Cinematic Color Grading with Rosco Looks in DaVinci Resolve

1. Introduction: So, have you ever watched a movie and thought, Why does this shot feel so cinematic? Why is it so emotionally dialed in? A big part of that magic comes from something very, very simple, and that is colors. Hey, guys, my name is Jijo Sengupta, and I am your teacher here at Skillshare. I am a huge movie fanatic, anime fanatic, storytelling fanatic. I have my bachelor's and my master's in films and animations from Rochester Instiuor of Technology in Upstate New York, and I've done crazy amount of films, short films, series, music videos, and all of them have won a bunch of awards across the world, including Akan's nomination last year in 2024. So I'm humbled, but also, I want to give all of this knowledge that I have and just pour it out into the world. So today's class is going to be all about Rosco. So Rosco is basically gel and is used kind of, like, in front of the lights on professional film sets, okay? So basically, they shape the emotional tone of a scene. So warming up her face or, like, you know, cooling down the shadows at night. Um, or maybe even adding a surreal mood. So they're using everything from Indie films to Oscar winning blockbusters. Basically what they do is they help the director of photography paint with the light. What if you didn't have the lights of the crew or those special Rosco gels cause they're highly expensive. So in this class, we're going to learn how to recreate those typical Hollywood style looks. Uh, to simulate the same Rosco gels advanced node structures. We're going to be using the hue curves, the color warpers and also a couple of look development tools. But again, no lighting setup needed. You can work with any footage. I will be providing practice footage for you as well, which is from a good red camera. So these are the looks that we are going to be recreating. R02. So this is called the Bastard Amber. So the Bastard Amber, basically for warm theatrical skin tones, then we will be creating the echo 003. This is called the Lavender Tint, the Lavender Tint. This will be usually used for Sci fi or maybe dramatic coolness. Then we will be learning echo 002. This is the rose pink, basically for playful, cheerful, sometimes, like a whimsical tones that you want to create. That's what we will do. And then last but not least, we will be creating rr07 look, which is basically the Straw Gold nostalgic golden hour glow, something like that. So it's r07 and 08. We'll be learning basically kind of like a mix of them because they kind of go together, and we'll be learning that learning how to break down a couple of reference shots. So from popular films, I've taken some reference shots, which I will also provide into your project resources. So we will understand those references shots. We'll take our own footage, then we will match the shot according. What we will do at the end is we will try to create reusable lots and power grades, if not lots, at least power grades, so we can work on any project regardless. So we can carry it across our own films and also, you know, our music videos or some of your commercial work. That's super helpful, right? Because cinematic color isn't about just pretty visuals. It is about it's you got to understand the mood, you got to understand what the directors thought for the film, the genre, all of that. And when you know how to control the emotional temperature of your film, I promise you you unlock the power to direct how your audience is going to feel. Alright? Literally shot by shot, depending on the mood, the genre, the subtext of the character, the arc of where the character is going, everything. So if you're ready to add Rosco style storytelling to your Color Grading toolkit, let's dive into the next lesson. Let's look at some reference charts first, understand what's going on, and then dive into the software. 2. Setting the Project: All right, guys, welcome to the first lesson. So in this, the first thing that we're going to do is I'm going to take you across my DaVinci Resolve project file, and I'm going to just show you what we're working with, and I'm going to show you a couple of references as to how we're going to be tackling and what are some things that we are going to be covering. So before I begin, I want you guys to go through the project files, and I want you guys to see that these are a couple of things that I provided. So, for example, you see here, we have references here. So we have references here. And these are all the red raw files. Again, we might not be using every single one of them, but we're going to be using a couple of them. And we have references from different movies. So I want you guys to take these and start importing them into the timeline. And the footages that I'm going to be working with are not necessarily the footages that you have to work with. You can work with other footages as L. I did provide the proxy files so that it is easier for you guys. In case you don't have a powerful machine. You guys can still scrub through the timeline. Again, make sure you turn off proxies during the color grading because then the proxies aren't the original file and the original color data in it. So let's now dive in. These are the footages that I'm working with. So, for example, you have 12, three, and four. Now, I've color coded these clips individually to kind of match with the Rosco colors. So this one is our two, which is the Bastard Amber. I've kind of clipped this one, which is clipped it orange, the color. This one is the Lavender Tint, which is echo 003. This one would be the Rose Pink. Which is E Echo 002, and this one is the straw hat. Sorry, not straw hat. That's one piece, the straw and pale gold. Alright? These are the four footage that I'm gonna be working with. We're gonna be converting them. And this is our references. So let's take a look at these references. So I turn out these clips. So this one is Bastard Amber, so you can see over here the color of the clip. So this is Bastard Amber. Let's open up these waveforms, and let's take a look. So you can see the overall image is very, very orangish, very, very warm tones. So I'm going to just increase it put this into on aller. So you can see the second tone is pretty proper. It's mostly residing on the warm tones. So if you look at it, I'm going to zoom in here, zoom into a couple of the shadows, and we can see over here that even in the shadows, the warmth is a little bit lifted, and there's overall saturation bumps, as you can see in the vectorscope, that it's more like stretched out towards it. Like right here, you can see in the vectorscope over here as well. And then also, if you look at, let's say, these curtains, these are supposed to be white, obviously, metallic. But then again, you can see the you can see the parades, how the red is more higher. The green is made in the blue is like, very, very low. So that is the look that we're aiming for and same thing with the shadows here as well. The shadows are pretty nicely balanced, so it's important that we balance our blacks, and we balance our whites properly, right? E Even though the look is very warm tone, we can see the dark sides are meant to be dark, which is how we want it. We don't want none of that muggy warm stuff, right? So that's that is what is it. That is what is there. Then we see the difference between this one and this one, basically the subjects and the background. So they're maintaining their natural colors, which was shot in the actual set, but also the background is a little bit more warmer, warmer tones. But we're doing justice to the skin, as well. It's not too warm. And this is a golden hour scene, so we are pretty good. Now let's move on to the next one. We will go to this one, which is one of my favorite scenes from this movie. This is Lavender Tint. So you can see over here, the reds, the greens and the blues are just like freaking all the way up there, right? You can see the highlights over here. E Everything is very, very, very purple. Take a look at the shadows over here near Tanos' neck. You can see a little bit of, you know, purple and gunk, which is in there, but I think that is on purpose because it is how it's meant to be. But it's, like, beautiful art, just amazing art. You can see, same thing over here, we have a lot of basically