Night Out | Commercial vs. Film Grading | DaVinci Resolve 16 Tutorial

[Music] they say the mountain is the top I say that just scratched the surface yeah we started at the bottom with no option but to go up you know what is what's up guys this is Kazi welcome to episode 2 of commercial versus film grading episode one is up here check it out and it was really well received of a super stoked that you guys got the message this series really came from your guys's concerns because a lot of you think that hey if we're spending 4050 minutes per shot you know how long is it gonna take to great a feature film and here I take you through step by step and show you the different methodology that goes into working on a commercial versus film and you guys know I'm always coming up with innovative ideas so you guys can learn new tools and really know your way around resolve and this time I'm gonna be using tons of brand new techniques that you haven't seen on this channel so grab a notebook get ready and for those that want to level up their color grading game check out the link in the description 1 hour long free training where I will 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 if you're enjoying the content on this channel make sure the headed thumbs up subscribe to my channel for more awesomeness make sure to follow me on instagram i'm dropping value bombs there every single day let's roll the intro all right I'm super pumped about this one first of all we're gonna create a commercial look so let's just watch this shot and see what we got here beautiful beautiful shot absolutely love it I mean we can just already see the potential what can be done to it so first thing that I'm gonna do is find my hero frame and I think something like that is looking pretty good as of now like my main focus is this dude and then we're gonna work around basically him in the shot so this is gonna be a very simple look not in terms of like the way it's gonna look but the way I'm gonna create it so I'm not gonna be using any noise reduction in this one so first node is just gonna be our contrast and then the second is gonna be our saturation third is gonna be our creative LUT okay so let's just start naming them so this is exposure this one is gonna be my saturation actually you know what this one is gonna be balance and saturation and then this is gonna be the kodak 2383 it's a very very popular LUT and it's a film LUT so you guys know I hate using lots but I hate using just anybody that are out there everybody sells lots nowadays and I'm gonna be using lots that are provided to you by DaVinci Resolve and also are used in movies it's probably one of the most popular LUT this was even used on Joker so just to give you an idea and then we're gonna move on and create a Huber's options and then after that I'm gonna create another node and this is gonna be our skin then we're gonna do a parallel node and this is gonna be my clean background okay so we're gonna really crisp up the background with this node and then we're gonna move on and this node is gonna be my look adjustment pretty much and also global adjustment so I'm gonna pull it down this is basically let's just call it global adjustment okay so let's just keep it at that so before I even do the exposure the thing about using Luntz is that you have to be very methodical about it okay so I'm gonna drop in the LUT first and this is under film looks in DaVinci Resolve like I said it's there lots it's available to everyone that owns the software and it might be a paid version thing or might not I'm not sure but you can check it out but for paid version obviously it's there we're going to be using a kodak 2380 3d fifty-five rec.709 lot and this is basically a warmer version and then as the number goes higher here it gets cooler okay so we're going for this warm look and I'm gonna apply this LUT and once we apply it I mean you know this is why I always say if you don't know what to do or you know how to color grade don't use Lutz because of this because everything is crushed and it looks weird and this is just not a good place to be in at all all my nodes are placed very methodically and it all makes sense okay so I'm gonna go back to my exposure now because this is a rec.709 Lutz so after we apply this it crushes a lot of the information if I were to do my exposure adjustments afterwards that information that we lost here is pretty much lost it's not gonna come back so that's why I have to do it before the creative LUT node so where I can still have the log characteristics to my image where I can do all the push and pull without degra gating my footage so I'm gonna go in and I'm gonna raise my gamma I'm gonna bring my gain down just a little bit and I'm gonna raise my gamma a little more let's just make it a little bit bigger to so you guys can see it better and this is already looking pretty good and I'm gonna bring my gain down just a little bit and then I'm gonna go in my log wheels I'm gonna pull it down but obviously now I want to control my lower range to see where I can only affect the darkest parts okay something like that it's pretty good let me just see if I want a ring so I'm gonna leave my exposure settings here and now just look at it this is just with the light and now this is before we made some changes we're gonna go into our balance node and I'm gonna pull up the saturation a little bit and I'm gonna crank it around somewhere around 65 ish and now we start to see some separation here and now I'm gonna show you a technique that I usually don't use so I'm gonna go in this tab under my temperature and I'm gonna pull it back to kind of cool it off not too much though okay so I'm gonna keep it somewhere around here so that gives it a cool look like very easily like just see it's just adding this really nice cinematic look just by moving this wheel we didn't have to get crazy with anything else so this is my balance for now three nodes and we've come a long way okay now under hue versus options I'm really gonna finesse my skin so I'm gonna go under my hue versus hue I'm gonna start dialing this and to see like where my skin tones just start looking really nice okay so this is looking pretty good now I'm gonna go under my hue versus saturation and raise it up all this go crazy and then pull back you guys know my rule all right so if I