Transcripts
1. Introduction: Hello, everyone.
My name is Kasha. I'm a certified Davent
resolve trainer and the professional colorist. And in this class, you will learn how to
adjust and how to color grade ero clips in
Davent resolve. This class is divided into
three parts where you can learn how to adjust BRO with the Camero
in Davent resolve. How to create consistent
looks across the timeline, and how to adjust Buro clipse using the standard
color grading tools. And if you are new
to color grading, please check out
my other course, mastering color grading
Idventry resolve, where you can learn all
the basics. Let's start.
2. Color Grading BRAW - PART I - Adjusting clips with Camera RAW: This lesson, I will
show you how to adjust Bureau footage using the
camera raw in Davin resolve. For this lesson, you can simply import the project from my Google Drive
into your software, as I have prepared a short sequence for
you to practice on. Once you have your
Davin resolve opened, you just need to right click on the empty space and then
select Import project, and then navigate to this
project on your computer, and then double
click to open it. Now, once you are
in the edit tub, you'll be able to see
this short sequence. Let's watch it. Here I haven't edited much. I have just flipped
this first clip over, it works with the
following shot, and now let's move
straight to the color tab. Here, we can see
all of our clips. They are all black magic, and let's maybe move to this clip as here we
can see the actress. And let's find the
best frame to work on. Then let's turn
the clips off over here to be able to
see this clip better. I know that in this course, I really wanted
you to work using Davin is of color management, but row clips can also be edited using the camera
row tap that provides greater flexibility and control over the final image as rofles contain unprocessed image that can be edited as we
were still on set. Let me show you what I mean. Starting from the
project settings, let's go to the color
management tab. And here, let's leave
it as DaVinci Y RGB. Then let's just change
the timeline or space to the widest possible DaVinci
white gamet intermediate. And my output color space
will be RX 79 gamma 2.2. As today, I'm working
on my laptop. I hope that you remember all of this from the previous lessons. Let's hit safe, and now we can move to the
camera row tap over here, and I will work you through
all of these settings. First, we have decode quality, which is correctly set
to use product settings. Then we have decode using, and it should be
set to clip as this means that each clip will
be individual of itself. Then we have a color science that's correctly
set to Gen five, and then we can pick
the white balance mode, exactly like we can
do using the camera. Here we have different
options like daylight, cloudy, shade or flash, and you feel free
to check them out. But I will leave it as shot. It means that the
white balance will be set to however the clip
was shot originally. Then we have color space that's also correctly set to
black magic design. Then our gamma is also correctly
set to black magic film. Then we could change the
ISO that's now set to 400, and we can see on the waveform that our clip is on
the darker side. We could technically change
the ISO to 600, for example. But again, I can change the exposure using
other settings. I'll set it to what
it was before. 100. Then we have the option
called highlight recovery. And in this clip, we actually don't have
a lot of highlights. Let's move to the Other clip so I can demonstrate
you how it works. And have a look at the
highlights over here. This is before and after
selecting the option. Basically, when we select
highlight recovery, it recovers detail
and information from overexposed or blown
out areas of the video. As when a portion of an
image is over exposed, it means that the brightness
levels in that area have exceeded the dynamic
range of the camera sensor, resulting in loss of detail
and clipped highlight. Overall, it is worth
to select this option. Then we have gamut compression, and this is before and after. Gamut compression is a process of adjusting the gama curve to optimize its
appearance and create more visually pleasing image
on different displays. But I will skip this
option as I will be showing you how to adjust
clips with other controls. Now let's move to
our previous clip. And then we have the
option called apply lat. This is a conversion lot that will convert our
rock clip to x79. Let's select it. This is what we've got. It
looks horrific. But don't worry, we
can easily adjust it, so it looks very pleasing. First, I will show
you how you can adjust the clips with this
inbuilt conversion lot, and then I'll show you
how to do it manually. Here we have the color
temperature control, and this clip is extremely warm. I need to move the slider
to the left to balance it. Here we'll go from
5,500 to around 2,200, and then we can keep balancing this shot using tint as well. I will do it looking at
my parade and making sure that all color channels
are more or less equal. Now our e clip looks way better. We'll be obviously
tweaking it more. Then we have the
exposure slider. I'll adjust it a tiny bit, and also you will see how
sensitive these controls are. We really don't
need much movement. Now we can move to
our gamma controls. First, we have the saturation, that's quite self explanatory. You already know it very well. Then we have the
contrast control. Then we have the midpoint
that allows us to shift the tonal values towards the brighter or darker
end of the spectrum. Then we have the highlight
and the shadow roll off, which refers to the
gradual transition from over or under exposed
parts of the video. When we increase these values, they will create a smoother
and more natural transition from over or under
exposed areas. But again, in this clip, we don't have any over
or under exposed areas, so we'll not see
much difference. Then we have white
and black levels, and these controls represent the extreme ends of
the tonal range. Adjusting them also allows us to control the areas that are
under or over exposed. But as I said, you need to
practice it on your own, so you can get a feeling of how these controls work and react.