the lower and the Gamma is more pushed towards purple. So even though they are purple in actual color, but these some people are not, so we're trying to push them towards the purple. The gama at least. So overall, gamma is pretty magenta, pretty lavender. So you can see, like, the skin over here. Beautiful. The blues are high, the reds are high, and the greens are the lowest. That's where we're gonna be doing creating this simple look, the sci fi look that we're going for. Then we have the next one, which is Rose Pink. Take a look at that. So you can see, like the skin overall is very, very, extremely, extremely pinkish. So over here, what we're going to be doing is we're going to be creating an overall pink wash in the entire image. You can see, like, everywhere, the reds and the blues are high, the greens are the lowest. There's magenta, there's blues in the shadows, which is really, really nice. And we're going to try to create that, but they've also maintained the blacks properly, which is cool. The hair is also over here, it's more bluish. The blues are high, over here, the blacks are proper. If you look at the parade, the red, the green, and the blue are pretty good. But over here, the blue gets more higher. And then here, it's more magenta because the reds are coming back up again. So you can see that. Okay. So that is the look that we're going to be creating and overall pink wash. So basically what this does is, I think the Gamma and the gain like over here in the waveform, the gamma and the gain a lot is there in the pink a lot. However, in this one, mostly the gamma is in the lavender magenticide. In this one, the gamma and the gain is also, again, in the warm side. So that is that. Then we look at the straw, gold, pale yellow. Take a look at that. Ooh, so much yellow, so much yellow. So a lot of yellow there is pushed into the gamma, like, almost, to be honest, almost, like, if you look at it, the green is also high. So it's like yellow green, like hue around like 60 degrees, I would say. Like, it's almost yellow, but with, like, a little bit greenish tinge, as well that I'm able to see. You can see how the skin is still having its innate warmth, which is also what we're going to be trying to do with our subject is basically in this one. Like we see like we have to maintain the skin as well. So you got to do justice to that. And over here, maintain it is yellowish, but they've done justice to it. Let's take a look at the shadows real quick. Shadows are also a little bit more amber, yellow gold over here, the dark sides. See, you can see, if you look at the parades, you can see the green is actually higher. So there are moments where the green is a little bit more push is a little bit more stylistic, which is not bad at all. So yeah, that's pretty much. There's also green stuff around, so I guess it does justice to the art over there. So that is what we're going to be creating. These are three references. So we're going to do Bastard Amber for this one, which is like a perfect scenery, a perfect town, perfect. We have a overcast light what's coming from the daylight. Then in this one, we're going to do, like, a Lavender Tint. So we have a lot of yellow light to deal with in the background. So that's going to be super fun to do. Then we have the Rose Pink, which is gonna have a nice car scene. Oh, the lights also turn on. So it'll be fun to do. So we're going to do justice to the Lamborghini, the yellow, but also, you know, have that sense of pink wash, as well. And then the last one, but not the least we'll do the gold. Which gonna be super fun because the sky is blue, the water is steel. So we're gonna be creating that gold effect, but also make sure we don't over gold this guy over here. So go to do justice to his skin. So, right, so in the next lesson, we will be diving deep into creating the Bastard Amber look, which is going to be this look. So again, get your pens ready, get your software ready. We're gonna be diving right in and starting the node. Oh, last but not the least, what I have done is this. Again, this is an intermediate level class, so I hope you understand what's going on. Is I have clipped, I've grouped kind of one, two, three, four clips. And what I've done is in the pre clip, I have added an IDT, which is not the light box, but the ex. I've added a color space transform, where I have done red white Game RGB and Gamma Log three G ten, and output color space, and the working color space is DaVinci white gamet with Gamma DaVinci intermediate. And in the group post Clip, I have done DaVinci, to use timeline which is R07 09. So this is a proper conversion as well. All right. And I've also made it as a shared node between, like, these four of them. So I don't know why I did that, but I did that anyway. I think the groups were not there. That's why I created a shared node. But anyway, that is the starting point. My color space overall, color management is pretty simple. DaVinci RGB R07 09 R07 09, and that is my working color space. And then in the clip is where we will start doing our grunt work. All right, so Bastard Amber. Here we go. 3. Bastard Amber: Alright, so welcome to the Bastard Amber, which is rr02l. So this is the footage that we're going to be working with right here. This is the footage of the dancer doing some ballet, right here in slow motion. So we're going to focus on this one. And our reference is this as we discussed in the last lesson. So let's get on with it, and let's go step by step, and let's see how we can achieve this look through the beautiful nodes of DaVinci Resolve. Get your coffee, get your drink, whatever you want to do. Alright, so node number one, what we're going to be doing is we're going to be doing primary correction, right? So do a simple balance to make sure everything is even. So you see over here in the waveform around here, we see that over here, we have a lot of whites in the in the highs and also oranges in the mids. So we're going to try and balance it out by making everything white, right? Basically, look at this curtain. If I take a look at the R RGB value, we see the R RGB is a little bit more the R is a little bit more high, right? So what we're going to be doing is we will first rename this node to balance. So overall exposure and also primary adjustments, right? So I'm going to take the lift, bring it down a little bit, increase the gamma, maybe decrease the gain a little bit. Lift up the skin tone and also stretch out the lifts a little bit. Cruse gamma again. Perfect. See before after before after, right? Not that bad. There you go. My lift up lift a little bit more, increase the gamma. All right, so exposure is done. Now let's do a little bit white balancing. Now, what I'll do is take the gamma. I'll make this linear. Oh, sorry. Don't do this. So we will go here. And instead this, we'll just call it exposure. And we'll make another node, and we will call this. We'll call this balance. All right? So BL is for balance, basically. So now in this one, we will make this node as a linear. So basically the reason why I do linear is because it balances it out based on exactly how the camera was used on set. So you're working with linear color space, which most VFX artists use. So it's just like easier and much more better to work and balance in this without destroying the actual colors on set, right? So what happens is your gain becomes your offset when you do your gamma as linear, your gain becomes your offset. So I'll take the Lumen mix. I'll put that to zero, take the gain, and then I'm just going to eyeball it a little bit. Since I know it's a little bit more warm, I am going to cool it off a little bit. Make the whites a little bit more white. Go extra. No, that's too cool. There you go. Perfect. So now my R RGB parades are also proper. I can see that on my scopes over here. Over here, the reds are a little bit firm, but the whites. If you see the white levels are overall easy and overall the same. Take a look over here, the whites. The R R, the G, and the B are on the same level. Here the R is a little bit more. The green is less, and the blue is even lesser that's skin, which is nice. Over here, the green should be a little bit more, which is natural. The whites over here are also more or less the same. The whites over here are okay, it's a little bit more red here on