Step by step Split Toning Lesson with Denser Colours

today on the channel we're going to take this footage here and we're going to turn it into this look here and we're going to use free footage that you can download from my website and I'm going to do everything in the free version of Da Vinci resolve good day welcome back how you all doing I'm doing well hope you're also doing well you know it's been a long time since I've opened the intro about having a headache from too much red wine so maybe next time I'll crack a bottle before I do a video anyway let's look at how we can create that look on the intro that we did so now the first thing you want to do is you want to go and download the footage all you have to do is under the video come down to this link here click this and this will take you to my web page now from there just go to the download section and find the download now there are downloads there so feel free to download as much as you want all that footage is free now before we get into it just a really quick request a comment below on what you think of the footage or what you're going to do with the footage or just a simple thank you I would really appreciate it it really does help with those YouTube algorith GMS and really helps just to grow the channel so we can give away more footage more often okay so now let's go to the grade so let's look at the things we're going to be dealing with today color space transforms we're going to be looking at our exposure we look at our ratio which is our contrast our white balance saturation and then we'll be creating a look and in our timeline we'll be working with our ODT which is our other color space transform so color space transform we want to go up to our FX here come down to C which will bring up color space transform so this needs to go on your first node or your second node after your noise reduction so in our color space transform this is AR Alexa footage so we want to be in AR wide gamut 3 input gamma AR log C3 now we're working in d Vinci wide gamut so output color space d Vinci wide gamut output gamma DiVinci intermediate phone mapping method we want to have this at none now before I go on It's always important to make sure your timeline is also set up so come down to your settings here just like a little Cog and go to color management now under color management timeline color space d Vinci wide gamut intermediate output color space Rec 79 gamma 2.4 I can't save that because obviously I've already set it up but that's what you need to do now in our timeline this will be our last node and this is really important make sure this is always your last node because this is what we're exporting out as so in our last node here color space transform again we're going from Da Vinci wide gam and D Vinci intermediate then we're going to go into Rec 709 gamma 2.4 tone mapping method I like luminance mapping used custom Max input Crank that bad boy right up use custom Max output this is all good gamut mathing method let's choose this to saturation compression okay now let's go back to our timeline here so now we have our color space transform set up so let's look at our exposure now what are we going to do with that image today I like my images to be quite Moody and dark but if you don't want that then you can of course change it to be more a brighter saturated scene now with my exposure mode with my gamma I'm working in linear I'm not working in used timeline and I feel like this works best for me but if you want to work in used timeline completely up to you but I would suggest trying out linear and see if you like it or not so exposure let's take our offset let's just bring it up just a little bit now in our gain let's bring it down and in my gamma I'm just going to bring it right down somewhere about there bring up our offset just a little bit so we're still getting details in those Shadows and again just bringing it up this is our image before we made that exposure adjustment so obviously we're quite bright it's not looking fantastic and this is afterwards so now we're looking very dark and a little bit Moody but we also have a really like a weird color going on here so we need to fix that in a Balan node but let's move on to our contrast node before we touch our balance so back in our node tree here we're going to work in our ratio which is our contrast and to look at our contrast we actually need to find our middle gray to do this I've downloaded a gray card which I'll leave a link below that you can check out and this is super handy I recommend doing it so this will be up in our effects under dctl and under dctl let's just go to our list here and find that gray card so this is the gray card I'm working with today it is fantastic I'd recommend getting it it's completely free so there's no reason not to get it okay so now we have this gray card on top of our image and this is giving us a point which is our middle gray now a quick heads up about this gray card you want to make sure it is before your last color space transform or any lot don't put it after that L because that L will actually most likely change this custom curves so anyway we have this point here and that's our middle gray and that is because we've set it to Da Vinci intermediate now if you're working in a different color space let's say um I don't know one of these garbage ones let's say you're working in AOG C3 it's obviously going to change that middle gray point but we're working into intermediate so we can just leave it as is so let's make a point simply by clicking our little uh curve here so now we have our little Point here so we can get rid of this gray card so just right click our ratio node here and then come up to to remove ofx plugin which will get rid of that dctl hope you're all enjoying the video so far make sure to comment below what you guys think in our contrast curve here let's bring it up and we want to make this edible spines now mine was already set up so if yours is not set up just go to these three little dots again and then edible splines which is here so let's make a point in our dark areas so this is our dark area and this is our middle area and then this is our bright area if we were to bring up this little graph here we are making it brighter in our darker areas which looks for renders and then if we bring this up here we're obviously making it brighter in our mid to high areas let's make a point here bring it up slightly then we have this little curve here which is from our Point here and it's also from our edible spines that we've made so we can just do a nice little curve we don't want to do too crazy and let's just bring it down ever so slightly and let's just have a look and you can just Tinker around and find the contrast curve that works best for