Cinematic Look Made Easy - DaVinci Resolve Colorgrading Masterclass

1. Introduction: I've been using the Winter resolve for the last ten years. And if there's one thing that I learn from this software is this, creating a cinematic look doesn't have to be complicated. I've discovered a few handful techniques that will transform your videos from this to this in no time. And none of it requires advanced color grade. Overwhelming video settings, and of course, you don't have to be a professional colorist. I'm not. My name is Adi. I'm a videographer, a youtuber and a course creator. And for all my video work, whether it's video editing or color grading, I'm using the Wines off. When I started learning color grading in the Winter solve, I watched a ton of tutorials, and most of the tutorials, it just sounded like a rocket science. But in reality, it's not. I'm here to show you the easier and the faster way. In this class, I broken down how to achieve cinematic look in steps. And whatever I'm teaching, I provided all the rocklts in the description below so you can collaborate with me. So if you want to level up your color grading skills, then let's get started. 2. Class Overview: Before we go any further, I'm going to be discussing a few things that is important for you to know before you begin this class. This class is not for absolute beginners. I'm not going to teach here video editing or I'm not going to go through all the tools available in color grading panel. If you want to learn the winter resolve that way, then I've made an in depth tutorial about the winter resolve. It's like a 7 hours long class, and that will teach you everything about the winter resolve. But in this class, we are just going to be learning some specific techniques to get you that cinematic look. In the first few sections, we would be editing from all the tools which is available in the Winter resolve free version. Also some lots of bitters provided. In the free version, we're going to be using that to create some beautiful looks. That would be in the first section. In the second section, I'm going to be using the Winter Resolve studio version, which is the paid version and show you how to achieve cinematic look in a super easy way. So if you're a studio version, you really should be watching those classes. If you are free version, that is a good chance for you to convince yourself that you might need studio version. In the last section, I'm going to be using an external plug in for color grading called the answer P. It all sounds really complicated. It also did for me, but it is a plugin which is from an external source, so you need to install that in the Mint resolve. I'm going to show you how and once you install it and once you use that for color grading, it's going to change everything. I've been using De Hanser Pro for the last couple of months, and like the film looks that I get within a few clicks, it is just unbelievable. So De Hanser Pro is, of course, a paid plug in, but they give you a free trial that you can also use on Studio version. I tried that free trial for two weeks, and I was convinced that I need the Studio. I would really encourage you to try out the free trial with me because I'm going to be collaborating two to three clips using the Hanser Pro. And after the two weeks, if you don't like it, you don't have to buy it. So yeah, these were the three sections on which I've divided this entire class. So if you're ready now, then let's get started with collaborating in the Winters. 3. Project Setting: M so here we go. We're going to be starting to edit color grading in the winter resolve. So first thing first, of course, you open the Winter Resolve here. I have the Studio 20, the winter resolve 20 version, but whatever I'm teaching, you can do the exact same things in the winter resolve 19 as well. So I already have this project open, so I'm just going to open it. And I have a new timeline here because you can see that there's nothing on this timeline. And all these clips, whatever you are seeing here now, that's all provided in the description. So really don't worry about that. As I'm dragging the clip, you can also drag the clip in your timeline. But before going any further, the most important thing, what you should be doing while color grading in the inch resolve is going to the project setting and then changing the color management. So if you haven't changed it, you should change the color signs to Dawnci YR GB, and then you should uncheck it separate, leave it there. Then timeline color space is Dawnci white gamet intermediate. So we have a lot of options, select this. This would be really important in the coming sections, and yeah, I'll let you know why. Then output color space is Rex seven oh nine Gamma 2.4. This is the most common color space in which you see all the videos online. So that's the color space we going to choose. And one thing I would really like to mention, especially for Mac users is this. So this setting, what I just told you now, it is really good for Windows. But you're a Mac user and if you want super accurate output on your laptop screen and on your iPhone, then you need to choose this setting. So we chose Rex 79 Gama 2.4. What you need to choose is Rex 709 A, and that would give you super accurate colors while exporting the files. I would cancel it because that is my default setting. So if I just press the setting button, this is how it opens. And if you want to use this setting, every time you open the computer, and if you don't want to forget it, what you can do, go to the three dots here, and then you can save current setting not as a preset, but save the current setting as default preset. So every time you open your Mac or your Windows, you would have whatever settings you have chosen now, that would be the settings saved every time you open your Mac. And also for Apple users, there is one more setting that you need to keep in mind. You need to do, go to D venture solve here in the corner, go to preferences. Once the preferences is open, you go to GenO. And in general, you have to select use ten Bit, select this one, turn it on, toggle this one on as well, use MAC display for color profile for viewers, and this one is really important. Automatically tag Rec 79 scene clips at r79 A. Once you have these settings selected, then you get super accurate colors. 4. Film Look LUTs - Part 1: So the first clip, what are you going to drag is one of my favorite clips. I'm just going to check here in the clip section. So this is the clip. I'll drag it down here. If you have no clue what am I doing in the edit page, then really go check out my full on the injuries of class where I have taught everything from scratch. If you're a beginner, like, really beginner, then you should check out that course. But here what I would be doing is I'm just going to see where the clip is useful and then I'll just scrop it here. And we are in the edit page now. So let's go into the color rating page. So if your color grading page doesn't look like this, then you should be going on the right hand side, then you should be checking the parade here. And if you go to this arrow, you check the parade. You might have waveform, you might have vectorscope. I would keep it to parade. And if you just have red, green, and blue, what you can do, you can go to this settings panel. Then you can choose YR GB. So you can also do RGB, but I chose YR GB because this Y this section shows me the luminance or the brightness or the shadows of the entire image. And then at parade, you can also increase or reduce the opacity of these graphs. So I would just leave it like that. And then this side, you should have the primary color wheels or HDR or these kind of panels on this side. And on the right hand side top, yeah, you would have all the stills, what you have, I'll go through everything, so don't worry about that. You have some stils, you have some power grid, you have some timeline clips. But anyways, let's get rid of this gallery so we have more workspace to work with. And this is how my image looks here. So this would be the master frame. A master frame is something where you choose the most important frame in the image. So here we're going to be making some new nodes. How do you make new nodes? You can press Command S or Controls for Windows, Command S for Mac. And in the first node, what you need to do? So now, this is a normal image. This is not a log image. It looks like a normal picture profile. What we need to do is we need to convert this picture profile into log picture profile because we're going to be using some lots which are only applicable to Log picture profile. So what we're going to be doing is if you select the first node, really important. This step should be always on the first node. We go to effXs and then you go to color space transform. So I'm just going to drag and drop here. And then what we're going to be doing is we're going to leave everything the same. But in output Gamma, we would SyeonFlm log because the lots what we're going to be using is only applicable on Sineon film log clips. And once we have changed the output gamma to Sineon film log, you also should go here, change it to rec seven oh nine. Now you can see that the clip is really desaturated. Output color space Reg seven oh nine as well. And then input Gamma, the Gamma what we choose before was 2.4. So I think it should be there Gamma 2.4. And then we're going to get rid of the effect. So what we are doing basically now is that we are preparing our