this side. There you go. Perfect. You see how that's good. Beautiful, beautiful, beautiful. What I'm going to be doing is I'm going to add a cereal and a parallel, right? So this one is going to basically be it is going to be skin. We use target the skin with this, and this one is going to be background hue shift. Alright. And actually, I will add another cereal note here. There you go. And this one I will call as the warm push, right? So basically, this was the overall fixing, and this is the warm. There's the skin, there's the background hue shift, parallels, right? So in the warm push, what I want to do is I'm going to take the gamma, and I'm going to push it more towards the warm side. Take a look at our references again, see how warm it is. Look at that. Look at the waveform. Look at the You see how the reds are much more higher. The vectroscopic look over here. Amazing. I look over here, so we're gonna push it over there. I take the warm push. What I'm going to do is I am going to take the gamma, get to my hero pose. There you go. There you go. Cool it down a little bit more. There you go. So we have the warm push disable Disable nib. All right. Again, it depends on how warm you want to go. So let's try to compare and see over here. So I will select selected clips and I'll do here. Actually, I'm going to just open up the clips and go there. So you can see this is a little bit more. We're moving more towards the red, so let's go back here and move it yellowish. So keep in mind, over there, the sun is the golden hour. So over here, we don't have golden hour, which we're just on an overcast shadow. So there's only so much you can do again. When it comes to shot matching, do not try to match it exactly. You have to do justice to the image to the own footage, as well. Now, let's go to the skin. Alright, so we see over here, the skin, again, is too orangish. So this is where we're going to fix the skin so that it doesn't affect it does make everything look too crazy. So what I'm going to do is I'm going to use, in this case, I'm going to use the AI magic mask, too. So this has been updated with DaVinci 20.1. It's become more powerful. So what I'm going to do is I'm going to take a point, and I'm going to grab her chest right here. Boom, and we will check. We'll just wait and we'll see what has been selected. Beautiful. Look at the precision as to how the mask is taking. So now maybe we'll add a little bit blur and the main sauce until the main sauce is going to be here in the denoise. That's gonna be the main sauce. All right? That's where everything is going to be like good selection, basically. So for this case I'm going to choose faster. And what I'm going to do is, I am going to track it. So I'll go to my tracker to my tracker. Actually go by. You can actually track it right from here and just go forwards and backwards. Let it track, let it do its job. Amazing. Do you see how beautiful? It's just amazing, super, super good. All right. Cool. So now I will take this out and go back here. So I'll go to the skin. What I'll do is I want to just cool off the skin just by a wee bit, right? So I'm going to take in this case, I want to take the offset. All right? I'll take the offset and I'll just cool it off just a bit. So I can preserve the skin tone. That's it. See that? This is how it was before. This is how it is now. So I preserve the skin tone. If you want, you can kind of check the vector scope, see how it's falling into the skin tone indicator, which is nice. All right. Hey. So you got to be extremely careful with artifacts. So it doesn't happen anywhere on her face, forehead. Alright, everything is good. Just do, like, a quick bypass and see everything is fine. We look at the waveforms. Everything is beautiful. Maybe what we can do is maybe we can go back to our exposure lift. Because this is warm. I want it to be, like, nice and bright, right? So we have the skin. Now you want to do the background hue shift, right? Mm. So, again, this is still warm. Again, it's not. We're not keeping it warm, it is still warm. The only thing we have to keep in mind is that it maintains a neutral skin tone, right? So this was before. I don't want that much warmth than me, cause if you take a look at our clip over here, like, everything is warm, but it's maintaining the overall aesthetic of the skin, at least, okay? Let's go back here. Now, what I'm going to do a fun thing is I am going to make and put a depth map because I love depth maps, and I think it's usually it's just like an amazing thing, an amazing tool. So what I'm going to do is I'm just going to take this, drag it over here, connect it over here and take this and connect it to the outside node for now. And what I'll do is I'll finish the mat first. So take the depth map. I will adjust my levels FX and take the far limit. Near limit. And then the Gamma will increase a little bit. Then I will take this isolation isolation. Then I'll take the target depth. Increase the tolerance a bit. There you go. And the main point is to have the softness in it because we don't want things to again, we're not doing this for green screen, so it doesn't have to be exact. As long as the focal length is being captured, that's the most important. Just decrease that. Blur it out. Perfect. Then if we see the overall. Alright. Not bad. All right, not bad. We can work with this. So I connect this back. What I'll do for the background here shift, I'm going to take this deep map. I'm going to connect it to the Alpha. So it will read the Alpha. So now, if I look at the Gamma, for example, if I make it blue, Look, so it selected the mat as her, right? So obviously that is not what we want to do. So I will reset this. What I will do is I will take this. I will invert it. So now the mat is inverted. So if you want to check it, I will show you right here. Look at that. There's just inverting that. Alpha, take it out. Now, this one, what we will do is I will make this even more a warmer amber sort of a feeling. Okay? So let's take this and we will in this time, we use the log wheel a little bit. I'll use the midtones and the shadows. Maybe a little bit of the highlights as well. Get the highlights a little bit more red. Look at that. Mm hm. So now I'm taking this and this. If I'm taking these two together, disable it. Disable it. Look at that. Beautiful. So look at how far we have come. I'm gonna take this one off, take this one off, this one off. So we have come here, did a warm push, fix the skin, background with a depth map. Amazing. So now we have the exposure, we have the balance, we have the warm push. We have the skin, we have the background hue shift, and we have it fed via the depth map, right? Now. Alright, so now we're going to be adding glow. I'm gonna take this glow, put it here. Now, what I want to do is I want to mainly adjust the highlighted areas, right? So take the spread, maybe. Let's see what I'll do is I am going to firstly Do the spread a little bit. You see the hands over here, like right here. See that? That's where the main, like, the fun part is happening, right? So if I turn this off, that's what's happening. So I want the spread to be not too jarring to the eye, but also in a way that it's nice and gloomy because that's the whole point of the Bastard Amber. It needs to be nice, dreamy look, right? So I'm doing that, maybe a little bit change over here. I really like the hairline that's giving her. It's really nice. Decrease that a little bit over here. Decrease it. Decrease the reds, as well. Decrease Actually, no, let me not adjust them overall. Let me just work on the spread, keep it simple. Yeah, I think that's pretty much it. Let me just see the gluon. Yeah, that side is crazy because we have so it's just So just like that should be fun. This is the arm right here. Yeah, okay. But I really don't like the thing over here on her head that's happening, which is making it look like she has red hair, which is not also the truth. So what I'll do is I will decrease the spread a little bit over here. And maybe the global blend, what I'll do is go like that, and then take the blend to, like, 0.3. Yeah, that's good. So let's stick here. Let's label this as glow. Gives an overall nice feeling, though, a theory of feeling. Okay, perfect. And last but not the least, we will add a wee bit of a contrast. So we'll