Davinci Resolve 15: Color Correction & Grading | Film VFX | Skillshare

Davinci Resolve 15: Color Correction & Grading

Film VFX

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11 Lessons (2h 2m)
    • 1. Course Introduction

    • 2. Picture Lock and prepare timeline

    • 3. Adobe Premiere to Davinci

    • 4. Interface

    • 5. Nodes

    • 6. Grouping

    • 7. Steps

    • 8. Copy Grade

    • 9. Orange and Teal look and protct Skin Tones

    • 10. Protect blacks

    • 11. Reuse grading in other projects

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About This Class

I will get you started fast with color correction in Davinci Resolve and you will avoid beginner's mistakes

And If you work in Adobe Premiere, you will learn how to move your timeline smoothly to Davinci Resolve, and what settings you need to tweak to avoid frustration.
I will show you the interface so you can get comfortable and you will learn when and how to use all types of nodes as well as qualifiers, power windows, matching shots and much more

You will learn how to work fast color correcting several shots at once, by creating groups, and when you can group shots

I will teach you 4 steps that will guarantee you get a color corrected footage, so reliable that you can do it without even looking at the footage

You will learn how to protect skin tone even when you want to go wild with creative color grading, how to protect the blacks, and how to reuse your look for other projects

It's all about fast and proven techniques in the most powerful color grading application.


