Color Grading Masterclass - DaVinci Resolve 18

1. Introduction: Hello everyone and welcome to a new class. In this class, you will be learning everything about color grading in da Vinci Resolve. If you are someone who's a little bit intimidated by this software, or if you're someone who has been already editing in DaVinci Resolve and been doing color grading. But I don't know What are you doing? Well, then you have come to a right place. My name is Adi saying I'm a professional videographer and a photographer. And in this class, you will be learning something like this. I'm going to take you from not knowing anything in resolve to be editing your first professional gig in just a few minutes, you're going to be learning this node based software in the easiest possible way. So I'll be editing six different clips from all different cameras like GoPro, my Sony A7, S3, the drone, and all different other cameras. And we're going to be editing them from scratch. And I'm going to take you with me in the editing process. And that's why I've given all the clips and description below. So you can literally just download them now and start the color grading with me. In all different clips, I'm going to be editing with few different methods. So by end of this class you will be knowing not one, not two, but at least three to four different methods in which you can achieve a certain look in the software. First five lectures after this class would be mainly the basics of color grading in this software. And I'll be going in details about all the tools that we will be needing to collaborate in this software. We're going to geek out a little bit, but don't freak out. I'll be teaching you everything step-by-step and in the easiest possible way. But if you want to skip the basics and jumps straight to the lecture, I will be collaborating my first clip. You're welcome to enough of talking. Let's start the class. 2. Best Color Management Setting: So let's stop resolve then. Let's do some color grading. So I already had my project file open. But first thing what we have to do is go to the corner here, project setting, and then here are all different presets. The most important thing you need to do is obviously master settings. Even if you're editing a fork a file, keep the timeline resolution to high definition because if you go to fork a file is just going to choke your system and make the whole thing slow. You don't really have to edit in for K to get the four key output. So this we would put it to high-definition. And frame rates obviously depends on your region. If you're living in a palmar region, then you do 25 frames per second. I'm living in a paired region, Europe, so 25 frames. If you are living in NTSC region, then you should do your frame rate to 24. And all these things would be the same. Also one more thing, color management. This is the most important part. I have done this mistake so many times and I see a lot of people doing this mistake. If you're using diamond tea 1718, you would have this option W, T, Y, RGB color managed. So what this does is that it sort of recognizes what system you're using, what camera system using, and it's sort of optimizes the color from that. And it sort of gets the output the same way. Here you would be selecting SDL rect 79, because rec 79 is the color space. What we're gonna be working on. It's the same color space, what you see television, what you see YouTube videos, they are all rec center line and output color space should be Rex seven or nine. Because if you just select rec 79 scene, which would be the default, what's going to happen is that you are watching a really nice image. In result, you exported, it looks really nice. But as soon as the export on YouTube or any Internet or any sort of any place that on the internet, the color looks washed out. So that's why it takes seven O 98 is the Internet friendly color output color space. So this is really important. I wasted so many hours just to figure out that y is my video looking good on my computer. And when I upload to YouTube or Instagram, It's looking completely washed out. So we're just select this one. Oh, there you go. Deselect this one and then general options. You have to just keep it the same. There's nothing changing. I would just do cancel. But what you can do is that whatever setting you have chosen or here you can just make a preset. So I have one preset, Da Vinci wire GB, and one preset for DaVincis rails for the vertical video. So I will just do cancel because I already had my project setting here. And then one more thing really important, if you are a Mac user, you go to here, delta G Preferences. You go to General, and then you take use Mac display color profile for yours. And also this one automatically tag like seven or nine, The blah, blah. So these things should be selected or your display would look completely different. It's not going to be color accurate. So once we have done all this, then we're going to jump onto the project. So with this, obviously, as I mentioned, I would want you to have a basic knowledge of editing in DaVinci Resolve. So that when we're going through all the shortcuts and everything, you know how it's done. But if you're gonna go really slow with each steps, really don't work. 3. Color Page: We're going to go to Color tab, and this is our first image. But before that I'll give you a little bit of introduction for the color tab. So for the color tab, this is how it looks. If it's not looking the same way. You might have selected clips here, you see, you might have selected timeline. So I just get rid of that so that I have more real estate here to work on. And there's also some lots from DaVinci Resolve or my own lots. So they're all here, so we're not going to use them now, so I'm just gonna get rid of it. There's also media pool. So yeah. You can just change the layout. Just basic things which is not really important, which these things you can just experiment yourself. I don't want to waste your time on something which is not really important. This is a timeline and this would be if you turn on and off this one, this is the setting for whatever you have used. It's going to be, I'll show you so it makes more sense. So whatever settings I have put, it's going to disable that and show me the original clip. And this brings you to kinda, more full-screen is kinda gives more real estate. Here there's more options. There is this option, hand option where you can use move all the notes and stuff. Here. Timeline option this that affects, these are certain effects which is available in the colors, in the color page. And so we're going to use some of them. So lightbox is just going to show the frames and stuff. So what are we going to do? Click, click on light box again. I would get rid of effects. Yeah, if you get rid of no notes all to go away. And here you're going to see two things. There's 11 dot here, which gives me the overall view of the node, node system for this particular clip. But if I click here, this is the node system for the entire timeline. So if I want to do like a little setting on the entire timeline, then I can use this to I just, I'm just going to add a new node here. So how do you add a new node in the Vinci Resolve is by pressing Alt and S or Option and S depends on what your system using. So I'm going to press all the ns that gives me a new node and whatever setting and we're gonna do on this node, It's gonna be the setting for the entire timeline. So I am just going to delete that and go back to the individual node. And this is Clips is just going to change the size of my nodes, which is not really important. And then we're going to come down here. So this is how I'm going to leave it here. So we have more room to see our image. And this is not available in the free version. This is the color matching which is not really important if you are studying out. And yeah, so now you're going to come to the important part. So these are the primary color wheels. This is one of the most important section of the color page in Resolve. And we're going to be changing a lot of exposure values using Lift, Gamma, Gain and offset. And then let's HDR panel. I'll give you maybe in one section I'm going to use this because it's not as important and I think it's going to make it too complicated in the beginning. We're going to be sticking to primary color wheels. And we're going to be also sticking to the Log Wheels, which I'll show you in a bit. So this is also just RGB Mixer. So if you just go like this, if you lift the greens up here, lift the green, Live the greens down. That's how it works. So that's kind of showing how the image is looking right now. And this, we're going to have it not be using it. These are the Custom curves which we are going to be using it. And under curves there's a lot, a lot of section here. There's Hue vs Hue occurs. There's Hue vs Saturation. I think there's Hugh was as luminance, luminance saturation. So I'm going to go through all these curves briefly, and I'm also going to show you the function of these curves. So everything, I don't want to explain them already. It makes more sense that when we are actually using them, then I can show you how, what is the function of that. And these spiderweb think we, I'll show you how to use it. It's not as important if you're a beginner, but I'll show you how to use it. This is the selectors. If I'm selecting any thing, any, any color it's going to select in my node. So you see there's the selectors. If I selected, if I select blue is going to select the year. If I select this. And then you can do all sorts of changes. We're going to use all of this and don't worry, this is like a shape creators. You can create a shape and sort of do all sorts of effects in that shape. So I'm just going to go reset node. This is the motion tracker. You're going to use this as well. These things are not that important. This is a blur and sharpness scale, so you can change this. This is kind of the Opacity. I'm going to go through everything. I'm going to go through everything in the tutorial to read, don't worry, these are just some little options which is going to make more sense when you're actually doing it. Here is, here is just a color or a different representation of the primary color wheels. And this is the log watch. If you are coming from Premiere Pro, you would have, or if you have been using Lightroom Photoshop, you would be already familiar with fewer terms like shadows, mid tones, highlights. So these are here, log fields, but we're going to go back to primary wheels. And there's color boost, saturation, shadows contrast like all these things. We're gonna, we're gonna be using it. So it's gonna, it's gonna make more sense. And on this side, you might not have the same layout, but you just have to click here. So this is kind of the, the keyframing, which I'll show you how it works. And if you go to sculpt, this is really important. And then there's also different types of scopes. There's waveforms, there is histogram, this vector scope. So you're gonna, I'm gonna show you the function of all the scopes. And yeah, I know it might look really overwhelming, but as we would go through all the examples and everything, it's all going to make sense. So yeah, that is it for the introduction to the color page. In the next section, we're going to learn about nodes because for some of you, from, for most of you it's going to be a new thing. So yeah, let's switch to nodes. 