take the curves over here. I'm just gonna add just a small little curve. There you go. Disable it. Unable to disable it. E Unable it. Perfect. Just very little. Alright, now what I'll do is I'm going to go to my exposure back, go to my primaries, and I will just take up the shadows just a little bit. Again, we want our blacks to be looking like Blacks, which is exactly what we're doing. If you look at the parades, open it up. If you look at the parades. The blacks are proper. There's no extra red. There's no extra green. There is no extra blue. We're maintaining justice to the blacks, not getting any of that gunkiness. Now, this one is a little bit more reddish, but that's not black completely. E Even the shadows, let me see the shadows right here. Okay, this is good. The shadows here is also pretty good. Alright, amazing. So I think we are all set. So that is basically this is the note tree that we are going to be following for most of our work. And yeah, so just to summarize, we did the exposure first. All right. Let's go one by one. Let's go one by one here. All right, so we were here. All right. So we have this is completely red log video, right? So now CST, R07 09, right? Now we go E exposure is number one, we balance the exposure. So you can see the waveforms over here. We lifted up the shadows a little bit, got the gamma up overall. So I'm going to keep the waveforms open for you guys here. All right. Take this, make it into a waveform. Alright. Perfect. All right. Next we did is the balance overall. You just look at the vectroscope. We moved it towards the center, balance it out. If you see the waveform, everything was more warm amberish. We made it more white, balancing it out. Then we did a warm push to the overall image. Look at that, saturated it without using the typical saturation, simple gain. Again, guys, in color grading, the whole concept is not to overdo all the tools that you know, but doing simple tricks to make the image look good. Main that's the name of the game, right? Simple things, but do it in a way that creates amazing looks. That's what people do. And we have the next note is we fix the skin, look at how orange the skin is. We fix that. You can take a look here. Let me zoom in again. Look, this is how orange was, we fix that. All right. Then we took the depth map, and we had we created a whole mat for the background, inverted it. Then we went to the background hue shift, and we just changed the background to a little bit more warmish tonality with the log wheels. Now I can still adjust it a little bit if I want to. Make it a little bit more, you know, ethereal, if you will, something like that. All right. And the next node we added was a little bit of a glow and last but not least, a little bit of contrast for film. Now, in this contrast, maybe I did it a little bit too much. Maybe I could just, you know, take it a little bit more like that. Lift up the highs a little bit more. Perfect. So that's not lost, and after doing that, I want to go back to the first node, and I'm going to lift up the gamma a little bit, cause I want to see her skin properly. Alright, beautiful. Now let's do a play. Amazing. Amazing. Well, I'll do a playback. I'll do Smart R render cache. So you can see all the red ones are going to be like, you know, gonna turn blue so that they work properly. So you can play. E Even with a powerful computer such as mine, you still need to cache because these are eight K footages that need to be um cached so that the tools such as depth Map, the glow, the magic mask, they work properly, right? Amazing. Amazing. Look at that. Beautiful. Smooth as butter. So that ends bastard Amber. In the next one, we will be going to the echo 003. Alright? We're gonna be doing echo 003, and we will be, uh looking at the Lavender Tint look, which is going to be this footage. Gonna be focusing on this one. And again, this is completely as in a yellow lights, we'll be converting that into something like this. I'm excited. Let's go to Lesson number two. 4. Lavender Tint: Amazing. So now in this lesson, we are going to echo 003, which is Lavender Tint. So on this one, we're going to be focusing on Lavender Tint, and we're going to be focusing on this clip. So you can take a look at the waveforms. It is pretty yellowish, warm, right? So again, CST has been done, and our goal is to kind of replicate this scene, right? What I'm going to do is I'm going to take I'm going to use a similar structure, right? So exposure, balance, a push, skin, hue shift, a glow, depth map. Alright? So let me just clean this up. Take this over here. Take this around here. Amazing. Put this here, put this here, put this warm push. Alright. Okay, so exposure and balance always come first. Alright, so I'm going to label so I'm going to label this as exposure. And what I'm going to do is I'm going to take the lift gamma gain over here and I'm going to lift it up. So I can see stuff. So if you take a look, I'm looking at the waveforms over here trying to mess with the gamma, LGG, and the gain, maybe not that much, maybe a little bit here. Move it down a little bit. All right. Exposure again. Lift it up. Yeah, like that. So this is where we were before, after before, after. So I got in the skin and everything. Alright. Amazing. Cool. So that is done. Now we're done with exposure. Now we're going to go into balance. So add one more node. I'm going to call it balance. And what we're going to do is we're going to again, do a similar way. We're going to make this node as take the gamma, make it linear, make a linear. And then what we're going to do is the gain becomes the offset. So take the gain, and we see it's a bit yellowish. So we'll add maybe a little bit. Blue. Just like that. So you see how the waveform is turning white? That means we're doing a proper white balance. Basically, the goal is to kind of have this part white and see if you look with it's very yellow. I want the whites to look like whites. All right. So let's again go back over there to the blue. That's a little bit too much. All right, perfect. Boom. Amazing. So now we're looking at a proper white, and we can kind of see it in our let's see look at parades. You can see the green is a little bit more, so let's push it to a little bit of a magenta. There you go. There you go. Amazing. So now the whites look like whites? Now, we're going to go with a similar, very, very similar approach. The next node, I'm going to call it a push. Basically, in the Bastard Amber we did a warm push. In this one, we're going to do a lavender push, right? The push. Let's call it the push, alright? So what I'm going to do is I'm going to take the gamma. So make sure that this is proper, right, cool. Because, again, the difference why this works is if you look over here, if I use timeline, it doesn't make sense, right? So it's important to do justice to the cinematographer and actually keep the elements, the yellows proper, the skins proper, but to keep the whites white. That's why I love this way of balancing footage. Anyway, so now the push, what I'm going to do is take the gamma. I am going to push it towards, let's say, magenta blue, kind of like lavender kind of mix of ps. So take the gamma and I'm going to push it. Like that. Maybe not that much. Bring it back a little bit more. Amazing. Let's look at my waveforms. Beautiful, love it. All right. What I want to do is I'm gonna go back to the exposure, bring the lift down just a little bit. Just a little bit. There you go. I'm gonna go back to the push. The reason why I want the blacks to look like blacks, you know? So Okay. So again, go a little bit more perfect. Now what I'm going to do is I'm going to add another node, and we're going to label this as skin, and I'm going to add a parallel node. I'm going to label this as the background. All right. So on the skin, what we're going to do is we're going to try to bring back the skin a little bit of the skin texture and see how it works. All right? Similar way of how we did with the Bastard Amber. So what I'm going to do is I'm kind of going to go over here, take the magic mask, make one point here. Let's see how AI does it. Not bad. Guy is not bad. I'm going to add the arm as well. Amazing. Wow. Blur the radius maybe a little bit. I want to take a the denoise. This is where the main sauces. Denise. And then, oh, sorry. I