clip for the lot what we're going to be putting in the inter resolve. So this is, say, color space transformation, so I'm just going to label it CSC. And then what we're going to be doing is you go to the last node. So this is always a process. First, you do color space transform, bring the footage to whatever profile you want. Sometimes it's the other way. Sometimes you bring the footage from Log to Rec seven oh nine, you know, for it to be normal looking. Here we are changing the Rec seven oh nine image, a normal, colorful image to log for a lot. And you might be really surprised that some of the lots like film lots are available in the winter all for free. So how we can access that? You go here, and then if you just scroll down to film looks, this would be available to anyone. If you're a studio version, free version, it would be available to anyone. You're just going to make some space here. And if you want this to fit the screen here, you just press Z. Here we have some lots. We have Rex 79 code at 23 83. Look at this, how it looks. So you just hover the cursor on the lot and you can already see how your image would be. You see, with just the in build the winters of lot, you can get look like this. I think I really like the RexaaeFuji film 351 because it gives that cool look. You can also go for warm look if you want to use the Kodak lots. But I think I would go for this. I think they all look good. That's the whole thing about beautiful out pack is that you would be so confused which lot to use, but I would still go with this because I really like the nice and cool look, and it really looks cinematic. So we just going to get rid of the lot. So, yeah, that's how you can have cinematic look in the minus off. Now, I'm just kidding. We can do a lot of things on this image as well. So if I could just go before and after, because I really like it, it's just so satisfying. If I just disable everything, which is Command D, this was before, and this is after. So how many steps was it? One and two. If you're just in two steps, you can achieve beautiful cinematic look. You can leave the image here, but we are not done here. So I would keep the image to the master frame. And here next to the color space transformation node, I would start changing the image a little bit according to my taste. So this could be really subjective. Also, choosing the lot can be really subjective. It's really up to you which look you're going for. But here, what we're going to do, we're going to be changing some exposure because I have a feeling that like this area, it looks a bit harsh, and also these lights are a bit too harsh. And I also think that the shadows, it's a bit too much shadows. I don't know. We'll see. That's what I feel now, but once I change it, then I would know that maybe this was better or the next previous was better. So here we're going to be changing the exposure. So when I started everything in the meter resolve, I was always changing the exposure with primary color wheels. They were good. But the problem with primary color wheels is that if you want to change just the darks, that also changes the lighter part of the image as well. And that's why I choose the HDR color wheels now because that gives me a bit more flexibility in exactly what path I need to expose. And you can also go right or left because there are so many of these circles like that and each circle has a point. So if I just go on black and if I just click this, then it would show that which area it's going to affect. In this image, none. And if I were dark, then you can see that all the dark areas. If you do anything with dark, it's going to affect all just the darker area. If I just change the color like this, it would only affect that area. I would just reset it, same with shadows. If I go shadows here, everything which is highlighted, that is in the shadows. So if I change the color of the shadows, you can see that the only thing which is highlighted, the color of that thing is changing. But we are not here to change the color. We are here to change the exposure. So to reduce the harshness on the image here, what we're going to be doing is just go click here. Then you have this highlight panel. What we're going to be doing is if I go here, then you can see that this face here lies in the highlight panel. So we're going to be reducing the exposure of the highlight. And you can already see that we retain a lot of information in the skin of the subject. So if I go say full screen and if I go before, you see how over lighted and how harsh it was the light. And then I reduced it with the yeah, highlight panel. And then with the light, I would leave it. I think the shadows are a bit too much, so maybe I will increase the shadows. Maybe I regret it later. I don't know. No X, you have to increase exposure. So you can go like that or you can also just leave it here. Probably about this. So this was before and this is after before and after. That looks kind of good to me. I would also maybe want to increase the exposure of this entire image. And how do you do that is by going to the global heel and changing the exposure here. So that's going to lift the exposure of the entire image. Maybe I'll reduce the highlights a little bit. Now, increase them a little bit, so that it's not too harsh. I think exposure is a bit too much. So let's go full screen before and after. So you can see that what we did was we reduced the highlights, we reduced the intensity of the brighter areas, which was these lights, the face here, and we increase the brightness of the darker areas. This was just to bring the image in a normal looking plane. That was good. And here, what I would be doing is contrast. In this image, I don't think contrast is needed because everything already looks like it's kind of peaking. So if you see the graph here, you can already see that the brighter areas are at their brightest, the darker areas are at their darkest. I wouldn't touch contrast maybe in the future, but let's not touch it there. Here what I can do. Here, I can also change. Remember, I told you that I really like the cool look, but what if I want to make it even cooler? Then what I would be doing is I go here and then in the global section and just kind of move drag this thing to a bit more cooler side. So let's go full screen. This is before. This is after. I really like this, maybe a little bit less. Before and After, before and after. But here, what I personally think is that the skin is now becoming also a little bit bluish. It's not too intense, but I would like to retain the skin color to be a bit more warm. So for that, what I would be doing is I can either add a serial node or I can also add a parallel node. So I would just go add node, parallel. Here in this node, whatever I'm going to be changing, that wouldn't affect what I changed here. That is the information is coming from this node. So here I need to change the color of the skin. To have a perfect skin color, what you need to do, go to parade, go to vector scope. Here in this scope, I'll show you something. If I go in the curves, if I go to Hue versus Hue curves, and if I just select the skin on the face, which lies here, if I drag this upward down, you can see the change in the graph here. So you can see it going like this, like this. But you might be wondering, what is this line? If you don't tap this line, what you should do, go to settings and show skin tone indicator. So if our skin color lies on this line, most of the time, it shows a really good skin color. So that's what my goal is here is now, and this is going to drag it until the line until this point, you see this point is a bit shifted until this point goes on this line. So I'm just going to go up to add more warmth in the image. And I think maybe it's a bit too red. So I'll just go down. This looks pretty good. So if I go before and after, it just adds a little bit of redness, a little bit of warmth in the skin. You see it adds a little bit of gives a bit more life in the skin. This is also really subjective. You can choose to have it or not have it. So that looks pretty good. And here, if I just get rid of these two nodes, you can see how much change we made. So this was warm, which it was fine, but I just wanted to change something so this is a bit more cool tone. Now, the image is looking really good. So if I just disable everything, you can also disable everything by option D or all T. But if I do that because I'm using this cursor app, you know, which is showing the yellow thing around the cursor. That kind of enable. So what I would be doing is I will just select all the nodes and then disable that. This was before. Let's go full screen. It's so satisfying to. This was before this is after. Now, there's something else which is bothering me is that our subject is here. Like usually in the image, the subject should be the center of focus. And here in this image, what I think is it like this whole area is super bright. So to take care of that, what I'm going to do is I would add another note, option S, and then here I can just do blue blue and skim. Here we're going to be taking care of this bright area. So what we can do is you go to the windows panel here, and then you choose gradient. What gradient does is that? I'm just going to zoom out. It helps me to make changes to the area which is visible in the screen. So this area is not visible, so whatever change I'm going to make on this node, that would be only applicable to this area. So next thing, yeah, you know what I'm going to do. I would just reduce the exposure of this area. And how you can reduce the exposure of the entire area is very simple. You go here to curves, go to the main curve here, custom curve, and then we can just pull it down here. I'm going a bit too aggressive. But then what you can also do is that you go to Windows two and make it a bit more soft. So if I just make it a bit more soft, you know, so that it doesn't look like one lime. I think that looks pretty good. So if we do say full screen before and after and afterwards, you can see we are just making change in here. That kind of helps me to focus more on the subject. So yeah, in my opinion, it looks pretty nice. So this was an image. We can also go full screen and see do before and after. I'm just going to select everything. This was a image. This is before, a normal looking image. This is after. And now, if you want to, save the same effect and we want to put it on the next clip, you can just go grab still and that would be saved in the gallery here. I already have few other things saved in the gallery, but that I'm going to be showing you later. 