Transcripts
1. Introduction: Oh Hi, Mark Mulgi welcome to color correction color
grading basics of color correction color grading
in DaVinci Resolve, using the Cola page. Where we're going
to have a look at some interesting features, and I'm going to show you how to perform primary
color corrections, how to use Scopes, how to use primaries, how to do some color correction, how to do some color matching
as well, and much more. So that Faver Do join
me on this session. Let's start colour
correcting color grading. Using Daventusof. Up is in the free version so you can follow along with
the free version of Adventures off using
Adventures off 20. Hope enjoyed it. And
let's get started.
2. Color Page Overview: I with the color Qing
and color grading, which are often used
interchangeably, but our aim here is to make
the clips look better. I've got some clips
examples here. These are all from Pixa Bay
so you can download them and you can use them
for free if you want to follow up
with the same clips. We have different clips
in here where we could do some changes and
Afro made project, Afrode set up a new timeline with the clips on the timeline, and we'll get to focus on the color page
obviously in here. When you open Kala page, this may look a
little bit different. I'm going to go to the webspace
menu and reset UI layout. That's what you get when you
open it for the first time. Keep in mind that depending on your screen resolution
and the screen size, you may only see two
or three sections at the bottom of
the screen in here. If you don't see all
these sections in here, it depends on your screen
size and screen resolution. What have we got in here? So in the top left corner, you normally see the
gallery in here. The gallery includes
saved adjustments that you can copy to other
clips in your timeline. Then you have a viewer
here in the center. Viewer shows you the frame at the playhead position
in your timeline. You got this kind of like a mini timeline here in the
center, and at the moment, my playhead is here
over this clip, which is this clip here,
which is highlighted, clip number five, and that's what's shown
here in this viewer. In the top right corner,
you'll have the node editor. This is a node there and
we'll be applying it, our changes, our
corrections to the node. Because we just opened this timeline here
in the color page, it says no color correction because we haven't done
anything here on it yet. Now at the bottom.
Bottom right corner, mine at the moment
shows the keyframes but there are three
options in here. We got keyframes, we've got Scopes and we've got
the info as well. By default, you get
the keyframes here. In the center, we
got curves in here. That's the curves, but there
are a few more in here. In bottom left corner,
we've got the primaries. Primary adjustments in here. That's what we're
going to start with in just a moment. Just a
couple more things. As you decide which clip
you want to work on, you got the thumbnails of the clips on your timeline in here. You can just go to the
other clips in here. You can see these clips
need a bit of work, some more than the others. But I got these five clips
we're going to work with in here or at least some of
them will pick and choose. You got these two
timelines in here. As you start clicking on the
clips on the thumbnails, the playhead moves to
the clip in question and the playhead will stop at the first frame on
the clip in here.
3. Primaries Intro & Offset: Okay. So now that
we know a bit more about the color page with
the color page overview. We're going to start
doing some work in here. I was thinking about starting
with maybe this clip first, which is a bit too dark, it could be a bit
brighter, maybe it could be a little
bit more saturated. In general, especially the shadows are a bit
too dark in here. So just pick a clip
you want to work with. Select it on the finals in here. We'll have a look at the
primaries in there, okay? The primary correctum is divided into four
sections in here. You got the lift, Gamma,
gain, and offset. Each of these is split into controls for the
color, here as well. That's the color and
for the luminosity, for the brightness in here. The offset adjusts
the overall picture. For example, on the offset, if we go over this controller
here for the brightness, if you click and drag, say to the right, the entire clip is
getting brighter. You can see in the viewer here, it's all much brighter. If we just undo
Control or command, and if we click and
drag to the left, entire clip will get darker. Okay, so going to undo
Control or command z. So it's just the
entire clip in here. As soon as you start
making adjustments, say if we, for example, maybe brighten it up
just a little bit. So on this controller here, just click and drag, just a little bit. On this clip, maybe about 28 29. If you see the curves
at the same time, you see how the
histogram will shift. As soon as you make an
adjustment, you make a change, if you look on the node in
the top right corner here, it's got this icon in here. It's saying primary offset, which means we've
made some changes, we've colour correcting it. We're using primaries in here. Mmm. So we could use a little
