You Might Be WRONG! - PRO TIPS & Newbies Section

so this is my first in-depth look at nose and we're going to be looking at parallels and i've got something for everyone here if you're an absolute beginner i'm going to teach you the difference between serial nodes and parallel nodes so in just a few minutes you're going to understand exactly how they work when and why you use them we're going to look then at my fixed note tree and why i use parallels and a particular technique that i use called dodge and burn and then we're going to look at a little bit about the science behind it what's actually happening under the hood in resolve so let's have a look so i get quite a lot of questions about my no trees my fix no trees that i use this is one that i typically use for music promos i have some that are larger than this if i'm working on drama work and i've got some fixed note trees that are smaller than this if i'm working with documentary stuff where i have to be a little bit quicker in my workflow but the common theme amongst all of them is i have a string of parallels and sometimes two strings of parallels so let me show you that if i get to my power grade here this is one that i typically use for drama work or commercial work so you can see i've got a row of parallels here and a row of parallels here so this next section is for absolute beginners i'm going to teach you in just a few minutes exactly how serials and parallels work you will totally understand when and why you use them if you already know have a look at the time description below and just jump ahead to the next bit so starting from absolute scratch this is our footage with nothing on it at all i've got a single serial node here that's completely blank so what i'm going to do is just do a very quick balance this is ari log c footage normally i would apply a colour space transform to this to get into the right colour space but i'm just going to do a simple bit of liftgame again here just to keep it simple let's put some saturation in there and that's absolutely fine now let me just lift that up a little bit there something like that okay i'm going to add another serial node so i'm going to right hand click on here i'm going to say add serial okay now a serial node this node number two that i've just created gets its information from node one node one is getting its information from the source this represents the source the arri log c footage that you saw at the start so that's feeding into here and then the grade that i've done on node one is fed into node two so let's start playing around with note 2. what i'm going to do is completely desaturate the image okay so we've got a black and white image now i'm going to go ahead and add another node add serial okay and on this node now i'm going to try and bring back saturation but watch what happens when i boost saturation nothing happens because the image is already desaturated if we look at our vector scope you'll see a tiny little dot in the middle means there is zero saturation so because we desaturated on node two the output of node two which is basically node one plus node two is being fed along this rgb connector into node three and because the saturation was taken out here i don't have saturation to put back so all i can do on node 3 is i can start doing some tinting for example so i can add sort of a color wash but i can't actually get the original saturation that was in the image now let me delete that node instead of adding a serial i'm going to add a parallel so i'll say add node add parallel and what happens now is node 2 is still got our desaturation on it so it's black and white node 4 it creates node four because it counts the parallel mixer as node three so this is a parallel mixer this is added automatically when you add a parallel node so it counts this as node three effectively but you can't actually do anything on these you can't add color or do anything to them so if i go to node 4 i can now bring back saturation by just increasing saturation here so if i go to saturation 100 we are now back where we started and the reason for that is that the information for node four is actually coming from node one not node two okay so no twos are desaturation node one is our first balance that we did it's our original balance if i just deselect these two press command d it's our original balance and that is feeding both node four and node two the parallel mixer is then mixing the two together in equal proportion okay so by desaturating and then fully saturating and back to where i started from so that is what a parallel is doing it a parallel mixer is combining all the notes and you don't have to have just two you can have three four five something add another one you can say add node add parallel and you just keep adding them as many as you want in there five six seven eight nine with however many you want and they will all be equally combined and they come from the same source in fact you can re-route the source as well you can actually take it from a different source but that's for another episode so let's go back to our image okay so let's have a look at what is going on on this fixed node tree so i'm just going to deselect it all i'm going to use command d i'm going to use command d a lot here to switch nodes on and off okay so however many you've got selected command d will switch that amount of nodes off so my first node that i work with is this one here it's the first one after this row of parallels and it's my color space transform okay so this one is currently set to take me from arie log c into rec 709 gamma 2.4 all right so that's just up here in the open fx if i click on that you can see that set there so then what i do is i move over to my first notes here this first one here is just doing noise reduction the second one i've got going on here is just doing obviously my offset getting me into the right starting point i've got my parade on and i've got a little bit of highlight recovery going on some saturation a few bits and pieces going on here so my second node will also be doing a similar sort of thing so i'll be looking at uh normally i'll be adjusting things like temperature here and things like that just to get me in a good starting point so this is my basic balance then i move on to this row of parallels here i don't necessarily use all of these but this starts to give me my creative look so i'm going to switch these on all of them once you can see the difference it's making so there's a lot of work going on there to get the actual look