5. Film Look LUTs - Part 2: So next thing, what were going to be editing is some daylight clip because we had this night shot. Let's do some day shot here. So maybe just from here to there. Just go to drag it in the timeline. It is a long clip, so maybe just from here. And yeah, edit page doesn't really matter in this class. We are focused more on the color page. So let's go to the color page. What we can do now is that we can copy the exact same settings in this image, but I don't think it's going to look nice, but let's just do it just to save time. If I go apply grade, we get rid of the calory. And here we have some nodes which was only applicable to the previous clip, such as this one. So I'm just going to go reset node. Here we also don't want the blue skin we also don't want exposure was applicable to the last node. So I think I'll also just do also maybe skin, get rid of it. So this is how the image looks here. So I'll just deselect everything. So this was how it was looking before. We did the color space transformation, how we did in the last image with these values. And we have put a lot here. So I'm just going to go to master frame, maybe. Yeah, that looks pretty decent. That looks like a master frame. What we're going to be doing, we go to lots, and maybe I'm going to use some warmer lots now this time. This looks really cool. I think this maybe the Fuji looks nice here. So I have the 79 Fuji 3515 DI d55. That's what I'm using for this because I wanted to go for a warmer look. So I'm just going to get rid of the lots. And this looks beautiful. You see, if we just go before and after, you can see that with these tools, we really didn't have to buy any other external lot. We didn't have to learn rocket science with two steps. We already have a beautiful film like image. What we're going to be doing is we're going to be changing a few things. If I go to parade here, I can already see that there are some things peaking, I'm sure, which is this mountain. So we're going to try to reduce the exposure of the area here. So what we're going to do go to HDR drag down the highlights because highlights always refer to the brightest area in the image. If I reduce it down, I can retain some of the information. So if I go before and after, you can get a bit more information here, but this side is really peaking. So if I just go reduce the light, that would also reduce the exposure. I'm just going to not touch the light, just the highlights. So highlight is reducing the exposure of whatever is in the image. Let's go to specular. So that looks like something we can use. So if you reduce the specular, really aggressively, you have some information back, but it also looks like it looks a bit artificial. So maybe we just going to leave it to there. So this was before and this is after. So you can see that we have reduced so much of exposure here, of the brightest path. And now I also want to increase or have a bit more contrast in this area because everything looks well exposed, but you can see that the blacks are really lifted. So what I'm going to be doing is just going to reduce the sorry, I'm just going to reduce the shadow. I'm going to reduce the shadows until this point. Let's go full screen before and after, before and after. That looks pretty good. Now maybe we can reduce the contrast in this image because I want to give that punchy look in this image. And it is not really looking that punchy. So what we're going to be doing is we're going to go to the primary color beads. Here, what we're going to be doing is we're going to be playing with gain lift and gamma. We're going to increase gain a little bit that would increase the brightness of the image. And then we going to be reducing the lift a little bit. And now if we go before and after, the image looked quite flat. This is a little bit punchy. What we can also be doing is reduce the gamma a little bit. And we reduce Gamma and maybe increase the shadows a little bit. Maybe lift again. Now, let's see, full screen. There's a really subtle change, but I really like it. You don't have to do it. It's really up to you, but I really like this image here. What I also think now is that I wouldn't want to change the blue or the skin color. Maybe just leave this node to avoid confusion. Are we doing anything? No, this node is empty. What I want to do in this node is maybe I feel that this image is a little bit desaturated. So I want to increase the saturation here. So what we're going to be doing is just not label it saturation. So when I started editing in the int resolve, I was always, if I had to use saturation, I would just bump up the saturation here, which made the image like this. Then I learned that color boost was a way to do saturation. Then I would do it. That also makes the image look a bit more artificial. I didn't do. I'm not doing color boost anymore. Now there is a really cool way how I learned is to increase the saturation organically, increase the saturation really smoothly so that it still looks like not an oversaturated image. It just looks like super cinematic film look. How you do that? You go right click and then you go to color space, and then you choose HSV, not HSO. Once you have chosen HSV, now you go to channels. So HSV is highlights saturation. I don't know what V is, but we have to worry about saturation. So we're going to be in the channels, we're going to be checking off the highlight section, and then we're going to be checking off the channel three, which is the V, which I don't know what it is. You don't really need to know. But we are worried about Channel two, which is the saturation. Now you can play around with these wheels, and that would only change the saturation of the image. And that would give, for example, if I play around with this, that would bring the saturation in the image in only the highlighted area. If I change the saturation in this, that would bring the saturation in the mid tone areas, the areas which is a bit more here. If I change the saturation of this, that would increase the saturation in the darker areas. But I wouldn't touch that. Maybe this looks nice, but I think that it might be a bit too much, so maybe I'll reduce the saturation in gamma maybe gain a little bit. And now if you go full screen, this is before and after. Let's go full screen before and after. You can see how much information we are bringing back and how beautiful this image looks. But here I think is that the red jacket, it is a bit too oversaturated. So what we're going to be doing is we're going to be opening another node, and then what you can do, maybe we can use the graphs, the custom graphs again. So here what we're going to be doing is we go to Hu versus saturation panel. So here, if you select reds, then the reds are selected. Here you can reduce the saturation of the red. If I go full screen, you can keep an eye on the jacket. This was how it was before. This is how it is after before and after, before and after. So I think now my image looks a little bit complete. Maybe I also think that the contrast is a bit too much. So what we can do is that we can just reduce the opacity of this node and how do you do it? You go to contrast node and then go here to the Kier panel and then reduce the gain. So if I go to say 0.5 or something somewhere around that, whatever changes we have made in this node, it would be half of that intensity. So if you go before and after, it looks beautiful, in my opinion. So you see, we didn't use, we didn't use any crazy color grading technique. Everything was in the Vinci in the free version and the image looks beautiful. This is before, just a normal looking image. This is after. That's crazy, right? So we're going to be editing one more image, or in the next section, I'm going to be teaching you how to get the exact same look with log files. 