bit of offset in here just to make the clip a little
bit brighter overall. Maybe not as much, maybe a little bit less
and going to drag it down a little bit to maybe about 27.5 or 28, something
like that in here. So you drag this
offset master wheel left and right to adjust the brightness of
the entire clip to make everything brighter
or darker in here. You can also use
this color indicator here at the center
to adjust the color. So for example, if
you want to make this clip a bit warmer, we could drag this
color indicator, maybe say, maybe this way. You can decide the way
you want it to go in here with this offset. Maybe if I take it down, it gets more green. We can go this way, make
it more blue, and so on. You can decide what you
want to do in here. You can just drag it. Again, you can just undo control or commands to just undo. If you want to add
some color here, you can use this
offset As you drag it, it's adjusting the numbers for the colors here underneath. By default mine at the
moment are set to 27.75. Let say if I drag this down, reds are getting lower greens are getting higher because I'm dragging it directly down
to where the greens are. You could also just use
these controls in here, I can go over green and click
and drag right and left. In this case, maybe if we
drop the blue a little bit, which would add a
little bit of yellow, just a little bit,
maybe about 25. We increase the
red a little bit. So maybe around 30, something like that. Hmm. Now, before we move
to the controllers to the AA controllers
in the next video, I want to show you
for now how we can actually preview
what we've done here. On your note in the
top right corner here, click on the number to turn
the note off on and off. So if you click on it,
you're going to turn it off and you see your
original version, the before, when you
turn it back on, you can see new version after. So this clip is a
little bit brighter and a little bit warmer
as well in here. So you can just click
on the number here to turn the note on and off. If you want to see, say, all the if you've made lots of changes and you want to see
everything before and after, you can also disable
grading here. You can bypass
everything in here, so you can click on it
to turn it on and off. This will make a bit
more sense a bit later because you can have
multiple nodes in there. Okay, so that's the first
primary, the offset. We're going to have look at
the others in the next video, let's just keep it open,
and we into next video.
4. Primaries Lift & Gain: A In the last video, well, we looked at the
basics of the primaries. We used offset to
adjust to adjust the overall clip to make the overall clip a bit brighter
and a bit more colorful, a bit warmer, I would say. Now we'll have a look
at the others in here as well in the primaries. Lift, as you can tell by looking
at this black icon here, is going to work on the
shadows on the darker parts. For example, with the Lift, we can brighten up the shadows. Maybe just a little
bit, we'll lift them. 0.04 maybe. I show what I do if I do a lot. I will work across a
majority of the clip, but it's focusing on
the dark apixels. If we do just a little
bit, 0.04. Okay. Let's say, if you look at this clip in
here as an example, we can work on just the shadows on the left and lift them up. Initially, as I'm
clicking a dragon, it's not really
affecting the sky. It's just affecting
this fogrant here. You can make the
fogrant a bit brighter. That's how before and
after, a little bit, maybe a little bit less, maybe 0.03, just a little bit. Okay. On this clip in here, maybe
a little bit as well. Just lift it up a
little bit the shadows. Coming back to this clip here as the Lift wax on the
shadows, again remember. You can also do some
color correction on just the shadows in here. So you can make
just the shadows, maybe a little bit cooler. I can maybe add a bit more blue. Just a little bit. Actually, drop the
blue a little bit to make it are a bit warmer. This will add a bit more
yellow to the scene. So W the lift wax
on the shadows, gain will wack on the highlights to the gain here and
the white there. So you can make the highlights, say dark in here. Or bright. You can see
how the sky is changing. So we turn it down to
make it a bit darker. Like this. Let's say, going back here, can go to gain to the highlights
and turn them down a bit. You can see a bit more of the
sky in between the trees. That's hour before and after. I know there's not a lot
of detail in the sky here, but we're just making the
sky a little bit darker in By the way, when you turn in the
note on and off, second preview before and after, you know the note is turned off because it's
great, it's dark. So you can tell it's
turned off in here. If you prefer, remember, you can just click
on this icon here to turn everything on and off and it says bypass and there's a line crossing this
like a wheel in here. So we're just jumping
between different clips and making some
adjustments here. Well, we'll do a bit more, and we'll talk about
Gamma in the next video. We're just focusing
on the lift and gain in this video in here. So keep it open. I will
continue the next video.