you as I said before my contrast curve is a little bit different to this took me a long time to make but we still have a nice contrast curve going on maybe that's too much so bring it up a little bit so this is our image before we've done that contrast curve so we're looking a little flat and this is afterwards and we really pushed down a lot of those darker areas and we just sort of softened up these brighter areas looking pretty good so far again we have this one color going on so next thing we need to do is we need to look at our balance so in our balance node here what we want to do is we want to get away from this really ready orange look so coming down to our offset adjustment what we can do make this a little bit bigger press Zed to get full screen we can just bring it towards more this lightish blue hey look and we'll just play around until we get something that we think looks nice so I'm going to say looks pretty good now I think we're a little bit too dark so let's go back to exposure and we'll bring it up ever so slightly and then go back to our balance node here now let's check our skin tones and see how they're traveling so I'm going to make a power window around this person's face here and I just want to incorporate different parts of her skin just so I can get a better range when it comes to her skin tone so shift H that'll bring up the selection that we've made in this power window and I've used a pen tool I love the pen tool it's the best out of the power windows recommend getting right into it tell tell your kids tell your grandma they'll love you forever change this to our Vector scope Now bring up our Vector scope here in our Vector scope these little settings here and then you want to do show two time zoom and then show skin tone indicator looks like our skin tone which is this line here is sitting on a pretty good length but if we just bring it in just a little bit more let's take our power window off and this looks awful because we're still in highlight mode that's easy fix shift H we'll get rid of that or I think it's up here somewhere yeah highlight and then highlight I never use these little dots up here I always just use all my shortcuts this is before we've done our balance and again we have that dis wash tant look a little too much for me and then we do our balance and then we've come across to this look our skin tones are looking a lot better we have a lot better separation from our main actor here to the background and everything is overall looking fantastic so let's look at our look or our density we'll try density first so let's make a new node so alt s and in this node here you want to right click you know what actually let's label it right click come down to node label and we'll call it dense for density and in this note here what we have to do is change it to Luminosity meaning we're only changing the brightness of our image we're not changing the color so in our density node we're going to right click we're going to come down to composite mode and then we're going to change it to Luminosity down here now you have to be in resolve 18.5 to use this composite mode Luminosity that's just a heads up I didn't know that until someone pointed that out the other day so thank you for that and I'm just going to take this two time zoom off it's a little bit annoying now in our concept mode Let's go to our RGB mixer here select monochrome now we can start playing around with our footage here so I want you to take special notice of these areas here you know what we're a little bit dark so let's just bring it up ever so slightly okay cool now let's go back to densy note sorry about that okay cool so in our areas here we're going to bring a lot of density in and make it look a lot richer we're really emphasizing the Colors by changing our density in our image now I'm going to make another video about this about digital density and filmic density but for now let's just crack on so in our green output we can bring it up a little bit and you can already see the change that is happening in these areas here we're getting a nice richer blue and richer red so again we can just pull around let's go bit bigger we not making our scarf look good making our entire image look good and if we go up we're really brightening those red areas well you know that kind of uh magent red area tons let's bring it down just a little bit but not too much we don't want have some crazy crazy red going on and we're just falling around until we find what we want but we're trying to avoid that really high contrast look I'm going to say there looks really good so this is our image before we've done any density adjustments to it and just try and pay attention to our scarf here and our lamp over here and even her skin tones I mean everything really but these are the areas that it's going to probably change the most so let's put that node back on and now look at our image we have really nice Dench Rich colors lamp has been brought all the way down skin tones are sitting in a better place and all in all this image is already looking fantastic really happy with how this is going so far now you might have noticed that I skipped the node which is is our saturation node and that is because with our contrast node because I left all these connected together I was actually adjusting the colors when I made that contrast I was bringing in more color to an image by adding in contrast so for me personally I feel like this image has enough saturation now if you don't think this image has enough saturation or perhaps you're doing a different grade and you want to look at saturation well we can do that real quick so in our saturation node I'm working in H SV then in our channels I've only got number two selected so saturation and then we'd work in our gamma and we'd work in our gain here so our higher and more mid saturation point so if we were to bring this down and then bring our gamma up we're getting some nice results here and you would just want to pull around until you find something that you're happy with but again I'm happy with the saturation so for me I'm just going to reset this this node we might come back to it later but for me I'm just going to leave it and we're going to move on so with our next node which will be our look nodes we're going to do some split toning now split toning is a lot easier than what people make it out to be now you can either do this at the end of your look here or you can do it in the timeline which will apply to all your looks across your grade so if you have 10 different looks this will work for all of them now I'm a big fan of doing a look that goes across multiple different images so for me I'm going to do a timeline one so in our timeline one again we're going to use that same dctl that