My Updated Color Grading Workflow // DaVinci Resolve 19

the Vint resolve 19 recently came out and that means I've made a few small changes to my crating workflow this is what I use for my content creation for my film making and it looks something like this so first let's get it back to lock now we're in Canon loog 3 we're going to switch it to re 79 then we're going to add my lot everyday cinematic we're going to add a little bit of exposure changes some balance and then we're going to add the color slice which is a new part of the workflow we're going to add a little bit of Curves and then some masking at the end it's a pretty simple workflow as you can see so now I'm going to take you into the VIN resolve and show you exactly what it looks like all right inside the VIN resolve the first things we're going to do is set our project settings mine is always in 4k that's what I shoot and I shoot 30 frames per second because I always use my content for Instagram in color management we've set it to davincy Y RGB and I just have my timeline color space set to Davin white gamut and intermediate and re 9 gamma 2.4 because I've calibrated or changed the display settings that I have on my MacBook Pro to show this so with that out of the way let's start building our note tree it's going to look very similar to what you've seen me do before so I'm just going to create a few notes here first we're going to take it from log to the window gamut and we can might as well just add a color space transform to this already and at the end we're going to take it from1 gamut to rec 79 and add another color space transform here then we're going to have our lot here our exposure changes here and our balance changes here then which is new is our color slice here our curves and then we do our masking which will be an inside node and adding an outside node now you might see that I'm not using a lot of highlights and Shadow masking that really depends on my type of shot and for this shot we don't need that so what we're going to do is take it first from Canon Cinema gamut and Canon L 3 to the VIN gamut and the VIN intermediate and then for the last note that we have over here we're taking it from the VIN gamut and the VIN intermediate to right 79 and Gamma 2.4 simply to work in the largest possible color space when we're working in the viny white gamut intermediate in here in between then I'm going to add my lot I always use my lot from my color pack that is the everyday cinematic 2 and I intentionally Overexposed this shot quite a lot so we're going to have to do some exposure changes let's just bring this back a little bit so without the lot with the lot so it changes quite a lot no pun intended and we can see that it really changes our balance as well so with our Scopes up here we going to head into exposure currently using the HDR wheel I used to use the offset but you can use whatever if we're using the HDR wheel we'll have to go into color space and change this to D viny white gamut and D Vin intermediate because that's the color space and Gamma that we're working in and then we can simply just start stopping it down now what my reference here will be is that I want my skin tones to lie around the 70 Mark and they're currently at the 90 Mark instead so this is Tried by reducing it one stop to start with and that brings it to 80 let's try with two stops that's way too much so maybe one and a half stops will be the trick and I think that looks pretty good but I think we might just do 1.25 just to have a little bit more to work with here and then our background has become very very dark that's kind of on purpose with this because I Overexposed myself quite a lot so we can have a very moody dark background back here but we could just raise the Shadows a little bit if we wanted so to bring back some of that background as well so maybe we'll just add half a stu back in the shadows just to have a little bit more room to work with here and that's kind of what we're going to do here now for the balance I'm going to head back into my offset here and what I'm looking at when I'm using the balance is the vector scope so I can see that it is quite warm right now so I'm just going to try and take out a little bit of the red here to see if we can balance it a little bit more towards the back here and I think it looks pretty good now it became way to Blue here so maybe pull it back a little bit and then we're going to check if our skin tones are lying in the right place there might be a little bit to magenta so I'm just going to add a little bit of coolness here also checking that the gray is kind of in the middle and this looks like it's on the skin tone line now so I think we are in a pretty good place now it went from a little bit warmer to a little bit colder a little bit more magenta but that's when the color slice comes in so so far what we've done is we've taken it from log to red 79 we added a lot we changed the exposure and we've adjusted the balance a little bit so now we at a good starting point then we can just tweak the colors a little bit so with the color slies I want