5. Primaries Gamma: As you probably guessed by now, because lift
controls the shadows at the gain controls
the highlights, Gamma will control
the mid tones. If I go back to this
clip here and say, increase the Gamma in here, we're making the me
tones lighter or darker. A Gamma will quite often look as if you are adjusting
the contrast. You might have seen
this before in image editing applications. If I do just any bit maybe just 0.01 on the minus to make the
mines a little bit darker, let's have a look at
this one as well. Gamma maybe down a little bit. Just a tad here on
this one here as well, let's have a look at this,
maybe down a little bit. Just a tiny bit. Because we haven't done any work
on this clip before, let's have a look at
this clip in here. This clip could be
a bit brighter, offset overall, offset up. Quite a bit, actually. Let's see before and after. We can do even a
little bit more. We can do about 30, 31, then Gamma maybe
down a little bit. Just a little bit
because there's quite a bit of contrast in here. Overall, the clip is a bit
more on the green side, but we leave it for now and I'll tell a bit more about
that in the next video. We'll just leave it
now, making eclipse looking better in terms
of the brightness level, some quick color
changes here as well, some quick color corrections. There's a reason why
I'm not working on this clip here yet
because I'm going to show another amazing feature in the later video where we take all the changes
from this clip, we'll apply them this one
because this is the same scene, just different camera angle. I'll show you. This is the first video there's the second
one, which is this. Different camera angle.
Going to come back to this clip in the
later video in here. Now you know the main
things about primaries, but I want to share a bit
more about primaries. A bit more what you
can do in here, maybe make some quick changes. We're going to have a look
at this in the next video here and a bit more maybe
about notes as well.
6. Auto Colour Corrections: I some more color
corrections here. I want to show you some more
features in here as well. For example, as you adjust
any settings anywhere here, and you want to reset them. For example, on this clip here, we've adjusted the
offset balance for the brightness
and the Lift as well, actually all of them in here. For example, if
you want to reset, let's say offset, in this case, we use this control in here. You can just double click
and this will reset it or the word Offset
in here. Okay. But what I normally do is I
just use this reset icon. We can reset it. Reset, offset, for example, we don't have to undo undo,
undo or if I just undo, gain this is great if you're
not sure if you change something here or there
because the value may not be meaningful. Here's another idea here. Let's say we want to maybe do some quick color correction here without tweaking
the settings manually. But I want to keep
it separate from what we've done so far here. That's what the
Nodes come in here. As you start color grading, you get a note automatically and you know already that you can turn
this note on and off. This will come in
handy in a minute. So let's say, want to
keep what we've done, but want to do some
quick color correction. We're going to use this auto
correction, this one here. We want to do it
separately, so we can see if we did it better
or does resolve. Does it better automatically. So what we do is if
we go to Nodes here. And on the node itself, if you right click and do
add node and add serial, we'll add another note here
so we can keep it separate. That's going to be
node number two. Now we're going to
turn off node number one and keep note
number two selected. So can see the images
back to the default. Now the node number
two selected, let's apply color
correction here. Click on this Auto button, I will see what
resolve can do for us. Okay. Now, looking at the clip, I would say that I would
rather have it a bit brighter. This sky looks very
magenta in here. I think in this case,
we did a better job. It depends on the
clip, obviously. You can tell this used to just because A in here, a color. So I'm going to undo
the in this case, I'm going to keep number one and number two was
going to delete it here. Just highlight it pleas delete on the
keyboard, delete it. Let's try maybe a
different clap. Let's see what we can get. So how about this one, maybe? Again, in notes, we'll
add a new Nodes right click at node at serio. We'll turn off node number one. Number two, selected,
we'll click on the auto button. We'll
see what we get. Okay, this one actually
worked quite well. That's not too bad. So that's before and after. The clip is less yellowish, more neutral, a bit
more contrasty, although I would make it
a little bit brighter. We can always correct
it ourselves obviously. This works actually quite
well. In this case here. I'm going to keep
node number two, I'll keep note number
one dielected. Let's try maybe one more
about this clip here. Again, if we add a note in here, we turn off node number one. The number to select it. We'll click the