1. Course Introduction: welcome. I'll get you started fast in DaVinci Resolve, and you will avoid beginner's mistakes on if you work in Adobe Premiere, you will learn how to move your timeline smoothly to da Vinci and what settings you need to tweak to avoid frustration. I'll show you the interface so you can get comfortable, and you will learn when and how to use all time self notes, as well as qualifiers, power windows, matching shorts and much more. You will learn how to work fast by color, cracked in several shots at once by creating groups. And when you can group shots, I will teach you four steps that will guarantee you get a color corrected footage so reliable that you can do it. Even without looking at the footage, you will learn how to protect skin tone even when you want to go wild with creative color grading, how to protect the blacks and how to reuse, you look for other projects. It's all about fast and proven techniques. In the most powerful color grading application 2. Picture Lock and prepare timeline: If you are coming from Adobe Premiere and you want to take your project to definitely result for color correction and collaborating, there are a few things you need to be careful with. It's about preparing your project on timeline to be ready for export to Da Vinci. We're not talking here only about how to do it. I'm talking about what stage do you need to reach before you can think off moving to dive into results? What things do you need to make on do already in Adobe Premiere before you could move to the venture results? All right, so this is an example for a project that we have in front of us and we have sound. We have video, We've got some text. We've caught a few layers tracts of video, We've got different layers. Tracks of audio, Some are dialogue, Some are music, summer and being sound. Whatever. Okay, so this is like a typical project, and you would have you could have even much more. Actually, you have many more video tracks. How many more audio tracks? But we're talking about color grading and color correction, and we're talking about image. So why? Why are we address in this stuff? There are few concepts that you need to understand. Number one picture. Look, you only move to DaVinci resolve. Let me rephrase. You only move to color. Graydon, once you have reached picture, look, picture lock basically means that you are not going to change anything. I know there's a temptation always to say I can make it better. Let me just change this one. What if I had that one? That temptation to keep improving things is what makes projects never see the light. That's why there are delays. There is. There comes a moment in the life of film for sexual document documentary project where it needs to come out and to be and to come out it needs to stop. You need to stop edit him and stopping editing basically means Victor Lock. You need to freeze the image. You can Onley work on the audio as in post production of the audio, whether your do it yourself or you give it to somebody else to take care off, you need to reach picture. Look, you can't change the image. I mean, the editing, the overlap in between videos when you have already sent your all your for post production or you're already working on it because you're gonna keep changing your sequins and reworking everything on Indy audio. Same applies to the video to the image. If you're going to go take it to color grading, then you may be going to drop something at something else and it's you don't do that. You reached picture. Look, first on Lee, then you move to the centuries old for color correction uncle grading and you move to or any other software. Actually, this this concept has nothing to do with applications. You could do it in Actually convicted Premier. You could go on and call a great and color are actual footage in Premier. But you can only do it once you have reached the, um, picture lock. Yes, you may think Well, actually, I can tweak things even if I work. If I work in premiere, our country things more. There's discipline that needs to be established here. There is a discipline. There's a sequence. You reach picture lock, then you move to collaborate in on audio. OK, enough about picture lock because it is one of the most important things in one off. The most important reasons why things don't get done. Projects are delayed horribly late. What does that actually mean? Picture? Look, what are the consequences of fact? Consequences means that let me just explain this one. Well, by the way, um, duplicate your timeline, duplicate your timeline. So you just right click on reveal sequencing project on you go in, duplicate your timeline. Work on a duplicate because we're gonna mess with this stuff severely. I would say, for the purposes off taken into the venture resolve. I'm not talking here about how to take it. I'm taking what you need to do before you. You move to export, right? So let's let's let's move up here. And then I'm just expanding the interview. What do we have here? What I know is that number one Well, I'm going to work on the color grading color correction. OK, so why do I need audio? You may be thinking, what's a reference or you need to have all you because it's part of the project? Yes, but not for color grading. You don't need told you. Um, you may be thinking then probably well, because is what if afforded, you need to know what What is much is what you've already reached the picture lock. You have already reached the picture lock. You don't need any reference audio, so we need to delete audio from the dip. Lick it. Timeline. Not from your original one. Number one. Come over here. Select everything. You have another timeline. Everything okay on, right. Click on. Go to an link so that we are able to work on separate media files and link this way I can select individual ones. Let me in Do this. I just clicked on controls that, too. And do to show you that. Well, some off the on, all of them. Let me see. Yeah, some of the files are actually, by definition, they come sometimes linked, or you may have linked. Um, when you sink your audio, you may have linked them. Right now, in this case, you just need to make sure that you in link of Ethan's, that we need let audio. You don't delete related video. We need image. So in link and do yourself a big favor and remove audio. Why are we removing? All because not two reasons. Number one we don't need it. Number two is. We wish we could keep it early. Wouldn't create a trouble. It will create trouble. It is more likely to create trouble than not because the workflow between Adobe Premiere and the result has always being painful. There are three ways three different ways off offic off moving from Adobe premiere to lavish resolve. I will teach you only one of them because the other two are even more painful. But what I'm giving you now, everything I'm showing you now is going to make your life way easier, actually gonna make it so smooth. That's gonna work perfectly. So the one way I'm going to show you combined with these with this homework that we're working on in Adobe Premiere is going to make your life easier. Audio has all what is being a pain when you move from Adobe Premiere to DaVinci. And guess what? You don't need it. So press elite remove it. Right. That's number one. Number two. Did we say Victor Lock? Yes. We said picture lock picture lock means when I'm gonna move anything. Okay? So you don't need layers. What? I mean by that we don't need video tracks. You only need one video track. What is this? This isn't Let me just go back. Just go back to one. We'd use it. Okay. What is this? We have seen here. And I was just this one, for example? Yeah. We have a scene here and restaurants and is a dialogue between two characters. And then we move. So this part here is when we see the reaction of the woman points you have, sometimes some adding some reactions will do some things. And that's why you have a few layers. We've already reached picture lock. So it is already part off the film, which basically means I don't want it to be up there. I wanted to be down in the main video track, so number one was audio number two was. We only give DaVinci one video track. How do we do that? You come over here, a new press old and you press the down arrow. Can you bring it down? Might big it down. I think maybe it could do if all them Yeah, OK, what? Select all of this stuff undone out down arrow. And you bring it down. I've got some text here. This is different. This is not for statistics. And then you think, Well, do you call a great text course you don't. Is it enough for me to turn it off? Because I already turned it off. What with the U Turn it off or not? It's gonna show up again in DaVinci resolve. So it's just a pain. How about we just remove this text? Don't. Now, this is what we call a timeline that is ready for DaVinci. We haven't even started moving things. This is homework that needs to be done in Adobe premiere. There's a discipline that needs to be established. Its number one picture lock number to remove your old you. Sorry. Duplicate your time. My first on dumb and link your make sure you're in. Link your your files and then remove your audio and then halt down arrow on the videos to make one timeline. And if you've got any text, get rid of it. OK, now this is ready. So we have moved from Let me go back this to this. I've got actually the timeline ready here for Ah, I've got these two timelines. This is picture lock on, then. Timeline ready for DaVinci. This is the only thing you want to take to DaVinci Resolve. Now we're going to move to the stage where I show you how to do it. 3. Adobe Premiere to Davinci: Now that our timeline is ready for DaVinci resolve, we're going to go here to file and export. Now there are three ways of doing it. There's the ideal way. There's a ifwe and then there's the right way. Eso xml away Final cut pro something you want to ignore because it just exports an XML. It used to export it for It works for final cut, but it works for any other software that uses XML. DaVinci Resolve uses XML, so that's fine. So this is the one we're going to take. Why am I not going to give you the route for detail and the root for a F? A simple reason. Because XML is fast in terms off, it works its state. It's the safest and most reliable way and fastest way as well. But it also is the way that uses source media. If you go a for India way, you're going to have to export. You're going to have Teoh encode from the source media. You're going to create new media files that are going to be worked on indefinitely and from the Vinci Create again, all the new media files and then you keep in code in back and forth and you start losing quality. Yes, I know there are formats or Codex that you can use that 10 or 12 bit on it. High quality. But I really do not like losing quality over time by just encoding. And according occurred in we want toe work on the source media. XML is just telling you don't tell the Vinci actually where to start and where to end in terms of cots. So they're talking. Okay, I'm gonna go to the same source file. So this is things are the two main reasons why go with XML Route Ondas the least troublesome Actually, it's it's it's the one with the least troubles. Good. Okay, now we click on Excel and we're going Teoh, just delete these ones. Avoided. Let them before. Just delete on. Delete on. Let's say it's time loin ready for love in team. You could it what they want. It's just well, by the way, by the way, where do you save it then? I think you could save it. Whatever you want. Of course you can save it wavy. What is just handier more practical for DaVinci basically skipping one step that I'm going to show you something I'm going doing to do it the wrong way. Now I'm gonna show you a few wrong ways so that you know what I'm talking about. And you know how to avoid them. It's not really a wrong way. Here is just you want to save time? We don't have time to just Yeah, the software. DaVinci cannot find the media. When you save the XML file where the media is, it makes your life easier, doesn't you? Can see where it is if it's not. It just tells you I can't find the media. Can you please help me? Okay. And then you need to just an additional step that you want to skip. Okay? I'm not going to do that. Just save it in this. Hey, H DaVinci resolve, which has absolutely nothing. It's just a premiere. It is the premier project and makes him if I so say save and it's done. Now, we have finished with a little bit from here. OK, we go to Da Vinci coming here. You have the interface actually detection straight to timeline, interface editing. You need to counter file. I'm not. Is the second step I'm taking you to false because I'm gonna make another mistake here. Okay, I deliberate. This is the most important one. This is the most critical I most frustrating thing you can skip because the workflow between Adobe premiere on DaVinci has always been painful no matter what route you take. A d l e f a m e d l a f xml It has always been painful thing. They've never talked properly with each other, but we've managed to find a really safe and fast way to do it. But you need to do a few things. You must do them in sequins. Otherwise things are going to go wrong. So we've explained what needs to happen in Premiere, right? That one is done when I'm gonna go back to that. When he comes with the Vinci, you need to do a few things. Step number one is changed the settings, but is before important, there's a setting that you must change. I'm sorry for using the word must instead off. You need to, but it's just so critical. Has so frustrating armed. You're gonna spend a lot of time hating your work and timeline and everything. Because, you see, the resolution is completely messed up because that's very small setting hasn't been changed. So I'm going to do that to show you what I mean. I'm just