4. Nodes: In this section, we're gonna be learning how node works, what our notes, first of all. And just, yeah, Just like how can you build efficient node structure? So nodes, these are called nodes. This is one node to node like that. And you can sort of buildup nodes according to what type of color transformation you want on your image. So say for example, you can also sort of disable and enable node. So say for example, if I click all these three, and if I press Alt and D, or Command D or D, It's going to disable that these nodes. And if I press this, it's going to enable this node. If I press Alt and D are, if I press, press Option and D, it's going to disable all the nodes. So you see, this is like before. If you want to see before and after, you can just go here. That kinda shows disabled and enables all these nodes. So what are these nodes do? So in each node, you can set up a different setting. Say for example, in this node, I can just do the white balance setting. So you see if I disable this, you see I'm changing white balance in this node. In this node I'm changing the contrast. In the next node, I'm sort of changing the color of the sky. In this node, I think. Yeah, in this node I'm changing the color of some sort of enhancing the color of the image. So that's how you can put different nodes in front of each other. And all the nodes, they have their different function. And how you sort of put them together is also a little bit of pattern. So what happens is that what do I do personally and how it, how it should be done is that, so if you have any image, what do you do first is that this immittance is in front of me. It's image from a GoPro. So what I did was first step was to get the white balance right, get the exposure right, and get the colors right until here, until the first three nodes. My set of footage looks a little bit neutral how it would look to normalize. So say for example, if I also disable these three, this was the original photo. You see it's kinda washed out. And with these three nodes, I sort of made it look a bit more neutral. And after this, I am sort of also doing sort of color boost. The left here, D or Command D. So this is after this I did it. I did a little bit of color boost. Color boost is here. And that is helping me to give a really neutral look. Once we have a basic neutral from the image, because from each camera, sometimes it could be shot in a wrong white balance. Sometimes it could be shot in a completely wrong exposure. Sometimes they shot in a completely different format, like a log format. So it's like a raw file, really flat profile. So we have to get them in something called as rec seven or nine colors space. So this is Rex 79 color space where everything looks really neutral. And once we have achieved those looks in the first section, indirect 79 colors phase. So I'm calling this the first section. Then we would go to a different node structure where we can change the colors. And that sort of is like a color grading. So here what we did was color correction. And now here what we're gonna do is color grading with all these three nodes which are parallel to each other. I'll show you, I'll show you how can you make notes parallel? How can you, how can you make notes in layers with an example so it makes more sense. So with these three nodes, they are giving a color of a certain look to this image. And after that, the final thing was a little bit of vignetting. So I'm sort of making the surroundings a little bit darker. I just kept it extra so that if I want to do some last minute changes, so that's what the node structure is. So it's like literally like how in Premiere Pro, if you're coming from Premier Pro, there's like different layers and you just put layers on top of each other. And in each layer you made a different setting. So that's how, that's what the notes are. These nodes would make more sense obviously when I started bidding example. So what we would do, Let's just start with the codon creating process. So in the first section as the, as I mentioned before, I'll explain you how to get the neutral look. And then in the next section, we'll be doing color grading. 5. Primary Color Wheels: Before going straight into color grading, I'm going to explain you the tools, what we are using and why they are using, and what is their function. So it's going to take any, barely going to take time. But it's really important to use that. So what I did was I got a gray background. This is a background which you can get. If you are in Resolve, you go to Effects, you go to generators. Then you go create scale. And then once you have gray scale here, what do you do? Right-click new compound clip. I had this compound clip and I want to show you some things so that It's going to make more sense when we are doing color grading. So here we have this gray, gray scale. There's one side is fully white. One day they're fully blacks. And here we had the parade, which was looking super colorful when we were in previous clips. So you see how colorful it looks. And now here there's just a straight line. So we're gonna go to waveform and see that how, how these things, how the, how these tools are changing the colors are changing the brightness level. Because with these tools gonna be changing the exposure of the image. This is the most widest part, and this is the most darkest part, and that's what this line is representing. Everything is linear. And what I would do with Lyft is that if I increase lift, so you see all the white parts are disappearing. And if I go all the way up, the whole screen is wide. So that's what lift does. It sort of lifts the blacks and try to push it more towards the whites. If the image looks super dark, they didn't, then we can increase the left. And this is the gamma. So let's see what gamma is doing. So gamma is sort of increasing the exposure of the image, but not all the way as how lift was doing. It's mostly increasing the mid tones. That's why there is a little bit of curve, but the curve is a little bit inclined towards the dark side. These are the shadow, these are the blacks. That's what gamma is doing. And if I reduce the Gamma down, if I go the other way, so then it's sort of darkening the image is not going to darken it fully. But it's gonna do is it's best to darken it. So you see, that's how much grandma goes. It has dark and all the blacks, all the shadows, but the whites here, it remains intact. So then what is gain is doing? So if you see again, it's sort of increasing all the white areas. But if I go here, it still cannot get rid of the whole blacks. It's just going to go until here and sort of stops. So that's what Lift Gamma and Gain does. Guinea sort of brightening the image. Gamma is sort of helping that image to go a little bit darker, but not as harsh as the lift, because lift can make the whole thing black. You see how harsh lift can be. So if I just go, this is how you reset. So whatever value of two then you just click here and reset. You see how lift, how harsh the lifted. But if I go all the way up, it can make it wider. So I'm just going to leave it here. So that's what lift is doing. But a lot of you might have moved from Premiere Pro or some other editing software. And there you had these log views, the highlights, mid tones and shadows. So what is the difference between log and primary wheels? So the log v, what our primary wheel is doing is that instead of taking all the, instead of taking the whole image together and making change in the entire image. And that's what Lift, Gamma and Gain is doing. And what are the difference between these two? Now if you see the graph, What's going to happen is that it's the highlights. If I swear, if I just increase the highlights, which is also for the whites, you see it's only going to go until a certain point. And if you see my craft, it looks like there's a lock here and now highlight cannot go past this point. You see. But with our gain, with our gain, it could just go until all the way. Same with the mid tones is only going to go until here. It's clamped here and here. And this is the shadows you see, say it's not increasing, the whole thing is just, just taking care of the shadows in the image. Whereas these color wheels, they are taking care of the entire image. So that's why I find it easier to edit with my primary wheels then the lobbyists. And this is also the reason why color grading is more efficient and more natural and resolve. Because of these kind of small, small tools, they play a big role. These tools are not really available in all the softwares. And in this class, you will be learning exactly how this tool works and how can you just change little, little values to get a big difference in the image and everything would just look so natural still, in the end, if it's still not making sense, Do not worry. We'll still go through everything in depth. 6. Color Grading Using Curves: Let's start with our first image. So you saw in the last section that I had a lot of great on this one. So I got rid of everything and I would just put parade here. So the first thing what we would just do is to observe the image. So what I see is that this image looks kinda flat. The exposure is good. It's not super exposure is not super dark. So that's a little less work for us. But I'll still show you if you want to bump up the exposure, how you're gonna do it. So what do we see here? If you see up here, these are the highlights or the whites in the image. And if you see down here, these are the shadows and the blacks. So our goal with every color grading is to get our colors in-between these range. Because if it goes super like this, you see how the blacks looked. Save, I'm just reducing the left. And you see all the blacks is going past this point. Or if I go all the gains, you see all the whites is going pass this border. So our goal is to keep our image in-between this. Here what we see is that the reds and greens are, here, are kind of in the same level in the, in the highlights, in the white part. And you see blues, it goes a little bit higher. So what we can do, so what we can do is that if I go to my curves, and if I go here, just one curve and if I go to the blue line. So as I told in the course before, that this part is all the whites. This part is all the shadows, and these are all the middle part, which is not supervisor, which is not super dark. And our images sort of lying in this area. So you see it, just look at the graph when I'm bringing this down. So let's see. Now I'm bringing the blues in the same level as the red and green. So if I press Alt D or Command D, you can see the change in our image. Usually, naturally, the image should have looked like this. A little bit higher. So naturally the image should have looked like this. But because of some cameras setting, the blues was a little bit higher. So that was our white balance. So now we need to get more nodes. So how do I structure? My note is that I have, if it's a GoPro footage, what I have is that I have four nodes and then I add on later. So here you can do a node labels white balance. Here, I would be doing primary curves. Primary here, I would do. Here, I will do contrast. Now we just go here. And you can also do all these three things in just one node. But just, just what explanation of this video? I'm just putting it here and when you're new to resolve, I think it's really important to just get a separate node for everything so that if you have to go back, you exactly know which setting was where. If you want to change it, you exactly know where it was. So after contrast, then what are we going to do is that I'll just leave a note for some final adjustments. Maybe you say color boost. So if I want to enhance the color, color, if I wanted to enhance the color, I'll put it here. Then after this. After this, you can also just get a new node here at a Serial Node, or you can just press Alt S. So I'll just go all tests and this would be the node level. Then look for what look we want. So that's how I'm going to structure it here. And first thing what we're gonna do is we're going to be just gonna get some pop in the image. So what I'm gonna do, bring the lift a little bit low. So you see the blacks are coming down. But I'm also making sure that I don't not going past this point. So I would be just going until here. And then I would also start off expand this game. So all the whites are sort of has gone up a little