that i wanted so i'll switch it on and off okay so what's actually going on here this node here is just giving us a little bit of extra work in the primaries this node here is doing some log work so if i switch this one on and off you'll see that i'm picking up some detail in the shadows and just adjusting the color to get the blacks right this node here is affecting the wall at the back okay so i'm just affecting this blue wall here and then these four nodes are shapes that i'm working with and what i'm doing here is a technique that is similar to dodge and burn so it's called dodge and burn and it's basically allowing me to lift certain areas and drop certain areas down okay now there is a bit of overlap on these so this one here is affecting the whole central region i just switched that on and off okay i'm just lifting it and then this one here is lifting this bit this one here is darkening that area and this one here is just lifting that section so there's a lot of crossover between these windows and if i switch them all on and off you'll see that it really is reshaping how the light works on my image now the reason these work well and the reason i'm working in parallels is because i want everything fed from the balance node that i've got so it's the sum of these two is feeding each of these layers in my parallel individually now if i did this with serial nodes the problem i've got is that this node would then be feeding this node would then feed the wall which would then feed the shape and this shape and the shape and the shape and they would be adding on to each other all right so what i've done is i've actually recreated this using serial nose to show you what it would look like and you'll see that it looks quite different to the parallel so i'm just going to use my middle mouse click and apply that grade and there's the grade exactly the same parameters i've copied and pasted the parameters but done as a row of serials okay so back to parallel and back to serial you can see there's quite a difference particularly in this area here where i'm getting lots of light being sort of multiplied so in the parallel node these areas the amount of exposure that i give them inside the window is coming from the same node it's coming from this node here so this is fundamental to how i'm working i want everything to mix remember the parallel node mixes everything equally whereas with serial one node will affect the next node so let's just take a quick look at what's actually happening in resolve when i select a serial node or a parallel node and particularly why i'm using parallels when i'm shaping light this will answer that question so hit the subscription button if you're enjoying this so far and let's go and take a look so i'm at the end of my timeline and i just want to explain what's going on here i've got a gray solid here with a value of one two seven one two seven one two seven in rgb and that is sitting at five one two on our waveform now what i'm gonna do is grab a still of this and i'm gonna add a serial node i'm going to show you here a very subtle difference between the serial and the parallel node which gives you another reason why i use my parallels so let's add a power window so it's default power window with some softness in it and i'm going to increase this by exactly 0.5 i'm going to use my panel just because i can get that quicker so we've increased gain by 1.5 and you can see there that it's quite clearly hitting 768 on our scope and this is our soft edge that we've got going on okay so you just see the fall off on the soft edge okay let's add another serial and this time what i'm going to do is i'm going to copy the exact same shape and the parameter so i'm going to use my option drag which copies the parameter in i'm now going to reset the gain i'm going to decrease it by 0.5 i'm going to use my panel just for speed and what's happening is the output of node 2 is being fed into node 3. so when we take away half of our gain we don't get back to a neutral point we actually come down here to 384 so what we can do is use the gray that we started with uh using a image wipe and we can try and match it by i and by using the scope so i'm just going to increase my gain this time and let's pull it up until we hit the 512 line and you can see as we get there we are never quite going to get it on the line and what we're getting is this kind of halo effect around the edge from the softness and that's because we've not been fed a true flat signal to start with we've been fed this node's signal which already has a bit of softness and gain on it so by reducing gain even though we've got a power window the same amount of softness we are never going to get it exactly sat on the line and this is why i use parallels when i'm doing the dodge and burn because i don't want accumulation of nodes doing this to my image so let's see what happens if we do this with a parallel node i'm going to take off the split wipe i'm going to delete that node and this time i'm going to add a parallel node so option p i'm going to copy the exact shape and the grade across i'm going to then reset the gain and now i'm going to do is reduce this by 0.5 and bring it all the way down and you can see that we get perfectly neutral because both of these are being fed from the same source so they've been fed from the neutral gray into into node two and neutral gray into node four so it counts the parallel mixer as node three and what the parallel mix was doing is mixing these in an equal amount so when i'm doing dodge and burn on multiple nodes if i work in parallel i'm not going to get one of them affecting the other in in a direct way so let's go back to our shot here's our four nodes that we've used power windows on and you can see we get a much nicer image than if we did that using serials so i hope you enjoyed the episode and you are enlightened on the world of parallels look after yourselves and i'll see you in the next episode

Channel: Darren Mostyn

Views: 140,280

Keywords: When to use a parallel node, parallel node, parrallel node, serial or parallel node, listr parallel, serial node, serial nodes, parallel, parallel nodes, node listr, nodo paralelo, node, davinci resolve parallel nodes, parallel nodes davinci resolve, parallel vs layer nodes, nodes, parallel mixer, davinci resolve, davinci resolve 17 color grading, resolve 17, Which node in resolve, nodejs, layer node, node js, node js tutorials, layer nodes, Node tutorial

Id: QsUW_0SZa4Y

Length: 12min 2sec (722 seconds)

Published: Wed Jun 23 2021