- Alright, in this video, I'm gonna show you the fastest way to create split toning
or color separation. (upbeat electronic music) It'll make a lot more sense if I explain it looking
at this image, okay? So here, I got my warm tones. Here, I got my cooler tones, right? If I were to split these, meaning make this warmer
and make this cooler, I'm splitting the tone, okay? And let's just implement
that really quick. So I'm just gonna go
ahead and try this out. So I'm gonna add more warmth right here, and then I'm gonna take
this and I'm gonna add, see, more blue right here. So you see the difference? And now in this video, you're
gonna learn how to do that. Also, we recently did a survey. Majority of you, regardless
of the skill set, are struggling with shot
matching, skin tones, balancing, and working
with eight-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 you definitely don't wanna
miss out on the training. Link is down below to learn more. If you're enjoying the
content, do me a favor, smash the Like button,
subscribe to the channel for more awesomeness. Make sure you're following us on Instagram for more behind the scenes,
and let's roll the intro. (upbeat instrumental music) Alright, so let's get this party started. This is going to be a very
straightforward node tree, so let's start building out our node tree. I'm gonna have about six nodes. First one for, alright. I'm gonna keep some of
it a surprise, okay? So let's break it down like this. Don't get confused yet. So, first node, let's call
it Halation plus green. Okay. Second node is gonna be our HDR palette. This is going to be our primaries. This is going to be the sauce. And then, this is going to be our CST. This one will be our LUT. So, this one, we're gonna base
this off of the Kodak 2383. I'm gonna drop in a color space transform I'm gonna change the
output gamma to Cineon for us to have a proper conversion. And then, this, I'm gonna
change it to Rec. 709. Here we're gonna select Alexa. And then in gamma, we're
gonna select Arri Log C. So this is what happens. It looks kind of weird, that's okay because once we go under our film looks, let's apply, which one do we wanna apply? Let's apply the middle one. So as soon as I click on it, everything is looking proper now. I mean, it's still pushed, right? That's just this LUT. It's really, really pushed so we're gonna fix it in here, alright, in these nodes. So in this node first of
all what I wanna do is I do want to open up my image a little bit so I'm gonna do a little
bit of a gamma gain dance. So I'm gonna go gamma up, gain down. Something like that. Gamma up a little bit, gain down. You know, 'cause we've gotta create a cool film look, right? I mean, this is just looking weird. This is, it has started
to breathe a little bit so I like that. I'm gonna keep that there. I'm gonna come in here, HDR wheels. Let's click on these three dots and give it a proper information. So color space is Alexa, and then my gamma is Arri Log C so now all these parameters are gonna work as if I'm making changes
inside my camera, okay? So now what I wanna do
is I'm gonna go under my HDR shadows, I'm gonna grab my shadows I'm gonna lift them up about
maybe quarter of a stop. Something like that so
if I do before and after, there you go, so these two,
if I do before and after look at this. We created really nice roll offs. You can see it, top and the bottom end. See how it's kind of crushed down here and crushed up top? Started to breathe again. So this is much better, okay. Now what do we have to do? I mean, the image looks
way too red, right? Just look at it. What is going on? If I click on this guy right here, we get to have our scopes so we can change that to waveform. And this is only for setting
up our proper balance and then I'm gonna minimize this because we're gonna be
focusing on this section for this right here node, our sauce node. So for primaries, what do we see? There's a lot of red in here. I'm gonna go under my
printer lights in here. So keep your eyes right
here in our offsets. And what I wanna do is let's
take out some of the red. So as soon as I do that, it's starting to look way better, right? Maybe a little bit too much cyan in our shot right now. So, okay, doing that helps. And then. So now we have to find a balance, right? So I'm gonna do quarter offset and this time I'm gonna just add a bit more cyan back in. So something like that and if I do before and after looking so much better, even look at it in our Vector Scope. So, started to look
really, really good, okay? I mean, just look at it. These two made a world of a difference. Right here, so guys, this
part you cannot avoid, okay? I'm gonna show you the
easiest and the fastest way to do the complementary color scheme thing but this cannot be minimized, the power of primaries and what you can get from
your image, look at without. So an amateur will end up
with something like that after applying a LUT and then he'll be cussing out the LUT. Whereas all you need is just
a little bit of experience and knowing what you're doing to get a really good film-like
quote-end-quote image, okay? So this is looking really good. What do I need? What am I looking at? What else can we do
right now to this image? So I'm gonna go under my primaries and I'm gonna go under these bars and make changes on this level, okay? So what happens if we
take some of the green out in our gamma? Just pull this down a little bit and then take some of the yellow out too. Not too much, so something like this. If I do before and after. Okay. That doesn't look too bad. So this is a super small change. You guys saw what I did here. And barely anything but I feel like it just helps out just a tiny bit so I'm gonna leave it there. I think we're ready to
jump into our sauce. So what is this sauce thing
that I'm talking about? And let's check it out right now. So I'm gonna minimize this. We're gonna change it to Parade and we should be good. Actually, you know what? Vector Scope might be better. So let's keep it here. And this is it. This right here, Color Warper, okay? What is Color Warper, how do you use it? Let's find out really quick. So what we're looking at right now is having the ability to not
only select a certain hue and shift it, but we can also control it on a saturation level, okay? Whereas when you are in