bit. And then what I would do TC name, it has a little bit of pop, a little bit of bright, a little bit of contrast. If you can say that, then what I would do to add a little bit more contrast. So we took care of all the bright parts by gamma, we took care of all the dark parts with lift. Now what I want to do is that I want to bring the overall image a little bit lower. So everything which is lying between the most brightest and darkest part, I'm going to bring it a little bit low. So it goes. So I'm still going down. But I'm also making sure that I'm not passing this line. So I would just go a little bit higher with my lift. This is how you play. So just because I set up my left in the beginning there, that doesn't mean that it should be there throughout the whole time. It really depends on you, how you want your life to be. Tonight you see the image, there's a little bit of contrast there. If you see that here, if you see here the shadows are a little bit more visible. If you see here, you can see like it's more visible, it just looks a bit more lively. Now, I would see if I need to add contrast or null just to get a little bit more pop. So what contrast does is that you see this, just, just look at the graphs. It's going to sort of open Lewicki, it's going to open the graph a bit more. Contrast. We would increase the whites a little bit more and reduce the blacks a little bit more. So you see it's sort of opening the image a little bit more but still staying, still in a kind of control the way that my blacks there. I'm just looking at her hair and just seeing if the blacks are not popping out. So I'll just go a little bit. Not really too much. I think it's already yeah. I mean, it kind of looks okay. Oh, maybe not sometimes you just I would just reduce it down or sometimes you just not even like it's not a hard and fast rule that you really have to do it, but I'm just showing you all the functions. And then what you can do. And next is that what say If I increase the contrast here? And I'll show you a really good use of contrast in the later sections. So I would just leave the contrast here. I don't think they really needed. Yeah, I will just reset the node here. I don't think we really need it. Then what I would do, I would go I press all day because it got this selected. Here. I still see that the image is a little bit desaturated. So what I'm gonna do, I'm going to increase the color boost. I am not touching saturation because you see, look at the graph, what happens if I touch saturation? Saturation is only it's, you look at the sky. So I did saturation, say until a 100. But if you look at the sky, the sky was barely, The sky was not as much saturated as how her skin was. Like, really doesn't look that balanced. So what I'm gonna do here, I'm just going to reset the node. I would do color boost and really gradually I go color boost. Cc here it looks, the whole image looks kind of more saturated, so I'm just going to do color boost a little bit until here. Yeah, that looks about right. Maybe just until here should also look natural because we still have to add a few more colors later. So yeah, that was color boost. So now we have achieved a neutral look. Could have also done this in just one node. I think it is just more clear and let it looks more clean. So if I just go Alt and D, so it's just going to de-select all the thing, deactivate all the nodes so you see how much we have gotten, how far we have gotten. So everything just looks how because I was there I felt in this video, so I kind of remember that this is how it looked. Actually. This was a little bit desaturated. This also I felt in a flat profile and GoPro. If I film in a flat profile, then I have more flexibility to change the image. But if I already filmed in a neutral profile, then I wouldn't have that much flexibility to do male more changes with any camera. Try to, try to film in the, more, in the most raw profile as possible so that while doing color grading, you have more options. Just activating this lookout. It already looks so cool. What I would do is that I would go to looks, I'll just going to put here. Then first thing I was thinking is to get these colors out, the, get these, get these more popped up. So what are we going to do if I go here curves and then here versus here? So what is the hue? Hue, if you change the color, here, it sort of changes the color of the entire image you see because now here all the image is selected. You see huge changes, goes through different shades. So if I select blue and then change the hue, is going to show me all different shades of blue. So that's what we're going to go in this curve and see what colors of blue for the sky or what colors of this orange thing we like. See if I just personally I went to Hue vs Hue. If I just press here than it already shows there in the graph, does this color lies? So I would go a little bit higher. So you see now instead of showing all the colors which was associated with the same color or pattern associated with orange. So I can get, I have the option to get all these fancy colors. But what I would be doing, so this is going to more green side. I would sort of get it a little bit like very little pinkish. You see the color difference. Now what I would do, I would also get more saturation just, just here. So then what I would do here, I was here versus hue. I have to search for Hue vs Saturation. So here what would happen is that if I increase the graph like this, the whole graph saturation goes up. So I just need to select this part. It selects here as well. I'm going to start off, make it a little bit more broad. So it's looking not that harsh. As I go up. You can see that the saturation, this thing is increasing. You see? And if I go before and after, Here's our getting more colors out of the image. So yeah, that looks about right. And now what I would do, I want to change the color of the sky. So I can probably do it in the same, I can probably do it in the same node. But then this whole things would look a bit messy. Because if I do a sky as well, It's going to be here. You can obviously change the color of the sky. But I don't want it to be messy because if I have to change some settings, then I know exactly where my colors are. So what I would do, I would make up parallel, parallel node here. So add a parallel node. And what parallel node does is that it's kind of taking the output from this, from this notes. If I just put these two here, just to avoid Can you, just to make it be more clear. So parallel node is taking all the information, not after we have colored graded here. It's taking information from this node. So whatever our final color swatch here, that's what inflammation is going to this node as well. I'll give you an example. So if I select the color of the sky here, and if I just make it say pink. So that was information which is stored in this node. And this one here, the information is coming from here. It has nothing to do with here. So even if I go here and select the sky, it will still select the blue area. So it doesn't matter what color it changing because technically it should have selected the red area or pinkish area, but it's selecting the blue area because that's how the image looked when we when this was not there. Yeah. Does that make sense? That's why we use parallel node to change the colors. But later in this section, I'm also going to show you the use add layers. If they add layer that has a completely different functions. So we're going to, I'm going to tell you later. So here I'm going to change the color of the sky because it's looking a little bit dull. I select here. I'm just going to broaden this so that, so that it can also change the color of similar blues and all over the image. So we are in hue versus hue. So we have to change the shade of blue. So I would go up to make it a little bit more teal to see if I go down instead of going this way, a little bit more teal. So all these changes has to be really subtle. It does not have to be crazy, or the color grading looks really bad. So we just go here and let's go before and after. You see we are getting teal in the sky. And the next one, what I want to do, I also want to maybe change the color of the water or maybe sort of enhance the color of the water. So what I'll do, add node, add another parallel node. And I would go here, but we don't have to go in here versus here. We have to just enhance the color. We don't have to change the color of the water, so we're gonna go Hue vs Saturation. I go here. And then I'm going to increase the saturation. This is going to expand it a little bit. So all the different shades of blue there color is also going up. You feel before and after you see how much color. So we are getting say, if I just deselect everything, you see, we have changed this one. We have changed the color of here, and we have changed the color here. So we are sort of kind of getting somewhere. So I would just go here. I would also look. These were what was the easy read I can say or I'll just do a read. This was blue sky, can say non-labeled hot. This was sky and this was water. We have each node four different for different things, whatever color we have changed. Here, it looks good. I just think that her skin is getting a little bit too unnatural color. Just maybe what we can do here is that I'll show you a new trick. Now we are getting the output from all these things. And because we have changed these reds that also kind of changing her skin color a little bit. And it's not really it's looking a little bit orange-ish. So what I would do, I just wanted the huts to be orange here, not her skin color. So what I would do, I would just add another parallel node. And then now I would select her skin. So we're gonna go to this selector here. It's a new trick. So you have to see this. So it's a selector, it's kinda selecting her skin I just pressed here. But how do we know what is selected? I can see my note that something happened. But to see what all things it has selected, I go here, you see it's selecting her skin but not All the way. It's not like super proper because I'm just pressing and dragging so that it selects all the skin. And see, I'm just pressing here and dragging that. Now you see what happens. I have this whole chart. So here what we would be doing is I am going to expand this a little bit. So as I'm expanding, you see all these all these edges. I'm not worried about anything else being selected as I'm expanding because I know that her skin would have gotten different shades. So now I have just her skin is selected. And I want to also get, because you see now they are all the same color. So it's also selecting the other things in the image. So what we will do, we'll try to play with saturation. So if I go here, it's sort of selecting more things. If I were just going to play around with this and see what all things, if I make it a little bit smaller, they are literally the same color. So in this case, I really don't think we can separate them. What I would do, at least I don't want the floor. I want a full body. And now what we will do, we'll just play with the luminance. Luminance is just the brightness value. So this is going to select the brightest oranges in the image, and this is going to select the darkest. And our image lies somewhere here. So you see the roof is more brighter than her skin. But now at this point, a lot of her body is coming as well too. They are literally, they have the same light. So what I would do this kinda nodding and Butler about it. Just let her my main priority is that her skin is selected or not. So skin looks good, kind of. Skin looks good. And here what we're gonna do in an odds ratio, so the blur, instead of add a little bit of blur. So these edges are not super sharp. And likely clean whites does increase everything a little by little. So now we have all our skin selected. But then the problem is we also have these things