we used last time so I've already got it selected here so let's bring it across and again let's go down and select that gray card so with our grade card selected we're going to make a point like we did before simple as that then let's again remove the offex by right clicking this node come down to remove ofx plugin simple as can be what what are we going to do well we're going to really emphasize the greens in this image and just try and build a little bit more interest in it now our image already looks good we don't actually have to go that far and this comes down to our set our set has really nice green Walls and really nice color separation so we don't have to go too crazy but again we just want to push it just a little bit more let's go to oh first thing we need to do we need to take off our edible spines so take off our edible splines here let's make this curves a little bit bigger so you guys can see it in our splines here let's go to our green Channel and all I'm going to do is I'm going to make a point down here and I'm going to keep it on the line and this is going to just keep it out of the dark areas now I'm just going to push this up just a little bit and I'm going to take it out round about here is looking really good now we want to make this a less full on green color and more tealy color so to make a teal it is blue and green bring this across sorry about that and then again we're going to do the same thing so we're going to put this one down here this will stop it from really hitting these darker areas and again just bringing it up ever so slightly and again make sure to take it out and keep it around about there looks really good if you want to go a bit further we can and I'm going to say there looks pretty good in our full green here this is what we have before we've done that split tone and then this is afterwards and I think we might be a little bit too blue so let's go back and let's just decrease that split tone a little bit and instead of changing our adjustment all we need to do is on to our blue and green here and just bring it out a little bit simple as that so before our adjustment and then after adjustment and we're just sort of bringing out a little bit more now you can push this even further if you want to bring this out even more but for me that's sitting in a pretty good place but you know what let's push it a little bit more actually going to take away these bottom ones too so let's push it a little bit more sorry I make this big I'm just sort of moving around until I get a point which I like this is the node before we made that adjustment and this is the node after the adjustment so we're just sort of bringing out these greens now if you wanted to you go in and you could do some selective saturation bring this up a little bit now I have dctl that are really good for that but obviously maybe you guys don't have them so I'm not going to do that but all in all our image is looking really nice really happy with what it's sitting now we could do one little thing and to bring out this green a little bit more let's go back to our balance node just push it towards this tearly blue color and that's going to give us even better color separation and it's also going to help with our skin tones because I felt like they were a little bit too warm for me this is our image we've got so we have great separation between our character and the background we have a nice teal and orange look going on everything looks really good now the best thing about this image is we haven't done any major adjustments when it comes to our skin tones we haven't put a pound window around the face we hadn't haded track it we don't have to use a color warer and that is because we have balanced for our skin tone so when it comes to balancing your image it's not about balancing your whites or your darker areas it's about your skin tone you get your skin tones right and your image will fall into place and everything will be much better and a lot easier and when it comes to grading the easiest approach is often the best approach because if you're working on a very large project with a very small amount of time you want to have a look that you can do quickly and efficiently rather than doing a power window tracking that image making sure it's all right adjusting adjusting adjusting you're going to be there for a very long time if you spend 10 minutes on one shot and you're doing a feature film it is going to be exhausting and it's going to be frankly a waste of your time so let's do a quick recap on our image here we did a color space transform on our first node or second node if using noise reduction and then we did one on our timeline which is our last node which which puts us into this space here then we adjusted our exposure we brought it down a lot to make it a little bit more moodier then we've done a simple contrast curve here and again this makes it even more Mia and we're just getting a better looking image and then we've changed our balance to get this image here this is before and then this is afterwards and again skin tones looking good good separation then we moved on to our well we didn't do a saturation but we spoke about saturation then we moved onto our density here which really helped to make these colors richer and it just made our whole image really come together it looks fantastic and then to finish up we just did our little bit of split toning which all in all just pushed that image to its final point so it looks great in my opinion I'm very happy with how it turned out but let me know your opinion about the grade and let me know what you guys are going to do with that free footage it is ARX footage it is fantastic footage I would highly recommend downloading it having it play around and then checking a comment below and telling me what you thought of the image what you thought of the footage and what you were doing it like I said so thank you all for watching I really appreciate it I hope you have a fantastic day I'm going to go and watch the cricket now the Str New Zealand we're doing quite well so I'm very happy about that and have a great weekend and I've been Drew and thanks for watching

Channel: Green Goat Productions

Views: 31,170

Keywords: free arri classic footage, split toning in davinci resolve, teal and orange look, how to color grade in davinci resolve, filmic saturation, filmic density, colour density, how to color grade arri alexa footage, free high res footage, cinematic color grading, free color grading lesson, teal and orange tutorial, dense colors, free 4k footage, rgb mixer in davinci resolve, skin tones, how to color grade skin tones, film look, Davinci Resolve, film look in davinci resolve

Id: mQz7YMBJZTk

Length: 20min 51sec (1251 seconds)

Published: Mon Mar 04 2024