♪ Told you I got dem
right where I want dem ♪ ♪ You don't really want dem problems ♪ ♪ Run slow, your heels,
I'll be on dem, warn dem ♪ ♪ All inna dreams me a
haunt dem, calm dem ♪ ♪ Shhh.... ♪ - What's going on guys. This is Qazi. Welcome back to another epic video. And the approach that we're
going to use here is absolutely free. It's going to feel
extremely cinematic. It is something that can be done, whether you're using the studio version of Resolve or
free version of Resolve. But I have to say there are
third party plugins that you can use to get even better results
and more granular control and tools that I constantly use
on my professional projects. So if you want to learn more about that, how to use those tools in the real world, then drop a comment below and let me know. Now, as complicated as this grade looks, I'm here to tell you that
we're going to get there with the least amount of nodes and the look DNA can effortlessly be applied to an entire project. We recently did a survey. Majority of you, regardless
of the skill set, are struggling with shot
matching, skin tones, balancing and working with 8-bit footage. So I created a one hour long free training that covers all of that. Plus we'll wrap up the
training with an extensive Q&A, and you'll also get a link to download the practice footage, power grades, and some of my personal LUTS. So guys, you don't want
to miss out on that. Click the link below, and
you will thank me later. And on that note, if you guys
are enjoying the content, guys, do me a favor. Please just take a pause.
Smash that like button. It will mean the world to us. That's the only way with
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scenes and stuff that I've posted there to connect with
you on a personal level and let's roll the intro. (upbeat funk music) - [Qazi] All right. So you already know your boy is all about the why behind the how. So I'm not going to just jump
right in grading mindlessly. I'm going to show you
first some examples of the complimentary color
scheme and how to spot it. So to do that, let's close
this off, buy some real estate. I'm going to click on my gallery and let's pull up an image from Moonlight. Beautifully shot, beautifully graded. There's absolutely nothing wrong with it. And to determine the
complimentary color scheme, we don't need a quad up. So what I'm going to do is I'm
going to close this off and in here, I'm just going
to select vectorscope. Okay. So let's take a second
and look at our vectorscope. What's going on over here. Think of it as like a pizza
that's divided into four different quadrants. Okay. So we got our warm tones here.
We got our magentas here. We got our cyan to blue here, and we got our green to yellow here. Okay. So typically you will see
a teal and orange look. So that's going to live
somewhere around here. Orange will be right here and
then your teal is going to be somewhere around here. Okay. And we can even see it in this grade. A complementary color scheme,
which is teal and orange, but more toward like a little bit of like the warm tones, right? So that's what they're doing right here. Sometimes you'll see the opposite of that. Sometimes you'll literally
see magenta and green, like that kind of thing going on. Right? Sometimes you will see magenta
and cyan or magenta and blue, and they'll create a
complimentary scheme using that. So there are so many different
variables to this and let's just check out a few more examples of a good complementary scheme. So you got another one, check it out. Once again, different environment,
but it doesn't matter. Same rules apply. You got the orange in the skin that's kind of pushed more than what
you would see in real life. And then you got your skies coming in with a nice little bit of cyan in them. Instead of like what
you would normally see, which would be a typical blue sky. Let's look at a few more examples. This is pretty much the epitome of that Hollywood blockbuster look. And you can see it right here once again, similar thing going on, right? So this is important to look at because you can start
picking up the pattern. Like they're all the same, right? They just play around with the variations. Some will push more cyan
or green instead of blue, but in this case there's a bit more blue. And then you got a bit more
red than say orange going on in the skin tones and then it's muted. So it creates a really nice, subtle, complimentary color scheme. Then you can look at this, which is very much in your face. I mean, look at how much
saturation is in this image. Madmax is literally the poster child when it comes to
complementary colors. Right? Let's just look at a
couple of more examples. And then we're going to go ahead
and start creating our own. So this is from Arrival once again, right? So like, look at the overall image. It's so muted through the
actual contrast, right? Actual exposure is just