gonna skip it on, take you straight to step number two, which is import your time like that. Don't come here. Do not come to import file Import media from XML. That is not the one you come to import timeline. And yes, you have the three ways import a f e d l on XML that we've gone a good way. XML clicking here and important I click open. The defaults are good. Not just make sure that you have this use size and information on this is what I meant. This is not the set and I talked about, but this is the the topic we're talking about sizing if you don't change the settings is going to be a nightmare, an absolute nightmare. And I'll show you in the settings. They are okay automatically said project settings. It's is why we've got XML. Because everything is automatic in terms off. It reads from Adobe Premiere project. Okay, keep everything else is Ah, Unless you want to change something, right? Resolution? I guess your resolution in the timeline in the premier is what you wanted. Basically, we're only here. If this is your workflow, we're only here for color, right? So everything stays at IHS, but make sure you size information is checked. Okay. What happened to me? The clip was not found. What happened in this case is clip was not found. I think is because I haven't saved Examine in the same place where the young the media is, or sometimes you just can't find something. Just needs a little bit help. OK, so just click, Ok? Yes. Um and I will go now and find the where the media is. But I have saved media in a different place on same sex him in in a different place. I'm just gonna do it now and then we'll come back. Good. This is it loaded? No, What I would like to show you is the nightmare. Well, if I'm taking you to XML route, which I say is a good route, why is it a nightmare that there are a few steps that you need to follow for the workflow between Adobe Premiere Andi, um DaVinci to work our timeline. Let's go back our timeline or is it shows in gonna take these fellows here in the police station. Police meet. And where is the police meeting? There we go. Yeah, let's take just two fellas. Special agents. Right? So I'm going to say that this is properly from that. I'm sorry for matter sizes. Sizing is is what I want, right? This is a frame and I want come here. What do you see? That's a big mess. What is this? It has messed up my size in. But do you not remember that in our dialogue box for important? It said And it was checked. Use sizing information. I just ignored it. No, ignores it. I don't know what it does, actually, because this is four K. This is the fake fur. OK, it's cool up here and see I'm Nixon and this is very usual. You're going to be mixed into any tp wolf. Okay. With Uhd with drone with a camera would be mixing stuff that's you don't always feeling with same comer. If you have ah, drone by definition, home able to fame to to use the same camera. So I've got the need to be four k and the fake four k uhd. Okay, this is where the Black Magic Cinema camera, which is a fake. Okay. Uhh uhd This one, this is so let's lay listlessly. Let's look around. Do you notice that this one is even bigger than this one? And this one is four K. This is four K, but it came from the timeline is 10. 80 p. So it has read this one. Insanity. Peeled. It was originally four K, and it read this one as I don't know what, um, one very big mess. See, I have, Yes, I have moved this, but the sizing is completely messed up because we have skipped the absolute most critical think to do when you move from Adobe Premiere to DaVinci Resolve. Let's go back. I'm going to control that to undo the import. That's now. And this is unfortunately something you're gonna have to do every time you create a project . I'm not saying every time you could. You come in. Unfortunately, it's not something setting that related to DaVinci as a software that you changed the software settings on your computer. It's a project setting project reports every time. Remember to do that. Please Fire Starting a file. Come here. Down Project settings on This is the annoying bits I really wish Da Vinci Black Magic Company. Um um change this. Defaults to be always center crop with no resize it. You can't do the resizing twice center crop. This would center and no resizing because we are reading the size information from Adobe. Okay, Safe now. This is for the input. Scaling safe now on Onley. Now you can import your XML file. That's import timeline of fine again Timeline XML. It's the same one. We haven't changed either. Naturally, from Air Works. Ml is just certain in davinci. Same thing will not change anything. Make sure it stays as it is You size information. Click OK, yeah. Same story here. I'm gonna have to find my footage. Okay. Shall we go back to our lovely police meeting? No, we have the framing, right? Yeah, well, you noticed there's a difference here because I've already done some color grading and other premier Really? Caro. Great. It's just to bring in exposure, be open stuff to see things, But this has completely being ignored when you move. Teoh Davinci is just reading straight from the source footage. This is what I love. Because when you do, when you want to work on color, you work from zero. Ground zero is the source image point. Because I'm going to show you the steps that you need to make to take from the source footage from zero on. This is not just this one. Everyone. There was another one. There was another one here, See? And this one. Okay. Yeah. The footage is now correct. It works. See? All right. So this is a critical thing when it comes to how to export it, how to import it on before important. What settings you need to fix before you bring your timeline. You're only one video track from Adobe Premiere to The Vinci Resolve without frustration with the size 4. Interface: a word about the interface. DaVinci resolve. Let me show you around here. Okay? When you open it first you get the workspace. It right? This one there is media, which is just before, right. This media does it. It does fusion, which is like effects. Bit like after effects on yuk. It's more a new thing because it's not based. And then you have the color grading at the reason why we here now there's, ah, audio fair light on. Then you deliver. You export your stuff a bit like to media encoder side of things. Okay, good, nice. Let's now move back to the media. Go back. One step on. You can hear import. We're not talking about him. Um, if you're bringing something from Adobe Premiere, that's it. You've done it. If you've edited in, um, DaVinci resolve than you have already done this step. But I'll show you anyway. You can go here to file, um, import, import media or a faster way, actually, is just to use your explorer here to go straight to the folder and to import selective media and then just click and drag in here. Glaxo Director here, you can drag folders. So you can just select the folder and drag its year to the muster on. You will see the the the media files this sitting here. Okay, It gives you the resolution, All sorts of information about the defies in here. What else do we need to know about this? Yes, if you have. If you have just worked on something and you've just added the media file that you want to add, say, for example, you are You should be doing this actually with audio. Unless he working with audio in that when you say you're adding an ambience, um, file for audio. Whatever. I'm just coming up with an example. You have a media file that you need to add, and you've just added it in the folder. But you can't see it in DaVinci. You just right. Click where the fold raise on the folder and click, Refresh, and you be able to see it. Okay, so this is about quickly about the media tab or meeting workspace. So I think it's a more tough than workspace For what? Okay, now we move to edit. Now, the edit is where you actually do your editing. If you feel in the prior lecture, we have talked about bringing stuff from Adobe Premiere, too 11 to resolve. You don't need to do that. Actually, you are if you really want your able to go from zero to delivery in DaVinci, Premier and for Free, which basically what I'm saying is you don't even need to have the paid version of the country's off. Yes, there are some things that you would not get some bells and whistles and not theirs and whistles. There's the noise, and that's not there, and he knows it is. It's quite important sometimes sometimes, like you know, footages is noisy and you start working on core. Grady in everything you do will probably make noise worse. This is why they've kept it in the commercial versions that you by the border. Anyway, we're not getting into commercial discussions. Hear what I'm saying is, if you choose to go zero to delivery in DaVinci resolve, especially when we're talking about film or documentary, you can do that. Adobe Premiere has a bit more advanced editing things, but chances are you're not gonna be using that stuff. We tend to use 99% off the functionality that is used most often the not in sorry the most often in the way premiere you can find it in any other software. It's just the 1% where Adobe Premiere Dance toe have some, um, fancy things are quite handy. Um, functionality. So anyway, back to the point DaVinci resolve. You can do everything you want. Oh, and by on again, for free, for free. So the free version, this one is the public. Veta, Just Venture is all 15 public Beta. It's just I've just downloaded it for free. And then you get it, and then you work with us. So this is where you start editing your film. If you have not done so somewhere else, just matter off. Actually dragging them, dragging your footage from here to the source monitor on, then selected in and out and dragging it down or dragging it to the right here and then select if you whether you insert or you overwrite very basic stuff. I mean, it's not overly complicated. This is the edit inside where you can also see the FXC want. Then you have video positions or do you titles, stuff and whatnot. It just basic stuff. A six off fusion When I got I didn't get into that. Fusion is just the like. The effect spot knows bots. Its after effects. Then there is the reason why we are here. Color. So this this is the reason of the course, the reason of the course. It causes color grading. Right, And we are going to spend most of our time here. Okay, You need to know this, um, feel comfortable about this workspace. It's quite simple, actually. It's so simple, Andi. It may look a little bit overwhelming, but it is very simple. You have your time light, which we used to have here. Just timeline is repeated for you here. This is why it is very important to have only one video track again. When you come in from Adobe Premiere. When you have one video track, you can have the sequence 1st 2nd 3rd 4th 5th Okay. What happens when you have a second video truck? Do you think you're going to have another video track here? No way is gonna be mixed. So what is going to happen is if this one, for example, is on the second video track it won't be here. You will be here, and it's gonna be a little messy because you don't necessarily know which one happens before which it's It is best practice to use one video track enough about video track. Now, this is your timeline, and you've got information about what kind of footage that is. And and if when you move, yeah, you just you're able to see that And you have the node part here. This part on the right is, um is the flower off the Venturi's wolf? Is the note based? It's a nose based. Think it's not that you out effects like in other world premiere and start tweaking things ? Yes, you are going to tweak few settings here, but everything happens in containers in notes. So this is a note this is created for This is not your clip. This is nothing. Actually, this is nothing. There's nothing you can create as many. Nothing's as you want. Um, you can do that by you. We got we get into details. I'm just gonna create them under later on. Show you how you can do that. No office. I think this is just creating a lot of nothing. You know what this is? Is just nothing. This is container. A folder. It's like saying for this step number four steps. Can you call them steps? Okay. Call them steps if you want. Step number one. Step number two. Step number three and it's nothing. This is not your clip. This is just you Visualize what you're doing, right? Why do we need them? I'll show you later. These are not the only ones. Yeah, there's the simplest ways. Does not just happen. The simplest, the most basic notes. There are lot off notes here. Color nodes are you got plenty of different notes. We will get into these lovely, fantastic. I really love the work that has gone into making this different notes. And each one has something. It's really beautiful. It's really beautiful work. So let's get into the Let's get to that later. But you're kind of spend quite sometime in the notes on each node for each node. Anything you do down here is affecting the selected note. What is down here? You've got a plethora off barometers and setting to tweak. You can work with clemency here. Okay, here is the common a role in case you have shot with the role. I think I think I'm gonna show you something. Which role? Yeah, I'll do that. I'll show you was. Well, how do you got to how best to work with it? And then you have your different There's plenty of ways to do the same thing. More or less or different things you can select anything you do say, For example, I want to mess with the exposure with this saturation. Don't do that. It's not the first thing you do. I'm just showing you that it works. Actually, changing things works. Um right. Train undone. This is an overly exaggerated saturation thing. Okay, Um, what happened here? Did I change my footage? No, I've changed the node. So the moment I click and said reset. Not great, gone. Bye. Bye. Yeah. So