My Top 5 COLOR Features - DaVinci Resolve 19

so D Vinci resolve 9 in is here and it is jam-packed with fantastic features in all the pages edit Fusion Fair light and of course color so I'm going to show you a few of my standout features in the color page but stick to the end cuz I've got one little surprise one that I want to show you so there really are a lot of big features in the color page so I'm still getting my head round it so this is just going to be an introduction I'll do more detailed episodes later on so the first one that's caught my attention is this one here called color slice this is fantastic so it's giving us six vectors so it's our red yellow green cyan blue magenta and a seventh one which is skin tone now the vectors are based on these presets that we've always had in here these have been here since resolve version whatever I can't remember but they've been here for a long time and it's a very nice organic way of just taking a color slice and adjusting its density and saturation so let me show you if we take red here you can see the slice there here's yellow you can see the slice there and we can adjust the center of the slice so you can adjust the exact point at which it's going to Pivot around this is a really nice organic tool so there's no need to do keying or anything like that so watch what happens when I adjust red so if I take this one here this is density and this is saturation and if I just push density up watch the Red Square here on the color chart and you'll see that it does indeed become denser in a really nice organic way now if you want to see what's actually being affected you can click here and it will show you what's being affected so it's got a natural sort of falloff and you could adjust that Center Point if you wanted to get a bit more accuracy let's have a look at that on skin tone so there we're just adjusting our skin tones okay and saturation so what we can do is start playing with these vectors and then bring skin tone back and things like that so let's take a look at this on a practical example so I've got this shot here this is just a very simple notary that I've got going on so it's going Canon clog 2 to D Vinci wide gamut D Vinci wide gamut back down to re 79 and I've done a little tiny bit of balance here not a lot just bringing down a little bit of offsets so let's see what we can do with the color slice so obviously if I take this here it's going to adjust that taxi and the letter box there with the density and indeed the saturation so we take the saturation out and again you can see how organic this is got really nice fall off it's not affecting anything else but let's say for example we wanted to work on this building here we want to get the color right on this one so what I'm going to do is I'm going to find out which one it is so I'm presuming it's going to be either blue which is not or cyan so there cyan is picking it up but it could be a bit more accurate if we just the center control so what I'm going to do is put my highlight on and this is going to allow me to see all the time what that sign is doing so now I can adjust my Center I'm just checking I'm getting the best there you go so now so you can go plus or minus one on the center so now I'm getting a little bit more of that cyan uh captured within the color size so what I'm going to do now is take my highlight off and I can start adjusting the density here so there we go so now I'm adjusting that and it's also bringing in some of the other colors here that are that are in that same color slice but we could could put power windows around this and I'm going to just increase the saturation again and there we go so if I take that on and off we've got a really nice adjustment of that building without doing any keying work at all so this is a really nice way of working it I'm really loving this tool so far and across the top here you've got Global density Global saturation that kind of thing so we could apply our density globally and then fine-tune each Vector on its own Merit so let's just take a look at one more example if we click on here this is almost the same great as I did for this uh Christmas music promo it's not quite the same it's it's a bit of a simplified not tree here but I just want to show you what we could do with these jumpers for example so if I take the red again let's have a look at what's going on and they're completely covered within this slice and watch the difference here so this is just regular balance contrast bit of saturation and that sort of thing but Watch What Happens now if I go to an empty node I'm going to add some density and look how much richer those jumpers look it looks absolutely fantastic now what we can do is just check that we're not adjusting skin tone here so if I click on here so we are getting a little bit of the skin tone creeping in only slightly so a we could start playing with the center so let's put that highlight back on and just check if there's not a better place for it in fact there is probably slightly better capturing the jumper take the Highlight off again and if I wanted to I could pull back a bit of saturation in the skin tone and that's done so the next thing I want to show you is in the effects and there's lots of new effects in version 19 but this one is a particular standout for me so let's go to the effects here and it's this one here called film look Creator and it's doing exactly what you'd expect this is for building film looks so traditionally film look would be near the end of your not Tre this is a very small not Tre here but let's just throw it on the end here and obviously just before my CST and let's have a look at what this is doing by default it already has a look and what this is not doing is doing film stock emulation it's actually just to build your own filmic looks it's black magic Design's own film look Creator so you're going to get some pretty exciting results out of this so the default is 65 mil let's just have a look at a few of the others and you got cinematic one there bleach bypass all your favorites are in there but let's start off with in fact let's go default No Effects and build our own oh in fact what you can do just to show you the color blend you've got several settings you got color settings and then you've got your effects okay so the color is these settings here so it's exposure I'm going to show you that in a moment but we can actually set that back down to zero so we've only got the effects going on which would be H grain Bloom that sort of thing and we can kill those as well so let's put them back on and let's have a look through it so if I'm going to go to custom here the color space overrides what this is doing is by default this is going to work in the timeline color space that you're working in so I am currently in Da Vinci wide gamut intermediate all right so this recognizes that color space