selected. So what are we going to do? We're going to draw a mask around her body. So, so what we can do now is we have to draw a mask. And for drawing a mask, we need another tool which is here. So I'm just going to zoom out and use this pen tool to draw a mask around her body. Now, it's only going to select this area. So if I choose this, you see, it's only selecting whatever was selected from the qualifier in this area. But if I go here, you see the thoughts are sort of selecting the hot. But I would just keep my image here. And now. I just need to change the color of our skin to get rid of these lines. You can just press this, you can just press on some other node. Go back here, it's going to stay there. I'm sorry. What what are we going to do? It looks a little bit orange. So we have to reduce the orange. So there's a few different ways, but the easiest way is to do this in offset. Our skin is somewhere here. Yeah. Like somewhere here, orange-ish. So what do we do? We push this middle button in the opposite direction. It's gonna kinda compensates and keeps an, brings the orange back to on the bluish side. So it's going to make, it's going to make it come in the middle. So now if you got before and after, It's not a lot of different, but it's a really minor difference, but now skin looks a little bit more natural. Yep. So that's what, so what we did was we selected our, selected the color from our image. Then we moved hue, saturation and luminance to select the perfect, to select everything what we could in her skin. And then with this to reserve draw with the pen around her body just to put it in the middle. We sort of drew around her body just to select this path, not the huts. But now the problem is, if I play this video, she is running around. So at this 0.5 of our bodies there, half a body is not there. So what do we do? Yeah, you heard it right? I would just go in the beginning. And now we're gonna do some tracking. How so tracking what tracking would do is that this shape, what we have created. This is going to track her throughout the whole image. The tracking is here. And I would keep my clip here all the way in the beginning. And then I will try to see if it could track or not. In most cases, they do, in most cases they don't. So let's try it. So I just press the play button. You see, after this point the movement is so bad that it couldn't track. And I also think that why is it zooming out? So let's de-select 3D and rotate, and let's try to track again. Yeah, that looks pretty good. So that's what we have to do if it's not tracking well, you can select the select these things and see because I was seeing that, because our body is changing, the track was also sort of going this and this and that. So that's why I sort of got rid of the 3D and now it's kind of a bit more simple. Yep, She's not going out of bed. There's maybe 11 frame. That's a different clip. So there's maybe one frame where she goes out of the picture. So now we did all the tracking, but I still find that there's something missing. So this was our hear frame. I just wanted to add a bit more contrast, but I also don't want her hair and these things to be super dark. So what do I do? What I can do is that I can add another mask. So I see that the image looks pretty good. But I also see that in these areas, there's a lot of it's not that, it's not that popping, There's still a lot of contrast. What we can add. So that would be the last step. So what we can do is that I'm just going to make another sort of big circle around doors. And now we don't drink to track because it's gonna be like kind of a rough thing. Because all these shadows are already a bit too much. But all the things up here, they need a little bit more juice. I would just keep my shape here and I will just increase this to, I will just increase this to get more blur. Do it probably here. And now what I will do, I will just reduce the brightness. So I just go in the curve here, select y because that's the luminance, that's the brightness value. I'm just going to pull it down. Now what is this doing it that instead of pulling down by instead of pulling down the girl. So I will just go back, back, back. Then. I selected this. You see my note, it's showing that it's selecting this part of the image. But what we want to do is completely opposite of economic changes in these parts. So then we go here in Word. So now if you see here, you see that all the other parts are visible. Let's go a bit more up. So now we go here. Or what we can do, just let the, let the blacks down a little bit, get the brightness a bit more here. So you see now just with that tool, I'm getting more detail in these area. I'm getting more shadows here. There is a little bit of her hair also in the shadow. But I don't mind because if I if I go here, I'm just scrolling in and out from the mouth screen to do that. If I go like that. Then it just looks, it just looks like a little, a little sphere. A little sphere. So that's why I am sort of increasing the blur. And I would like it to be a bit more darker, not too much. Because I don't want I don't want these things to be super dark. Then maybe I have to expand my shadow. Probably go down a little bit here, maybe. Yep. And now I see before and after. It looks a little bit nice, more popping. So yeah. I think what do you guys think is, does this looks good? So let's see before and after. So I'm just going to press Alt and D or Option and D. Yeah, we got quite far. There's just a GoPro image, so you can get so much out of it. Let's go through again and see what all things we learned. So I'm just going to deselect everything. So first thing what we did was white balance because I didn't want it to match everything. You wanted to get the most neutral image possible in the beginning. So we did the white balance now that selecting everything, because I selected this, the first thing what we did was change the white balance. And then we went to the primary curves in the second node and change the exposure. So, yeah, so sort of the image looked a little bit flat. The blacks looked a little bit lifted. So I sort of brought the blacks down, sort of gave more pop with that again here. Change some things with the offset, with the gout, change the exposure with the offset. And then next one I tried something with contrast, but yeah, I don't have to do it. So if you don't have to do it, you don't do it. So that's why color grading is it's a lot subjective because there is no hard and fast rule. Whatever depends on your taste. You should go with it. And then here I did some color boost. Is so much difference already. So this was just like how neutral it was looking through my eyes. And mind you the color of the water that was the same. I didn't do any color grading. That's how it was. Like. You see the sky looks kind of neutral. And then we did some color grading. So here we went to the huts, just popped the color in the Hertz needed a bit more to the orange side with these Hue vs Hue. Didn't go too far. And because I was doing that, that also changed the skin off the girl. Then X to change the color of the sky. It's the angle before and after. These are all really subtle, subtle changes, but they still make a lot of difference. And then I enhance the saturation in the water. I didn't change anything because the color of the water was already looking so nice. And all the things what we did was from these curves. Here we isolated her skin first with the selector and then set off with the help of the offset. We have sort of brought it opposite to the orange side so that it can counteract and make it look more neutral. And then in the end, I added a little bit more contrast in these areas without changing anything on the subject. So if I go before and after, easy to just buy these little tools, there's so many possibilities. And in the next section we're going to change the colors with the help of just this selector. And I'll show you a few more techniques to get the best color from your image. So let's move on to the next image. And meanwhile, if you have any questions, please write down in the comments below. 7. Color Grading Using Qualifier Tool: So guys, in this section, what I'm going to show is completely different and how we color graded just using curves in the last section, this would be completely different. So let's start. So I'll give you a little bit of background of this image. That is short on DJI maverick pro to. This is shot in decent, unlike decent it like at a different format in which the drone requires the video. And it sort of, it, it makes the footage a little bit flat, so that in color grading, we can choose our own way of collaborating. But the only problem with these flat images are, is that it looks flat to me. So I don't really know. In reality, how exposed was it that because whatever exposure value I'm going to change, it would only be very subjective because that's what I think how bright it was that day. So to avoid these confusions, that result gives us a tool called color space transformation. And that would transform the decent unlike photo or decent unlike video. To wreck seven or nine, that's going to help us to obtain the original image, how it looked while filming this. So what I would do, I would make 45 nodes here. White balance. I'm not sure if we're going to need it. Primaries. Here, here would be the kernel space transformation, color space transformation. And here I will just put extra, if I need some extra changes before the coolest race transformation. And once we have this transformation done, then we're going to start going into looks. So here we were gonna go say Look, whatever it comes. So whatever comes. So, yeah, I would start with the color space transformation. So in these cases, you always first start with color space transformation because you want to see how the image actually is and how the image actually looked that day. So you go to effects the third color space transformation. This drag it on this node. Here. Here we have input color space. So input color space is the space. What lot this image has been shot at. So this was DJI D Gamma. So to use this property, you should really know what settings that camera has shot the footage. So these are like, and we're gonna input gamma is rec 709, which is the same as our timelines. It's not really going to change anything. But you see just with one click, how much we are changing. So you see just before and after. So it's still really neutral. Look how it would have looked through our eyes. But I see that there could be a lot done here because the rates are all over the place, but we can still get a lot of our greens and the blues. And red is here out of the place because if you see this area that's a little bit dark. So we also going to take care of it in a bit. So first, let's just change the exposure of the overall image. To change the export of the overall image we're gonna go to primary color leans cause that's what we learned before. So what I am going to do, I would go to My Parade and you have to see these settings. Sometimes your graph is not that bright, or if it's like this, you can go all the way here. Yeah, I want wire RGB curve. The reason is that because here, if I am changing the exposure, this thing going down, it's going to annoy me so much because it's already here. So I'm going to take care of this later, but I still want to see where my overall image is going. So keeping this in mind, I would bring the lifts down just to see if I'm not crossing the line. I know it's getting super dark here, but we're going to take care of that later. But you see, just with this, you see how much blacks we have gotten in. And then next one, what we do, we're going to increase again because I think that the overall image is looking a little bit dark. So increase the image. So we're not going to be bothered about this. We are mainly bothered about this one, so I don't want this to clip over