do before-and-after we've done quite a bit of work okay and just mind you we are not pulling any keys right now this is all Hugh versus options so it's going to be really easy to translate from shot to shot I'm gonna go under my hue versus hue so this I mean we've done quite a bit in this note to be honest with you I just look at how much we were able to pull the skin and now I'm gonna go under my hue versus luminance and see what we need if I raise this I'm gonna give my red a bit more depth and then I'm gonna pull my yellow up just to give them a little bit more juice okay I mean come on like just look at the amount of work we did in this one node without touching or creating any qualifiers that said now we will be creating qualifiers so I'm gonna go right here and then in my skin note I'm gonna go under here and let's pull his skin right here our dude so I'm gonna go right there and hit shift H and see what we got I'm gonna open this up a little bit move it around and let's see hold on so one thing that I do want to make sure right here and then I'm gonna go under my radius and I'm gonna take it round OD one ish and now this is pretty clean okay and now I kind of want to go heavy I want to take my gamma and gain at the same time and start moving it and really pull the skin tones out like quite a bit Popham almost like this okay because I mean trust me guys when we're watching commercials movies I mean they're pushed they're pushed quite a bit we just don't realize it because we don't see the look created from this so just keep that in the back of your head and the key holds up it's a pretty good key so we thought this was crazy right we thought that we had done so much work in this node now look at when we pulled our key how far we have come now obviously we can go in here and kind of split the difference so we can come in here and go okay let's just dial it back a little bit so it's not too crazy and now we're kind of blending it in right so I went to six point six you know which is almost halfway through so it's splitting the difference okay so that's fine everybody's happy now now I'm gonna show you a really cool technique to clean this up right because I just want like almost like a clean white in these areas like crispy whites and I'm gonna show you how to do that so we're gonna go in here and we're gonna select our I'm gonna keep it somewhere around here I'm gonna hit shift H and I just want to grab like highlights in my image this is looking good and then what I want to do is I don't want to grab the skin and the way I'm gonna do that to avoid grabbing the skin is that I just wanna avoid anything that's too saturated so if I do this and pull this back look what's happening okay and now I can just go under my blood radius and blur it out quite a bit now what I'm gonna do is I'm gonna go in here under my luminance versus actually you know what saturation versus saturation and I'm gonna grab it from here and I'm gonna pull it down and just look what's happening to the sides I just look at besides how much we're pulling and giving it that clean white crisp white look I mean you can even see it here a color shift do boom and what we can do is let me just go and adjust a couple of these parameters because now I'm grabbing more of his hair okay so this might be better because now it's really grabbing majority of it let's look at if I punch in and you look at his hair see what I mean like now it's grabbing I just check this out how much is cleaned up it's almost like a sci-fi look right it's doing quite a bit I just want to make sure that it doesn't steal anything from my skin tones and once again let's just go in here and sort of split the difference let's see where is it believable you know so we can do something like that right that's believable it's still like look at how much of it like turning it into clean white without really screaming in our face even right here see it just took out that green tint and gave it that look so it's a really nice way to do that okay and a very clean way to do that even like in our shadows we see this and now in my global adjustment because it's a commercial you gotta keep give it a pop okay you can't have two moody of a look because that's just gonna look super dark on TVs alright so I'm gonna click right here and I'm just gonna start raising that something like that and then what I'm gonna do is I'm gonna take my highlights and I'm gonna pull them down until we're saved here okay so something like that that's not bad so let's see if we want to pull it a little more alright so I think that pull is pretty good we were able to pull it quite a bit you know what though after affecting these I like what happens here I do not like what happens there so one way to control that would be to just create a window around it like a circular window and that's gonna get rid of it so that's a pretty good way to go about it but another way we can try would be this where I isolate anything that's the brightest parts right so literally this and then invert it so now if I come out actually you know what no the other way yeah hold on let's go well first of all let's make this smaller and then alright so see now it's keeping that crisp it's leaving that part alone and I think I'm liking that better yeah that's much better look at how much cleaner this is if the skin is too much for you you can obviously control it I'm telling you right now it's not and I can prove it to you right now by pulling up this shot that we're gonna be creating next look at the skin look at my guy's skin and their skin just look at the contrast and the look they created and then how much punch they put back in to his skin so that's why I'm telling you it's not a lot but if you do just think that it's a bit over the top obviously we can go back in here and we can dial it back just a bit you know where we can just keep splitting the difference you know this is before this is after and I can even dial it back a little bit more before and after so we're just giving it a hint and nothing too crazy so this is our commercial look guys so let's check it out node by node so I'm gonna turn all of these off and this is what we started with and let's just Park it on our hero frame and this is our we started with a lot so we dropped in a lot and then I did some exposure balance it out cooled it