auto button here. Beseed quite well
in here, actually. That's not too bad. Without us doing anything manually in here. So again, I'm going to keep
it because it looks quite good. Not too bad. So if you want some
quick color correction, if you don't want to spend
too much time on it, or you just want to see if it's going to work, how
it's going to work, you got this auto color
correction here, autotobalance. Okay. What you can also use is
you can use the eyedropper, where you sample from
something which is supposed to be
neutral, like white. So we can try maybe on this
clip here, I'm going to undo. So we do have a second note, but without color correction, I would win balanced selector as you move the
cars over the clip, you get these numbers. So looking for the area where the numbers are
almost identical, typically something
that's going to be white or gray,
something neutral. Like I'm guessing
these pots, No. It's a bit more green because
the clip looks greenish. We try to click in here
and see what happens. Okay, that's something similar
to what Autocorrect did. We can try one more and
using the white selector. I'm going to try
the wall because the wall seems to
be white off white. Maybe here, you'll
see what we get. Similar, but I think
the pot was better. Something to do. Click
the wit balance again, selecto, click on the Pot there. I've got the clip.
Auto correct it. Auto colour
correcting it without doing any manual work in here.
7. Additional Primaries: In this video, we're
going to have a look at some more controls here
for our primaries. Let's see what clip
we can work with. I'm going to go back to this one here and to keep it separate, again, I'm going to
make another note. So maybe what we should also talk about is
labeling the Nodes. It's on this note. If
you want to label it, we'll right click and
we do note label. This was manual because
we did manually. Correction. This one
is auto, you can tell, but anyway, I'm going
to right click and do a node label here.
Auto correction. Again, I'm going to turn it
off and add another one. Right click. At Nodes. Right, click at node
at Serial Th one, if we do a label, this one is
going to be say Additional. Let's addionalJ
additional for now. What can actually do is
we can keep one of these turned on because we need
some additional correction. You can use separate
nodes to keep separate color corrections
to customize them. W this additional selected. We'll have to look
at some more of these in here. Go
the temperature. If you look at the slide
underneath the temperature, it goes orange to the
right or blue to the left. So by click and drag, we can make it warmer or cooler. We can adjust it. Like this. So if you turn it
down a little bit, the temperature to make it a
little bit cooler with tint, it goes magenta green. I can go a bit more magenta. Or a bit more green. Which mean to double click on
the word tint to reset it. With the temperature, this might be a good example
again for resetting. If you're not sure
what the default is supposed to be,
again double click. Zero. Actually with
the temperature, I did make it a little bit
warmer, little bit too much. If we do maybe 30. You can also click on
the numbers and you can type in the numbers
here if you prefer. So I could do say say 35, for example, or 25. If you want more control, you
can just type the numbers. Okay. But the contrast the
contrast does what it says. So we can add more
contrast, less contrast. Okay. I'll leave the contrast
alone in here. Now, if you are
adjusting contrast, what Pivot does is controlling from which point the contrast should be adjusted. It's like a level whether the contrast actually is going to be adjusted or not. So say if we add a bit more
contrast, this is sharper, more contrasted with the pivot, if you go higher, it's going to be adding less or it's going to add contrast
to fewer areas in the clip. If we go lower, it's going to adjust wider areas in
the shot with a contrast. Mm hm. So for example, initially, it may adjust the contrast
just on the top of this fan. You may get to the point
where it's going to adjust the bottom of the
fan as well in here. We can also adjust the detail
in the mid tones in here. I can go higher with more detail and lower
with less detail. You can increase that
a little bit in here. Also at the bottom
of the primaries, you got there's
quite a few things, but I just want to
show if you here, things like saturation. So you can increase or decrease
saturation of the clip, so you can make it more
saturated or less saturated. Hue which is the color is
where you can shift the color. So I can do something
like this, for example, you got the shadows
and highlights as well and calabs saturation, and luminans mix
as well in here. There's quite a few
in here where you can tweak even more different
parts of the clip in here. There's quite a bit you
can do with the primaries. I remember you can use the
nodes to keep it separate. Because we've been
tweaking this clip in here and I've made
it look different, but it's very different
from this clip here. I'm sure we can do about
this in the next video.