this. So I can push this image maybe probably, you see as I go just two or this, you see the clouds is getting all blown out. So I am just going to leave my image here probably. Yeah. And then I'm going to bring the camera down just to get the blacks a little bit more pop out. Yeah, probably here. I'll just lift it a little bit because I see that my image is going to low here in the shadows. Yeah, that looks about right AC. If I go before and after, just look at the luminance, how it was like this. So how it was like this before. And our main goal was to expand it to throughout the whole exposure, expect from it without sort of blowing everything out. So let's go before and after. So this was before and just many do after you see how much we can get information out of our image. So that's why it's really important to film in log profiles. So now we have got like a basic kind of look. It still looks pretty good. Just for commercial work. This already looks so nice. And we're gonna do few things extra. What I would do, I still think it's a little bit dark. So I would just increase the exposure. Quiet more probably until here. And then if you see this whole thing is clipping, so don't freak out. Now I would go to extra here and do something. Well maybe I'll do node level extra one, extra one. And then because we're going to add one more extra after this. But you'll see that my sky is clipping like crazy. So what I can do is that these are all highlights. If I reduce my gain, the whole image goes down here. This is the time where I would use my highlights. So I would go to the log profile and all the bright areas are where my highlight is clipping. I will just reduce the highlights down. So it's, it's barely doing any sort of difference in the, in the, in these areas. But it's making my clouds come back to neutral. And if you see the graph, it's not doing, it's barely doing some changes. It's doing some changes here. But our main goal is to bring it back here. So that's why we use highlights. So before it was all blown out and I brought my highlights back so I can bring it down. Let's say until here. Let's say, Yeah, so it looks kind of still be here because I want this image to be like really poppy sort of commercial look. You see, what's happening is that we're sort of losing the contrast in this area. Yeah. But I'm also sort of blows out. So what I would do is that I would do another selector, and this time I would go to my selector here. I would go to my selector here. And what I would do is that because I just want to put highlights in the most brightest area. So I'm going to select this. And I'm going to choose the luminance value. So I'm going to choose a luminance. Just select this one. So I see that what's happening, the dominance is also obviously the brightness of the image. So illuminance would only help me to get down the highlights in the most brightest area of this image. I don't want the highlights to be down everywhere. I just want my highlights to be down in these areas because they are the brightest. What I also did was I sort of increase the softness. That helps me to select the images better. So I want my oldest sky to be selected. So now you see, now what's going on is that I am just retaining the information just in the sky and a little bit of sand, you see. But my graph still looks a little bit blown out. So what I'm gonna do, go back and primaries reduce the gain a little bit. Probably here. You see the, what they did here was I would just go in brief, so I was changing the highlights of the image. But he was also affecting the highlights everywhere because this is also, There's also a bit of highlights here. There's also a little bit brighter, brighter part of the image. So what I did was with my two selector tool. And luminance is the brightness value of the image. So I just selected with this tool, I just selected the brightest part. And I use this tool, the soft, to select it better because it's gonna be super harsh now. And it's sort of selecting even the sky a little bit. It's not just selecting the clouds. They thought selecting a little bit of the sky as well. So yeah. Now you've seen before and after. So we're still retaining all the information. This is the kind of natural look. From this image. And later on we do the color grading. But let's see how far we have come. So if I just go Alton, D or Option and D, You see my changes in the image. And I know this area is a little bit dark, but we're going to take care of that later. So now the color grading process. So here, what are we gonna do? We're gonna do color grading in a completely different day. It's gonna be kind of similar, but maybe not similar at the same time. So you have to see that here, I'm going to enhance the values of reds or change the color of this one. So let's see what we can do. So node label, all those go red. And now what I would do, choose the selector tool and just rub it around here and see what all thing it can select. So I just go ahead and highlight two. Yeah, it's selecting all the huts. And I would just move around and see how far I can go. Oh, not so easy. If I'm going this far, then selecting more things. We just go until here. Then I will just scroll on my saturated because I think it's already selecting a pretty good cool. Yeah, I think I'm selecting all the hot, probably throughout the whole image, but you see all these little things which is also selected. So now maybe our luminance can do the metrics. Or if I try to go more this side so that it selects only the brighter parts. Just do it a bit more soft. You have to really like just play around with these three tools to select what you really wanted to select. Maybe this is going to close it. Yeah, yeah, yeah. I think we are getting there. So here I have just selected just this much color, whatever is in displays that can only be celebrating the screen. Now to make it a bit more clean, what I do, I increase the ratio, increase the blur ratio, increases all these a little bit so that there's no like a harsh line next to the things. Cilia. Now what we do, whatever changes you're going to do is only going to change the things which is selected. So we are going to be changing the hues. So we change the hue last time with this graph, but we already have all the selections. I can just change the colors with this one. So let's see. I want it a little bit more orangeish. Maybe. Let's do 51. And these are all subjective, like you can just make it how you want to make it. Then I would do a little bit of color boost is easy if I go all the way, It's making it look a little bit fake. So maybe I go say 75. Yeah. So if I go before and after, you see It's sort of just like it's like literally coloring a box. I'm just coloring the huts. Yeah. So that was one that was the reds. Now what I would do, I would also change the color of the sky. So I'll just go parallel, say node labels, sky. But I think if I select the sky, there would be other things which are similar color to the sky that would be also selected. So I really don't mind if I select this guy just here. But I also want to open this up. Now, just until here. I think that was really good selection. Oh yeah. If bagels saturation a little bit, it's also selecting the ocean, but I don't want it to select the ocean. Then maybe the luminance can do their magic. So you see, you just have to play around with these things. You know what I can do? I can select Yeah, I have just my sky selected. What I can do to get rid of this selection, I can just put a mask or the sky. So it's sort of just choosing my sky. So what I would do, I would go here, get my mask on. Let's go down C30. And now I can just change the color of this thing. So sky, we go towards just changing color here. Not too much, maybe 50. So let's see. Where do you see there is a little bit of a boundary here which looks super weird. So what I'm gonna do, I go here. And then inside and outside. Get it a bit more soft. You see? Now, let's go before and after. It's still looking a little bit weird. So what I'm gonna do is change the yeah, Just make it look a little bit more neutral so not let it select. Yeah. Let's see, before and after. You've changed the color of the sky. Now what we're gonna do, add node, Let's go parallel. And we're going to change maybe the color. We're going to just enhance the color of this whole thing. So let's see. I want to make it a little bit bigger. Go a bit more. This side. There you go. Just, you just have to play around with these things and see what all things you can select it. I don't want my sky still be there. Just go in and out ratio black glaze, clean whites, clean blacks, everything up and let's see what we can do. So here, I don't want to change the color, I just want to give more juice. You know. I also want to increase the highlights here. Let's just go before and after and see I changed the color boost and the highlights. Now if you see the clip you see before and after, you're getting so many things selected in the thing. Yeah. So these were the three color things that we changed. You see, the whole image kinda changes. Because our main goal was here to just get the most out of this image and make it look more poppy and more commercial. Like. Yeah, that looks good to me. And what I would do, I think that here there's a bit more, too much highlights. So what I would do, I would just reduce the gamma a little bit more. Yeah. See, one node can make so much dear friend Jess, our primaries can make so much different. So whatever you're doing here, you can always just go back and change these values. And then next one, what are, what are you gonna do? Is we're going to take care of this part. So I'll just get one more node. And I'm gonna go to the end here. We're going to select something called a gradient. So what would a gradient do? All the things which is not great. That's gonna be all the things which is not great that we're gonna be working on them. They want a softer output. So you see, now what we can do. We can increase the exposure. So I just go in the middle or it's increasing exposure completely out of the screen. So what you're going to, let's bring it more in and see. I guess I would also go here because it will select, I can do whatever I want. In this section. I would be increasing the shadows probably. That's a bit too much. So I am gonna go maybe here and probably tilt it that way. Yeah. So what do you guys think? This is before and after? I think that's a little bit too much or you know what? A little bit too much. So I'm just going to reduce my show. Yeah. Or yeah. That looks that looks pretty good. So what I would do, I still didn't track my sky. It's not a super crazy movement in this image, but yeah, just, just for the sake of it. So yeah, that was it for this collaborating. So I will just go through it again and see. So the first thing, what we did was I'll just deselect everyone. So the first thing what we did was color space transformation because I wanted it to be in rec center line. So I did that. And the next one, what we took care of was primaries. Primaries just boosted everything because that's what I wanted to get. Here. I went a bit too much because I want it like the pop the image and white balance. We didn't do it because it already looked kind of okay even with the crafts. And then the next thing what we did was because I saw that the sky is blowing out. I sort of reduce the highlights also from the sand. If you see here, you would see that there's more details coming back in. And then we did the color grading. So that was the image which is a proper XOR line width, contrast boosted. And so next thing what we did took care of the red on the huts, increase the highlights there, increased the color booths there. And we took care of this guy, made it a little bit more teal Tracy, with collaborating, you don't have to push it too much or it just looks so artificial. Especially with sort of travel