6. Film Look LUTs - Part 3: Let's get another clip, maybe this one. So here, the image, it already looks really pretty. So what we're going to be doing is we can just select this file. And we can just reset node or maybe just delete all the files. So we are back to basics. So we had the color space transformation. This was this is how the image was looking before. Then we did the color space transformation to bring it to Log, and then we put a lot which was in Dan chi already. To be honest, this lot looks really nice. But maybe something I think the Kodak 23 83, maybe a bit of warm look looks also really pretty. So you see with one node, with the in dealt node in the vinci, we can get from a normal looking image to this. That's cool, right. Here, what we're going to be doing is I want this image to look a little bit more dramatic, a bit more like greenish look. So what we're going to be doing is we go to the primary color wheels and bring down the offset. To a bit more dramatic scene. So here we can do his green. So this is before and after, before and after. Maybe we can go a bit more intense before and after. This looks nice, but my problem is that I don't want the orange color on the taxi to have a green tint. So for that, what I would be doing is I would go add node, and then I would go once I did parallel. Now I'm going to be doing layer. So what happens is that when you add a node in layers, then whatever the image is coming out from here it goes through the layer node and then it goes through the top. But if I select something in the layer node, say, for example, if I select this orange taxi, if I go to the highlights, taxi is selected, I'm just going to be changing the hue a little bit so that I'm sure that the entire taxi is selected. Also, maybe the here, Cab increase aluminum. So you can play around with these tools. So now I'm kind of sure that the entire taxi is selected, the red light is also selected, but it doesn't really matter. So what happens now is that? Because I did a layer node here, what's coming out in the output is colspas transformation plus this green. But because we added this layer node, it took out all the effect from everything what we have selected here. So if I get rid of this node, the orange on the taxi is also green. But if I activate this node, the oranges are not affected by the greens, what we have done here. I hope this makes sense. I think once you start doing it by yourself, then you would know that what I mean. And the mixture of these two is coming out here, and then we are applying this lot, which is available in Dainci. And now we have this beautiful imague, and I don't think that it needs any sort of exposure or any sort of other adjustment. In my opinion, it really looks nice. So you see? From Let's go full screen from this to this, we achieved in one, two, three, four steps. Crazy. So that was it for this section. In the next section, we're going to be playing around with some log files. So let's go. 7. Film Look LUTs with Slog3- Part 1: So what we're going to be doing now is we're going to be playing around with some log files. So we can choose this clip 8622. This was a shoot, what I did for a client. So maybe I will start from here and just end here. So I'll just drag the video file, and now let's go to the color grading page. We're going to be making three nodes in the beginning. So this process would be a little bit different. So what we want to do now is that we're going to be bringing the clip in the DaVinci resolve wire GV color space, which is this is how you do it. So input color space it was shot on my Sony AMS three with this color profile, and input gamma, was also Sony Log three. And now, output color space, we want to change the color space of this image to DawnciYRGB. So Dawnci white gamet that's what we had, and then Dawnci intermediate was the color space. If we go here, you see Danci white Gamet intermediate. So yeah. And at the output, usually what we do is that we do another color space transform, color space transform here. And usually what we do is DaVinci white gamet, DaVinci intermediate, Rec seven oh nine, and Rec seven oh nine. And that gives us this beautiful normal image. I'll just so this maybe here, yeah. So that gives us this beautiful image, how it would look in normal life. But because we're going to be using the same Fuji or the lots from Da inci, these lots, we have to convert this into Sinon. So to bring it into Sinon film log, what we're going to be doing is we're going to be choosing Rec seven and nine here and then Sineon film log here. And now we can apply any lot we want from DaVinci. So I'm not sure which one to go for. Maybe this a little bit too warm. It's a bit too cold. Maybe this one. Yeah, I think I like the look. It looks like it looks like it's kind of a mixture of a film look and a commercial look. But we're going to be changing a few things as well. So here we have the lots, so that we don't have to touch. So the only thing now we have to worry about is changing the exposure, changing the saturation if we really like, and then we are done. So let's change the exposure, so we can label exposure. And here, if you see the skin, I still feel that it's a bit too overlighted because what happens is that as soon as you put these Fuji lots, they make the skin a bit too bright, a bit too fake. So we're going to be reducing the highlights in HDR panels. If I just go here, that would bring a lot of information back in the skin. Oh, see here we are changing the HDR here. So we just resetting this SDR panel, we have to go in exposure. So you always have to make sure that what node is selected for what setting. So we go to highlights, reduce the highlight here. And now, if we just go full screen, you know, this is before. You see how over lighted and yeah, how harsh skin was before. And you see how nice and soft it looks now. It also reduces the highlights here. That looks beautiful, I think, in my opinion. And I think other than that, it looks really nice. Yeah, maybe we can increase the contrast a little bit. So what we're going to be doing is that we go to increase the gain very slightly. So that gives that punchy look and reduce the lift. Also maybe reduce the gamma. Increase again again. So this is really subjective. Either you choose to do it or not. So maybe we can choose this frame. As a master frame, this was before the contrast, after the It gives a little bit more punch in the image, which I really prefer. I still think that her face is a bit too overlight, I'll go to exposure, change the highlights, reduce the highlights a bit more. See how it was before and after. Yeah, I am really happy with this. So I think it looks pretty good. Let's check how the skin tone is. I think skin tone is a little bit shifted. Here you can see it's not really lying on the line, so maybe we can change the skin tone. So this time, we're going to be using a different method. Earlier, we use the curves. We chose the curve here in Hue versus Hue. Here maybe we can choose the color slice. So color slice, what it does is that it will select the specific colors in the image. So if I go check the skin, then you can see that it is kind of identifying that skin color are lying in this range. You can see in the color wheel there it is choosing this place. So what we're going to be doing is we're going to be changing the hue changing hues means changing the colors of a specific thing. For example, if you want to change hues of yellow, if you go towards the left, then you make the yellow a bit more red. If you go towards the right, then you make the yellow bit more green or the other way. So we want to make it a bit more red. So you can see that as soon as I move that, my vectorscope is also moving. And if I go to here, maybe a little bit less, let's go before and after. So this was our skin before, so we can focus on our arms here. You see it had this yellow shade, and now it looks like a proper nice skin color. I'm focused on the arms. You see? I had this green tint, and now it's a normal skin color. So that's how you can change the skin color as well. And I think it looks beautiful this image. What we're going to also be doing is because we want our subject to be in focus, I'm going to be adding some vignetting. What vignetting means is that you kind of darken the sides. How do you do that? You go to Windows Tool again. Check the circle just make it a little bit bigger. So if we do any changes, for example, if you reduce the brightness, then everything inside the circle would change. But if we go to Windows, and then if we choose this inward to, then everything outside the circle is dark, but we want to make the dark areas come in in the image a bit more not that harsh. So we can increase this, keep it on the subject, make sure it's not affecting the subjects before and after. So you can see that makes so much difference that even here, we can really focus on the subject. The sides are a little bit dark. And this was before, really flat normal image. This is after. That's crazy, right? So in just a few steps using simple tools, we have achieved this look. 8. Film Look LUTs with Slog3- Part 2: Now, I don't want to copy the same look, but I want to show you a really cool image that I have from a client. This image. This is a really nice day because usually you cannot get the most beautiful color from an image if it's a bit of a cloudy day. But you can get really nice colors from an image if you have shot in a really nice sunlight. So we're going to be doing the same thing here. Make three nodes. These notes would be here. We do color space transformation, how we did exactly. What we can also do is if you go before, you can just copy this setting. So if you just go Command C or Control C, go to the next clip, paste this. So we have the exact same settings from the previous image. Also here, we're going to be copying the same setting, go copy and copy here, and then the lot, we don't know yet which lot we want. So we're just going to be making sure that it lies in the same profile, what we want it. So