3. Color Grading BRAW - PART II - creating consistency across the sequence: Come to the second part
of color grading Bea. Now our clip is corrected
using the camera row. We have transformed
it quite a lot and we can actually use
the same adjustments, so we can copy and paste them onto our other clips
on the timeline. Let's select the following clip, and then let's right
click on the graded clip, and let's select Apply grade. Let's scroll through the clip. Ml pad. My goal will be to adjust all of these
clips on the timeline. The whole sequence looks
harmonious and consistent. Here I'll add some
warmth to this clip. Then I'll select the
highlight recovery as well. And then I'll decrease
the exposure. Then I will quickly contrast, and let's scroll
through the clip. In order to compare our clips, it will be helpful to select the split screen
option over here. Then here we can select which clips we want to
see as a split screen. I'll select neighbor clips and our neighbor clips
will appear in a grid. We can easily match
them together. Let's scroll through them. And I can see that
these two clips match together quite well. Let's turn off the split screen, and let's carry on
with other clips. I'll select the
last clip and I'll apply onto a degrade
from the previous one. This one is definitely too cold as the white balance
was set up differently here. I'll turn on my split screen again to be able to
compare my shots, and I'll adjust the clip
with the co temp control. A Let's adjust the tint as well. Let's scroll through our clips. Let's tweak it a bit
more. Let's see. Now it look consistent. Let's move to the second clip. Here I'll also paste the grade
from the following clip. This one is again, way too cold. Let's adjust it. Let's find the right frame here. Let's turn on the
highlight recovery. Then again, we'll start
from the color temperature. And then tint. I'll
take my time with it. Looking way better. Then
I'll change the contrast. Looking good. Then we will repeat the same step
with our first clip. Let's apply onto the grade
from the following one. Let's see. Now the color
temperature looks fine. But this one is a bit too bright comparing
to the second one. Let's decrease the
exposure first. And in contrast, then exposure again, and
let's have a look. Perfect. Now let's watch the whole sequence. Looking good. And remember, it's
not the end yet. Next, we will be
color correcting and color grading these clips, using the standard
grading tools.