images or commercial images. Not too much. But I'm also gonna show you later In which situation where you can push or if you have a client which demands to be like a dramatic image. There is a specific type of videos that you can do. Obviously you can do on this one, but it's not really going to look good. We took care of this guy, coming back to this image, take care of the sky. And here I totally forgot or the water. Yeah. You see? If I don't know, I would never know. So here, the water yeah. We took care of the colors. So this is what colors we did after our rec seven or nine transformation, this. And then lastly, it took care of the shadows in the corner. So yeah, that is our complete image before and after. So let's play it and see how it looks. It looks pretty good. I hope you're learning a few things from this section. In this section we did color grading by just the selector tool. So we didn't use the graph like how we use in the first time, we use the selector tool. So I hope all these things are making sense. But if you have any questions, please reach out to me. 8. How To Use Contrast And Pivot: I'm going to show here a tool which is going to help you to reduce the brightness or to gain more, gain back a bit more information in the image. There's not a collaborating tutorial, but if your camera has the ability to retain the highlights, we can take care of that and result. So here, I would increase the contrast. And then if you see pivot, what I would do if I increase it to 0, towards 0, it's going to increase the contrast a bit more. It's going to make the brightest part more brighter. It's going to make the darkest part more darker. But if I go up, but if I move the pivot to the other side, it's going to bring the brighter part and the darkest part on the same level. So you see, I went to 0, it was like that, and I went to one. It is like this here. But now there's also one more thing what we can do, you just hold this. That's all I'll bring it down. So if you're going to bring this side down, you're going to bring more highlights. And if you're going to bring more this, they're down, you're going to bring more blacks. And so you see, I would just sort of bring it in the middle and then just change the x. Plus I'm showing you all these things in one because in one node because I just want to show you how much exposure and everything you can just retain by just looking at these graphs. So it was in the beginning, look, it was like here all the way. So we have already gotten this much information from this little information, what we got in the beginning. So what I would want is with the help of left, I'm just going to bring down a bit more, bring down Gamma a bit more. I know it's getting a little bit darker here, sort of pushing it a bit too much. And just increase the highlights a little bit. Dizzy if this goes above this, the highlights always sort of blows out. So I am just going to leave it here. And now I would go to the log curve because these areas, they still look a little bit dark. They will go to the locker when I would increase the mid tones. Mid tones are, as I showed you in the graph before, it's just going to increase the exposure of specific region. And I think these things, they all belong to that specific region. So I'm just going to increase the Midtones until it starts to blow out. So you see, our image was like this. We got it here. If I increase the shadows because there's no shadow in this image anyways. So I would go, I think I put you in a bit too much. I would go just until here. Still we got so much information from this image. So just by these tools, you can increase or reduce the exposure. But obviously in the end depends on what camera you have shot on. But yeah, I hope it all makes sense. Now let's move on to the next image and I'll show you one quick way to color grade and this one. Let's go. 9. Color Grading Using Qualifier Presets: So this is a new image. So here we see it looks kinda balanced. But from the parade, you can see that there's a lot of highlights, a lot of exposed area, super exposed areas here. So what we can do make for now it's probably white balance. I would do primary. Just extra overall. If there is something wrong. Here, we'll do look, maybe another node. Just overall. If we want some other changes. So what we can do here first is I would reduce, bring this back in the picture. So we are in log v yields. I will just reduce down the highlights. They see, reducing down the highlights. It's only affecting the highlighted area. It's not affecting the image at all. So that was the good part about also this tool. If I just go all the way down, you see just the highlighted area goes down. But if we go and reduce the gain, is it brings the whole image darker. Yeah. So what we can be doing here, there's not much really to do because it's already a little bit clipped. But I want to, but I wanted to have a little bit more contrast. So what I'm gonna do, I'm just going to play with Gamma and Gain. Reduce it down here. Increase the gain. Probably here, and reduce the highlights a bit more. So let's see how far we have got to enhancing all the colors instead of making the darks a little bit darker, the brights a little bit brighter. So my subject is also greater than getting brighter. Yeah. It looks good to me. So I will jump straight into the looks. And then in the end we can do some global adjustment. Because I, my goal is to get kind of like a dark theme in this image. So the image goes like this. Maybe. I'll choose this as the hero of frame. So the image goes like this. And I want it to be like how they have in the horror, horror movies, but a bit more suspense kind of look, suspense film looks so for this one, the graph is still green, too happy. So what I'm gonna do, We can use the selector from here, or we can use the graph, the hue versus hue. I select the grass and then do the changes. There's also one more way. So I go to color, I go to preset, and then I select greens. So yeah, so if I go here just to see the selector, it only selects all the green in the image. And if I go to the selector, you see it has already done its own work and select it all just the greens in the image. But I can obviously move it here and here obviously depends on how I want it to be. And if I go more this way, it's going to give more saturated look. Yeah, So that's how it's selecting all the greens. It selected all the greens, but I can always just change the values and get more out of the image. But I see that it's also kinda selecting my subject. So I would go sort of softness in probably until here. That looks about right. What I want my greens to be is I can just change the value of greens from here, from here. So I would go a bit more this side. So I don't want it to be super dark green. We want to have a little bit more yellowish look. Yeah. That looks about right. Yeah. And then I also I see that her jacket is looking super saturated, super dark. Wilson wanted to change the color and change the values, change some values in there. So I go to parallel. Now, I will just select a read from here and let's see if my tracker and select it. Looks like it did. It did all its value, then it's just selecting red. That's the only reading the image. So now what I can do is that I go here. And now what I can do is that I can reduce the highlights in the red, so I can just go here as well, get the highlights down so you see. And I also want to change the color of the red. Not green, but something which is not super popping up. It looks a little bit weird because I think I've pushed my greens a little bit too much. Maybe around 52 is fine. Yeah. I'm here. They're probably led the highlights go up a little bit easy. You just have to see the image and see how it looks. You. Yep. That looks good. And now what I would do, I want it to be like a bit more moody, a bit more dark. So here I will just reduce the overall exposure of the image here. And then I also want it to be that blacks to be a bit more black. This just the look what I'm going for. That's why I'm pushing this image a little bit more. But it's totally subjective and it depends on you. So this was a global adjustment. Maybe I want it to be a bit more dark. So what I'm gonna do, I go to my SDR curves, don't freak out. And just toggle around. So these are the weeds or you can just toggle around. I'm looking forward to lie. This one is here. So what I'm gonna do, I'm just going to try to reduce down the light and see what it does. If I play from the beginning, the reds are looking at a little bit too much. So I would just reduce down the saturation and say, yeah, let's see from the beginning, Let's totally subjective how it's looking, but it depends on how you want it to look. So just by changing few values, if you already have a usual clip, you can, just by changing a few values, you can get the colors, how you want, how you, how you want the mood, Turkey. This was the before. This is after. You can go through it one by one. So we didn't really change the white balance because I thought it was pretty okay. I took care of this highlight in the primaries and sort of reduce the, reduce the gamma a little bit, increase the gain just to get more pop in the image. And then extra, I didn't do anything for the look. I changed the color of the grass here, manipulated some color of her jacket. And overall, I wanted to have a bit more dark and moody look. So I just reduce the brightness with the help of these curves. So I reduced the highlights from here, I reduce the whites. And I also went to HDR panel and reduce, and reduce the here the light. And then we ended up with this. I think it looks pretty good. What do you guys think? It's from here. We got until here. So yeah, that was it for this one. And in the next section, I'm going to show you how you can transform this image to this. 10. Color Grading Using Offset Tool: This image was shot from the Sony A7 S3, and I was filming in log profiles. So first thing what I need to do with the color space transformation. So this label the node what? White balance primaries. First thing cause phase transformation without asking any questions as we go, this input color space was these things you really have to know. Because if you don't know, then the whole image can be something completely different. Input gamma was Sony as log three. So you see them with one-click. It's easy. Just with one click, I can already get how my image was looking exactly on that day and how I filmed it with all the recordings and stuff. So you see the white balance. It is super spot on. So that's why every time when you're filming really makes sure that the white in the image are white, are looking white. This will just add some extra step in the post-processing. And sometimes if it's not shot from a good-quality camera, it might be really difficult to just get those natural colors. So if you just have to make a commercial look without any sort of cinematic look than what we would do. As you can see here, we still have a lot of things, what we can play around, kind of we'll see, we'll see because this is the overall luminance over our light brightness image. I think I can just give a little bit of pop and bring the shadows and the darks down a little bit so that her hair is a little bit more black. So I'm in the primary. Let's go here. Let's try to bring the left down until here and maybe gain a little bit up. Let's see before and after already adding a little bit of pop in the image. Yep. And then our next thing, what I can do is I'll just increase the gain a bit more. Yep. It's giving like a really good clue on her face. But then I also see that this part is a little bit more bright. So what I'm gonna do, I would just make another or just to wait an extra. So we're going to reduce the highlights on this. So just as how we did before, I'm going to select luminance and it's gonna choose the most brightest part of the image. Probably