to add back some of my saturation in my skin so I'm just going to boost my skin saturation and density with the color slice here a little bit and it was turned off so that's why we couldn't see anything so let's just reset it again and add a little bit of saturation a little bit of density here that really brings back the skin tone and everything from this a little bit more cool look to something that's a lot warmer and looks a lot better now secondly I have the Blues in my head up here I kind of want that back as well so I'm just going to see if the cyan the cyan captures it perfectly shift H and clicking on this we can see exactly what it selects to see if we can just bring back a little bit of saturation and density into my hat here so it doesn't look as Bland and Faded something like this that already looks pretty good as well and I think this is a pretty good look for this taring head already the only other thing I want to do is now I want to add back my curves just turn on these notes again and I'm still going to use my curves trick here because I do think that I have a little bit too much red in my skin I don't like the Nuance in the red here so I'm going to single out my skin tones which is lying on the skin tone line in between the red and the yellow but a little bit more towards the red which exactly what I've selected here towards the red towards the yellow and then I'm going to make another note here and I'm just going to try to adjust my skin tones a little bit what I'm trying to do is to get them on the skin tone line and I kind of like my skin tones a little bit more on the orange side but not too red you can see trying to balance out and we might just need to add a little bit more red here just to get rid of the red up here in the skin you can see now my skin tones were a bit more red and now they're a bit more yellow maybe they are a bit too yellow so turning that down a little bit and that is the way I'm going to do it it's not the most flattering shot that we have with me here so maybe we can find a better hero frame this might be a little bit better and then I think my lips are just a little bit too magenta so I'm going to make a point over here and I'm just going to push it down towards the red a little bit just to get those skin tones to be a little bit more red not skins those lips to be a little bit more red here and let's just see if we can do a little bit of a better job maybe pulling down this ever so slightly as well and I think we're pretty good here this looks pretty good already now we can just add our inside Noe which will be a circular mask in this case something like this over here and just Feathering it out here I want to bring a little bit more contrast to my face here and I might just after that want to lift up the camer just by one something like this just bringing a little bit more contrast a little bit more brightness L the Shadows a little bit more getting a little bit more of a contrasted saturated look and then for the outside note normally I would go and darken it a little bit and we can do that here as well but I might just want the highlights to be as they were something like this and now we have a pretty dark Moody shot but we have a little bit more attention towards me talking and I think overall it looks pretty damn good so that's essentially the workflow bringing it into rex9 working in the minty white gamut adding my lot everyday cinematic adding exposure changes going and adjusting the balance a little bit then adding color SES to boost the skin tones and any other color that I want really singling that out it makes it so easy then adjusting the curves to get the exact color that I want and then adjusting the inside and outside masking here just to bring a little bit more attention to me in this case and making everything look a little bit better if I'm doing one change here it might be to just raise the Shadows a tiny bit more so maybe to 7075 here instead just to bring a little bit more of that shadow back but otherwise I think this looks pretty damn good so we still have the skin tones lying around 70 the gray is looking gray as it's supposed to and we have a very nice kind of Moody contrasted scene but I really like how that looks so that's essentially the workflow update and if you want to see me use this on other videos this is probably what I'm going to show you in all the videos moving forward so with that it was just a quick update on my workflow on how I grade and I hope that made sense for you if you have any questions leave them down below and other than that I'll just catch you in the next video take care

Channel: Alex Bjorstorp

Views: 2,739

Keywords: My Updated Color Grading Workflow in DaVinci Resolve 19, DaVinci Resolve 19, Color Grading, Colour Grading, Color Grading DaVinci Resolve 19, Colour Grading DaVinci Resolve 19, Color Grading Workflow, Colour Grading Workflow, Color Grading 2024, How to Colour Grade, How to Color Grade, ColorSlice, ColorSlice DaVinci Resolve, ColorSlice DaVinci Resolve 19

Id: kQjRIDBBes4

Length: 8min 58sec (538 seconds)

Published: Thu Apr 25 2024