SIMPLE NODE TREE for Any User Level | Visionary Powergrade Template | DaVinci Resolve 18 Tutorial

hey guys I'm Danny your friendly neighborhood calories and in this video we are looking at my Visionary power grids version 2.1 so this is an upgrade to my previous version of power grids which I call the pro Note 3 template and in this one we have three different versions of the node trees so that you can pick and choose whichever one that suits your workflow the best and I feel that this is necessary for all my tutorials down the line so that you have a structured workflow that you can really work in and you can use this Note 3 for all your own grids so that we can work faster and create the looks that we want to make and I hate it when tutorials are using different note trees on each of their videos even my own that's why I feel that this is a necessary move to standardize all of my notaries in this Channel at least so that you can have a very structured learning process so you can either buy this Note 3 from the link in the description for fast and easy solution or you can follow along this video because I'm I'm gonna break down each and every note and also compound node so that you know what's happening in it and you can make it for yourself so let's get into the video alright so I have my clip here and my power grids all loaded up in my power grid album if you're not sure what the power grid album is compared to a still album The Paul Gray album will appear in all of your future projects and also past projects the still album will only appear in your current project so if you put your Note 3 templates in your power grid album then you can use it for all your future projects without having to copy it over from past project so to import these node trees I just drag in the DRX files once you download it and we have a pro advance and also beginner Note 3 so you can choose which Note 3 Suits your workflow the best but for my tutorials I'll mostly be using the pro Note 3 to demonstrate all the notes that you can use very easily so I developed this note 3S to fit almost any use from commercials like this to filmic projects that you want to do like music videos or feature films and it's very intuitive and it's very easy to use and it makes sense that's the most important thing so I'm going to show you an example using the pro Note 3 let's turn off our gallery to see what we're working with and I'm gonna go straight into the notes itself so our color management is done on a clip basis which is a CST over here let me open my color management settings for you to have a look so all I'm doing is DaVinci RGB without color managing and my timeline color space the windshield white gamut and output color space for excel09a because I'm on Mac if you're on a Windows then you can switch this to rexell09 gamma 2.4 right here and once you're done with that we also have to set our 3D lookup table to tetrahedral and go to the three dots up on top and Set current settings as default preset then you can just leave it as it is for all your future checks and like I said I'm doing everything on a clip level if you're interested in doing things in a group level or a timeline level then you can do so by separating out the things that you need but I'm trying to keep things simple so that beginners can also follow along my tutorials so in this Pro Note 3 I have my first note which is a CST in and this is for DaVinci write gamma workflows so that all these notes down the line are working in The DaVinci white gamut if I open my effects Tab and you see that it's going from Sony S gamma 3 cine into DaVinci white camera DaVinci intermediate but I found that Sony footage doesn't work quite well in DaVinci white gamut the yellows are very suppressed and it turns to Red so it messes up with my footage which is not something that I want that's why when I'm working with Sony footage I won't go into DaVinci white gamut but for other footage like already roll or Blackmagic raw I found that it works quite well in the Vinci white gamut so all I'm doing in this first note is going from whatever law your camera is shooting in into DaVinci white gamut but in this case this is footage from Sony so I'm not using the DaVinci white gamma workflow and after that I move on to my preservation node which is my highlights and in this note I'm just qualifying using the luminance Channel and then I've set the highlights to negative 50 so that I get to preserve the highlights a little and it's not too blown out right from the start and after that is two of my correction notes which is my primaries and I do everything in primaries like temperature tin contrast lift gamma gain Shadow highlight mid tone everything because I don't see the benefit of separating them out and I get to keep track of all my corrections in one note so the only thing that I separated out is this HSV saturation so how you do this is change your color space to HSV and then turn off channel one and three so that you're left with the S Channel which is saturation and and to increase saturation all you have to do is go into a gamma or your gain and push it up and this technique gives a more filmic saturation so it's more deeper and richer instead of a very digital poppy kind of saturation so that's the only note that I separated it out