think I did a mistake. There you go. Did it on the wrong note, guys. Let's do one more time. Let's go there. And let's go here on the arm. Perfect. Now I'm going to blur the radius. Maybe like 30 should be fine. Let's turn this off. And then let's do the denise bit. 20 should be good. Alright. Now let's track it forwards and backwards. Hopefully it does a good job. Yeah. Amazing. Look at the precision. That's freaking cool. That's so cool. That's amazing. Anyway, so go on there. Now what I'm going to do is I'm going to take the skin. Again, the skin resides in the gamma, right? So what I want to do is I'm going to take the gamma and go the opposite of magenta in blue, which is over here towards teal and green. Alright. So I'm going to go there. Again, I don't want something like this. Again, the whole point is just because, let me open the ectroscope Um so the whole point is just because it is not on the skin line of the vectorscope, which is over here, it's okay because the look is lavender, so we don't need to bring it to this line. You know, it's not necessary to bring it to this line. We can push it a little. I'm just saying is to bring the sense of skin a little bit back so that it's separate from the background, right? You don't have to bring the skin. Oh, we need to make the skin proper skin color, again, the look is Lavender Tint, so there has to be lavender. You might not follow this instruction properly, so again, creative bias is very, very important to have. Don't just follow the rules blindly. Let's go back. Okay, don't just go here, like, Oh, now the skin looks proper. It represents her ethnicity. No. We just bring back the skin a little bit. Alright? So, look, before was like that. See how far we have come with such little adjustments. This is before, but we still have the sense of lavender over here. See, it's not on the line, if you look at the vectorscope, but it's still there, right? So that's the name of the game. Alright. Amazing. Cool. So now the background. So what I'm going to do is I'm going to again go to my eft. I'm gonna go depth map, drag it here. Just take this, drag it there, and I'm going to just put this in mean output. Take a look over there. So we have adjust mark levels, go my effXs. Then we see for limit. Let's increase that near limit.creseF limit. Let's kind of like that. Then we take the gamma, decrease a little bit. Then we go isolation and take the target depth and go here like that. Target depth, and then go back to the near limit for limment Like that. We got a map for ans post processing on, and we take the post filter and take the contract expand, maybe just a little bit like that, and we'll go back to our far limits again. Then go back to the target depth again. There you go. This should be fine. A little gray is actually good for blending. Again, we're not doing green screen removal. We're doing, uh, a blend. So take this, put this in the Alpha. Okay. Perfect. Bring this output again back here. And what I want to do is take this off. Not full screen. Let's go like that. Now, what I'll do is I'm going to take this one, and I'm going to affect the midtones and the highlights over here. So let's put it like a full screen here. Take the mid tones and the highlights. But this time, I'm going to do my log wheels. Do my log wheels midtones and highlights, I'm going to make it more lavender. So let's go here. And highlights this. Well, maybe we had a little bit of below here. Perfect. Amazing. Let's try and see how it looks over here. Let's compare it with this one. All right. If you see this is a little bit more softer because the cinema is different and their skin is actually purple because they're aliens. But we've done a pretty decent job. Maybe this is more purplish, this is more magenta. So what we're going to do is we are going to take the background and instead we'll make the mid tones a little bit more purple. And this one will go a bit more purple as well and go back to the push. Remember the game that we did? Take off the log wheels, and remove it. More lavenders. There you go. There you go. So again, always try and see the come. Now we're at a better. We're definitely better. Take the skin, actually, and go to the gamma and just maybe push it a little bit more like that. Just perfect. Beautiful. This is the background. Amazing. So we'll go to the log waves again. Take the mid tones. Not much. Take that like that. Perfect. Now, this is how far we've come. Look, guys. This is the log three G ten. How far we've come. Amazing. Now, what I want to do is I'm going to add a glow that's always one of my favorite notes is a glow. So I'm going to label this glow. And I'm going to go here effects. I'm going to choose glow. Apply the effect here. So you can immediately see these areas, turning it off now, turning it on, turning it off. You see how just by default, uh, it's created so much like Oop. So increase the spread, increase the spread a little bit. Look at the glow alone. Just like that. Final result. Take the gain, take the came a little bit more, a bit less perfect. Then what I'm going to do is I'm going to add another add another node. Another node, I'm going to call it just a regular contrast. What I'm going to do is take the custom curves here, and I'm just gonna like, you know, just minor. There you go. Just like a minor film contrast. And then last but not the least, what I want to do is This is it's up to you if you want. I like adding, like, a quick film grain, maybe doing like 35 millimeters cause the 35 millimeters is the best type of grain to exist, then that is my opinion, and I am right. Well, there you have it, guys. This is the live Enter tin echo 003. Uh beautiful look. So to summarize, we did exposure, though we balanced it out. So let's go node by node, and let's disable it. PAP. All right. Let's go to this area. All right. Let's take this. So, so this was rec 709. Then we did a quick exposure check. Then we balanced it out, white balance. Then we did a lavender push. Then we fixed the skin. Then we fix the background. Then we added a glow, added a little bit contrast, and some beautiful grain. And there you have it, guys. That is how you can do Lavender Tint. Moving on to the next one, have Ooh, we have roast ping, which is echo 003, and I can't wait because it's not a human being. This is going to be a car, and ooh I love cars. Let's go. 5. Rose Pink: Alright, so now we're moving on to the next one. Now you're getting the hang of it, right, so now we can move a little bit more faster. But again, there are minor minor differences based on the footage and how we're doing it. That's why I've selected the footages perfectly so you can understand the different scenarios, right? One was the Bastard Amber, which one was slow, romantic, nice and warm. Over here, we had a subject with low backgrounds. Over here, we have a car which is not in the foreground is in the midground, which is, like, there's roads in between. And if you take a look at the footage, there's a change. The car turns on its lights or it has, like, you know, the high beams. It's a traveling shot, right? So what I want to do is we're going to go to our hero image over here and we're going to begin, right, easy. First note, let's build out the tree here. So we have this one. So let's build out one by one. Let's go to label. We will do a primary, which is exposure. So let's take the lift Gamma gain a little bit. Let's look at our waveforms, and boom, right, perfect. So let's make the blacks look like blacks. Take up the gain a little bit. Gamma seems good, in my opinion. I'll dig the lift down just a wee bit. Amazing. Alright, beautiful. Now we balance it out. Mostly, I think it is balanced properly. We will still put this Gamma and we go linear. And when you go linear, make sure you turn off the luma mix. I had forgotten to do that in the previous one. So make sure when you go here, balance. Since this one is in linear, make sure you turn off this because the reason why is when you linear, we don't want our offset, which is the gain to affect the luma mix which this does, right? We want it to be completely our proper control. And also just one more thing since we're back here, if you take a look over here at the parades, like these areas. If you look at let's say the black parts, the black parts, look at the parades, and