but you can override it here if you're working with a particular if you're working with Ari or Sony or whatever color space you're working you can do that here oh the 3D L compatible here by the way if you switch this on it will eliminate any effects that can't be transposed into a 3D L because some of the effects are baked in to this all right so the color settings let's have a look what we've got we've got exposure this is photometrically accurate exposure so this is a this is be a fantastic starting point even if you want to adjust your exposure correctly contrast highlights and Fades are Fades Shadows so this is adjusting our highlights this adjusting our shadows the white balance here is using chromatic adaptation so it's a technically very good way of doing white balance so let's have a look at that you can see that we get really pleasing results there tint skin by subtractive saturation so this is actually using subtractive techniques which is a much more filmic look if you watch my waveform here as I increase saturation what you don't get is an increase in luminance that you would traditionally uh richness is just going to enhance the richness of that and how much bleach pip has you want in there that's quite a nice little slider in there so that's the color settings I'm doing this really quick I'm just giving you an overview I will do an on this much later that will go into this in bit more detail halation so you got all the cool things that you're going to need let me just move my Scopes out of the way Bloom uh grain so you've got all your grain so these are the tools that have traditionally been in resolved but they're now neatly in one effect so this is what makes this really cool you're going to use one node to build up this film look which you can just copy across all your all your program flicker gate weave I'm not going to go into all these in any particular detail but what I do want to show you is this split tone so to show you that better if I go on a gray scale here let me show you exactly what's happening with that let's put the film look Creator on again we get this sort of filmic look already so I'm going to go in here say No Effects let's switch on split toning so what split toning is doing is separating your red green and blue channels in your highlights and in your shadows to give you a much more filmic look so if I go and mount obviously it's zero at the moment and watch the waveform here let's bring this up here make it a little bit bigger still and as I increase the amount you see that our highlights start separating that's our red green and blue channels if you want to know how to do that by the way if you click in here and go RGB instead of Y and if uh and then you'll also see there's a pivot point here at which point there is no split toning obviously that would be your sort of mid-gray Point traditionally and then coming down to our shadows we see that we're splitting again so how does that look on the actual gray scale if I increase the amount by a lot you basically seeing that we're getting cooler shadows and warmer highlights which is a very traditional filmic style you can adjust that with the Hue if you want to go your own particular mood that's absolutely fine and you can adjust the pivot point so obviously that amount is a bit extreme you wouldn't go that far you'd have something much more subtle like that going on but this is a great tool to have inside one big effect so I'm really looking forward to playing with film look Creator a little bit more so the next effects I want to show you is also in the effects pette so I'm going to click on here and if I go to the library it's this one here called defocus background so watch this I'm going to go to this shot here I'm going to grab that drop it on and what it's going to do is allow me to defocus the background but obviously we've got to give it some information about what the background is so to do that on this shot really easy I can just go to the magic mask here I'm going to click on the people Icon let's just grab them let's just track that quickly okay so what we can do now is start playing with our effects so obviously we've got blur moving that way and we've now blurred the background so this looks really good but there are Advanced options in there as well so we can saturate that we can colorize it we can go to our Advanced options and in here you've got lens or gausian so lens is going to give you under the right conditions if you've got sort of highlights in there it will give you a slight sort of Boker effect but the gausian if I click on gausian gives you a little bit more subtle effect in here so I'm liking this one so there we go we've just made a really nice quick defocused background obviously to get rid of these lines if you click in here you can get rid of those in here let me just enable and disable that and you're getting a really good defocus effect and just to add to that if I go to the beginning of the shot just one thing I also noticed in here in the noise reduction tool in the spatial noise reduction you've now got a new option in here and this is called Ultra noise reduction and what this is doing is automatically adjusting the noise reduction for you so watch this if I click on there and say analyze it's looking for an area that it wants to measure the noise reduction and it's adding its own parameters in here that it thinks are correct for the noise reduction for this shot so all I've got to do now is press play so I'm finding the playback speeds with the ultra noise reduction are slower than the traditional noise reduction this just for reference this is a Max studio M2 Ultra but it is doing the noise reduction for me and if you're not happy with it you can tweak that so I would just be adjusting the luminance first and then maybe the chrme if I need to just to perfect it but it's going to certainly give you a very good ballpark so the not Tre will at here is relatively straightforward but often I work in much more complex not trees and the next new feature I want to show you in the VIN resolve 19 is for much more advanced node tree operations so it's called node Stacks if you don't work with complex node trees where you're doing multiple different versioning you might be doing HDR passes trim passes that sort of thing then this next feature might not be for you but for those who do work with Advanced notaries you're going to love this so what is node Stacks let me first show you how we work traditionally without node Stacks so I've got a group going on here and I've got the same group here so this group here these three shots here are using one of my more complex not trees so what we've got going on here is the balance and the look that we've got going on for this particular clip now pre that in our group I've got my color space transform taking me from in this case Blackmagic pocket to D Vinci