8. Shot Match: Now, are you ready? Because I'm going to show
you an amazing feature in resolve for Cala
correcting, Caligrading. I love this feature and it's
amazing what it can do. We've got this clip, which we
edited, which we caligrted. We made it look a bit different. You can tell these two
clips look very different. So what I want to do is I want this clip to
look like this one. And we don't want
to do it manually. I mean, we could, well, we could check the settings, but we changed quite a few, quite a few, actually, okay? We could we could do, for example, slide this clap, which was Color corrected. We can go to edit, copy, go to this clip and do
edit paste attributes. We can just choose to
paste just the attributes, say for the Color corrector, Primaries and log, okay? But that's a much better,
much quicker way than that, in this case, at least,
go to cancel that. Here's what we're going to
do. We select the clip. We want to apply changes. The clip that's not
been edited yet. I was set in this clip here. This is the unedited version. This clip is selected.
Now I want to apply changes from this clip to the clip which is selected. The unedited clip selected on the clip which
has been edited, which is going to right click and Shot Match to this clip. And it's going to apply the same changes to the other clip. When you play these? They
will look consistent. Just look at the contrast, the brightness
levels, the colors. Now this looks like the same scene,
different camera angle. This was just a right click
and Shot Match this clip. An amazing feature which does all the hard work for you. Okay.
9. Color Scopes: I as you perform in
color correction, Cacrading another feature I want to show which
is very useful, which helps a lot, which makes it easier
to ca create a clip. Let's pick a clip. For example, this one, this
one was very tends off. This one was very green, yellow. Let's make a new note
here at Nodes serial. Now, we should name
them. This one was what we did
some manual work. I'm going to put it manual. This is where we use the white
balance, select selecto. Here, we're actually
going to use the RGB parade for that. We're going to do it
ourselves manually, the colour correcting
the clip, but use the RGB parade that's
going to help us. The clip selected, you got the RGB parade in
here, got the Scopes. There are different
types of Scopes. Make sure the Scopes
are set to parade. In here. If you want it to be bigger, you can actually click on
this icon to expand it. Sus in its own window. We'll just focus on the parade
in this case, and here. I'm going to keep
it as it is normal. So I'm going to
close that in here. You can see looking at the
RGB parade in this clip. Now, if you haven't
seen these before, you got red, green,
and blue channels. From left to right, this is your clip
from left to right. At the bottom, you got a zero. At the top, you got 100 from the darkest
to the brightest. This is black, this is white. Just by looking at
the Scopes here, you can see that the
blue is the lowest. The green is a bit higher
than red as well in here. We could do is we could
lift the blues in here. You can go to the
offset to start with. Take the blue, click and drag. Now as we drag in it, I'm just looking at the
Scopes in here. Just the Scopes. Trying to match green and blue. We can also go to the lift on the blue and take it down because the
blue now went too high. It's not matching
the green anymore. So more like this. Now, the red, we need to go up. So red up. So this is about the same here. And on the left, the reds need to go down, red down. So got
something like this. I know the one we did earlier
was much quicker with the auto or the white
balance selector. But if you want more control,
that's what you can do. You can use your RGB parade, your Scopes and make
sure they match. Obviously, assuming that
we don't have a clip with some predominant color because if you have someone
wearing a red t shirt, there's obviously
going to be much more red in the clip, obviously. We can also just
use the RGB parade to just check the clips. So you have a look at this clip, for example, these
are quite even. On this clip, similar
in here as well. The RGB parade comes in really handy if you want to
check to make sure there's no predominant color
channel or to make them even This is just the
