DaVinci Resolve para cineastas: corrige tus propias películas de color | Dean Peterson | Skillshare
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DaVinci Resolve For Filmmakers: Color Correct Your Own Movies

teacher avatar Dean Peterson, Writer/director/producer

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      1:34

    • 2.

      Finding Your Way Around Resolve

      4:38

    • 3.

      Getting Your Footage Into Resolve

      2:58

    • 4.

      Understanding Nodes

      2:25

    • 5.

      Adjusting Brightness and Contrast

      4:26

    • 6.

      Working With Saturation and Fixing Casts

      9:05

    • 7.

      Comparing Clips

      1:41

    • 8.

      Working With Power Windows

      4:36

    • 9.

      Using LUTs

      5:56

    • 10.

      Exporting Your Footage

      2:27

    • 11.

      Final Thoughts

      0:47

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About This Class

Learn to color correct your own movies!

Opening DaVinci Resolve for the first time can be intimidating. What are all these wheels, dials, and windows? Award-winning filmmaker Dean Peterson is here to guide you through Resolve step-by-step, showing you everything you need to know to make your footage look amazing, without needing to spend thousands of dollars to hire a colorist.

Through exercises and examples geared at DIY filmmakers you'll learn the basics of:

  • Importing your footage and prepping it for color
  • Fixing common problems
  • Matching the color of multiple clips
  • Working with nodes
  • Applying LUTs to your footage

Dean also includes a handy Resolve cheat sheet that will help you fearlessly navigate the program.

This class if for anyone who shoots videos or films but doesn't always want to hire a colorist (or can't afford to). By the end of this class you will know your way around Resolve, be familiar with many of it's powerful color tools, and be empowered to start color correcting your own films and videos.

This class is designed for filmmakers and content creators who already have some experience editing video. All that you'll need to follow along is DaVinci Resolve (which you can download for free here) and some footage to work with. If you don't have any footage of your own, you can download some in the resources section.

Meet Your Teacher

Teacher Profile Image

Dean Peterson

Writer/director/producer

Top Teacher

Dean Peterson is a writer, director, and producer based in Los Angeles, CA.

He has written and directed three feature films: INCREDIBLY SMALL, WHAT CHILDREN DO, and KENDRA AND BETH. He also was the cinematographer on the film GLOB LESSONS. His films have played at dozens of festivals around the world.

As a video producer he has worked with Vox, Conde Nast, CNBC, Reddit, B&H, and Facebook.

He also created the viral TikTok account Sink Reviews.

He has two cats who do not get along very well.

Check out more of his work at his website.