you can see the red and the blue are higher, which means there's a bluish gunk. So you might want to kind of make that make that into, let's say, proper black. So the way you can do that is let me just turn this off. So the way you can do that is go to the log wheels. And since you look at this, we have a little bit more higher blue. So what I want to do is I want to just take the shadow, make it the blue a little bit more show softer. Maybe just by 0.1. All right. So what that does is it creates the black as a black, right? That's the only difference, right? Alright, amazing. So now we're going to go back to our clip here. Go back to our clip here, turn this off, balance it out. So Gamma linear. Alright, perfect. Now what I'm going to do is go back to my gain and let's see, open the waveform real quick. Reset. Reset R node. Take the gamma, make it linear. And look at the waveforms. We can see it's a little bit yellow. So what I want to do is just add a pinch of blue, a pinch. Alright? Let's look at the waveforms real quick. I'm looking at other waveforms, as well. Just a pinch of blue. Pinch blue. Look at that. So what I was looking at was I was looking at these letters, and I was looking at the waveform. This is before. See how it has a warmer tinge. I just made the whites look white. That is what white balance is. Alright. Next we have is push. Push. Now in this one, again, Lavender Tint rose pink. They're very, very similar. If you take a look here, this is lavender, and this is rose pink. So you see this is more purplish, more lavender, this is more pinkish. So it is very close. It is very similar, but they are very, very different, alright? Look at the waveforms. Over here, we see more pink. And look at this. You see the difference? Like the colors, even look at the colors. Let me look at the ectroscope look at where this lies and look at where this is. Very, very different, right? Okay, now in the push. Okay, so now we're going to do in the push is in this case, we're going to take the gamma. Let's take a look over here. Alright, amazing. So a lot of it is being on the pink, not lavender. So what I'm going to do is I'm going to turn this off. Take the gamma and the gain in this case, because we want the lights as well. So I want them to also have that flare. So I take the gamma make it more pink, and take the gain. Make that also. Amazing. Alright. Push it. Push it, push it. Dig camera. Amazing. Alright. Now we add a cereal. Now, there's no skin here, but we're going to have a car. So label this car. And again, very simple. We're gonna go to the where's the thing. There you go. Magic mask. I keep forgetting where it is always. And what I want to do is I want to select this. Always amazing. Look how beautiful it's selected. Alright, I want to track it forwards and backwards. Beautiful. It's a little wonkier on this side. Do I is just going to add one more here. Add a little bit here. I tried these as well. Just making sure that area is actually covered. So this is where you see this is where each footage is even though we're going with the same note tree, it is still difficult. And it's not about, Oh, I'm using so many. I'm using the Hue versus Hue. I'm using Luma mix. I'm using, Magic Mass power windows. It's not about using so many tools. It's about using one tool but doing it properly, right? So I think everything is tracked overall. Yeah, okay, everything is tracked properly. Now what I want to do is since this was magenta, Okay, this is weird. Alright, there you go. Since this was magenta, what I want to do is I want to put this gamma, remove it, keep the yellow. I want to take the gama and make it. Remove the gamma by adding more green. But again, the whole point is to have this roast pink so don't completely remove it like this. Just go easy does it, minor minor touches. Look at that. We retain the yellow as well. And maybe with the gain, we can add some yellow. Perfect. So it maintains the overall aspect of it. So now what I'll do is I will add a parallel node, and this one will be the same. But this time, we will not do a depth map over here because the depth map means this has to be in one focal length, which this is not. Actually, it is. Okay, never mind. So we could use a depth map. So we'll call this as background. Alright, I'm going to go to the effects. Go to go to depth map. Take that. Drive it here. Check that. Adjust map levels for limit near limit. Go there. Isolation. Then we take the target depth. Okay, see, that's the issue that I see happening. I can't just select the car. It has to be in a proper focal lens. If I'm focusing here over here, everything's gonna be alright. So I was right. This is a little bit more, you know, hard to do. So what I want to do is I'm going to do the same thing. I'm going to go here, go to my magic mask, select this here. Reset. It's like that. Perfect. What I'm going to do is track it forwards and backwards. Now, I don't need to worry about this one because what I'm going to do is I'm going to invert this, I'm going to affect affect the background. All right. So take this off. What to do is I'm going to go to my log wheels log wheels, and I'm going to make this make the mid tone pink. Take the highlights. Make that Pink, as well. Take the car and seem a little out of place. So what I'm going to do is go back to my gain, bring the gain back over there. Take the gamma, bring it back a little bit more again. There you go. So Boom. Do you gonna look? Okay. Amazing. Alright, beautiful. That's perfect. Now what I want to do, go over here. My favorite node, gonna add a glow. Go here actually. Yeah, never mind. So glow instantly. We see there's a glow right here, right here. Go to the effects. Take the spread down a little bit. Just like that. Perfect. Amazing. Take the gain decrease, again, just a little bit. But decrease the gamma a little bit. Perfect. Amazing. Use that beautiful. And then what I want to do is add a wee bit of a contrast just for, you know, film purposes. It's always empty without a contrast, right? So in this case, what I want to do is go to my curves. Custom curves gonna decrease a little bit right here. Do a small little small little Small as curve. Amazing. And Walla Simple. So you see how simple it's getting. It's like, once you get a hang of a notary and hang of how you're doing it. Now, these are basic things that I'm doing, right? Like the push, simple gamma, simple gain, simple magic mouse. It's not about using that many tools. It's about knowing how to use what. And over here, I'm teaching you, giving you a method to how to make the Rosco Color inspired looks, alright? Take a look at this, take a look at this. Look at that beauty. Amazing. The comparison is phenomenal. Beautiful. Love it. Love it. Now, some people might say this cars too yellow, that's fine. That's my creative call to make it a little bit yellow. I want to retain the ambrchini feel. Alright? Amazing. Cool. And that ends Rose Pink. And in the next lesson, we're going to go to my beautiful straw gold, beautiful, amazing basically this type of look. Alright? I'm going to do it on blue waters. That's amazing. Love that. Because we have skin, we have water. Let's go. 6. Straw Gold: All right, ladies and gents, welcome to the last one. In this one, we're going to be talking about rr07 or rr08. We're going to be talking about straw and pale golden hour nostalgia, natural warmth. That's what we're going to be creating with this amazing little surfer. So the video goes like this. Look at that. Amazing. Amazing. So as you can see, immediately, first, we're trying to understand what exactly is going on here. So looking at the waveforms, E everything is pretty much a little bit blue. We have a little bit skin. We have a little bit of sky and clouds as well. So this is going to be a challenging shot for us. So we'll try and keep a hero image, which is kind of, like, mixed between the sky, the water, and the skin. So let's choose this one right here. Perfect. Alright, so again, going a similar route, we're going to first immediately do exposure. So looking at the waveforms, let's go back to our primaries primaries. Do a little bit of LGG, lift, gamma gain. So let's see. Let's put it down a little bit here, lift the gain up and lift. Take the game up, gamma up. Maybe bring the actually, we can push it a little