wide gamut and in post group I've got a bit more of my look development going on and of course for going from DiVinci wide gamma to Rex 79 gamma 2.4 or 2.2 or whatever I'm delivering to HDR whatever that may be if you don't understand groups you might not get this out but this is really aimed at people who do understand uh grouping and work with complex notaries so let me show you what's happening now so if I move forward from this group what I can do is split all this into individual node Stacks so I'm going to move onto this one here okay and the first thing I'm going to do is go down to here and go to my general options and at the bottom it says node stack layers and you can have up to four different node Stacks okay so at the minute we're on one I'm going to go to four I'm going to say save you can label them whatever you want at the minute I've just got them as L1 2 3 and four it could be primaries secondaries power windows and trim pass or something like that so think of those four Stacks as four different elements that you'd be working on so instead of having that large notary that we've got going on here with our group pre and our group post what you can do is move forward into this and what we get now is we still have our group pre so that would still be my color space transform then what I've got is my layer stack one layer stack two layer stack three layer stack four and then my post group okay and you can have you can just have two layer Stacks if you want but you can have up to four now the beauty of this is I've got my group pre and then my first one is just for doing my basic balance so this is getting the clip in its right place at a clip level okay this now looks much neater to work with if I click on the next one what I've got going on here is my initial secondaries all right so this is where I'm doing a little bit of log control I might be working in just the highlights I might be using a color warper that sort of thing all right so this now looks a lot easier for me to control the third one I've got going on this is for my power windows and any keying that I might want to do and then my fourth one here is my look development so this for me is a really great way of working and also on here then at the end I've got my da Vinci wide gamut back to rex9 or whatever my output is and that is a post clip level so what's the big deal about that it's exactly the same way of working but when we come to saving this as Stills and copying it across and doing what's called Ripple grading which I do quite a lot of we have a real advantage in here so if I go to our Gallery let me create a new still here okay and click on our clip level okay what I can do is save this I'm going to grab this as a still and if I right hand click in here and say display node graph I've got in here layer one I've got Layer Two I've got layer three and layer four as separate node graphs now what I can do is copy one node stack to another clip just that node stack so imagine you're with a director and you've got a one stack is for your director's tweaks if you like directors trim you could make those changes and then you could just pass that layer stack on to to all the other Clips in that scene or in the whole program and it won't affect your clip based leveling where you've done your balancing and your contrast and that sort of thing so this is really cool so what I can do is right click on here and I've got a new tool here that says apply active layer and what this will do is if I go to this shot here let's just make a change on here if I go and adjust my printer likes a little bit here okay and then I'm going to copy that still what I can do is then click on this shot here and click on here and say apply active layer and there it's just applied that if i' had done changes to all these five nodes it would apply those whole five changes if I just want to do that one particular node what you can do is say is is go display no graph and I can then literally just copy and drag it like so I want to apply the entire grade right hand click and apply grade as you would typically normally so this for me personally is one of the most important additions to divin resol 19 working in these different stacks and being able to copy just one stack to multiple clips and groups is going to be really efficient for me moving forward I just love the way that it looks as well just splitting everything up into different sections so all my power windows are here for example is much neater than working I mean I'm very used to working like this but it's a different world from that so I'm really looking forward to exploring that a little bit further but that's fantastic so that's node Stacks so we're really just scraping the surface here of the new features there are so many new things in here uh even on the editing side now you can edit via dialogue Fusion's got new additions there is a an update to the tracker so there's an intelligent tracker in here now but just before I go just want to show you one really cool thing that I found and it's to do with audio so let me go and show you so moving on to the edit page let's have a look at this music video that I did for B Meats food at Christmas this is produced by get your media and I've got my audio track levels here so we've got voice isolation this has been improved in 19 the dialog level has been improved we've got dialog separator we've got a thing called Ducker which is going to take any soundtrack and automatically duck it under voiceover but I want to show you this music remixer this is a lot of fun so let's play a bit of soundtrack I'm going to put that on so what this going to let me do is completely remix this soundtrack so the first thing I'm going to do is take the voice [Applause] [Music] out fantastic I'm going to bring the drums and bass [Music] up and I'm going to take the guitar out and then this one called other which is I guess sort of random other stuff that's going on in the [Music] background absolutely fantastic so I've completely remixed that track and it sounds brilliant I don't know what it's going to sound like with other genres but it sounds fantastic so let's reset those and let's just do it using these items here will be [Applause] [Music] so some really fantastic new features got into the VIN of 19 the development team have absolutely smashed it once again Tools in there that I didn't even know I needed can't wait to really start deep diving into this and playing with it a little bit further I'm going to do some more deep episodes when I get my head round it enjoy divin resolve 19 look after yourselves and I'll see you in the next episode

Channel: Darren Mostyn

Views: 111,944

Keywords: DaVinic Resolve 19, whats new in resolve 19, davinci resolve, color slice, node stack, how do node stacks work

Id: 9JCwqqHbNC8

Length: 18min 24sec (1104 seconds)

Published: Fri Apr 12 2024