this is like a step or container or a folder or whatever you wanna call it, But this is not your footage. You're not touching its nondestructive. You're not. In fact, in your source media. You are working based on the source, major, but, you know, change changing it. Even when you exported it. Doesn't it just everything stays in the note. That's the beauty off the nondestructive color. Graydon, in here. Good. Okay, let's go back to if What? The left Gamma again. Offset. What is this? Lift shadows. Gamma me tones gain. Highlights offset everything. Yeah, this is in plain English. It can be a bit intimidating, but is about the same thing. Let's go back. Log shallow Midtown. Highlight everything. That's it. You're going to work most often, not in primary reels than in log or the bars. You can use the bars if he wants. Because can be handy. Or sometimes to tweak some colors and a Do you have? This is increasing the gained exposure because, like, yeah, not, not really. The gain gain gain as in gain. As in this one. This is other highlights. Port. It's increasing If you're raising the young, the level Yeah, I just reset this December. Reset. Your is said here. You sit here. Okay. What else have we got? We've got a contrast. Very important thing. We've got the private. We reached saturation. We used that often hew as well. And you've got the qualifier bit here. Now look at this as one big section Yeah, And look at this one as a completely. This one, actually, as a completely different thing, because this is meant for targeting. This is your targets. Using this one on you change yours in this one? Yeah. You targets Using what? I mean, you can also. Sorry. It's a little bit messy here. I wish they have this curve somewhere else. But you target with this. You don't forget with this because this is like your change in. It's the only exception. Is this time over this one away? You can also you can you can target. You can target with this one as well. Like this. You want to protect your blacks? Yeah. Let me just reset this. Okay on. You can target. I'm using the word targets. Amusing. Plain English. It's called Qualifier. Technically, in DaVinci, they call it qualifier. Qualifier can be a bit confusing for you. All I'm saying is, you click on this, for example, on you select whichever one of these three D is the fastest one. You click or you do like this and you have already selected the skin tone. Something like this, I think. Okay. How can I see what I'm doing well. It's already in here. Have you noticed you can see what you're doing in here? But then you see what you have selected in here, and if you really want to see it here you click on this bit over. This is what you have selected. All right, Good. Okay, So this is a qualifier, which basically means you are targeting. You are what color is what you you're going to work with. So this is your qualify a bit, and then you have these ones. They call them power windows, horsepower, some things. I don't know why it's called all about, whatever its A mask. And basically we're going to mosque. What mosque? Use in one of these shapes, that's all. Okay, So if it's this one than you, just, you know, this is the feather bid. This is it's basic stuff, but it is very powerful. Now, the next one. This is qualifier. This is using choosing the color. This is choosing the region, and this is following it following with every Haftar's. Generally you track the marker the window to call a window. Whatever. Yeah, so window no fun. And then there is, um there is the blur. Okay, so this is actually changing, if you for this particular node on. By the way, this is on Lian denote when you move to another node. It was a different world, but it's a different world. So all of this happens just inside dist. Step, Let's go a step inside the step your, um window your mosque if you track it. If the guy's moving his head or whatever, then you track it on you just say yeah, okay. Click on this one, and it keeps track him. Well, I think because I'm recording now, it's, um, expect slow you. There's no tracking analysis. Yeah, course causes. I make it. Oh, yeah. Not me. Come over there and then track its start for work. Truck in space. Local recorded in the same time. Him it struck backwards. Okay. And there's no tracking. This is Professor. Yeah. Ah, I'm just drinking here on truck by course, the DaVinci Resolve tracker is amazingly powerful. Amazingly powerful. It really is very good. So basically, you can follow a person's face and then do the work on the skin. Right? So it's really, really in the simplest for its really basic stuff. Although it sounds pretty intimidate in, it really is quite basic. And then you can, um it's quite simple and then if you want, so this is in clip. When you were in clip, you tracked the full clip. But when you say, for example, when you see for example that your marker is off track hasn't worked, it could happen. Sometimes the track has quite powerful. You come here to frame and then you change. You're you tweak it. If I do like this, you know I get and you want it. Then I move, say to another frame, and then I am. That's just it. I'm just messing with the but I think just show you that I'm created. I've created manually this, but you need to be in the frame because now it's not about the clip. It's just tweaking it for the frame. Right? So I'm just messing around with this now to show you that you're creating manually frames. Okay, Good. Nice. So, what have you said? These curves actually for changing things. Basically, you like if you want to contrast like I think I've mess too much with this stuff. I need to reset. And the reset? No. Great. Andi, you can work with targets. Yeah, pretty close, actually. Targets particular color. Um, let me just see which one we're gonna target here. Yeah, so Yeah, this is C. It's just you're you're targeting a particular here and he said that and you select which one you want Any adult structure it. And then there is the sell it the area on you follow the area, and then you can blur or sharpen on. This stuff is the key. Basically, look at it as how much you want off the note. If I want to say, for example, I would like I would like to Yeah. Saturated. Yeah. It's this exaggerated situation again. Let me go to saturation. What was my cool? Well, and this one for it. Exaggerated. If I come here to the key and they calling these things differently than what you would expect, the gain output here is actually how much do you want of it? I just want your 1% on that note off this step. I want 0.9% off this off this note. So you want your you're adding or subtracting are not trainings. Like how much do you want off this step? If it's too much, then you can dial it down. You can reduce the impact. I just want half half the impact of the note. These are examples. OK, good. So I just wanted very quickly to show you around just basically what we're doing. And then we have here on the right, having on the right. You're lovely. Very important. It's extremely important. Um, Scopes, you need to know these. I'll show you how to work with them. Actually, the call Graydon is mathematical, and I can positively confirm to you live ungh warranty that you can without even looking at the footage. This is challenge you can, without looking at the footage. Do the core correction. I'm not saying the color grading. These are two different things. The color correction, Uh, sorry is when you move your footage from whatever format it was shot in, it could be a slog. It could be roll. It could be flat. It could be or under exposed career overexposed from from something that is wrong, something that is correct. And there are a few steps to be followed in sequence. And when you do these, I wouldn't say mathematics. What happens is mathematical in the background. But when you do follow these steps, you get a correct looking image. I guarantee you can reach this just by looking at the scopes without even caring about the footage on. I think if I have time, I'm going to do that for you. I'm gonna close the footage and we go through the oldest steps and surely that just with the scopes, these are your friends. Just with this cups, you'd be able to get corrected. Then from that, you can move to color grading, which is a phase off. Add in your artistic touch. You want to have more blues, more this more that you want to bring in. Something highlights something. That's a different story that's working on corrected footage. You can improve on highlight things. Okay, this cops, um, you can actually have I work most often. Do not with the parade, but feel free to work with anyone you want. This one is definitely important for the skin tones on. By the way, this line is for skin tones. Let me just to take you. Yeah, show skin tone indicator. This is the skin tone indicator. So when you're working on something, when you're highlighting separates wanted, won't even targeting qualifier. When you target a particular color, you can do your tweets and everything and make sure that you stay if you highlight. If you select that, that your skin tone stays within this line. Right. Okay. So this is the vector scope, Mr Graham? Yeah, they're telling you different. Giving you different information is different ways of 30 news. The same thing, more or less. Yeah, you can use any one of them, but for skin tones, this one is quite to quite important. Right. Okay, so this is a general tour off. What? You do that somewhere? Something. This is that stuff in here. You go gallery? Um, yeah, I got the lots. You've got the media pool. Whatever. Um, the time. And it's what you can see whether you want to see the timeline. Terman, Is this basically we've been seeing or not? Yeah. If it's just the burdens like you wanna have more space, just remove it. The lots. If you want to employ any particular not, uh I don't think you I mean, it's fine. You can You can start with a particular lot as a final destination that you going to ST which talk about that? I talk about that, but let's not talk about lots before correction. Right? Let's get the discipline off. Working on color correction before talking about lots. But I just show you this is what you've got in here and in the face gallery. What is gallery? New steals created. I was supposed to create steals? Yes, for compression purposes. You can do that. You right. Click on grab, steal If I Well, it needs to have a purpose. Of course, if we have just reset this dollars from delete it, delete selected reset note. Um, yeah. Mess again with their stocks. Oreos. I find another example later. Graph steel and say Okay, this is amazing. It's not, um, but you want to compare? Then you have another one where you do something that's basically up. Just sorry. Important when I when it when you work with this, you see these arrows? Now, this is a sequence. Whatever you do here is gonna cascade on this. So I am working Based on the result of this work? Yes, they are independent in terms off what you do inside the step. But when you are in here, you are taking this A source. You're no longer working on the with the source footage. Source What? It started back here. This is the sort for source footage you made your You make your tweaks. Here, you make more tweaks. But these tweaks impact these ones. If I'm going to say for example, here, go to my a saturation and bring it way down That's it. I mean, this is I have just Although this one shows that is overly saturated, this one is just one wins. This is this is the fun of wall. This is the result. So it's important to know and when you working on it is extremely important for skin. But when you will okay, it's extremely important for skin in color grading stage, color correction. You can do your stuff and Craig get it correct when it comes to car grading and you want to start being a bit creative, let me push the blues immoral. Let me make this crime or whatever or push the greens or change the here of something be careful because you're gonna be messing with the steps before you're gonna be work not missing. You will be working based on the results of the steps before. So this is why sometimes we have what we call Berlin note. We talk about that. This is gonna be the next step. Okay? We'll talk about the notes next step. 5. Nodes: notes. We're going to go through the notes one by one, and you will learn what each node does. When you come to the color workspace, you find that there's already something here for you. This note has been created. This is not your footage. This is not your are source file. Because you could just delete it if you want. Right. But we're going to do that. Gonna bring it back. How did I do that? I'll show you. You can come here to color notes on add cereal load. Yeah, but what is a civic unload? A similar note is just like a note. A general note and not so particular one. Um, an ordinary note. It's a step like it does. Nothing special. Other done being a note. Okay, so this is the ordinary one. The no ordinary ones or parallel layer outside and splitter. Okay, for now, we're going to go through all of these one by one. What is an outside? Outside? It gives you already hinted there's something outside. Outside of what? It's outside of selection in the prior note. Let me show you if we come here on re select, for example, so if if you're if you're someone here and then you come to the power window, which is basically a mosque, and you click on the circle. You have this circle here. This is your selection. Okay? This is I have selected this area. If I come to color notes, add outside node. I get exactly the opposite of the area. Have selected. All right, so on this link is dynamic. Because if I come here and move it around, it moves here as well. If I market, if I make it a bit bigger and select the upper part, then the rest is selected here. Yeah, and this is what on outside note does. It