with the lots, which lot should we choose I think this looks nice. For sure, this looks nice. So look at this. This one was before and this is after. It's a free lot in DaVinci. That's crazy, but of course, we're going to be doing some changes. We're gonna be making it a little bit more soft. We're gonna be bringing our parade back. So we can see here nothing is peaking, but I have a feeling that if the highlight goes a little bit low, this image would look even better. So we're going to be changing the exposure, go to SDR, reduce the highlights. So you see? As soon as the reduce the highlight, you get so much information in the skin. So this was before. Looks like super overlighted image. This is after. Crazy, right? But the entire image also goes a little bit dark, but personally, I really like it. That's what gives that film look. If you see the cinema, like if you take the screen shot of a frame from a movie, and if you put it here in DaVinci, then you would see that nothing is crazy peaking. It can go bit dark, but nothing is really crazy peaking. And that's what I really like here as well. Maybe I'll increase the overall brightness of the image by global. So I'm just going to be making sure that nothing peaks here. So this was before this is after. We are reducing the highlight, but we still keep the saturation in the image. And maybe reduce the shadows a little bit. Or maybe increase the shadows a little bit, because I still want to see some information here. This looks nice. This looks really nice. That was exposure with contrast. I don't know if I would want to do it, but I will just leave the lot here. What I would want to do is maybe increase the saturation in the image. So how we did was we went to the color space. We chose HSV, not ASL, and then we changed their channel and selected only the channel to unticked channel one and three. Now when you go to primary color wheels, you can increase the game. You increase the gamma. That increases the saturation very slightly. So the sky is a bit more blue. The skin colors are really beautiful. And I have a feeling that here, the skin tones are perfect. But just to be sure, what we're going to be doing is we go to histogram, sorry not histogram vectorscope. Here you can see that the skin tones, they lie on this line, which is beautiful. Maybe let's play around with contrast. Why not? So we just go. I just cannot help. That's the thing if you know bit too much, you always want to experiment in the vinci, but yeah, maybe a little bit tie. And we can reduce the lifts limit, maybe gamma as well. Let's go before and after. This before. Contrast, this is after. I really like it. Personally, I really like it. But I also want to change the color of the sky to a bit more teal. So this was saturation, so we're going to be doing saturation, and then we're going to be making another node called blues. And then how do you change the color of this to teal? You can either go to the color slicer or you can go to the curves. I usually really prefer the curves because that's what I've been doing it for years. Here you go to hue versus hue. You just choose the sky, so then it tells DaVinci tells where this color lies. And then if I go up, then it kind of brings the color to a bit more. Teal and the later green. If I go down, it brings it to crazy purple colors. But I actually like it this blue. I also think that maybe it's a bit too saturated. So it's a little bit distracting my subject. This is my subject, you know? So what I would be doing is I would also reduce the saturation of the blues. So here, to reduce it, what you do, you go to Hubers saturation curve. And then you choose the blues again. And reduce the saturation of the blue. Now if I go full screen, we change the color, but we reduce the saturation. This was before this is after. There's a very slight change, but it really helps. It really helps. And then what I would be doing is I would just do some vignetting because, yeah, my subject needs to be in focus, not the over lighted sky. I'm just going to make sure that her clothes are also not dark and they're already a bit dark. And then I will invert it, and then I go to the curves, go to Custom curve and pull it from the middle. It does not always has to be super harsh. So let's go full screen before and after, before and after. So you see with just a few simple steps, it is so cool, like the looks what we are achieving. So before and after for the entire image, before and after, I really love the skin color. And of course, one more thing what I would mention to beginners is that before doing any color grading, you should always make sure that the image is shot in the best picture profiles in the highest quality from the camera. Because if this image was, I think, not log or if or if it was not shot in the highest quality, for example, in ten wait 422 color space, then I don't think we would have this much flexibility in the image. I don't think we would be able to reduce the highlights so much or increase the exposure of the image without the image falling apart. So that's why it's really important to be filming the video in the best video settings and also in the best exposure settings. Even if I get rid of everything, the image here looks really well exposed. You can see the brighter areas quite clearly, you can see that the darks are also not dark. So yeah, those are the things you have to keep in mind. And if you keep those things in mind while filming, then when you're color grading, then those steps that becomes really easy. 9. Film Look Creator - Part 1: M. In this section, we're going to be using a tool which is only available in the studio version. So if you're a free user of the Winter Resolve, I would recommend you to watch this class that might encourage you to buy the studio version. In my opinion, it is 2,000% worth it. Not just for color grading, but for every editing effect is just so good, and it's just one time payment with DaVinci, so that's really cool. Here we're going to be collaborating with a tool an in built tool in the Winter Resolve studio called Film Look Creator. And that gives cinematic look instantly. So let's choose This file is also with you, so let's choose this file here. What I would also do is maybe zoom in a little bit because I just feel that the subject is a little bit too far, maybe like that, something like that. This looks really decent framing. So then I would go to the color grading page. And here, we're going to be doing the same thing. We're going to be making two nodes. The first node would it's exact same process every time. So what you can also do is something really cool, which I learned way later in my career. So what you can do, this was shot in Sony Gamma three. Sony a slug. And then here we would be doing the Winter resolve Winter resolve intermediate. And in the other panel, in the other note we would be doing the output. We have the winters white Gameut, the winters all intermediate. This was inReck seven oh nine, and this is also inRec 79. Output Gamma, we would be doing Oh, I've chosen Syno that shouldn't be sin Syneon. It should be like that. Output Gamma, you can also just choose 2.4. It's not going to make any difference because, yeah, if you choose Exon and 9.24, it's the same. So here, you know, this process we're doing every time of converting everything and then using two nodes, what we can do is if you go to gallery here, under the gallery, you would have these stills. You know, the stills are the things what we copy from one footage to another, the settings. But if you go to a new project, these stills are gone, right? What you can do if I do grab still, we have this process in this still. With two nodes, the process which we have to do on every Sony file or every cannon file. If you're a cannon user, you can do the conversion with Cannon. What we can do, we can drag this still to Power grade. And what happens now is that if you open a new project, for example, if I open, say, Apple ProRes, this project, and then if I have to do the exact same process on this clip, if this clip was like this, you go to Power grade and we just copy this far. So what we had the settings chosen in the other project, you can just copy it. It's exactly same as a Power bins, what we have in the edit page. So let's go back to our project. So we have it here. So now, if you import any Sony file in any video project, you can just go to Power grade and copy this setting on the Sony file because that's what you have to do anyways. Now, once we are done converting the file from Log to Rec seven oh nine with this method, you can still see that there's a lot of room to play around because the footage still looks a bit boring. So what we're going to be doing is we're going to be using an in built tool called film Look Creator. So you just need to go to EffX and then search for film Log Search for film Look, and then we have film Look creator. So what you can do just drag and drop on the last file. And now you would see that the footage looks really bad. What we should be doing now is that you go to clean slate, and that clean slate is kind of disabling everything. What we need to do here, we don't really have to touch anything yet. Okay. Here, we also we don't have to do any conversion because we have already done the conversion. This is where the things start to take a turn. We go to film Lo blend. So there is a core look called cinematic. So if you just increase it, then you can see that something is changing. The footage is