very breathable yet. There's so much interest in the shot. I mean, this might as well be log, right? Like it feels like it, like
it's just living in the middle. Even if I just go and pull
up, let's say wave form. You can see like how this image is just like breathing so much - yet! When we go back to our vector scope and we'll look at the
complementary color scheme is there. Same thing over here. Look
at this; what's happening? I mean, you know, that's not natural. Like, you know, this is
never ever in your life. Anything will look like that. Even look at the heavy vignetting that's going on over here just to accentuate and create
that interest in your image. Another image from
Moonlight. Look at the theme. So that is what we're going
to be learning to create. It is a quintessential look when it comes to creating a cinematic
or Hollywood film look. So now that we have this
knowledge and this data, let's jump into seeing what we got and how we're going to get there. So I'm going to come out of that mode. I'm going to go back to my nodes and let's just pull this over a little bit to buy some real estate. And this is looking good. Let's actually kill
this and move this over. This is good. So that's what we got. This image is shot on Alexa mini. It's from a music video
that I recently graded, which you can watch
the entire music video. The link will be in the description. I highly recommend you checking it out. This is my dude, my brother
from another mother. So go show him some support. That said, guys, let's dive right in. So as a colorist, the first thing that you want to do is you
want to get to an image that the DP saw on set. Since here, they did
not use any custom LUTS, what we can do to get there is apply our color space transform we know is shot on Alexa. So we're going to choose
the right settings up here in input, color
space, and input gamma. For the output it's going to be for web. And we know it's going to
be rec 709 and gamma 2.4. So as soon as I choose the right settings, this is what we end up with. So this is what the DP was looking at on the monitor when they were filming this music video. Okay. And that is very important for a colorist, because majority of the time, the DP and the director will ask you to take them there. So this will be your base grade, basically starting off point. All right. So what I'm going to do is I'm
going to go into my gallery and I'm going to go ahead and capture that still for our own reference. So this is what we got. All right. And you can obviously see it's living in the top left quadrant, which is all warm tones. And honestly, if you look at it, I mean, there's not a lot of color
separation here at all. We can see it right here
in our vector scope. So when you saw the
image in the beginning, at this, we have a long way to go. But the way I'm going to break it down, it's going to be a piece
of cake to get there. All right. So now we're ready to dive in and start creating our complimentary
color treatment. Okay. So what I'm going to do is I'm going to hit shift S which gives us a node prior to the node that we were on. And now I'm going to move
it all the way over here. And what I want to do here is just balance out my image a little bit. So we see there's a lot of
warmth in our image and, you know, I love to rely on my offsets right here, my printer lights. So I'm just going to go ahead and start taking some of
that warmth out. Right? So that's all I'm doing. I'm just going to keep working it until I'm somewhat happy, right? Like it's just looking a bit more neutral, a bit more natural. And personally, I think
this is a good spot. And just by doing that, and you can see even in the parade, right? How even it looks. Look how the red is so much higher. The blue is all the way down here. And now everything seems
to look a lot more natural. So we're already a long way
from where we started. Okay? But this is where things are
going to get tricky guys. And I will tell you
pull out those notepads because you need to write this stuff down and like really watch what I'm doing, and pay attention to the
next few steps. Okay. I only use the CSD to
balance out my image. Now I don't need this anymore. So this is what I'm going
to do instead. All right. I'm going to reset this node. Okay. And like I said, don't get confused. Now, since we're creating
a complimentary film look, keyword, "film look", I will be using one of Resolve's free film-print, emulations. Okay. These are available whether you own the studio version of Resolve, which is a paid software, or if you use the free version of Resolve. You will have these available. Now you guys know I'm not about LUTS, but not all LUTS are created equal. Okay? So why am I using the film print emulation available here? Because of this. If you go on shotonwhat.com you can find movies shot with specific cameras, in specific film, negatives, or film prints. In this case, we're looking at the Kodak version color 2383, which is a film print.