off a little bit then did our humour sees you to really pop out the skin as much as possible then created qualifier around the skin and popped it out a bit more then did the clean white to just really take out the green tint that is inherent into this nut and just the overall you know the way that it was shot and then we went into our global adjustment and popped them out for the commercial sake and I'm not gonna add grain to it because in commercials that like to keep it classy and cool and this was a commercial for adidas say urban clothes that's what we were going for so this is the look let's check it out in full-screen they say the mountain is the top I say that just scratch the surface yeah we started at the bottom with no option but to go up you know alright moving on to part two of this video which is creating a film look and this time I'm going for a look from the grand Budapest hotel and I'm not going for a one-to-one match what that means is that I don't want my characters to be in this room not necessarily I'm just picking up on the characteristics of this image the DNA that's what I'm going for which means our image is gonna look very different than this guy right here alright let's set up our node tree and it's gonna be very different than the commercial look okay so the first node is gonna be our exposure second node is gonna be our balance our third node is gonna be basically a look node okay and that's gonna go up here and then I'm gonna do a parallel node and this guy right here is gonna be my Hugh versus options alright this is where we're really gonna separate the skin from our look and then after that we're gonna have our LUT and we're using the same LUT and this is very interesting because you're gonna see the difference between the two looks it's literally gonna be night and day so after this we're gonna do a node for our skin and then after that we're gonna have a global adjustment and after that we're gonna have our grain and that's it okay this is the node tree for this so first of all I'm gonna go in here under Luntz and drop in our LUT and obviously this just makes it look so freaking dark so we're gonna go under our exposure and fix it this is where it's handy to pull up your reference image because when you were dialing in your exposure you can just really get in there like in this zone okay so I'm gonna start with my gamma I'm gonna lift my gamma up a little bit I'm gonna bring my gain down just a little bit to preserve as much information as possible in my highlights okay and then I'm gonna keep it somewhere around here because you see the right side that's this image right here and see like where the top end is and I'm trying to just keep my top and around there too but see the mids are lifted quite a bit here so I'm gonna try to go up a little bit to maybe somewhere around here I think the rest might look just fine one thing that I'm gonna do in my global adjustment like now I'm jumping the gun okay and the reason why I'm doing that you see like the bottom on the right side so I want my blacks here to be pure blacks as well okay so I'm gonna go under my log wheels and I'm gonna pull this down until it's black like this okay and I'm gonna go in my low range and just make sure that it doesn't grab anything that I don't want it to grab so basically that right there does the trick so now if I do before and after it's really just making the black points as black as it should be like over here see this little line I'm just making sure that line touches the bottom okay so now we're looking good let's go back into our balance and the first thing that I'm gonna do in my balance is give it some saturation and we're gonna go to around 65 ish then I'm gonna go into my temperature and dial it back quite a bit just to balance out the image and then give it more saturation like I just really want to create as much separation as possible between my skin and my character so I'm gonna leave it somewhere around here for now let me bring the saturation back a little bit like that a little more so something like that and then I'm just trying to balance out my image quite a bit okay so this is before this is after this looks like a pretty good balance to me now what I want to do in my look node this is where the magic happens I'm just gonna go back into my temperature in tint and I'm gonna go pretty aggressive I'm just trying to get into this color this world now again imagine this could be just the walls okay the walls were green and they probably are they're not creating a necessarily a look but the only way I know that this might be a look is when I look at the top end here and then the windowpane here that has that green tint it should be just white but it has that and that kind of gives it away and even like his white shirt is not really white it's green that gives it away that this is probably a look along with these lights okay that's that now we're in our temperature and tint just keep an eye here and I'm gonna do this and then I'm gonna take my tent and I'm just gonna go boom okay and I feel like here again not going for a one to one match but just really you know catching on this vibe you know and for now I'm gonna work with this so I'm just gonna get rid of the other image now I'm gonna come in here and actually you know what it might be better to have this up too so now we're gonna work on the skin and we're gonna start off with our Huber PSA's hue option I'm gonna raise this up so we can just you guys can see what's happening here so I'm gonna start with my red Channel and I'm gonna raise it up to really pull out the skin the red in the skin so somewhere around here and I want to make it a little bit bigger so we can see what's really going on okay now I'm gonna go in my yellow and do the same thing obviously go to the max first and then pull it back and see where it looks the best under my hubris and saturation and just really crank that up okay again go to the extreme first and then pull back I'm gonna raise my Reds to a little bit not too much though and then I'm gonna take this and bring it down a little bit Park it somewhere around here I'm gonna go in my hue versus hue again hold the Reds down a little bit hold the yellows down a little bit as well just a little bit okay let's just move the frame a little bit closer so we can see maybe here