this. And then I'm going to make a, make it a little bit softer. And then from there I reduce the highlights. So I have all these paths selected with the help of luminance. And then what I'm gonna do, I go to the log curve, I reduce down the highlights. You see my image was here, that my image was not my middle of summer here. With the help of this, I can reduce down the highlights. And did it change anything you see? It's that are bringing more details in her clothes. It's sort of bringing more detailed look at the clouds binary. Or maybe I reduced it a bit too much. Maybe just suddenly. It looks kind of okay. So if we go to just, if you just deselect these two, let's see what we have done. This is what the image looked after color space transformation and we have gone here. So if you just want a commercial look, this is already like it's looking super nice. And it's also because how we shot it in the camera. So it's always really important to shoot it with the most neutral colors as possible so that you have less drama in post-processing. So now it looks pretty good. What I would do now is that I want to make it a little bit of cinema kind of look. So what I want to do is I want these to be kind of blues and a little bit dark. And I want the overall image to be a little bit dark. And that's it like more like a joker. Look if you, if you know what I mean. You might have seen that look in a lot of movies. So what I would do for that is I am going to bring my offset down. Yeah. Because I want more blues in the background. But if I select this, this, this is just a white color. So it's not really going to select anything specific. That I can change the color. Or even if I go with the graph with the hue versus hue. If I select here, it's like it's barely going to do any difference in the thing. So that's why I'm just going to go to Offset and bring the overall image to the bluish side. Let's see what we can do. So I am bringing not like super blue, but a bit more towards the teal and a bit more towards the teal and green each side. So let's see if we can make that happen. Yeah, that looks about right. Let's try to as the green side. Yeah. That looks about right. What I also would want to do, I would also bring down my gamma a little bit. I'll bring down my grandma and increase the weight any to see the picture without anything. So primaries, I would bring down the gamma a little bit more in this case. Because now we are going for more sort of drama, more dark look. So overall, it looks okay because also if you see her whole body is, her whole face is also greenish. So now you're going to use a layer node and water layer node does, is that you're gonna, you're gonna see if I do parallel. Nothing happens. If I do layer. What is, what it's doing is go over here. What it is doing is just adding an extra layer on this image so that they don't see this image at all. So it's like an OpEx subject, which is sort of just sitting on top of this node, just not letting me see what this node is doing. And if I select something in this node, then it's only going to affect that thing and leave the overall image like this. So I'll explain you. What I would want to do is that if I deselect that, I see that her face is also kind of greenish and it has blended so much in this image and I don't want that to happen. So what I wanna do, layer node, and I would just select her face and see what we can do. So the first phase is selected. If I go here you see all the other things are also selected. So what I would do, I would try to get rid of this thing by the negative selector. But if I get rid of the building, It's also just going to move it around her face because because we want this face to be selected, that's like the most priority. I really don't care about the outside things because that we can take care of that later. I can still move around and see what are the things that you can just get out. Let's just zoom in. Faces good. With the saturation. Let's see if we can just move around. Oh, no. Yeah, maybe saturation and luminance is going to help. If I go more this side, because her face is the brightest in the video. Maybe it can help me to select that, but there's a few things which is not really helping me to select everything. Video. I think this is good. We can always just put a mask on her face and just let it track, but the roads are fine. It's not really in the picture. I will just increase these two. Everything is nice and soft. It's not sort of blown out. Now if you see, it just looks a little bit vague here because we're going to take care of the buildings later. But if you see it, just her face just looks a little bit kind of odd one out because also I think that the face color is not really proper. And that's also a problem with Sony. That the face is more towards the face. Colors are not supernatural in Sony. So what do we do right now is that we go to vector scope. And this is a really good tool just to get the perfect face tone. So what I'm gonna do, I just go here, show skin tone indicator, safe. Our skins are somewhere here on this, exactly on this line, which means that we have selected the perfect skin tone. So what I am going to do, I'm just going to move the offset and see what's changing. So if I move it here, you see this little thing. This little guy is moving away from this line and my main goal is to bring this little guy on the line. Would just go a bit more towards the pink side. And it looks okay, but it still looks like it's sort of kind of popping out too much out of the whole image. So what I'm gonna do now is that I want to, I want this node to be blended in, in the background. But first, I need to just select her body. So what I'm gonna do, I'm just going to make a mask around her body. Let's go, go, go here. It's only gonna choose what's in the image. So I'm just gonna go here and let's see if it can tracker because that's the most important thing. So I would go to the tracking panel. Let it go track. That kinda does an okay job. Let's drive it to rotate in 3D and see what it can do. Yeah, I see that her face is kind of Let's go track backwards and see. Oh, I think we have to get rid of that. Let's go here. Let's drag back again. Sometimes these tracking can be really annoying. Oh, I think that looks pretty good. Her hands were moving out, but it should be fine for the most part. So now that we have her face ready, her face is kinda popping out of the green so we have to blend it in the background. So what did we do? We go to here, to the key eagle here, and then c0 output gain. I'm just going to reduce it a little bit. So you see now her face is kind of blending in the background, but it's not popping out that much that how it was popping out before, you see, it was like this before. Then we have when we raise it to say one, that's a bit too much. Maybe if we reduce it down to 0.5. So yeah, if he just with these two nodes, we change the whole image. You see it's like a more sort of commercial, not a commercial look, but more sort of cinema look. And if you wanna do take care of her clothes so you can do another node. But I'm not going to explain that in this tutorial because you can just do it by herself. Choose another parallel node, and just take care of this cloud so you can change the exposure, change the color of the change. With change the color of the clothes. It heals and you can do just everything. So yeah, here, Let's start again what V2. So first thing we did was color space transformation to get into Rx Eleanor nine color space. That will, this one already looks so good. The next one we took, we went to primaries, brought the blacks down. We made the gain a little bit up, also brought the gammas now and just to get more details around her and on her face. And then also sort of increase the reduced the highlight because her clothes was popping out. Just a little bit of minor change, but we sort of reduce the highlights a little bit. You can always just go a bit more lower just to see how it, how it was. Probably here. Then what we did, we went to the loop section. So I didn't do anything in this note. I don't know why an overall we wanted this look. But then the problem was her face was also sort of getting this color. So I went here and I made her face pop out. And I can do one more thing because we have her skin selected. And I think that what I can do is I can go here. So this is a tool which canal, which is going to soften your skin or it can add more detail. If I go the other way, you see that instead of adding more detail in her skin. But if I go a little bit back and go a bit more this side, so I'm adding a bit more softness in our image. If I go back and forth. Yeah, that looks about right. Yeah, so this is how we can achieve a cinematic look as well. So just by going into just making it first, maybe just bring the image back direct 79 curve space. And then maybe you go to overall. And then when you go to just make two nodes, you can bring the offset to whatever value you want. And then you can select the faces of people so that it's also not about blending in the image. So here we're going to move to the next image and then I'll show you something really cool in this image. I don't want to, I'm not going to explain you everything because it's literally the same thing what I did before, but I'll just go through the image really quickly. So here I changed the color space transformation, so it brought it back to wreck seven or nine. I would just go to the parade. So in the beginning, I just had this much information and we expanded the image to this much. But I wanted to expand a lot because there's a lot of room in the shadows, quite a bit of room in the highlights. So I went to the primary color wheels and I did something, brought the lifts down, brought the highlights down because it's a little bit too bright outside and a lot of light coming. And then I still thought that I still need to give more juice in the image. So I said I've used my contrast to make it a bit more brighter. But here I'm rotating the pivot to get more contrast in the image so you see how much just this contrast is helping this image out. The blacks are becoming blacks. And there's more, the brightness is becoming a bit more. The next thing what we did was brought my image to more sort of greenish tones of B not going blues at all. And then selected my subject out of this. And here, here what I'm doing is I'm sort of using complimentary colors. So here, because my image was all green, I'm going the opposite way to make a bit of contrast in between the image. And then what I did was I still thought that there's a lot of light here outside for coming from outside. It looks a bit weird. So I sort of reduce the lights down with the HDR panel of the whole image. I think it's a little bit too much. But yeah, it's really subjective. So I went here and I chose the light to come down a little bit. I think I went a bit too much. One thing I didn't do probably here was too soft and our face, I think. So. Oh, no, I actually did. So I soften a little bit more. I just thought. So usually it would look like this. You see all these some sort of pimples and stuff. So I would just reduce it, make it a little bit more soft. Yeah. So that is how the image looks. And this is how it looked before. So yeah, this is how it looked before the colors phase transformation. So this looks like a commercial loop. Really popped really high contrast, district seven or nine colors space. But I did something to put more colors, put more drama in the image. So this is how we can color grade the images. We're going to move to the next section and then I'll show you also something completely different. 