And just look at it. Joker was printed on 2383. Munich, the Dark Knight,
the Thin Red Line, A Beautiful Mind, Body
of Lies, Shutter Island, Cloud Atlas, Thor, Spider-Man 3. The curious case of Benjamin button. I mean, guys, this is just the beginning. Okay. This just goes on for days. I'm going to show you one more page and then you can go check out
that website for yourself. Transformers. Okay. Dunkirk. The Secret Life of Pets. Well, Star Trek: Beyond, Suicide Squad. These are some of the most
gorgeous looking movies and they all used Kodak 2383. And that's why we're going to be using that as our look DNA. Now, the caveat with using Kodak 2383 is that most people don't
use it the right way. Okay? So this is what happens. If I were to just take
this and drop this on, all of a sudden, my exposure
drops significantly. You can see it. Everything is crushed and that's what people usually do. And they freak out and then they go, I will either never use LUTS again, or these LUTS just suck. But here's the truth that is
not very common knowledge. Which is you have to do one more step before you apply this LUT. And why? Because Resolve Kodak 2383s were intended to be used with film scans. So since this is shot an Arri, Alexa, it's a digital camera. What can we do now? Can we not use it? Do we have
to shoot our stuff on film? No. Instead we're going to convert our color space from Arri Alexa to rec 709 and our gamma to cineon log because this cineon
film log is what Resolve is looking for, to give
you a proper conversion. And why did we choose our
output color space to rec 709? It's because we're going to be using a rec 709 version of the Kodak, 2383 D 60. Okay. So now all we have to
do is create another node, or I can just show you how to do it with a keyboard shortcut, which is alt+S and now we're just going to double click on this right here and voila, look at our vector scope. Look at the complimentary
colors that we got going on, compared to how it was captured in camera, where it felt like it's going
to be impossible to get here. And we got there in literally
a couple of clicks. Okay. We're not even done yet. So
let's start naming these. I'm going to name this, my
FPE film, print emulation. I'm going to name this, my CST. That was the process that got us there. I'm going to build my grade
it on three different levels. Okay. And let's just do
a notary build-outs outs. That makes a bit more sense. I'm going to create one more node here. I'm going to call this, look, adjustment. This one, I'm going to call primaries. And then I'm going to hit shift
S twice to create two more nodes that are going to
go on this upper level. And the first node is
going to be our grain. The second one is going
to be our HDR pallet. Now don't get confused about
this situation right here. I will explain it very soon. All right. So one thing that I'm looking
at right now is that the contrast is still, you know, a bit pushed. And that's also because
of the way it was shot. We have crazy lighting ratio going on. Tons of light on him, not
a lot in the background. So to level that out,
I'm going to be using my HDR pallet because HDR pallet in Resolve is powerful, okay. It is complicated to use because
there is a right way to use it, but it is one of the most
powerful tools in Resolve yet. Basically what it does is this. I can click on these three
dots and choose my color space for the camera. So this
was shot on Arri Alexa, I'm going to choose that. And then under gamma,
I'm going to choose LOG-C because of a shot in log. Okay. As soon as I do that,
nothing happens here, but a lot happens under the hood. Now, everything in here is going to behave like camera raw as if we were changing these parameters. And that is powerful. Anybody who's worked with
camera raw module and shoots in raw knows what I'm talking about. So now what we want to do
here is a couple of things. First of all, I want to take my shadows and
bring them up a little bit. I just feel like it's going
to help and just look at how naturally it behaves compared
to the regular shadows and highlights we have in our primaries. I mean, just look at the
effect that it's creating. It genuinely feels like we just added more fill light on the entire scene. And now what I'm seeing is that his skin is just looking a bit too thin, the colors in the skin. So I'm going to take my global offset and I'm going to start
pulling that down. Okay. And look how we're getting so much more information
and color in his skin. And I'm going to keep it
somewhere around here. So I did not mess around with my shadows. I left them where they were.