information given to you and it shows you
the clip from left to right and it
shows you the levels from zero black to 100
white in here as well. This is used if you want to have a proper balance because if you want some
colors to stand out, then one of the channels is
going to be higher obviously. It depends on the clip in here. This are the Scopes and the RGB parade in
this example here. When you expand and
you get more Scopes, or you can just switch
between different Scopes in here as well. For example, the waveform shows you the brightness levels, mainly for the clip. If I go to this clip here, on the wavefoam we can see white and black and ideally
the wavefoam should fit within 0-100 without
touching zero or 100. Because if it touches 100, this one almost does, you get what we call crushing whites. If it touches zero, you're going to get
crushing blacks. Some pictures we just turn
pure black on pure white. For example, on this clip here, just looking at the wavefom, we could turn it
down a little bit. You could go to Lift and
turn it down a little bit more to make the darkest pixels a
bit dark like this, for example, on the game, this could go down, potentially just a little
bit like this maybe, to make sure it doesn't
touch 100 in here. That's the way that's our
RGB parade here in the mix.
10. Color Curves: Et's also talk about curves for primary color corrections. Going back to one of
the claps in here, maybe there's one to start with. I'm going to turn this off. I will make a new note. Okay. I'm going to
rename it as well, so note label, Curves. What we're looking
at right now is the original clip with
no color correction. Now, if you don't see the
curves, is this icon here. You may have used curves in
image editing applications. So the curves, bottom
left corner is black, top right corner is white. Right now we're looking at the overall brightness
for the clips. For example, if you want
to say lift the blacks, we can just move this up. Or we can darken them
as well like this. It's like potentially here. We could move the black point to where this histogram starts. It's a little bit to do right. The white, we can
make the brightest pixels lighter or darker. So you can brighten
up a little bit. We can also do the curves is you can access different
color channels. You got red, green,
and blue here. I like this clip
is a bit warmer. It's a bit maybe a bit too warm. You can see the blues
are lower than the rest. So you can switch to the blue
channel, click on the B. And I was just working
with the blue channel. So as we add more
blue, hoc it up. We're getting less yellow. Getting a bit more blue and
magenta into the mix here. You can see our
before and after. If you want to
continue working on the overall luminance levels, you just click on the China icon here to lock this all together. Also, when you work
with specific channels, you can also use
the slides here. If you prefer blue,
maybe down a bit. I just rather use the curve
here and on the curves, you can also add more points. That's an example on
the blue channel. In the midton area here. Let's say I want to maybe adjust the contrast for the claps. If I go back to the
chain, icon here. I will add two points. One maybe about a third, just click and one about a
third end from the top here. I'll just moved this
one down a bit. And this one up. You may
have seen this before. When you create more
like an S curve, you get more contrast
in the clip. Mmm. It's a bit like curves in image
editing application here. Mm. That's the curves in here.
11. Outro: Coming to an end
with this short, not that short course on the
basis of color correction, color grading in
DaVinci Resolve. I don't need more. I was
thinking I'm going to create another course with
other techniques in here with more
advanced techniques. This is just an
introduction to not overwhelm with too
much stuff right now. This will give you
a good head start, you can start color correcting, color grading your clips. I will talk more in
the next course. I hope you enjoyed it.
Thank you for joining me. Let me if you have any questions or if there's anything that you want to cover. I
hope you enjoyed it. Thank you for watching.
I'm Mark Mullaik. And hope to see you
again soon maybe on other courses
like fusion course, which I have in here as well. Thank you for watching.
Bye bye for now.
Marek Mularczyk