because I have to switch the color space and after that I have two more parallel notes which are my post correction notes as you can see so there's the skin and also hue so skin is where I pre-selected out her skin so if I turn on my highlight mode I can see that there's a selection of the skin so that I don't have to re-qualify her skin in each clip so all I'm doing here is actually just reducing the mid tone detail I'm not doing much to the color so the qualifying can be a little bit dirty you don't have to be too clean and after that I also have my Hue here where I reduce the background Hue which are blue or tealish and this is a kind of macro or general kind of adjustment that you can make to your image and that's before we go into our secondaries where we go in and tweak the little micro stuff and moving on to this type of secondaries over here I have a vignette which is an inverted power window so that I can select the outsides and darken it down and after that I have a relight L which is the left side and also a relight R which is the right side and moving on we have have a focus note so that I can focus on the subject whatever the subject is and I can track it to to follow the subject and brighten up her face and below that is just an empty note because sometimes the client might want to select her lipstick and change the color that's why I left a little bit of space below this secondary so that you can add more parallel notes if you need to so let's remove them for now and moving on back to more macro adjustments I have my curves where I did some editable spline by turning on this function so that I can make a more cinematic curve I have a video on this if you are interested to go check that out and below that is a global node where I can make very wide adjustments maybe to the temperature or to the tint and in this case I just want to soften everything out that's why I reduce the mid-tone details a little bit in This Global node so this is useful if you don't want to go back into your primaries and do corrections because it might affect these notes of over here and after that note number 17 is detail where I go into my blur and reduce it to sharpen it a little bit but I feel it's not necessary for this clip and moving on to two more parallel notes and this is where I start to create a look so I have a bleach bypass built in so check my video on bleach bypass if you're interested on creating this and also empty look note where I can do the look manually so after my two look notes I'm going into my CSD out where I have Sony s-lock 3 into Rexel 09 gamma 2.4 where I normalize this into a display color space and after CST out it's just an empty note for placeholder and after that I'm continuing with my Loop Creation with two notes that works better in Rexel 09 this one is for Creative Luts so I'm using my Visionary Lucid color alerts right now which is the Visionary Luts High key and it's doing quite a nice effect in cooling down the image and also giving it a little bit of pop so the other thing is the Kodak 2383 film pin emulation and what's inside is a senior transform and a Kodak Lut and also an adjustment to bump down the Shadows a little bit because I feel that the Shadows are a bit lifted in the original Kodak blood and finally we finish it off with a noise reduction if needed and also other effects that you want to slap onto the footage like halation film grain or I also use the Hansel rack at the end so that I can better control how much of film grain or how much of halation that I want to put into the image so this is for the pro Note 3 and there are two other note trees that you can use which are with the same principles just that it has less notes and it's the advance which is this so it's basically the same principle just last notes so it's less complicated if you choose to use it and there's also a beginner so the results are more or less the same just a little bit difference to the secondaries where I have more real light notes in case I have to use it so in the beginner note it's very simplified a primary skin and then a CST out and also a creative flat and that's all so if you feel that the beginner Note 3 is more suited for your workflow it works faster for you then go ahead and use it because even if you use the beginner or Advanced Note 3 you can still follow along my tutorials when I'm using the pro Note 3 you might need to add a note or two but like I said it's still very convenient so I hope that by giving you this Note 3 we can go one step further into a color grading Journey so that we have more structure to achieve the looks that we want to achieve and if you want to get a Note 3 and support the channel you can do so with the link in the description thank you guys for watching and I'll see you guys in the next one bye

Channel: Danny Gan

Views: 15,668

Keywords: malaysian filmmaker, danny gan, colorist, malaysian colorist, color grading, coloristmalaysia, malaysianfilmmaker, sony fx3, cinema camera, davinci resolve tutorial, color grade commercial, commercial colour grade, davinci resolve, commercial look, how to color grade, color grade davinci resolve 18, film color grade davinci resolve, node tree, powergrade, how to build a node tree

Id: sNliaFMPTBI

Length: 10min 29sec (629 seconds)

Published: Sat Sep 09 2023