And just guys look at this. And this global exposure is
exactly like your camera. So let me give you an example. If I were to type in
one here and hit enter, that just went up a
stop as if you change a stop in your camera, on your aperture, right on your actual lens. So if I had negative one and hit enter, we just dropped a stop. Okay. And this is behaving exactly like that because we told this specific tool that we're using Arri Alexa. So I'm gonna go back here and now go back to the adjustments that we made, which were somewhere around here. somewhere around here. I'm
happy, the way it looks. Okay. And so guys I told you, this
tool is extremely powerful. Now I'm going to go under
my look adjustments, and I'm just going to make a
last few adjustments. Okay. So I'm going to go under my curves. I'm going to go under
my Hue vs. Saturation. And what I'm going to do,
you can tell right here, I'm under Hue vs. Saturation. I'm just going to take my yellow. I'm going to start dialing it down. And then I'm going to take my red and I'm going to dial
it down. Not too much. I am going for a cinematic
film look after all. Okay. And I'm going to leave
it somewhere around here. And if I do before and after
it started to look really good. One more thing that I
can do that I usually do is under sat vs. sat I just
grab it from the tail end and I pull it down and it usually just cleans off the highlights
a bit more and adds a bit more quote, unquote, cinematic look. So let's just pull this up a little bit. Let's go back under Hue vs. Saturation. Do we need to bring up some of
our colors just a little bit, even if we keep it around here, if I do before and after that's
a massive difference. Okay. And everything is looking good. One last thing, just, you know, me being an OCD that we can
do is go under our log wheels, grab our high range, pull it down a little
bit to around 0.47-ish. And now what I want to do is you see all in here, maybe we can add a little bit. So even like down here, we can add just a little bit more magenta in this area. So you'll see what I'm talking about. So like, I'll just go and start
adding a little bit of that. And it's not even that
much, like we barely made any change there, but you
did notice it in his shirt. So it just makes it a bit more clean. And I feel like in terms of our color, we're pretty much done. Why do I have my grain as
my first node when time and again, I told you to
use it as your last node? It's because the way this
node tree is structured, I will not be using any qualifiers. So I don't need to worry about what it can do to my
actual key down the road. And the reason why I'm using
this grain as my first node is if you were to shoot this on
film and say it was shot on 16 millimeter or 35 millimeter film negative, the grain will be printed on the actual negative when
it comes to Resolve. So that's the purpose of these two nodes, how this responded, just
like the camera raw settings, as if we made those changes on set, the grain is going to do the same thing. So I'm going to go under grain. I'm going to drop that on and you can see what's happening on screen right here. And you know, what I'm going to do is I'm going to exaggerate it. So I'm going to put it
on something like this. So you guys can really
see what's happening. And let me show you the difference. That's going to blow your mind. Okay. So what I'm going to do is I'm going to create a new version. I'm going to hit E to detach
this node from the beginning and drop it all the
way to the end and just watch what happens here to my grain. It's going to change completely. Okay. So as soon as I
drop it right there, boom, you see the effect of where the grain is placed on
the node tree changes the entire look and feel
of that grain plugin. So if I go back to where we're
actually using it as if it was shot on 16 millimeter, look at the difference between the two, if you do it after or before. But that was just to show
you the actual difference, especially on YouTube, but I'm going to use 35 millimeter
400 T not 16 millimeter, because I feel like it's just a bit much for this look that we're going for. And guys, just look at what we created
and how simple it was. So what I'm going to
do is, I mean, I mean, just look at it like this is what, how it was shot and looked on, set to what we created
and how easy it was. So what I'm going to do is
I'm going to kill all of this. Let's start off. We started with this. This is Arri log. Then when we converted
it, it looked like this. Then we went ahead and did our primaries applied the CSD the right way to get it ready for the film print
emulation from Resolve. The contrast was a big push.
So we went in our HDR pallet, controlled it, and then went under our look adjustment and just brought down the reds and the yellows, a touch. Added some color in the highlights, added some grain. And this is our final look. Let's check it out in full screen. ♪ I got dem right where I want dem ♪ ♪ You don't really want dem problems ♪ ♪ Run slow, your heels,
I'll be on dem, warn dem ♪ ♪ All inna dreams me a
haunt dem, calm dem ♪ ♪ Shhh... ♪ - So there you have it guys. I know this tutorial was pretty dense and something that if I were you, I would go back and watch it a couple of times, take notes, because there's a lot of jiggery-pokery happening here that is different than what you've seen here. And that's the point of
putting out new content, right? Like you want to see new
things because if we're just showing you the same techniques,
then what's the point? So if you have any specific suggestions, whether it comes to a
specific tool in Resolve or a specific look that caught your eye, you know what to do, drop a comment below so we
can get on it right away and do not forget to check
out the free training. Link is down below. Check it out. And guys on that note,
please do me a favor. Smash the like button to this
video can reach more people, subscribe to the channel
if you haven't already. And I will see you guys
soon in the next video, stay possessed. (raw outro music)