becoming a bit desaturated, but let's keep it 100%. We just need to see how it looks. And then from cinematic, you can choose different types of lots, you can say, or different types of filter. So let's leave it to vintage. And what we're going to be doing is, I have a feeling that the saturation of the clip is not the best. So what we're going to be doing is, let's disable this first. Yeah? Let's do the exposure and saturation and all that sort of stuff first. Let's take care of that. Because sometimes I do the other way around that if I have the cinematic look, then I change the exposure because even if I have the exposure saturation, everything good. And if I put the cinematic look, the exposure needs to be changed. So then it's double work. But yeah, maybe let's do it this way that we have the cinematic look on, and we can just keep these two clips here. And then we're gonna be just playing around with exposure and other things now. So let's take care of exposure. We have we're going to be reducing the shadows now. We can also there's not much to just reduce the highlights so that the skin tones are a little bit back. So everything looks good here, and if you disable it, let's see what changes we made. Everything looks good here, but I feel like this image is lacking a bit of contrast. I also think that I have reduced the highlights a little bit too much. So to increase the contrast, we have to play around with lift gamma gain. So I'll just increase the gain until it's not really peaking out. So I go onto here, and then we're going to be bringing the lifts down, and we have to make sure that nothing goes below zero. So the blacks are looking black. The image doesn't really look faded out. So this is what we did after contrast. You see how nice the image looks. This look already looks really nice. But what we need to do is we need to make it a bit more cinematic. So I'll just push it up. But then what I would do here, I would just go to exposure and reduce the highlight because I have a feeling that her skin is blowing out. So just bring back the information in the skin. Maybe it's a little too much. Skip it that way and reduce the exposure. So these things you don't get right everything in one go. You have to really play around with the clip and then see how it looks because there's no hard and fast rule that with one image, you have to go with gain 1.22 Gamma minus three and lift minus three. You have to really play around to see how it looks actually. And then we're going to be turning on the film creator, and then we see how it looks. It's still looking a bit desaturated, but let's not worry about that. Let's worry about the saturation. So we're going to be doing the same thing, how we did with the saturation. We go to color space, HSV, and then Gama we have to select channels, we have to select the, not unselect, select the Channel two and deselect the other ones. Channel two. So we increase the saturation. So see how organically it increases the saturation. Now, the skins and the greens are looking just so beautiful. This was all faded out. This is looking so nice. So if we disable the three clips, this was how my image was after conversion from Sony log to Rec 79, and this is how it is after we did the color correction. Now what we're going to be doing is, yeah, now we go to the cinematic node and see what's going on here. So I can see that it looks fine, but I also feel that it's a little bit too intense the look. So we're going to be going halfway or maybe just go this full and then the global blend, what we would be doing is just go to half. Now if you just select and deselect, it gets that bit of a dramatic look, but we have a lot of other things to play around. So we can play around with the skin bias, so that would change the intensity of the skin. So you can see if I go up, it kind of increases the brightness of the skin. And then contrast and these things I wouldn't change it here. I would just change it in the Da vinci itself with the other tools. Split tone, I would change, so you'd go enable split tone. And this kind of changes the color of the skin and also changes the color of the background so that there is a lot of difference between the skin and the background or the reds or the greens so that now you can separate the subject. But what you can do if disable enable, you can see the difference in the skin color. But what you can do now you can change the colors of the entire scene with hue angle. So if I go like this, now it's a bit more greenish, bluish, so if I just keep it here and reduce the amount, and if I just enable or disable it, that already looks quite nice. Vignette we're going to be doing it later. Halation you can do, halation would be just a little bit of gloom effect. Or halation we can also do it in then resolve itself. So we're going to be disabling it. I will show you later bloom we can do now. So bloom sort of gives a little bit of bloom effect. It's not showing now because this image is not the best to show the bloom example. So let's leave bloom here let's leave flicker here. And global blend, we reduce it to half. And if you go to Rochester, you can choose different different color tones. So this is how the image would look to our normal eyes. It's a bit more commercial look, and this is how if you do some cinematic look. But what we can also do now is that we had this cinematic, the film look not right. Now what you can do is you can change the colors of the things here. So what we would be doing is if we want I think we did that in the last section as well that if we want a dramatic look, let's make it a bit more bluish, so we can move the offset, or we can also make it a bit more sort of dramatic Summer wipe. A lot of movies they use this kind of color grading. So you can see just with moving the offset a little bit, it brings the colors like this. You might be thinking that there's not much use of film look now, but if you disable the film look, you see how weird it looks. But if you enable it, it gets that really soft film look texture. That is why film look is really cool in the inter resolve. 10. Film Look Creator - Part 2: Let's copy this setting and then use it in some other video file. So if I have another video file, Let's go here. Let's copy this video file as well, and then let's go to gallery. We're going to be copying this clip. Let's get rid of it. So you see how nice it looks without the film look with the film look. And what I also feel that my subject is a little bit dark, he should be a bit over lighted. So what I would be doing is I would just go yellows. I mistyped it, but yeah, I'll just leave it that way. So here, what I would be doing is I would be increasing the shadows, increasing the shadow just here on my subject. So what we would be doing now is we would be magic masking my subject. So if you go to magic mass two, yeah, if you go to Magic Mouse Tools, if you go to the beginning of the clip, what we need to do. And this is only available in the studio versions, what we need to do, we need to select the subject. So if you're using Dawnci 20, then you would have these dots. But if you were using Devin chi 19, then you can draw a line on the subject. And I have three dots, but I don't know what is selected, so then I need to click this button. So then I see that everything which is red is selected. What I can also do is go to better here. So that would make the entire process a bit slower, but then it would select just my subject. And if my subject is selected, then I can do any change in the selected area, which is the subject of course. And what we can also do now is I would also wanted to select the bicycle here. And then everything is good. We can do simple refine increase or simple refine a little bit. So you see here the tree is also being selected so you can sorry, negative selector two and get rid of the tree. FabreZ, the subject and the bicycle is selected. And what I need to do just play this. This would take a little bit time because we have chosen the better, not faster. So now what Dawnti is doing is Dewnti is going through each frame of that small clip, and it is choosing just the subject. And once our subject is chosen in that clip, then we can make changes just in the subject because my subject was a little bit dark, I thought, according to the surroundings. And our tracking is done. So what I would be doing now is that I would disable this, the toggle mask overlay, then the reds are gone. And then if I make any changes, for example, if I just make it bright, it would only make the subject bride and the bicycle bride. But what I need to do now is I need to increase the shadows. I think that would help or maybe also the global blend so that the whole subject gets a little bit brighter. So if I go full screen, this is after before you see how much difference we have made in the subject. And if we go from the beginning, I also feel that the subject is the highlights is a little bit too high, so I would just reduce it here. Let's go full and you see how much difference we make because the surrounding is already so overlighted, so I need to make sure that the subject was kind of the same exposure, and the whole focus goes on the subject. And what we would be doing now is, I can see that this area is a little bit too bright. So what I would be doing is I would just go to Window two, go to gradient, and you can just do like this. We can see what is being selected, and to reduce exposure, what we did was we went to custom curve, pull