your HSL curves, right? So we have hue versus hue, here we can only swing the
hue of a specific color but it doesn't give us the ability to control it on a
saturation level, alright? So this is way more granular
than the HSL curves. Then we move over to the second tab, which says Chroma and Luma. And this is also extremely powerful because not only we can string the hue from yellow to blue, blue to yellow or green to magenta or magenta to green, but we can also affect the
luminance at the same time. Once again, when you're in your curve and if you go right here, you can only affect hue versus luminance. You can only affect the
luminance of a certain hue but it is very broad. It doesn't give you the
granular control that you need. And now let's just put it to action, okay? It'll make a lot more sense. So usually I open it up, by
default it's a six by six grid, I think it's just too broad. So I go by 12 by 12 which
gives us a finer control over each hue and saturation point, okay? So now that we're here, what we can do is, the reason why I think this is the future of color grading is because this is the first
time in DaVinci Resolve where we can interact with
our image on screen, okay? So I can just literally click right here and start moving this and you can see down here what I'm doing. This is something that we
could not have done before. So obviously this is not a
good representation of it, what I'm doing, but if
you're not going psycho, this could be extremely powerful, right? I mean, I just go in the
skin and I'm like, alright, I need to add a little magenta, I need to pull out some of the yellow. Whatever it is that we want to do, we can do it on screens,
very, very powerful. Or you can use it for, I
wanna affect the sky, right? So I can just tap on it. It can give me that point
and now I can come in here and I have two options, one, I can control it on the
actual web right here or I can control it individually by using these sliders, alright? So what I wanna do is I wanna do this. I'm gonna grab the sky and I'm gonna add just a little bit of color, I'm not gonna overdo anything, okay? That's not gonna look good. So look at the power
of this, guys, come on. Check this out, what I just did. How small of a change
that was, look at this, the color separation king
over here, this tool. It's crazy if you use it sparingly, okay? Push it too far first
and then dial it back. But just look at what we just did, with split of a second we created that. Now I wanna add a little bit
of warmth in my highlights so I'm gonna grab this and I'm gonna go towards left and I just added warmth. That's the split toning action that's happening right here. Look at this! Two moves, and what we got. Okay? And you can keep going but
I like what I'm seeing here with the changes that I've made just with my hue versus
saturation part of this tool. Now let's go under Chroma and Luma and let me show you what you can do here. Extremely powerful, so now I wanna go. Okay, the color I really
like that I see here, but now I wanna add some depth to it so I can just click on it. First of all, don't forget. Let's spread it out. Six by six is just too narrow. This is a bit more broad, I like that. Now let's click on this right here and pull it down and
look what's gonna happen. And I can add a bit more blue. Before and after, just look at that. So it brought our image down, right? At this point, you can go, dude, I don't wanna bring the skin down, I just wanted to bring the sky down. That's okay, now you can click on the skin and lift it up. Boom, right there. Look at this effect that we're creating. And now I can go in here and
I'll be like, you know what? I want this to be very
green, not so much teal. And I wanna lift it up a little bit so I can go, alright,
let's add more green. So now I'm adding way more green, right? And I lifted it up a little bit, but then that dirtied
up everything over here. So I can just click right
here and counter that. Now I'm going in the opposite direction to pull the color that it added. So see how much push and pull we're doing and nothing is cracking,
it's holding it up. And now I can go back in my hue saturation and go, you know what, though? I wanna grab this and clean
it up a little bit more. So I can come in here. And something like that
looks really clean. Now, one thing that I wanna do, I gonna go under my
primaries, take my saturation, crank it a little bit. This is just for the example's sake so we can really see the separation. So if I do before to add the saturation, you guys can really
start to see the colors and everything that we're adding, right? Obviously we can dial it back but I feel like this just gives us a better demonstration if you will. Because obviously when
you're gonna be grading your project, you're gonna
be a bit more gentle. But for me to demonstrate
the power of this tool, I really need to exaggerate
it a little bit, alright? For the point to come across. I'll look at the skin
and I go, you know what? It's just a bit pushed, alright? I wanna dial it back. So again, I can click right here. I can click right here
and start dialing it back and just look at it. I can leave it right there. Look at the power of this tool. Look at what we just created, on screen. And all of that happened within seconds. So I changed the color of this green to how I liked it, brought
so much information back in the sky, alright? Controlled the skin, and
now somebody watching kind of going, dude,
don't you notice this? I do see this, so see this kind
of action that's happening? This is where you have to be
a little bit more careful. So this could be caused by
many different things, right? I mean, we can go in here and start seeing what really caused that. So it wasn't this, I can go back in here, grab this and start moving it around so it was definitely this. So this is looking much better. We controlled it a little bit, right? So if I go back there, see? You just have to find the right balance. But even if we exaggerate
it a little bit, right? Let me just do it. So even something like that,
now I'm exaggerating it and there is no artifacting and the look that we're ending up with is something that's very extraordinary for how fast we were able to create it. I can grab this and I