4. Color Grading BRAW - PART III - creating a look with grading tools: Welcome to the Part three
of Color grading Beau. In this lesson, I'll show
you how you can color grade your Beau clip with standard grading tools after performing the adjustments
with the cameraa. But before we move on to that, I want you to learn even more. As as you remember, we were adjusting our clips
using the conversion lot. But you can play with
these clips even more, trying to adjust them
without the lot. As this way, you can hone
your color correcting skills. You can clearly see how
the raw footage responds, and you can train
your patients a bit. Let's turn our lat off here, and we can also
reset our settings here to go back to
the starting point, and then let's select the highlight recovery
just in case. Then let's start from adjusting the exposure. I will
raise it a bit. Then let's add contrast, and let's tweak the exposure. I obviously remember about looking at my scopes
while doing this. Now let's move to the
color temperature. Then let's increase the
saturation, and then contrast. Then color temperature again. And then I'll tweak my
gamma adjustments more. I'm really taking my time with it, monitoring these scopes. Let's turn on the split
screen to be able to see how this clip looks in the comparison with the
other clips on the timeline. Let's tweak tint a little bit. And the saturation. Looking good. Also
have a look at the color of her outfit
in these two shots. It matches nicely. But I will maybe tweak
my tint a bit more. Okay. Let's turn of
the split screen, and I'll add a little
bit more contrast, and then I'll manipulate
the black level. It's really important to
take your time with it. Now we are ready to move
to the color correction. As usual, we can start from
the exposure and the balance. Let me create my notes. Now I can see that there's still too much green
hue in this shot. I'll go to my offset
wheel and I'll start shifting it towards the opposite
direction from green. Remember, only small movements. Bureau footage is
very sensitive. Basically, here I wanted to make sure that my blacks
look properly black, and this is before and after
looks way more balanced now. Then let's go to the exposure and here I'll increase
the gain attach. And then I'll actually increase the lift as my shadows
are a bit too dark, then I'll decrease gamma, and then I'll actually decrease my game and the gamma again to get less contrasty
but more dense look. This is before and after, the clip looks nicer when the
shadows are raised a bit. Now let's move to the secondary
adjustments and we'll start from the phase as it's
a little bit out of focus. We can sharpen it a tiny bit, and let's use
parallel nodes today. I heat option S to create
a new serial node, and then I'll heat option, P a few times to create
a few parall nodes. I'll label my first parael node. It will be my phase sharpening, and here I'll grab
my round bar window, and I'll place it over the pace. Then I'll soften it. Then let's use the highlight
mode to see this selection, and now we need to track it. Let's use the tracker and now we can toggle
the mask off over here so we can see better
what we are doing. Now let's go to the blur tab where we'll be decreasing
the blur radius. I'll go down here to 0.45, and this is before and after. Just a tiny twig. Let's zoom out. Let's see
what else we could do. I actually want
to be able to see her better in the
reflection in the window. Now it's still a bit
too dark for me. We can easily adjust it. Let's call the second
Parel node window then. Then let's grab the custom mask, and let's draw a mask
only around the window. Now let's soften it
outside and the inside, Let's turn the
highlight mode on to be able to see the
selection better. I always soften my masks a lot. Again, we need to track it. Let's toggle the mask off here. Then I'll go to my curves and I'll raise my white
curve in the shadows, not too much, and let's
scroll through the clip. Looking good, and this
is before and after. All right. What else
we could do here? We could manipulate
the vest color a bit to blend it
better with the shot. Let's label the next note as vest and we'll use
our HSL curves. I'll go over here to the u
versus saturation curve, then I'll select the
right u on my clip, and my control point will
appear on the curve, and then let's push
it down a bit to take out some of the saturation, and this is before and after. Let's go to u versus. Let's do the same as this way, we'll decrease the
brightness of the vest, making the color
look more dense. This is before and after. Now I can see that it affected the skin
toes a bit as well. We need to create a mask
around the vest to isolate it and we'll do it with
the custom power window. And let's struck it. And now maybe let's one
more parallel note. Let's think what else
we could do here. I think we could use
the Color wper tool, as I still want to
take out a bit of that green hue from the clip
and make it look cleaner. I'll go to my color workper, and I can use it
straight on the clip. I'll just drag my mouse
over the green area, pushing it towards blue to introduce more cold tones
to my clip instead, and this is before and after. Also, let's see our clip
before color grating. And after. I hope you liked it and I hope you
have learned a lot today.
Kasia Jarco, Certified Davinci Resolve Trainer