okay so I'm just really focusing on pretty much a mix of their skins because he is he has a lot of yellow compared to him and then her so let's just keep it here and kind of get it in this world and I think we kind of are cuz if I do before obviously end guys can you believe this this is all happening just using humor sees you curves we have not qualified their skin okay so this is the magic look at her skin and look at that there okay so one thing that I'm noticing is that maybe we can just dial back on in Huber's you we can just dial back on our yellow a little bit to keep that warmth instead of just adding too much red in there something like that so that's looking pretty good and this is where I'm gonna leave my hue versus you now I'm gonna go under hue versus luminance and that's where we can just add I start adding some depth so you see his shirt right there and I'm just gonna pull it down a little bit and then for the yellow I'm gonna do the opposite I want to add some more pop in there skin so I'm just gonna raise it up like so okay something like that that looks really nice now let's leave the skin here and now what I'm gonna do is we're gonna get in and qualify the skin okay so it's looking really nice to be honest like where we are so qualifying the skin is not necessary at this point but let's just try it and see what else we can pull so I'm gonna do this and this is why I'm qualifying the skin after the LUT because look at how clean this key is okay at this point I just give it enough blur and we're ready to go so now I'm just gonna pop this open again and punch in quite a bit and honestly I don't even know what else we can do with the skin but let's just give it a little bit more love we're really just going the michaelbay route right now okay this is what we're doing like look at it I mean I like it because we're really going for a look and look at it really brings him alive too because I feel like without it even him so I'm gonna leave it in it's pushed but I love it so this is our skin right there and then for the global all I wanted to do was pull everything down which we already did in the beginning and then ingrain because we can see there's a lot of grain in this image if I punch in see a lot of grain in this image so I got to do the same because this image is way too clean so I'm gonna go in here under my grain I'm gonna bring this in I'm gonna go to 35 and crank that baby up and now we got a similar grain look at this but that and if I do before and if I do after and then if I go back in here look at all this so now we've again see we've created this vibe from here to here but give it our own Flair okay so this was the film look and now what I want to do is I'm gonna disable all of these and we're gonna go one by one and see what we started to where we ended up so first thing that we did is dropped in our LUT 2383 same lot used on Joker then we went into our exposure and we did our exposure bringing everything up just about right and then this is where we created our balance and that was very important because that put everything in the right ballpark so when we pull our hue versus options or our key it gives us the best results then we went and created this look DNA brought everything in the ballpark and then in the humours options did most of the heavy lifting for ours and then just a little cherry on top went in and pulled their skin got a really good key on them now if I had any issues with the key I would have just ditched this completely and would have been totally fine with it okay but look at it did really even out everything okay even her/him all of that in him and then in the global adjustment we just made sure that our black points are not lifted how they are right here you can see it in the waveform and I brought that down and then added grain to just really give it that film cinematic look and this is our final look artist so before we check out our final look in full screen let's do this okay I'm gonna click right here and I'm gonna select my versions so this gives us both of our versions I'm gonna put that to a side so this is our commercial look and this is our film look so I don't know about you guys but I am all about the film look I mean come on just look at it it looks so much cooler so one thing that I did notice now in my commercial-grade is look at the black points they're not all the way touching the bottom and we can confirm that in our scopes see the commercial look it's kind of lifted so what I'm gonna do is I'm gonna go into my commercial look I'm gonna go under the global adjustment go into my log wheels and I'm gonna pull it down until it does touch it and then what I want to do is again I'm gonna go in my low range and just make sure that I'm not affecting anything else but the bottom part so now they're both even this is looking way more accurate but guys check it out two completely different looks and like I said Sam light used and just look at the results insane commercial look film look let's check out the film look dis look in full screen ahh they say the mountain is in top I say that just scratch the surface here we started at the bottom with no option but to go up you know what is hope he does have a blast drop a comment below smash that like button subscribe to my channel for more awesomeness make sure to check out the link in the description for the one hour long training and guys one thing that I want to start doing is leave you guys with something that I really like in terms of a TV show or a movie or even a commercial and recently what really caught my eye in terms of color grading is the Witcher I mean I've only seen the first episode of the show and I was blown away by all the different looks that they've used so if you guys haven't seen it it's on Netflix that's enough flicks original go check it out in terms of color grading top-notch way up there on that note stay safe stay possessed see you guys in the next video [Music]

Channel: Waqas Qazi

Views: 60,961

Keywords: davinci resolve 16, resolve 16, davinci 16, davinci resolve, davinci, davinci resolve 16 tutorial, 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, theqazman, commercial look, film grading, cinematic look, teal and orange, teal orange, teal and orange lut

Id: nf2ysIsGpcs

Length: 30min 51sec (1851 seconds)

Published: Mon Apr 06 2020