it from the center. So you can see full screen, this was before and after. Maybe maybe we can change the angle of the thing a little bit because I have a feeling that the light the light is coming from the top, but it is falling on the floor. So before and after, you can see how much difference it is now. That's crazy. So this was my clip before. This is After. You can see just few playing around with few tools, we have gotten such a cool look. And yeah, the film Look was a champion in this chapter, so you can see this was without film look, this is with film Look. So just an overview of what we did. We started with converting the footage from Sony Log to Rec seven and nine. We didn't use the CinonFlm log. Because a film look what we are using now is applicable to Rec seven oh nine footage, or normal looking footage. Once we had the Rec seven oh nine, then we changed the look to film look. We did some changes in the film look, and that gave us a kind of cinematic look, but a little bit desaturated. So to make the footage still a little bit punchy, we changed the exposure here. We changed the contrast, you know, so that the brights are bright and the darks are darks. Then we changed the saturation because the saturation was a bit too less when we put the film look. So we changed the saturation. Then we made the whole image a little bit yellow because like we just wanted to give a bit of summer wipe to the image because now it just looks like a commercial clip. I just changed the yellows increase the warmth with the offset tool in the primary color wheels. And then next, what we did was we Magic. We magic masked the subject to make the subject a little bit brighter. And once we had the entire image ready, then I thought that the subject is still looking a little bit too dark as compared to the surroundings, then we changed the brightness of the surroundings. And this is our final image. So you see just with using a few tools. 11. Halation Tool: After the film look, we can use another tool which is just available in the studio version, and I use it all the time is the halationTol. So halationTol, what they do is that they kind of it brings it yeah, it's really hard to explain. You have to see it. So the IPI do full screen, it kind of brings a softer look to the image, and it also has this red kind of lighting effect in the brighter area. So this is before and after. So that gives a soft and dreamy look. For some of you, this might be a bit too much. So what we can do is if you have the hlation tool here, you can reduce the strength. So now if we have reduced the strength, we go full screen, there's a subtle change. So if you see on the edges of the subject, there's a subtle change in the image. I love this tool. So what I do usually is I just change the strength. I don't do anything else. And if we want to use the same settings on the previous clip, I'll just copy the halation to go in the clip here that we changed. So you have to place the halation tool in the end because that's what we want, that we want the halation overlay on the final product. So I'll just paste it here. So you don't see a lot of difference here because here, there's no sunlight falling on the subject, but you might have to increase the strength to really see the effect. See if we go here towards the hair of the subject, then you can see that there's a bit of bright areas. So if we go full screen, it gives that soft look on the edges of the subject. See this before and after. A lot of people, they ask me, how do you get that dreamy cinematic look on your image? And halation tool is the secret. So, yeah, an Edition tool is only available in the studio version. So if you're not using Studio version, this might be the only reason to buy a studio. Like, yeah, I use it all the time. 12. Film Grain: And and one more tool. What I also use it every time is the film grain. So film grain is if I just zoom in on her T shirt, you don't really see much, but if I just go the opacity of the grain to a bit too much, then you see, and then you can also change the grain. I usually use the 35. No, I use 850 D. So what happens is that if I go before, you can see the image was a bit normal looking like digital. Then if you go after, then you have this grainy image. But it can be a good effect in some cases, but you can also just reduce the intensity to make it not too intense. I don't know if you can see in the screen recording, but you have to really try it for yourself in your system to see the effects of the grain. So that is how you can also make the footage a little bit more appealing, a bit more cinematic by adding the halation and adding the grain. And now we're going to be moving on to the next section. 13. Dehancer PlugIn Tool: Now let's talk about a tool which I recently discovered and it is, I think, one of the best tools to get cinematic look in any video editing software. But the problem is it is and it's not a problem. The situation is that it is an external plug in. What external plugin means is that? You have to download it from some other website, and then you have to install that in the winter resolve. And once you install that, then it would be there in the Winter reserve. And if you see the film Emulation tool, which is a tool which helps you to achieve the film look, it's here De hanser Pro, 7.3, 7.3 0.0. How you can install it. If you go to the description, it is clearly because I already have it. I already have the paid version, so I cannot really show you how you can install the free version, but if you go to the description, there would be a link saying how to install DhancerP trial for free. This DhanserP, it is a paid tool, but the first two weeks are free. And I would highly, highly, highly recommend to use at least the first two weeks trial and see how you feel like. And once you are impressed by that, then you can buy it. If you're not impressed by that, you don't have to buy it. You can still use the free tools. They are still great. But yeah, I use it for two weeks, and now I am using it in every video project if the goal is to achieve a cinematic look. So I would recommend you to pause this video, go to the description, download the hanser and install the hanser in the Deven serve. You can also install it in the free version, so it's totally fine. But I really follow that video which is provided, and once you have it installed, then come back to me. Okay, so I hope that you have installed the Hanser. Here, let's go. So how to use the Hanser tool. So what we would be doing is we're just going to use it on a normal video. It's like a Rec seven and nine video. It's not in any lot profile. So usually you do all the changes in the beginning, like every other videos, and then you put the film emulation tool in the end. So we just go to the Hanser. Then I would just drag and drop here on the software. So like every film emulation tool, as soon as you import it, the footage looks a little bit weird. So what we need to do, you go scroll all the way down, and then you do disable all tools. And that would uncheck all the tools. And what you also need to do is you go to high and slow. So the quality would be good, but then the playback upp of the footage would be a little bit slower. That's the only demerit of the answer. Let's go to the first tool. Here you can choose the source Rec seven oh nine because our image is in Rec seven oh nine. So here we have this. We don't need to change anything in the exposure here because it's best to change the exposure with the Dent res of tools, not the hanser. Here, first thing what I do is I go to film compression. I enable it, and as soon as I enable it, it kind of really preserves the brighter areas. If I go before, you see, it was a bit too bright. Now, it's a little bit softer, a little bit film like. As I mentioned before, if you see any film videos, they're not super over lighted. The brighter areas are bright but not super, super bright, not crazy punchy. First thing I do is here, but you don't see that much effect in this shot, but in the upcoming sections, I'm going to be showing you how much film compression affects an image. Once we are done with that, then if I scroll down, I go to print. And with print, you can select either Fuji film or Kodak look. If I do that, nothing happens because it's not enable. If I enable it, you can see how crazy it looks with just one click. So I've chosen the Kodak 23 83 film print. In DawnciFre lots as well, they had Kodak 23 83. But the look was not as good as this. Or if you want to choose Fuji film, that also, I think the Fuji film looks really great. So you see just by using two tools, it already looks so cool. If you show this footage to someone who doesn't know about the hanser, they would ask you, how did you colorize? They would think that you are this professional colorist. But in reality, you just need a de hanser tool and then it's all good to go. Here what you can do. I wouldn't change anything in this case. I would go again up and then film developer, I wouldn't choose anything here again because everything the contrast boost, gamma separation, color boost, we can do all of this in the winter resolve. So I just don't want to make your life complicated. So input, also, we can close it. And now what we would be doing is the answer we chose the Fuji film print so that gave a look to the image. Now we have you can say lots. We have hundreds, thousands of different thousands. We have so many lots available, what you can put on top of the Fuji film print. So