagic design, davinci resolve color grading, davinci resolve effects, theqazman, davinci resolve 17, resolve 17, davinci resolve 17 tutorial, davinci 17, davinci resolve 16, davinci resolve 16 tutorial, waqas qazi, davinci resolve 16 color grading, film look
Id: AzpHKhnm-RA
Channel Id: undefined
Length: 30min 40sec (1840 seconds)
Published: Thu Aug 12 2021
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