11. How To Get A Perfect White Balance: One thing I also wanted to show you just an easy white balanced tree because we have not really learning about white balance because I had barely any images with the wrong white balance, I found one. So here there's two different ways to change the white balance. The first and the easiest is you go to the primary color wheels, select this thing because you can also change the white balance with this one, the temperature and tint. But I would go here, this is a selector and this is going to automatically choose the best white balance. But the only thing you need to do is to select the widest, select the whites in the image. So that in an ideal world, what part of the image would look white color? I think this was why it's, if I just select that color, just with one click, you have chosen the perfect white balance. And there's another way to get perfect white balance. What I explained you before, I go to the, I go to the Custom curves. I can already see that the rates are a bit too much. Green tea is kind of in the middle and there's no blues at all. So I can just increase the blue because I want to make the blue go a bit more higher. So I'm just going to increase the blue and make it come to the same level as my red. So you see now there is a bit too much blue. So I'm just going to increase the greens a little bit. Make it come to the same level as I'm just going to make it come to the same level. So now you see the whites are kind of getting a bit more closer. But here, bring the red down a little there. So now you see all of them are kind of in the same level. And we go from this to this though sometimes the auto white balance don't work. So that's when you can use these curves. So now the image looks balanced. Do you see the red star here, the greens are here and the blues are here and before it looked like this. So that's what I was saying, that even if your screen is not color, calibrate it just by using the scopes, you can already sort of color correct the image. Color grading would be a little bit of problem. But you can still color correct? All the images that you see before it looked like this and now it'll look like this. So now we're going to move to one of the last section of these. So now I'm just hoping that you are following the whole thing. And yeah, I'm really glad that you are enjoying this course if you're still watching. 12. Color Grading Using LUTs: In the next clip, we're going to talk to you about how we can color grade using lakhs. So yeah. So that is in this section, what are we going to do? I'm just going to put four nodes. White balance looks pretty good. I am not going to do white balance, but I would still leave a note before node level. This would be primaries. This would be something extra if I want to take care of something, this would be the lot. And this would be three or bot. And this would be over. Here. My image is sharp, pretty good. I think there's everything, all the reds, greens, and blues are in the same level. The highlights is pretty good. So this is how, this literally how an ideal parade should look like. But because I didn't shoot it in a log profile, I really made sure that my exposure is on point, my white balance is on point. So yeah, this was not shot in a log, this was just shot in an S in a tone in my camera and I have just made an auto setting so that I could get the best output from the camera. So yeah, that is a primary veal, but I would still want to get some contrast in this one. So what I would do, I can see that there's a little bit of room left here for my blacks to go down. So I am just going to push it down, maybe just until here. And then I'm going to go down with my gamma and see how far I can push it down before it's sort of crossing the line here, but it is not. So let's see how far we have come. They can already kinda bring a lot of inflammation here, a lot of information on the mountains by just reducing the gamma. And now what I'm gonna do, I'm just going to put a load on top of this and see how it looks. So I have a lot of lots specifically for rec seven or nine. I can give a few. Let's also in the comments, also in the description below, so you can download that and also use an collaborated with me. So what I would do, I would set off, choose a different one than usual. So I would go here. What do you guys think of this one? That's a little bit of strong light. Or maybe let's just try this one. So I go with this one. I know it looks awful. So what we can do, as I mentioned before, I go here to the keys, maybe make the gain to 0.5. It looks pretty good. It's sort of changing the color of the sky. Here. You should already understand what the light is actually doing. So it's sort of changing the color of the sky, is also sort of changing the color of the greens a little bit. I think that's it. Sort of bring this leg is a little bit boring. So let's try some other load. Let's go with blood 16. Yeah. This is kind of okay. Yeah. I think this looks pretty good. So it's sort of also bringing the contrast down off the whole image as well. And the sky is kind of greenish, you can say, yeah. So overall, instead of making the image a little bit green, but also increasing the colors and stuff. So yeah, that's how you can just edit with a lot on all this change the opacity of the load by c0 output. I'll just show you one more example of how we can use lots. Here. I'm just going to quickly, do you see how perfect it is? Let's just look so beautiful. So what I usually do, I put the lot first and then image and then I change my primaries according to that. So I would maybe just put this lot already. Looks so cool. What I'm gonna do here, I'm just going to bring the lights down a little bit of room, or maybe the Gamma down. I want it to be black and I want this to be super dark and moody. But this lot, it's kind of giving it. I'm liking what it's doing. But I want to do something more on this one. Yeah. I'm really liking what it's, what it's doing. What I'm gonna do because I want a dark and moody look so I might not touch the exposure because you see if I touch it again, instead of making it more happy image, I'm just going to leave it here. Yeah. So even if you have applied a lot, after applying the lot, if you just like what it's doing, but if you want to add something extra, you can. So what I would do, I would sort of make it a bit more dramatic here. So I would bring it more towards the green side. Yeah, that looks really, really good. Yeah, I really like that. Not super green, maybe. Just until here. So here my overall image is kinda green, but I also want, but I also want green in the sky. And all the bright areas is controlled by gains. So if I just increase the green here, instead of increasing the green, you see it was before and after how dramatic it looks. And I just want her jacket to pop out because it's just getting too much green. So I'll do add layer and then maybe either select through this way. Oh yeah, that's not bad actually. Or maybe let's try to select it via the preset and see what it can do. Mirror was it color? Preset, Preset treated here, red. So easy. Now it's also selecting the whole the ground. That's why sometimes it's just nice to do it yourself. Yeah. I think that was the only part of her jacket which was visible. So you see now her jacket is a little bit visible. What I can also do is increase the gamma to make her jacket a bit more visible. But sort of reduce the saturation because they shouldn't pop out too much. But just a little bit tonight I see how or maybe a little bit more saturation though. So you see how cool it looks. So what we did here are lots, we applied the lots are just gave us until this part. But we also wanted to add something extra, adds some more drama in the image. So we sort of went to the offset and the offset down to degree two, broad the opposite down quite a bit. But I was still missing some greens in the shadow in the highlights. So what I did, I pulled some greens down or I'm going the other way. I pulled some greens up in the image to make it a bit more dramatic. You can make it, you can just push it as much as you want to see. And then what we did because my I want it to person the girl to pop out. I said off, pull the green a little bit here. And then what I can do one more thing. What I can do one more thing here, because that I want the subject to be a little bit bright enough. So I would do it here. Maybe go a little bit like that. And now what I can do, stickiness and bring the brightness a little bit higher. So what I would do, let's see if it's doing anything. Yeah. It's kinda but I don't want it to be too much. I just want it to be here. Yeah. I think that looks good. Because I don't want my subject to be blended in the background. And what I can do, I'll just go here. I'll try to track it. Dragging it. The most tricky part, because it doesn't depend on u. If the image is super sort of weird, JavaScript, save the image a superset of view, then it's not going to track. So let's look at again. Yeah, that looks pretty good. So we had this simple image like this, really simple and we got some thing like this out of it. So now you know, this tool can do what? We can do what? So now the only tricky part is to use which tool where to get the perfect output. So yeah, it's more about practice. You just have to keep practicing. And if something, If one way doesn't work, try the other way. If that doesn't work, try the other way. Even for me. Sometimes getting a look. It just takes so much time because I have the look in my mind. But just getting that and just getting to that final position is just takes so much time. Can be frustrating sometimes, but that's how you learn when you are trying to achieve that look next time, then you're going to do better. And one thing I want to show you is that because say for example, I want to put this grid on some other clip. So what I would do is I would do go grab still. I have my gallery. I already saved all these things. And if I want to put this look maybe on this image, then I go here and I go Apply Grade C. It's the same look, but because we have a super sunny day, the location is completely different. It just looks so different. So that's why one light cannot work with all the other images. If I want to put this, if I want to put it on here, it just looks so bad. I want to put here, oh, this kinda works but yet still. So that's how you can just right-click and apply grade to everywhere. Or if you want to export this screenshot, or if you want to export this screenshot, you just go right-click and you go Export. And then you can just export the screenshot as a JPEG file. So there's a lot more other things to be learned in Resolve color tab. And yeah, it's just an amazing tool. And once you just know the basics, you can just do so much out of this. So yeah, I hope you enjoyed the class and for the project, I want you to select any three clips from whatever I have showed you. I just do your own color grading and submit it to me. I would be really glad to give my input. Maybe also help you to get more guidance in the loop, what he wanted and how it will get it. 13. Conclusion: Guys, that was it for this long tutorial. And I hope that you got some value from this class. And if you have any questions, please feel free to reach out in the comments below or on my social media. And obviously all the clips are in the description below. And if you have any problems downloading that or if you want a lower resolution clip, please let me know so that I can provide you a separate link. For the project of this class. You can either edit three clips from the description below, or you can either color grade your personal clips and show me the before and after. What kind of look you achieved. Put them in a little video, may be thirty-seconds just posted down below. And that's going to be the project of this class. And I hope you enjoyed the class. And if you want to learn more about filmmaking, or if you want to learn more about DaVinci Resolve, I have a basic editing course for them and to resolve and an advanced editing course. So yeah, I hope that you enjoyed this class and I'll see you in the next one.