helps a lot when it comes to we're using now, just actually just a sphere. Just a circle for selection. But it helps a lot when it comes to isolated areas and working on the 1st 1 first and then working on the rest differently so that we don't impact them. This is one way of doing it. This is your outside note. Let me reset. All grade on. Let's now move to another node. Which one shall we pick this time? It is going to be. But then you think we're told in a moment. How do you know which one to pick on? Why do you feel the need to go to color notes and select another one? Why not work? Just just with these ones? Just with cereal notes. The normal ordinary ones. I'll show you why. Let me create a few wants. I'm just pressing Old s now off s, which is color notes. That's a real note. All this. Okay, I've created a few of them, right? Um, too many, actually. But whatever. I'm gonna work on 601. Should we do that? Good. Let me go to six. I'm standing on six. Right on. I'm going to use a qualifier, which basically is a selector, color selector or you select. And I come to here and I select the book sitting in the car. Okay, I have in step number six. Node number six selected the car from time to time. I use the word step because it's plain English clearer for you if you're not used to the node network. But if you used to software like nuke or Houdini, the nodes makes perfect sense. If nothing This is just a step. Okay, Good. No, In number six, we have selected the blue. What did I say? I'm repeating it. For the third time. We have selected the blue. All right, let's go back to number one. Let's say for number one for any. By the way, if you want to see what you're doing in a particular, um, if you want to see what you're seeing here, you just click on this fellow fellow in here, right? So when you come over here and then you're limited to what you see inside the note All right. In number one, let's say that I fancy shifting to you, which basically means change all the colors around you. I'm going to shift it. Let's say I'm going to change the car from Green of Surrey from blue to green. Okay, here we go. By doing this by doing this, I have shifted the colors for the whole footage. Normally, you do it for selection, but I'm just for illustration purposes. I'm showing you what is wrong with always using cereal loads. You can't always use several apps. There's a point where they break on. This is an example where they break. Let me move this. Okay, This is exaggerated. Green. This was alive. Dream nice. All right. Um, let me reset, actually, because I wanted to do something here. I want to dissect. I'm back to six on back to note six on because this car is selected. Let me de saturate it. Okay. And then I go on, go out. Okay. So what happened? It was blue. It's not the saturated right. Let me go back to number one. And I do that trick off. Huge shift. Changing it to green changes, actually, everything like shifting the whole colors. Fancy, different color. Okay, um, let me just check here, let me create another Syria node. So what happened to all car here? We shifted The color. Never changed it from due to green. Uh, we have a few off the empty things. We could just drop them, whatever. But in number six, do you remember We have sex of the blue. Let's check what we're going here. But we wanted to De saturated. It was meant to be de saturated 20 on saturation. Zeros basically means that shouldn't be any color. It should be de saturated his black hair black. It's it's but the final result. His dream. What happened is by following the sequence. Actually number two takes from 13 ticks from 24 ticks from 356146 takes some five and six basically is taken from the past six is looking for blue in a picture where there's no blue this green so you cannot use cereal notes when you want to target some areas that you have changed or could have changed or may have messed up in earlier work. This is why you need different types of nuts. Let me just resettle this and show you how we can de saturate the car without impacting aan de separate the car and keep the rest off the colors. You shifted whatever stuff. Okay, so number one we're going to show me used the layer layer. The difference between layer and parallel is layer are going to show you, but just briefly here layer overrides. It's just like for the shop, the second layer overwrites, whereas parallel it mixes whatever it has. Let me show you with the layer of it first. Okay, layer meaning. This is the latest layer. The 1st 1 is the lower. This is the upper. Okay, so, um, the latest is the one that off rights let me come here and say that I go in to because now I'm not reading from number one. I can do whatever I want in number one. I can shift that You make the car look. Well, that may just You said this. Yeah. Make the car look purple. Whatever. Yeah, but when it comes to here, I want I can see that I'm just looking at my source footage because this is what I'm reading from. I am reading from the source footage. That's the beauty of fuse in a barrel load layer. Note they read from earlier step. They don't care about what what you're doing at that step in here. So I'm going to d saturate the car, the saturates or you know what? Let me decide to read the rest for fun for now. Okay, Because we've given the example of the car. Let's six of the car and electron weaken such right wrist. I'm going to select now the blue because now the blue is there and shall we de saturated zero This is what happens then. While the car is clearly purple here, you can see that at the end here it keeps the saturation because this layer overrides and I have only worked on the blue, the others all the same as in this huge shift note. Right, Good. OK, so this is about the layer. You're going to do something, and that will override what happens on this one, right? Good, it reads from the source. It does not read from this. That's the advantage. Actually, the main advantage is that you read from the source or in case your there are a few steps away, you read from the earlier note. That's the parallel. Sorry, this is the layer mixer is the layer mixer layer overwrites parallel mixes. It's a bit confusing, but it's noise, actually, that they have removed. It used to be called layer maximum. It's no, that's not a mixer. It's an over rider. Parallel is a mixer would have been noise, actually, to quit mixer, load some leather, but it's parallel, that's that's the beaches. It comes from the fact that we also let's do it again. Same story again, but now it doesn't override. It just mixes them. It's a mathematical operations. Makes both. If I use, let's say I'm going to select the car. The blue. I'm also in this one. I'm going to selling the car. Right. So in bed of the car selected in the 1st 1 I'm going to shift. Not shifter, Hugh too green. But in this one, I'm going to shift to Hugh to purple or Sorry. Publish. Read dish one of us? Yeah, on. If I remove this, you're gonna end up with a different color. This is I don't know what kind of color this is like alive green dark, greyish stuff thingy, whatever that is. Brownish. It's not green. It's no purple reddish. It is something else so but it is reading from the source. That's the beauty. It's reading from the source and it makes us so in a nutshell. In one sentence was the difference between parallel and layer. Layer reads from the source, overrides parallel, reads from the source on mixes. Simple. Okay, okay, let's move to the next one. They're really handy tools and quite simple. Actuality are sometimes called. Um not so intuitively. Okay, The last one we have covered outside with qualifier node. Cereal is the normal one. The last one is the ad splitter Combine. Er, this is something I'm gonna recommend in one of the steps. One of the compulsory steps that we need to do. Focal A correction. It's a beautiful one. It's one where you actually split. Split what? You're going to spread the color channels read alone blue alone green. Click on that. And that's what happens. Red, green, red green. Right. So what you can do is how do you know? Actually that you're working on the red on working at the blue. This is your red because this opera one is the red. And then, if you say, for example, the offset gonna move What? I'm a moving. Can you check here on the period? Can you Can you see here If I move this, I'm just moving the red. Yeah, you can also actually quite see it in the end. The footage. But you're gonna notice, actually, when we start working in the color correction phase that everything's gonna be based on the scopes on its because it's a mathematical operation and you'll be able to achieve quite a lovely realistic correct color. Just be using this cups, but this is an honest moved to the green. This is when you have the green we're not gonna do down and you're not going to move the offset like this. I'm just showing you what can happen, how you can do that. So in normal circumstances, you would go something like, bring this up a little, go back here and then bring to gain bits. Probably gaining. Bring the the meat tones as well on. Then bring down this And then because you've messed up with the blue, you're gonna come over there Teoh on the bring this one off beginning turned down and then the reddest completely messed up. So we're gonna go up here and bring the highlights to where they belong and make sure that the blacks are black and a little bit of gamma. And guess what? The color looks proper. Correct. I didn't actually didn't care. Didn't look when I was doing this, I didn't care about the footage. I don't show you that. Actually, I have already said it before, but I want to repeat it off. Said it before you are able to do core correction. I'm not saying color grading with the creative stuff, right? I'm saying color correction. You are able to do it mathematically meaning without looking at the footage and I will actually demonstrate that. Okay, so not now, But in next steps, I can even show you that you're able to work with the scripts color correction, not collaborating with the creative stuff, like boost in some colors and create in some different contrasts and stuff the creative part. You need to look at your footage, but when it comes to the color correction, you can ignore the footage completely. It's a mathematical operation. I know you don't like that, but it's it gives you confidence that actually could work with scopes. And you get a color. Correct, Just mathematically. Who? All right. So this is about the splitter. Wonderful tool. Fantastic. One powerful one. You can work on separate channels separately. Now you may be thinking, Hold on a moment. I have a channels here. I'm talking now about ability to work directly in scopes and see what you're doing. Right? So this is about the notes 6. Grouping: grouping grouping grouping very, very important. Before you move any further before you start anything before you start touching your perimeters or tweaking or adding knows or anything you need to group your shots, Why and how and based on what? Okay, when you have a film that's especially important for films and documentaries. Also, if you are, it's a music clip or when you have the same shots that come back again and again, you don't want to be working on each one of them separately, under the work again and again and again on waste time. Not only waste time risk having different grades and feel the need to match degrade between shots that should have bean color corrected on the same time. So get into the habit on the discipline off group in your shots before starting Anything whatsoever in the Venturi's off. This is one of the professional steps that you need to have. Okay, what to start mean group in. Okay. Based on what? Let me see. This is a film, right? And we have here a scene that we are just getting close. Okay, this is this is a scene what we have here is This is a scene in the restaurant with two shots Rights. We cut in. Um, this is wide the store wide and this is a medium on the kid on this is I close the close up like us a medium close up on the woman, right? What should we group do? We group the scene because it's the same scene and they were in the same things and it's in the same place and the light is the same. And no, we should not do that. We do not group by scene. We do not group boy camera set up. We grouped by light set up. You may be thinking Hold on a moment. That's a big complicated. How do I know? Okay, 95% of off the cases camera set up equals light set off. Okay, some instances it's not the case, because if you shoot a different time of the day, the set up is mid day and after three hours, it's the same set up. And then delighted has changed the light and has changed. So same lights it up. That's what your group? What does that mean for us? It means that well, we've shot this wide. I'm going to select it now. This one here, we have shot it at the same times like it's it's the same clip. Actually, probably. These are two takes Two different takes, but it's the same light Settle. What we have is two clips that were going to great at the same time as a group. So we need to group them. And these are already grouped on color graded. And why am I showing Do this, which is already gripped and color graded for two reasons because number one to show you that this is how you do it in terms off, um, group in You see here that they're grouped. So number one to show you that they are grouped. This how you find out that when you when you highlight when you click on a clip, you find that it's grouped. This is the sign for grouping. Okay, this change thing here number two, why am I showing to use something I could have actually started with stuff that is complete all of its completely in graded. Why did I give you where did I show you? These two graded and the others not. What can you notice? Actually, when you look at the screen, what