bit more. Push it a little bit more, maybe bring the gain down just a little bit, and the lift down. So what this does this adds a natural contrast. So this was before, after before, after. All right, beautiful. Let's bring the gain up a little bit. Again, we're trying to look for that nostalgia, so I want to have more of the I want to have more brighter areas. Again, the main thing is kind of, you know, understand the image, understand the footage. And what is very useful for you guys is, I'm not just telling you what to do. I'm going through the process of what I'm thinking and I'm thinking out loud, so you guys can understand how I'm thinking. So you will kind of learn how to think in colour trading, as well. All right. Amazing. So I did this. We're going to add a serial node. We're going to call this balance. And what I'm going to do is I'm going to take this, go to Gamma and let me just make sure. Okay, we're recording. Go to Gamma, make this linear, take the luma mix, bring it down, and then the gain becomes the offset. So we see in the waveform, everything's pretty blue, take a look at the vectorscope. Okay. So I'm What I'm going to try and do is I'm going to take the add a little bit warmth so you can remove the blue. So I'm looking at the vectorscope, right. Let's look at the wave form. Too much worm. I'm looking at these whites over here and the clouds to make sure they're white. It's too warm. So let's go again. Just minor minor adjustments. There you go. This is the bluish. This is after. That's a little bit. Amazing. I think this looks good now. If I kind of look at the parades, and I kind of see if I look at the RGB values, look at the whites. The R RGB are sitting on a similar level. Look at the dark sides. Amazing. Okay. Beautiful. Now what we're going to do is we're going to take another one. We're going to call this the push node. So label it to be push. I'm going to take the Gamma and we're going to tint it towards yellow, yellow. This is a hint of green, right? So let's call Gamma. I'm going to take it a little bit maybe move it to the right, basically. Again, I want to show you the look that we're going for it is right here. So, take a look at let's take a look at the vectorscope real quick. Look at that. So it's like yellow, but there's also, like, a little bit hint of green as well. So we got to keep that in mind. Going back. Turn this off. Alright. Let's go to our ear frame, alright? Let's go a little bit to the clouds. Perfect. All right, so now, perfect. Okay. Amazing. All right. R Very cool. Now in this one, looking at the footage, we have three elements that we need to worry about. Um, number one is the skin. Number two is the water, and number three is the sky. So it's important to kind of differentiate both of them and make sure, like they are doing justice number one to the look, which is the r07, the straw, and the pale gold look, but also doing justice to the elements, which is the skin, the water, and the sky. So it looks real and it looks slub. Alright? So let's go. What I'm going to do is I'm going to label them. I'm going to call this one the skin. I'm going to add a parallel node, call this call this let's say water and add one more parallel node, and call this sky. Alright, so we have three parallel nodes here. I don't think we need death map here. I think what we're going to be doing is we will do qualifiers. So for the skin, let's go to the qualifier here. Wow. Immediately, I thought DaVinci is really smart. Alright. Amazing. So let's look over here. Let's grab this. I'm going to zoom in a little bit. And what I want to do is grab this one right here. Boom. So kind of selected, I think. Let's see the highlights. Alright, more or less nice, a little bit water selected. So let's just move the center a little bit like that. Maybe take the saturation and take the luminance decrease the low the high as well. Just a little bit. There you go. Take the high. And what I'm going to do is I'm going to just soften this up. And move the high out. Soften this a little bit. All right. Amazing. Now what I want to do is with the skin. So I kind of got the skin proper. What I'm going to do is I want to take the gamma or what I'm going to do is I'm going to go to my curves and go to the hue versus hue or naturally, what I'm going to do is I think gamma is better over here. The primaries are better. So take the gamma and I'm going to move it towards a proper skin. There you go. Like that. Maybe not too red. Bit. Alright, look at that. Beautiful. So we got the skin back and we got the skin reflections on the water as well here. Beautiful. Amazing. Looking at the mid tones. Perfect. Amazing. Now we look at the water, we'll take the qualifier again. Over here, we will just select boom like that. Let's look at the highlights. All right. So what I want to do is I'm going to go to my hue. Maybe I will decrease the lose a little bit. The saturation, I show a little bit, yeah. Then take the center of the hue point. Maybe the width, maybe decrease the width a little bit like that and soften it overall. Soften and take the width. Since it's mostly like teal, like greenish yellow. And what I'm going to do is I'm going to take the luminans as well, take the luminans as well, and I'm going to take the high actually out. So it's just the water. Take the lows. There you go. Okay. Perfect. Now in this one, what I want to do is I want to push that gold look, so I'm going to remove from the highlights, and I go to my log wheels, go to my midtones, and I'm going to just crank it to, like, the yellowish. You'll see the difference. Beautiful. So let's move it a little bit more saturate it a little bit more. Amazing. Beautiful. Looks good. I think that gold look is coming somewhat. Let's look at the vector scleT see. Alright, right. Let's kind of look at this one, see how it is. All right. So we have a little bit more towards the green, and this is a little bit more gold, all right. Makes sense. So what we can do is we can go back to the push and go back to the primary, maybe to the gamma. Maybe just move it you see how it's on the line, we'll just move it up a little bit. To match that aesthetic, match that aesthetic, and we'll take the skin, and we will kind of, you know, push it down. You know, since I added there, I subtract here to keep the balance. Alright. Beautiful. Now the vectroscope is sitting somewhere on the yellowish, right here, as you can see, overall. Amazing. Cool. Alright, moving on to the water. That is fine. Water is good. I like where the waters sitting. Go to my log don't. Yeah. Maybe move it a little bit more to the yellow. Perfect. Amazing. I also have other scopes on this side. So if you're wondering why I keep looking here, it's because I do have my scopes here. Let me just show you. This is a paid app. It's called omniscope. It's amazing. It has different, like, showcases, different usages the lows, the highs, the overall vectroscope, the low mets high of the vectorscope, overall waveform, parades, a three D view, a three D view, which is amazing. And then we have the saturation map. I'm looking at that as well. As a professional colorist, these are some tools which I have, but I'm also referring over here for you guys, as well. So do not worry. You're not missing out. You are missing out, but not from a learning standpoint. Alright, next one, we're going to go to the sky. The sky. Again, I want to bring back the blue a little bit. So what I want to do is I'm going to do a qualifier. Qualifier just like, boom, select that, look at the highlights. Okay. So the luminance over here, I want the luminance to be a little bit more on the higher side. It's a little bit hard to understand this. Let me just go near the clouds. There you go. Choose that. Choose that go to highlights. There you go. With a little contrast, it's easier to actually understand. So this is, take this out. Look at them. I mean, take the hue, take the center, a little bit maybe there. And the saturation. There you go. Perfect. All right. Now, let's go from the high go away from the highlight. Let's try go to my log wheels again, go to my log wheels. And what I'll do in this case, since it's the sky, I'll take the gain and move it towards the blue. Not sure wait. Let me so I think the overall qualification is not done properly, so let me just do it one more