if you go here, like every lot is just look at this, like how pretty it looks. Look how nice it looks. So you can choose any of these lots. Sometimes these lots can be a little bit too intense, but we're going to take care of that. So there are so many of them. It's really subjective, like, which person likes which lot. I usually go for Kodak Supra, or I also do Kodak Vision three. I also do this. With every footed, I just try it out and see which one looks good. But sometimes it's also really confusing because a lot of them are looking really nice. Let's do Fuji color. I like this look. I kind of, yeah, I really like this look. And what you can also do is that you can do push pull EV, so that would kind of give another look, but I would just leave it in the center because this already looks nice. But if this whole thing is a bit too intense for you, you can reduce the opacity, but that we're going to do later. Color head, here what you can do. You can change the color tones of the image. So if I just enable it, so nothing happens now, but if I go a bit more this side, the image becomes a bit yellow. If I go this side, the image becomes a little bit blue. You can same do with magenta or green. So yeah, you can play around with that and you can also change the colors of the shadows. You can change the colors of the mid tones, you can change the colors of the highlights. But I will just leave it as it is. Maybe the green let's do before and after, before and after. The green looks kind of nice, and now it's a film grain. So the film grain, what we used in the previous section, you can also use it here. But you don't have to use the winter results film grain, you can just use the Dhansers film grain. So you can go enable, disable that looks nice. Which one I usually use is 65 millimeter ISO 120. That gives a really subtle film grain look, which is not a bit too much if I go all the way up to the amount, at amount 100, then it's like this, but I usually keep it to 62 63 still looks a bit too much, but just bear with me. And then we have halation as well. So I make it enable. So if I go enable and disable, you can see that there is a bit of glow here. And then the bloom effect that also, you see the bloom effect we were trying earlier in the DaVinci in built tool, it was not doing that much, but if I just focus here. So if I just do the bloom effect on, you can see the a little glow in the image that makes the image look so cool. I don't do film damage because that just doesn't make the footage look nice. I just don't touch it, but yeah, once you have the tool, just play around with that. I don't do any of this. I don't do nothing of this. Vignette, I also don't do it here because I can change all of this. I can make my own vignette in the inci, so I don't do it. What I do now is I can change the output. So for some of you, if it's too intense, you can still change the output. This was zero. This hundred. So I would just maybe do it on the layers. This is before and after. You can see how cool it looks. But that is just dehanser. You can still change the exposure, change everything. I wouldn't change everything. I would just change the saturation. So let's just go here, not label saturation. Yeah, I just I enjoy it so much using dehanser' just Yeah. Like, first, I thought that yeah, I'll just do a two weeks trial and then I would cancel it because it's not cheap. But if you are someone who's really serious about video editing, color grading, then you should really invest in it. So I would be just doing the saturation, changing the saturation a little bit, because I don't really like the desaturated look in the videos. I still want the saturated look, you know, to be there in the videos. So I would grab still and then if we have another clip, let's say this one. So whatever settings are there, I'll just get rid of it. This was the first clip we were editing. So I'll go in gallery, and then I can just paste the settings here. So if we go before and after with the de handler, you can see this was just a normal looking image. You see how nice it looks with the film look. In some cases, in this case, to be honest, I feel like the grain is a little bit too much, so you can just go here effects, reduce the grain. Once you know the tool, then you know where exactly everything is. I cannot really find the grain, but we cannot find it. It's here. So you can just reduce the amount to, yeah, a little bit less. See how it looks before and after. And if I want to give any other look, saturation is there. And if I still want to give any other look, you can still do it. It's like if I want to make it a bit more colder, you can still do it. It's really not a problem. And the Dancer is in the end before and after. So yeah, it's so, so cool that, getting a cinematic look has never been this easy. So I have another clip. It's all provided in the description as well. So let's do de hanser on this one. Everything looks good. Maybe I will change the profile here. Let's do some Kodak look, Vision three. So you really have to play around with these tools. Now, I think I really like the Kodak porta. It's This is nice. But here, what I feel is missing is a bit of contrast. So we're going to add a bit of contrast, how you do it, you go gain up up up, and then you go, Let's down down down. Look at this image before and after. Grains are a bit too much. So what we're going to be doing is if you to film grain here and reduce it, too. Say, 34 soc. You go before and after. Really nice. And here you can just do anything like anything, literally. If you want to change the color of the blues, you can still do it. If you want to get this image a bit more punchy, a bit more commercial like, you can still do it. So yeah, everything is possible in the hands or. So now what I'm going to do, I'm just going to change the brightness of this image a little bit and then reduce the contrast a little bit more, so it's still a bit more punchy. See how nice it looks. Also, for this image, we can do some changes. We go to gallery, paste the Dancer setting what we had. And I have discovered what the problem is now. So this image, I thought that this image is inRe 79, but in reality, it is not, but it's still giving this look. So what we need to do we need to disable the saturation, to disable this, and we need to change this image into Sony log. So what we can do is just reset everything. You go to gallery, you go to Power Grid because that's what we did before. Now this image is in a good. That's why I thought that there's a bit of the image looks a bit more desaturated. The brightness is not that good. The exposure is not that good. But now we can bring de hanser here on Sony log. And now you can see that now it looks so good. So what we're going to be doing is we're going to be going to the output, reduce it to half, and then everything looks good here, code and vision. This codec color looks nice. But here, what I would be doing is maybe do Fuji film. Or codec. This looks also really beautiful. So, you see, this was how my image was after converting it to Rick seven oh nine. This is after I put D hanser. It's insane. Now, if I want to increase the contrast a little bit more, before and after. I also feel that I want to change the color of this blue. So you can go here, go to the custom curves, go to Hue versus Hue, select the blues here and bring it to you. So you see, of course, you can get that fin look with the hanser but you can still do a lot of other things after that. So what I want to do because this scene is very similar to this scene, I would just copy the settings here and see how it looks. Look at this. It looks so good. The brightness is a little bit less. So what we're going to be doing is just increase the brightness a little bit, and then here we're going to be reducing the contrast. Maybe add another note. Before and After. So cool. So that's why you should invest in the hanser. Like, I have the same bicycle clip. If I have the bicycle clip here. If I want the de hanser on this one, just go Gallery. I can paste the same setting. I can choose also not to, but I'll just do it just for the sake of this class because you really have to play around yourself and see which setting looks really nice. Here, if you go to de hanser, we can just try different color patterns and see what looks looks good. I think it looks already nice. And here we can, of course, increase the saturation brightness. So that was an introduction to D hanser for you. And I would really recommend to just play around with it because, in my opinion, that is the easiest way to get cinematic look in the inch whether it's a free version or paid version. And look what you get is just it looks so professional and the amount of color grading knowledge you need to have to do that is barely nothing. So yeah, I think we are done with Dhancer 14. Thank you: That was it for this class. I hope you enjoyed it. And for the class project, I want you to collaborate your videos, your personal videos, and then summit it down in the class project. Or if you want, you can also collaborate all the resource file that I provided in the description. And if you enjoyed this class, then don't forget to give a feedback. That really helps me to push this class to other students. If you have any questions, then tell me in the discussion panel, I would be really happy to answer all your questions, or you can just email me all the information is provided in the description. And I will see you in the next class.