do you see? Where is the color correction? I can't see it. Can you see it? I can't see it. What? I can see the until the difference. Actually, between this flat here on this one, this is core color corrected. And this is not. But where is it? Because we working all at the group level, you won't be able to see it here because this is clip off a hair on the top. It's his clip. I have not Bean having works on the clip. I've worked in the group, so you need to go to group post. Clip combat is where you find the beauty, right? Let's go back live. Okay, so this is the reason why I have shown you two of them Color graded to tell you that. Number one, This is how you see that it's grouped on the brew too. That the group that the color grading should not happen in the clip is gonna happen to you . Gonna forget it done, then starts color grating in the clip and then later on find Oops. I didn't change. There are should have been working on the cliffside. You're thanks. Not on the group side of things. Okay, let's now work on this. How do we do that? This woman? Sorry. Yeah. This woman's short is different than this. In terms of flight settle. It is the same light, and I know it's the same place. It's would just move the camera a bit, but the lights it up is different in terms off. What? How it reacts, how the light comes to the camera. That's what we're what matters after it interacts with your characters on objects. How does it come to the camera? This one is different at this one. Okay, so we're going to group this kid's I am pressing control and selection. This kid's, um, shots in one. So just right. Click on go to group. Sorry. Ad into a new group. You can already see here in my groups, um, you can find them again. And if you want to add to existing group to current group but at into a new group, that's what you tend to do when you begin. So adding to your group is gonna be arrest around before armed child. Okay, Okay, so here we get our sign here and just chain. It means that it is. They're fine. What do we need to do now? We need to go on and select these these other ones on. Done. Is this all we have Yet? This is what we have and at into a new group on This is risk. Thor owns five women. Okay. Generally tend to Dubai. Character name. Yeah, I'm just not putting the character names. So you say restaurant number under character, name or whatever? Just something that works for you. Naming convention that works for you. And it makes sense for your colleagues as well. Nice. Okay, good. Now we have this One is a group. The chain only appears once you, um, select one of the members of the group. Yeah. Otherwise you would be too crowded and you see just groups and stuff. It's it's much better like this. Nice. So now we have done the homework off. The most important part, actually, in terms off, making sure that you don't miss up, it's it's already the most important part. But this is active discipline off getting into the habit off doing things a professional way instead off spending a lot of time grading one clip and then whoops. Yeah, I've got six others like this one. What should I do? Copy paste. It's not the way forwards. That's not the way to work. Okay, so before you do anything, please group it, group it, group it. And based on what? Based on light set up, it's not the scene. It's not only the shot, it's not only the camera set up, it's the light settle. 7. Steps: right now, we're going to go into these steps off course correction. Four steps. Get into the habit off following these in sequence so that you can get a correct footage in terms of color. Okay. What's the first step? First step is I'm gonna do something here. Wrong exposure. And then the second step is we're holding them. It's what am I doing? I'm doing something wrong. What have we agreed? We have agreed that we go into color. Correct our footage in groups. So what am I doing now? I'm doing it in the clip. How do I know that? Say, if I want to de saturate this. What happened now? Where's the clip? The clip is here. Let me just scroll a little bits that we get Just are seen just our scene. This is the scene from here to here. This is our scene too. Wide shots and to shorts with the kids and a woman in the restaurant. Now this is now black and white. So it's decide aerated. But we have agreed that we're gonna work on the group. This one isn't saturated. This one is not so. We're working on the clip. How do I know? I'm working on the clear. I'm not gonna go because it's here. It says clip. I should go somewhere else to go to group post clip. So, reset node, it may happen to you. It is gonna happen. Most likely to forget, Serologist. If your mother ethically condos on the number, it disables that, um, but note. Right. Okay, so we have agreed we're going to go select anyone sex, any one of these, and then we're going to go to the group. Asked, How do you know your in group slipped? Because when you select one of these does this chain and this chain has this color and it's the same color the surrounding your your note. Right. So this is a node now that is affecting all the shots. This is how you should professionally do it and not great one by one, on start matching the colors and stuff. This waste of time on it doesn't work. It does not work. So I need to group them. That's number one on again. Grouping is by light set up. Okay, you're step number one is exposure. Step number two. I'm just creating now without s a new node. It's a normal load. Ordinary note. They call it several note, whatever the next one is. Contrast. 2nd 1 is going to be 3rd 1/3 1 is going to be color balance. I'm gonna change this note. It's not the right type, but I just have Am Ah, placeholder balance on the lost one is going to be your saturation saturation. Good. Now there is one step we have not included, which is step zero. Because we've agreed that having to resolve that we're going to be using the free version off the centuries old Andi. That step belongs in the commercial one. Now, do you need it? Do you really need it? You can avoid it. Fine. If you light your seen properly, you can avoid it. Okay? If you don't have noise, the step is the noise in the denies in this part of DaVinci resolve commercial right to the one that you need to buy. Not as expensive as Adobe premiere, but still I have agreed with you that we will promise actually that we will be working with the free version. So the noise in is not part of it. But if it. If you have it, it needs to be stepping up zero. So it happens here before exposure. Right? For now, we're assuming that you have clean footage without any noise, and we're going to go straight into car correction, correction or grade in what's the difference? Color correction is bringing your footage from whatever it wars as a flat image to a color correct AM, and it says it in English. It's to be correct, like the blacks are black and the white on white and and everything looks the way it's meant to look. Whereas Core Graydon is the wider concept in terms off creative choices and pushing some colors and highlight in some areas sexual, exaggerating, something saturating, something de saturating something you're playing now that's the color. Great involves where you are a bit more creative with you. Want to push something further? You want that, but you can only start being creative once your footage is color. Correct these steps. We'll give you a correct footage. Okay, exposure contrast corner balance on saturation. Now we have been talking about all sorts off node types. Parallel looks does the year. Does that look you got the pearl inner layer. Note Cyrano Because the outside now this bitter note. And now we're not using any of these were just using the normals. No, I'm just using placeholders. I'm gonna be using some of these. So some of the other ones as well it's on a need to use basis. Okay, so this is a placeholder. I'm gonna change. This one is gonna be different. One color violence. It starts with exposure. What does exposure mean? A word here about how we're going to proceed. I have two shots. OK, I've got the kid and I got the woman. Right. Clear. We're gonna do it for the kids. The first time I'm gonna do the same thing again for the woman start. We do it twice. You get used to it. But I'm gonna do it differently for the 2nd 1 because I'm gonna push you to a challenge on that spot off the explanation off. What exposure is on Fort Karbala? Color correction Is that actually everything that happens in the background when you're whatever you do, whatever you do, everything that happens in the barrel background for color correction is mathematical. And the how does how can you see it happening is with the scopes over here. You've got your a choice between way form. Um, vector scope on instagram. I tend to use the parrot, right? It's something. It's it's dependent. It depends on what you feel comfortable with. If you don't feel comfortable with anyone, you just started and think, OK? Probably you want followed parade, because that's what I'm gonna be using. Okay. But we do definitely use vector scope a lot for skin tone, because this line is the skin tone. MSC shows skin tone indicator. If you remove it gone. That's the line you need to use Victor scope. You working with skin does, right? I mean, just checking it, actually, that your skin tone is aligned with the line. All right, that is about discuss. So why did I talk about discuss? Because when I'm going to be working with color correction for all of them, I'm gonna be looking only at this cup. What? Yes, it is so mathematical that you are able, and actually, what's the messages? Messages that I want you to have these techniques to the point where you get so comfortable doing it without looking to the footage. You reach a level of expertise where you don't even look at the footage. You get it right because you know, in the background it's mathematical and you have the definition of each one of them. I'll tell you what exposure is of contrast is do what the core balances and frustration and everything is gonna happen in scopes. So what do we need to do? Foot to footage for exaggerated. I know. But this is the level of confidence I want you to have. Cause of providing with techniques that will work for you all the time. Shall we do it? Let's do so now. We are in the group First clip. Let's move straight to the exposure. What is exposure? Exposure is Whites are warrant black. So black. I'm giving you definitions that are not so scientific, giving you something in plain English that you can get it right. Blacks have black and white so white. Thank you. That's what I think of their war. Were there not? We're not. Now look at the scopes. What is black black zero. Can you find anything close to zero Now? There's a gap there. That means your Blackstone or Black if you go up here 1023 for whatever reasons. 1023. And I asked my wife, It's the top. That's the white Where How far is your white from that white? The highest one? There's a long way. So we need to fix that. That's the exposure. Exposure means number one. We're gonna bring the highest one to the to the to the max on the lowest. Want to the minimum? Simple. How do we do that? Well, lift gamma gain. Lift is shadows. Gamma is mid tones. Gain is highlights if you want. If you If you ever forget that you go to the log and you find them shadow. We don't highlight, but you need to work on the primary wheels. Okay, let's work on the primary wheels lift. We're gonna work with this stuff. It's not about correct color. Now it's about the year increasing the level of prison, the game for each one. So I'm gonna bring this one down for all of them, because now I'm talking about the whole clip. That sorry, the whole image and not different channels. Just all on bringing blues and greens and all of it. There's a big gap there, all of it. I'm bringing it down to the point where the get very close without really touching touching zero Don't clip. If you go anywhere lower than that, you start losing your blacks. You don't want to do that, right? So this is number one. Number two is we're gonna bring to gain, which basically means the highlights. But to this 1023 and what needs to go up, it's the highest one. It's the peak. What's the big pick? Is this one here in the blue? Let's go up. You know, you can do that without even caring about the footage. You don't look at it. Okay? Don't. Don't go beyond just a little bit. You could leave like one big soul difference if you want a necessity, but never clip. Never clipped the whites. Never clip the blacks. Right, Because if you clip the blacks, you're gonna have some blacks. And if you keep the white gonna have super whites, the sub blacks and super whites are not welcome. Okay. All right, so we've done it now. This is exposure. You can if you want to play with the midterms a little bit moving a little bit. That's hit back a little down here. No lowest one is it. Pay attention that the lowest one is the red. It's not the blue. If you keep pushing till the blue touches. Zero evolved to clip the red ones, so it's always the the lowest one. Bring it down to the minimum on the highest one. Bring it up to the maximum. We still have a lot of work to do, but this is the 1st 1 exposure. And why did I actually use four notes? Um, am I not able? Am I not able to use to do everything? I wanted the same note? Of course I can. I can do literally everything I want, like the whole grading everything in one note. But that's not what you should do. I mean, that's exactly what you should not do. How Maney thinks you do in one note is up to you, but I recommend one only one thing. One main concept. We're talking about the exposure. No wonder exposure in one note. When you talk about contrast, it's something else. Let's talk about contract summers because if we If you miss up something at some point in time, there's too much contrast. You