time. So let me just qualify the blue here. Let me just take the luminance, let me just take the softness and move it. There. Right there. Then I'm going to take the primary go to my log wheels, take the gain and the highlights in the midtone make it a little bit more blue. Let's now see the difference. Without without without, without width. Alright. It is a little bit blue, I can see it in the waveforms. Like in the parades, you see the blue ones. Like you can see over here, the blue is a little bit more higher. And I'm trying to increase the blue and the mid tones a little bit. I pushed it all away, but for some reason, it's not happening. Uh, let's exit. Let's just reset the log wheels and look at the overall luminance real quick of the qualifiers. My qualification is not proper. Sky with water is always difficult. So this is everything selected. The issue is the sky and the sky color and the Alpha color is the same, so it's kind of hard to gauge. Like this color and the alpha color is the same. So that makes it a little bit difficult. So I'm going to take back here to the hue, take the center, made it a little bit more. There, take the saturation is fine. It's the luminance. That is the tricky part. H All right. Let's move the central, like, a little bit more. Down. Alright. Maybe it should work now, let's try. Got the log wheels. Let's see. Okay. There's a little bit bluish here, but it's like creating artifacts, which I don't want, like, right here. I can see. Let's try to, like, you know, take the qualifier again. Let's make it a little bit more higher. Make qualification higher. Go back to saturation. To the hue, maybe. Okay. That makes a little bit difference. Alright, now you can see kind of Alright, so it was the hue, that was the issue. Okay. Cool. Amazing. Alright. So that's that. That is the sky. Take a look at the bottom. Take a look at the bottom. Sorry, the top left. Beautiful. Amazing. Well, what I want to do is, you know, since we have overall, I'm just going to see whether it works here as well. There you go. See how the sky is blue here? Beautiful. I'm just gonna check my highlights. Alright, so it is affecting a little bit on this part. I'm just going to see whether Alright, so I'm going to try to remove the skin where it's affecting the skin here. So the way I can do that is kind of move the hue back again, like, not select that. And then now, there you go. So now, it still works. Alright, minor minor adjustments. Do you remember how the skin was getting affected now as the skin is not getting affected. The skin is not getting affected. Perfect. All right. Amazing. Amazing, beautiful. Alright, so that's pretty much it. Let's just quickly save this. And then I'm just going to look at the shadows real quick. The darks, because I want the blacks to look like blacks. So what I'm going to do is I'm going to go here, add one more node. Actually, you know, how we did it before, we're going to go to the Let's do it here. Okay, why not? Let's just look at the fixing the dark. Like the blacks, basically. The blacks. And let's look at over here. We have the reds, which are a little higher, and the reds are a little bit higher. The greens are a little bit higher. Okay, over here, we have the greens a little bit higher. So I want to remove that muddiness, like right here, green. So I want to take over here, and I want to take the green decrease by, like three points. Decrease a little bit more. Six ones. Let's see the difference. See that green. Now we have, like, removed it, so the blacks properly look black. Like, inside the mass, the red is a little bit over here. Maybe just increase the But I mean, there's the tongue and stuff, so that's fine. Maybe 0.05 is okay. Let's look up before, after before, after. Perfect. Alright, amazing. So we'll just rename this Blackfx. Alright. Then my favorite node, we have the glow. We have the glue the glow the glow. Good effects search, glow drag. Alright, let's see before. Alright, not much difference. Let's take the spread Glone. Take the gain a little bit higher Gamma. We'll see the final result. So right where the form is of the form of the water is, we're gonna like capturing those moments. Maybe increase the spread a little bit more. Perfect. And this one, I'm trying to, like, you know, maybe add a little bit more grain. So grain. My favorite grain would be just sorry. Favorite grain would be just 35 millimeter, 35 millimeter. Still 400 for this one. Just add some texture. Perfect. And I don't think I'm going to add contrast to this because I've done the contrast in the exposure. I think it does a lot. Take that take the grain here. Alright, and that's pretty much it. Kind of like let's compare pop with this one. Site E clips. Alright. Alright, so now let's just compare and see how it looks and just do a comparison. Not bad. So we have water here. So obviously, there's a little bit more that straw color, the yellow color. But overall, we have kind of, like, you know, met expectation, I believe. And I think we've done a pretty good job. So that is kind of it, guys. That is kind of it to the rr07 r08. And yeah, so overall, we have kind of, you know, seen how this works, a pretty fun experiment with the Rosco gels. And what I can say is, uh, that what I'm going to be providing is I'll be providing a basic ut and a power grid that you guys can use for your workflow, for your films. It is going to be in the digital products download. Again, for people who are my students here, there is a huge discount for the people. And again, you can just import the power grade and start using this note tree and, you know, adjusting it to however you want. For example, if you see in this one, we have skin water sky. In this one, we had a car and a background. This one, we had skin, background and teal fix, and in this one, we had skin background, hue fix. All I'm going to be providing a basic not etree. Then you can either whether you require depth map, you don't require depth Map, require a qualifier, that is up to you, but I'm giving you the notary that I have built, which is exposure, balance, then we have a push, then we fix without following the rules, but actually doing justice to the look, but at the same time doing justice to the textures of the elements of the subjects and then do a little bit fixing a glow and a grain, and you are all set. It is not about how many tools you're using. It's about whether the tools that you know using it to the most efficient way. That is the name of the game in Color Grading, guys, not using every single tool over here. If you notice, I did not use much tools, but I created an amazing look. So that is what pro colorists do is knowing how to use the spoon and the fork, not using five different spoons and five different forks together. All right. Thank you for attending this class, again, if you have any questions, please leave a comment. I would love to have discussion. You can book a one on one with me if you have any concerns. So thank you. 7. Thank You!: And guys, that ends the class for Rosco Colors. So I hope you guys had a wonderful time with this class. I honestly went through a huge, um, you know, journey building these looks for you guys, because I think when I'm going through these notes structures and, you know, building it out every single time, it's a new story, every single time, it's a new journey. So I really hope you guys enjoyed it and understood the emotional tone of each and every single one of these scenes because it's super, super important how to use it. And once you're confident and I hope you are after this, and you can use these notes structures again, uh, to build out whatever Rosco gel that you want, again, keep in mind the overall structure as to where we're trying to go, the object and the rest of the scene. Keeping the object, its colors on scene as doing justice to that and also doing justice to the background and also doing justice to the story. So these three things are the things that you have to juggle. Hope you guys had a wonderful time. And yeah, comment below. The discussions always available always open for any questions that you may have. Any other Rosco gel that you might want to, you know, emulate. I would love to, you know, put up, like, a short 15 minute class for you guys. So let me know. Looking forward to seeing you guys more.