can go, you know what? I want it to look clean. So look at how much separation we created, what we did here, what we did here and then the green right here. Alright, so now let's go under Chroma Luma and what I wanna do is I
wanna grab certain parts and really just make them
dark, add some contrast. Again, look at this. How easy it is to even
add contrast to our image. So I'm going in here,
I'm bringing this down. Here is before and after. And just look at the difference! That I'm making in this shot. And maybe we can split
the difference, right? So keep it, somewhere around here. It looks much better, right? So look at this. I de-saturated it, brought it down, balanced it out, there
was too much green, right? So I just shifted the Chroma a little bit and then brought the
luminance down all at once. How much control we have
over these things, right? I can grab this and just crank
it up a little bit, right? To just add a bit more contrast. Once again, guys, just look at how much we're manipulating our image in just one tool, okay? I feel like we just need to give him a little bit more saturation in his face so I'm gonna grab it right here. And I'm gonna keep it
somewhere around here. So we're really going for a look. And I kind of like it. If I grab it from the center, now we can just change the
overall feel of the image. So I took it away from
having it being too warm and I feel like this looks good. Now what we can do here, in my primaries, is I can go under my gamma and let's just start
cooling it off a little bit. Not too much because we just wanna make it stylized, right? So I'm gonna do that
right here in my gamma. And then in my gain, maybe I can add just a
tiny bit more warmth, a little bit more yellow. And then in my lift, I'm gonna just add a bit more teal, right? I'm not gonna overdo it. So I'm gonna counter
that with some magenta. More teal, something like that. And now if I just click
on this guy, on and off. I mean, just look at this. This one tool, what we were able to do. So this is before, right? Good-looking image, there's
nothing wrong with it. But the whole point was to
see what this tool can do. And just look at it. How we shift the colors
here, added warmth, added tons of blue right here. Controlled even our shadows and our highlights right here. And then once again, what
happens if I go back in here, grab this and even just
pull it down a little more? See, I obviously don't wanna break it, but I wanna see what
else can I get out of it. So I can really go that far without cracking anything, okay? So just look at the detail
that we brought in the sky, the warmth that we added right here, how we lifted the shirt to keep the good contrast exposure going, and then brought the shadows down. Look at the detail that's coming back. See right here? It was blown out before,
brought that detail back. Pulled up his skin, pulled
up the green in here. And guys, that's the power of it, okay? You can just use it
however your heart desires but this is just a beginning to something that I feel like is truly the future of color grading. Because when we make changes on screen, it's more tactile. We have a different level of connection than just using these knobs, right? It's so different. And now what I'm gonna do is I'm gonna finish it off
by dropping on Halation and it looks weird when
you first drop it on so what I'm gonna do is
I'm gonna go under my gamma and I'm gonna dial that back. I'm gonna dial it back
to something like this and now that looks pretty good. It's a cool effect so
I'm gonna leave it on where it is right now, maybe dial it back just a tiny bit more. I like the rest that's happening here. And I'm gonna go here, turn on my grain. Obviously it's a bit too much so I'm gonna dial it back
to something like this. I'm gonna take my size and
keep it somewhere around here. So that does a really nice effect overall. If I park it here, before, after. And then Halation is
gonna show through here. Before, see the rim on the glasses? After. I think it's a really nice effect so I'm gonna leave it right here. So let's take all of this, kill it, where we started to
where we ended up, okay? So it started with our 2383. It was super, super strong. Did some lift gamma gain dance. And just look at this, this is gorgeous. You can print this and it
looks absolutely stunning and all happened before
your eyes using primaries. Then went in my HDR and just
lift up the image a little bit, I think it goes a long way,
just these two right here makes all the difference in the world. And then showed you the
magic that you can create. Now, obviously, like I said, it's up for interpretation, right? Like somebody can go, dude, I like the image before better. Well, that's totally up to you but I wanted to show you
the power of this tool and how it can be used. And then we topped it off with Halation. Made a big difference. And one more thing that I do notice here that we can mess with is this, right? I can go grab these greens and really start creating some separation here too. So look at it. What it was before to
what I just did with it. I just added. Again, did you see how easy that was? If I just do before to after, right? How easy it was to go
in there in the leaves and just completely
change the color of it. Even back there, right? We changed all of that
and it was just so simple. We can obviously do the
complete opposite, right? We can just take this and
go in the other direction and make it very fall-looking, right? Which could also be pretty cool, actually. So we can do this. Which creates a completely
different type of effect. So I think I actually prefer this more. So this was our image
before the color warper, this is our image after the color warper and you see the split toning
that I was talking about? And how easy it was to create it in here? Let's check out the final
look in full screen. (upbeat electronic music) Now, I'm sure this tool will open endless possibilities for you guys, right? You just saw what you can do, you have to be careful though because the artifacting will
happen just like this, okay? So anytime you push too far, just know that it's gonna crack somewhere so dial it back. If you found this video helpful then you don't wanna miss out on the free training, link is down below. And on that note, smash that Like button, subscribe to the channel
for more awesomeness and just remember, learn and apply. I will see you guys in the next video. (upbeat electronic music)