can go back to the contrast note and take it back instead of thinking. Remember, we we put that It's not even if you remember that you don't remember how your then it cause contrast can be done different ways and you don't know which one you've tweaked. And you may even have for gotten and done the contrast twice because there are different ways of doing it. You do it. We number one and way number two if you've worked today and then tomorrow you some contrast , um, you voted on the day before it. You need to have separate notes. Okay. Now, about the contrast. Quite simple. There are different ways of achieving it. The simplest way is to come here down. Color wheels, primary wheels got contrast. You add something to it, right? It's much more. It brings the detail back. Okay, 1.2. This is one way of doing it another way. I'm bringing it back to Surrey, setting that to default. Um, well, this was sure we have to reset. Actually, if you want to convince, Have the note here. Reset. Not great. Whites clicking we said Not great. Another way of doing it is if you do it by cook, you come to the club here undone. What you do is you go for a slightly s curve. Slight scuffed. You click. You move it slightly when you click here and you move it slightly down on here. You got some Some contrast? Yep. So this is another way of doing it. Let me reset and go back to my very quick and dirty way of doing the contrast with just one point. That is one thing. The curve one was a bit more, please, in both anyway, right? That's contrast. Number three color balance. No, I don't think it's gonna another to do it with one node up with this normal serial load, you can. You can. I'm gonna show you different ways of doing it. What you could do is come over here. I'm sorry. Come over here and start playing with each one separately. Cooler balance, cooler balance. What violence? In what? What am I going to Bolan's? I'm going to buy those channels. The red green on the blue. That's what we need to balance balance means. Did we not talk about this? Stop here that this top part here when we said that you need to reach that, that the highest one reached them. 1023 in the highest is a blue. What is the highest? Blue shouldn't be diced one. They should be all equal. That's correct. So you need the highest off the red to be as high as the highest of the green as the highest of the blue. Now is the time to balance them with color balancing. But not with this note. I'm going to add a splitter. That's why we talked about split a note which spits channels. So click on that. It gives you a big mess here. But let me just remove this one. Instead, we get this fellow a noise split so it spits it on budget back and then moves on Red Green Do lovely. What do we do? Well, there's not much of a problem actually in this one, but let's say in the red may go back. I need to get up The highlights up just for the red. No clipping again. I think. Full the shadows. We courts. Okay. Is there yeah, quite a case there. Uhm, I'm going to actually Not even I don't care about the footage. I look at it, what you can do you can do. You can look at it on the first time. Second time, the 1st 10 times You can do that. But when it becomes more off a habit, you actually just look at the scopes and you realize Oh, yeah, actually looks good because it's all mathematical. Let me go back now to the green. The green is messed up because there's a big up here around. Um, why do we do these things in steps? Why did we end up with the gap? Have we not worked on that? And exposure face When we said we need to bring it down? No gaps. When we worked on the contrast, things have changed. So this is why, yes. Good exposure first, The second step is yes. You need to have contrast but contrast is gonna miss up the exposure. When you go back to the core balance you fix What the contrast. Very welcome, Guest. The contrast. We need it. But you need to fix what it has messed up. So now I'm going to go to the green on brink. It's a gain down, but just the green. Okay, A little know clip in. I'm gonna great brink the highlights just a little bit to make sure it goes up here. Yeah, so no. God. And then the blow. Yes. We need to bring the blue little down. I'm gonna will have a word. Would have a word about about something else. Here, The midterms you have noticed I'm a mostly working with lift and game. I actually don't even like using these words. Lift and gain, Donna. Why? It's called lifting gain. Under wanted to be lifting gated won't be something its shadow on highlights. But anyway, whatever if you if you don't doesn't said if you don't own remember, it's go to log, you're gonna find it there Don't work on the lock. Please work on the primary wells for this purpose. Now you have noticed there is quite a difference between let me just dizzy. But all of this I think you disable it, boy. Yeah. You disable all of this by out d all day and then you disable everything. So this is before this is after before is laughter. Let me just show you everything like this is before. This is after we have done mathematical operations in the background before and after. Let's go back. Okay, so what we have here is mostly shadows and highlights. We haven't tweaked a lot of the mid oats. You can. You may be tempted to say, Well, this form here that looks like a flag is high on the red on it's much lower under green and even lower on the blue. I need to get them all. That the same stuff. That's not true. That is not true. You don't need to have them all aligned. You need to have the highest aligned. You need to have the lowest aligned. What happens in the middle? That is what makes your picture because the chair has more red than the, um, the jacket. That's why you end up with differences, right? And you can have some differences in the midterms. Not too many. You can increase it just a little bit. Years increased again. A beautiful out. But that's it. Yeah, you don't each other. Good. Now you're saturation, not saturation. You can do with different ways. There's a quick way which has just come here, sat saturation and add a little bit like 52. That's it. Final Now you have reached a color. Correct, Because I've been there. I was there. I filmed this distinct. And I remember now. Yeah, this is how it looked like when you look at it with your eyes. This is what it looked like back then Onda. And this is called cracked. So this is how delight interacts with the objects on the camera and everything and give something district saturation. I need to show you Sorry. I need to show you how to do it differently. There's another way, which is Let me put it back to 50 here. Another way of doing that, which I see sometimes used that is coming here. I'm pushing the red to the maximum, pushing the green to the maximum, pushing the blue to the maximum with the output found. Yes, I know that's too much. Did that come in here to the key on? Go into the key output foundry use in it. Which basically means I'm taking now 100% of the node. What if I just take 3%. 30%. Then you are using 30% of that exaggeration. Then you get something more such right? Whatever. This is another way you can use it, You Congar straight to the quick and dirty one. Whatever works for you, I'm gonna reset this and go straight to the here on just add a little bit like a 52 from a bit more. 54? Yeah. Try 60. Yeah, whatever. 55 56 or 56 days it nice. Okay, so this is how you achieve correct color in the venture resolve with exposure, Contrast, crow balance and saturation. Now we're going to move to the next shot, which is for the lady. But before doing that, actually, let me show you the power of the group in. Let me now come here to this split scream Right on. We're going to click on back Click on split screen. OK, When you click on that, it gives you this thinking here surrounding your frame on you come. You don't go version, but you go to current group. When you click on current group, it gives you all the shots in the group. Now this is now. Now, if you click control F This is the beauty off color grading a lthough shots at once before After before, after this is all of it at once. If you go back now and look at clip level, there's nothing I could have ever. There's just one know that this it still reads from the source, which is not grated, but at group level Group post clip, You have your color correction. OK, let's do the same thing for this lady over here. Let me bring our lovely scene, cause in this one we see the whole scene. You see the wide and the dialogue. I have her five times here. Yes, five times. So now it can visualize all the shots that we need to call a great Let's look at that circuit. Fine. Fantastic. Let's do something weird. Let's go like this. I'm doing this deliberately to So I'm working at the group level. Yeah, group level. I'm deliberately trying to reduce it so that I can't see it to tell you to show you to prove to you that these techniques are going to provide you with enough confidence to work . I just okay just reducing him, OK, so that you're able actually to work with the scopes and get it right without looking at the footage. All right, Shall we do that? Let's now have a look at. All right. Let's thoughts grip exposure very quick. Let's go. Why? They got got got here. We need to bring because we're working on all levels and to bring just one down. No clipping, no clipping. And then bring the highlights up until they reached 1000. But the highest one is this the blue, the isis, the blue. That said Don't get too close. Don't clip it a little bit tired of it on the girl. No. Turn a bit. Nice. Okay, Next one is going to be the contra. Oh, sorry. Just office for next one. No label contrast. These steps are guaranteed to give you what you're looking for. Should we go with an s curve? Just slide this curve. Be careful with the fact that actually, if you push it too far, you gonna start clipping, right? So it's still a mathematical thing, is still are your eyes on the victory scopes on? I could just push this just to call that set easy that that one is almost clip and it should not be. You can bring this one down a little, but the Reds are in danger. So not too much. Okay, not too much. OK, this is my contrast we have. We've just done it differently, actually. For this one, you could accuse the 1.2 or something. It would be done for you. Nice. The next one is your color balance. But we remember the color balance wasn't done with simple one was done with a splitter. Let's go to the nodes onto the split up. Read green on blue. So what we need to do with the red Red, move it a little bit. So that means the highlights. Yep, I think for the for the shadows that warded down. Although, yeah, that should be at the Astra Baits should be just enough. Just enough. Okay, now we move to the green. Green is way too low. You need to bring it a bit. I that said, That's it. That's it. And then bring the shadows down. That's it. Enough. The blue is kind of OK ish because we can't push it any further. And high. I believe it's already. It's already where it should be in terms. Off shadows. I mean it. Almost You? Yeah. Masturbates. That should be It's OK. So this is our, um The next one is gonna be your saturation color balance. Just was called balance. Carbons and saturation. Um is there with simple way saturation regard something like 52? I mean, it doesn't always need to be. Plus, you could go for something less, because you may want to saturated basic 48 booked holding amendments. What are we doing now? We are working on a short as if it was a standalone thing, but the ladies took into a child that needs to march. Yes, it needs to match by doing this. Guaranteed you're 98% there. Guaranteed you are 98% there bought to work on the 2% cause we like to work on the 2%. Come here. Get any one of these and rightly could say grab, steal. Okay, we grab still on, then we increase is still, um okay, let's go back to our lady and this is our steel. So now we can do is after the saturation bit it's gonna be 52. Let me bring in, Max. Work supposed to be on. Here we go. You don't even need to look at the footage. Well, you can't see. You're gonna notice that this one has got more blue. Um, that the kids shot has got more blue because there are blue objects visible. There's the chair, and there's the sofa here in the background In this shot here, we don't have anything blue for because we are. The camera's looking down, up from down up to the woman We didn't come any shares. Eso It's less off a blue thing, But you still have the blues in the young And then the blue in de shadows, Right? Nice. Okay. I may just go back to the Bloomberg living down here cause I tones. Yeah, Good. Okay, This is correct in terms of Korean exposure. Contrast Coburn's situation. You can be sure that following these techniques will get you the correct color for your creative choices. Then 8. Copy Grade: How do you much the color grading off a short with another one? I really hope that you are not going to need today that because if you follow the disciplined professional way off group in your shots, you should not need to do so. But let's assume you need to do it. I'll show you how to do that. We have two shots that have absolutely nothing to do with each other. So let's say for this one, I'm going to bring the saturation down t zero. You know, the saturated Let's say I want this one to be de saturated. It's job to showing an example because I honestly don't believe you should be doing this because if you do it, if you grip your shots based on the lights set up, you should not need to copy the great. But the functionality is there. I need to show you it's there and how to do it. So how do we do that if I want this shot now, this clip to have the exact same cleaner, um, correction or whatever color changes I have made here. All I need to do is select the A target and then go on. Um, click with the right. Answer it with the middle with the middle mouse button on the source when you do. So you have, then that same great applied when this case is just basically de saturating it. But as I said that, I'm going to repeat that again. Please do not use this one, which is going to feel a little bit more like a lazy way of doing it. Ah, what you may think is okay. Let me just do it on one of them. And all I need to do is control. Um, sorry. Just a middle click with the mice button on the source on all the other ones and then known it will work. That's not the proper weather in it. You need to grow up your stuff. So this is why actually, when I wanted to show you and demonstrate this skill particle is the functionality. I couldn't even find footage to demonstrate that because everything has been gripped, right? So if you if you look over everything is grouped everything and that's how you should work , you should not need it. Sometimes Sometimes when? When the footage takes time to load. You get this green thing on the screen anyway? Yes. Oh, but I have to show you how to have to do that. Same applies here. If you want to make this one black and white, then you just couldn't condense. It overrides it. Just takes whatever has been told. I'm just and do all of this stuff. Okay, So this is how you could be the color correction from one clip to another one. 9. Orange and Teal look and protct Skin Tones: skin tones. How do we protect our skin turns when we are color grading, Especially when we move to the color grading creative side where, after applying these steps like here, um, I didn't need them. Sorry, That's exposure. And this is our contrast, not level. Contrast. This is our color balance. Okay, So cool. Obama exposure, contrast. Color balance and situations are the basic steps four color correction to get color. Correct image. Now, when you want to move into creative stuff, you're gonna start messing with colors, basically bringing in stuff, taking away some stuff, and this is going to look more creative in terms off your choice. You're gonna be able to achieve her choice. But one thing you should be careful about skin tone is skin tone. No matter how blue you want your background to be, or the shadows to be your skin tone. Easier skin tone. It doesn't change, doesn't become blue. So what do you need to do to make sure that whatever creative tools you have, you make your characters look like they are number work number one rial and that date are part of that environment, So the technique is simple number one. You start from a color. Correct footage. Basically exposure contrast called balance saturation. Do not start from a row. Foot summer footage, a chemistry from the camera. You could only do that after you correct you for your footage. So make sure you do it after the steps. So what do we do that? How do we do that? Um, let's say we want to have more blues to the, you know, the traditional Thielman, uh, till orange look or any other Look, we're going. I'm going to start messing with the look off the scene and I'll show you how you can protect your skin tones. How would you do that? You going to add a node? All right, let me just pushed these notes. Obits Artist, remove the country. Have a bit more space. Push this stuff away. B and B with me a second. Police. It's come in, right. I just need a bit bit off space here to work nice. What I need is I mean, could do a different ways, but I'm showing you the fastest way. The only two notes. But they can't be normal notes, so I need to move to a different one, which is add layer. Note. Okay, So one is to the your crazy stuff, and to it's a protect your skin. Right? So this is creative choice. Creative, great electrical Coca Cola on. And this is protect skin. Let's put it skin tone. Yes. Condone. Protect skin. Done. Good. So because they're reading both off them from a correct footage, I can start here with my, um, skin tone. I come to the qualifier, which basically is a color selector, and I select the skin down. I come to here or I think shift H shift eight year Gonna take me or you click on this. Want to see the selection you have made and you can tweak it. You can tweak it, use in a few things like this one, for example, to out a bit more off her hand. Here, feather. A bit more here. OK, But I also recommend that you start speaking with these parameters here, the hue and stuff. You can see what you're doing here. The idea is that we want to isolate skin and a note here. Please don't spend too much time, which basically means don't waste your time trying to isolate uniquely the skin because there are going to be some things in your seen that look similar to the skin. There's nothing wrong with that. So the shirt Oh, the stuff that she's wearing is very close is gonna be very difficult to get out. You can. You can if you want isolated, using a mosque and then track in the mosque, Um, track in the face. I think it's an overkill. Wholeness is an overkill. If something it's close to the skin, it's because she's gonna be treated equally. You know equally is going to get the benefits off ever you're doing. You're going to maintain the corner of nothing. We're maintaining the color of the skin. So whatever is in there is gonna get the same treatment. All right, So don't push it too far. Please, just make sure your skin is in there. And when you don't lose the skin, like up to the point where you start losing the skin and back off a bit and that's it. If something there something else is there. Fine. Now I've got here. I've got here a redhead. Black dress basically means that her hair is very close to her skin. So death makes it a bit difficult to in this old hair. And by the way, some of the hair is highlight. And when we start adding some other colors like green and the highlights gonna have green and in the hair be careful with that. Okay, that is ISS. And then tweak in just about enough so that you're able to isolates skin. And if there are any other elements noise so I can take off the thing. What? I'm losing the skin. But I don't want to do that. I don't want to do that. Okay, That should be enough. That should be enough. I have my skin. Just make this one a bit, okay? And done. This is fine. All right. I'm good to go now, OK? We have selected the skin. Then I think, Oh, there's too much stuff in the scene. Already selected because look similar to the skin. Fine. Um, what are we gonna do with this one for now? Let's spark it. Okay, let's market. Andi. Okay. You can already see on the right side of the screen down that there's scope. We're now working with something different we used to. We worked with the parade, and now it's a vector scope. Well, because when you work with skin tone, you need to have this one on. You need to make sure that whatever you are doing here is in line with the line, which is this line shows skin tone indicator. See this line overhead? That's what you need. So whatever I'm doing, if I'm going now to add some stuff to it, by the way, um, we haven't done anything yet. We have not done anything yet in this in this some in this note. And because this is a layer note it is going to override. This is the beauty. When we say protect, it basically is. It is going to override whatever changes Messan we will do with this one. So let's say this one. We're going to go crazy with it. They're going to say, Okay, we're gonna push the reds down in be Yeah, that Z do it a few ways. Here. Let's see. Look okay. Yeah, let's just come over here. We're going to bring the reds down and shadows a little bit, and we all go into increase the greens a little bit in the highlights. And what else? We're going to increase a little bit of the blues in the shadows just a little bit. Okay? We're going for the teal and orange. Look, OK, where am I working out? I'm working in the creative grave part. Why the creative grade? I'm not touching the skin bit. I may mess up with skin and I am actually messing up with the skin now because when I say adds more blue, let me just go back here. I have more blue to the Just leave it to the shadows. There are some such as I was in the skin so they didn t get as well, some blue. You get somebody in here as well, right? So we have added You know what I think I feel I feel messed up something here. Industry said this and do it again. Read down. And the shadows blew up in the shadows on green, slightly up in the highlights. Just a little bit with on a miss upward the daylight here What? Just a little bit Okay. And then read further down and blue a little bit up. See what happens to her lips. That is nasty. That's not good. But let's say we want to go for this edgy look for the scene. Not for them, not for the for the skin. Done. Okay, so we're going to do it this way and then come over here and let me just make sure the lips are all so beautifully included. Nice. Okay. Yeah. Okay. So what happens now is that let me turn off this one, okay? If you turn it off, you turn off. Everything actually turned off the whole layer. What I'm going to do now is yeah, we have our look. So now I'm going. What I'm going to do is make sure that the okay how it works in skin, the shadows are reddish, the midterms are a bit more orange, and the highlights off the off the skin tone are not part of the skin. Actually, the highlights off the skin I'm not saying not really part of it, but they are more environment light than anything else. So as long as you're shadows are a bit red on your midterms are the orange and your highlights can go green, can go blue, can go with him. Let's do it up. Let's go to the log and we're going to put just a little bit off red. Okay? Keep your eye on the scope here, See? So let me just exaggerate this a little bit. You can push it, but I'm just telling you the vector bit here. Right? So it's just this This is what you need to do is like when you are add in a little bit of Fred. Just very tiny, tiny, tiny bit of red to the shadows to bring some life beneath the skin. And you make sure that this is in line. Okay, Just a tiny bit red. Now we're going to move this one, okay? Mittal's a bit orangish under the highlights. Our parts off the environment. How's the environments? Bluish, actually, big. We have added some green to the to the, uh, to the highlights off the scene. So we could either go with green or with blue because I'm going forward Blue from teal and orange. I'm gonna go with this. It's a little bit too much, actually, when it comes to the blue stuff. So what I can do? Come to the key here and reduce it a little bit. Serial point seven. And for this one, gonna keep it as is probably 0.8. All right, on this is how we protect our skin tone. This one, no matter what you doing here in creative grade is going to stay the same because it's all over rights. Whatever comes in the creative because it's this layer is on top. 10. Protect blacks: we have worked on the creative grade in terms off. This is what you can do and then protecting the skin tone. We said that the most important part is protected skin tone. But there's something else I need to protect. You need to protect your blacks because the black is always black no matter what. Um, craziness. You want to add to your, um, color great to your footage It the black is always black, and people are gonna tell if the black is not black because there's no black of the scene. When something is meant to be black on, they see it as dark blue, and everything is dark blue When shadows when you go for the teal and orange. Look, be careful because when you add blue to the shadows, chances are you are changing your blacks into blues, and that shows no matter color grading. Okay, so make sure your skin tone is protected. I've shown you how to do it. Now make sure how your blacks the blacks are protected. What have you have to do it? We're going to. I had a serial note and because we want to have everything separate in a separate note and we just call it protect blacks. It's something quite simple, Not overly complicated. We just come here to the curves. Go to the last one to the lost Don't here and you find the cuff. Now, this one, you bring it down. What just happened? Everything has turned into a black Where that was not the intention. No. Could it kind of the point and bring it up. Now, what you have just done is if you keep moving, more and more is becoming black. But if you leave it like this, your blacks turn into blue. So because that's the that's the grade you have, you have that. That's the grating you have. So what you're asking now is that can you please, for the values that are still here, Keep them. Yeah. It depends on your foot, Detective. Sometimes it's in here, dependent on footage. Sometimes uptil here. But just make sure that you have a look at your religion and make sure that your the state blacks, because I'm looking at her trousers, remember, these were black, right? This is definitely needs to beat and stay blue. All right, so this is this isn't n g color correction in terms of Taylan orange bought the black needs to be like, OK, 11. Reuse grading in other projects: or what you have done your call correction. And you may want to we use it for other projects. And then you think, Well, I wouldn't recommend that because I really would love to have different Each artistic work is a unique think if you have. If you want to, like if you want to reuse it I want to show you the functionality to do that. Let's say you like this look right on you would like to re use it as a color grader a lot. Okay, so what you do is you right? Click on grab still. Now this still is not enough. What you need to do is go it and export it. So you click export on export, as did the X file. Okay. And then what you couldn't do later is come back or go to whether which have a project. You're working on new projects. You go import and then you go import the dp X for that you have exported. Okay?