See full profile

Level: Intermediate

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Transcripts

1. Introduction: You're a filmmaker and you just finished editing your awesome new project, you're super excited to submit it to film festivals. So you reach out to a colorist and you find out how much their rate is. $5,000 10,000 more. That's more than you spent to shoot the entire thing. Hi, my name is Dean Peterson, and I'm a filmmaker in Los Angeles. Over the course of my career, I've made three low budget feature films, which have played at dozens of festivals around the world. I ped another film that premiered at Tribecca and edited another that premiered at South by Southwest. I know the sense of panic that you're feeling because I felt it too. Getting a professional colorist to grade your film can be amazing. But let's be honest. You can't always afford it. So what are you supposed to do? Only color one project a year. Just accept boring, ungraded footage. Today, I'm going to walk you through the process of color correcting your own footage from start to finish. We're going to go over nodes matching clips, fixing problems, applying luts and much more to follow along. You'll need a copy of resolve, which you can download for free and you'll need some footage to work with as well if you don't have any of your own. There are some examples you can also download in the resources section. This class is for the filmmaker or video producer who loves to shoot stuff, but doesn't always want to hire a colorist or can't afford to. By the end of this class, you'll have a firm grasp on the multitude of tools at your disposal in resolve and you'll have the confidence to be able to use them to make your footage look great. So let's dive in and get started. 2. Finding Your Way Around Resolve: I firmly believe that we as filmmakers need to make ourselves as self sufficient as we possibly can. And that means, among other things, empowering ourselves to color our own footage. Don't get me wrong, working with a colorist is amazing. I love having a professional work on my big projects where I want a more complicated look. But sometimes you want to just shoot a film with your friends and you don't want to have to pay to get it colored. You shouldn't allow the destiny of your films to be at the mercy of others. And you don't want to shoot a film and then be stuck in limbo because you can't afford to hire a colorist. This class isn't going to make you a full blown colorist who uses huge complicated grades to create dramatic Michael Bay esque looks. But you will learn enough to know your way around, resolve, fix any problems with your footage and get it to a place where you're excited about how it looks. And if you really love coloring and think you want to get into it more, I'll link to some other resources to continue diving deeper. If you haven't already, go ahead and download, resolve, and grab some footage. The footage I'll be using today is some that I shot earlier and it's also available to download in the class resources section. So enough talk already. Let's dive into resolve. So first things first, let's take a look inside of resolve. I know that when you open it for the first time, it seems overwhelming, but we're going to go through it altogether. And I've also included a cheat sheet in the class resources section, which will help remind you where everything is. So don't feel like you need to memorize everything now. So the first thing that you'll want to note is on the bottom here. These are all of your work spaces. You've got media, which is where you can import and organize all of your files. You've got the cut page, which is a great place to edit when you need to finish a video really quickly. We won't be using this one today though. Then you've got the edit page which is resolves full featured non linear editing program. We'll briefly touch on this today, but to learn it in depth is an entire other class. Then you've got Fusion, which is where you can do visual effects and motion graphics. We're not even going to go near this one today. Color, which is where we'll be spending most of our time in this class. And finally, delivery, which is where you can export all of your final files when we're done. Down here is where you can switch between all these workspaces. And if you want to save a little bit of space on your screen, you can write, click and select Show Icons only. And if you want, you can always turn the text back on later. So like I said, we're going to mostly be in the color tab today, so let's click into it and get acquainted a little bit more. When you open it up, you're going to see your main work spaces on the top left, you're going to have a space where you can view your stills and power grids more on what those are later. You can also view your folders of Lutz, your media pool of all the media in your project, and you can toggle the view of your clips on the timeline on and off. We'll leave it on for now. Moving to the right again, we've got our node area. If you don't know what a node is yet, don't panic. We'll get there. You can click this button to hide the node section. You can also click this button, which will bring up all the effects that you have available and resolve. Moving down to the bottom left corner, now we've got your primary color wheels. There are a bunch of really powerful tools that you can use here to adjust the image, including the temperature, the tint, the contrast, et cetera. We'll be talking about these a lot today. To the right of that, you have another area that's full of tools to help you click the buttons. Here it opens the tool page with things like curves, windows tracking, masking, and more. Finally, in the bottom right, we have some monitoring tools that will really come in handy. The ones we're really going to focus on today are the Waveform and the Vectorscope. These can all break out if you click this button that can be moved around, you can show multiple monitors at once. They all have a bunch of granular options that we'll talk more about later. For now, I'm going to it out and it will return to its place in the bottom right. I know that was a lot, but we're going to circle back and talk about all those sections in more detail, so don't feel like you need to remember at all. I do recommend printing out the layout sheet sheet though and keeping it on hand for you. I know that when you first open resolve, it might freak you out and you might get overwhelmed. Don't worry that happened to me too. But the truth is that we don't need to know how to use every single tool. We aren't trying to become master colorists, we just need to know enough to get on our feet. And once you play around and resolve more, all the other tools will start to come naturally. So take a little time to click around the program. Open Windows, move dials, get lost. Just familiarize yourself and get a little more comfortable with the lay of the land. In the next lesson, we're going to go over how to bring your footage into resolve so we can start coloring. 3. Getting Your Footage Into Resolve: Let's say that you got a short film that you made and now you want to color it. There are a few ways you can bring it in to resolve, but let's just go over the easiest way in premiere or Avid or whatever program you used to edit the film, export a full res version of the film that's clean, which just means without any effects or titles over the picture. If you have cool effects or overlays or titles, disable them before you export. Ideally, you want to use a format like Prores 4444 or Prores 422. If you don't understand what those mean exactly, you don't need to worry about it too much. I'm going to spare you the boredom of a full lesson on video format wrappers. Just know that you want the highest quality and resolution you can. Prores is usually a safe bet. So we're going to click on the Media tab. And we're not going to go into a full lesson on everything you can do here because there's a lot. We'll go into the media storage section, find where the files located on your computer, and then you're going to right click and select Add Into Media Pool, or we're just going to drag it down into this box here. This is the media pool, this is where all of your clips and timelines will live. If you're doing a huge complicated project, you might want to organize things by creating bins. And for this I'll create one and name it Films, just to show you. So now that we've got our film in resolved, we're going to right click on the clip and select Create New Timeline using selected clips. This will create a timeline for you with all the settings based on what your film is. So then all we have to do is double click the timeline and it will magically bring us up to the edit page with our film right there. The film that I provided as an example is pretty short, so yours might be longer. Now, the film is already edited, so we don't have much we need to do in this tab. But we've got a problem because even though the film is edited, because of the way we exported it, it's all in just one clip. So if we color it, it's going to color everything instead of each individual shot, which is not what we want. So to solve this problem, we're going to go to timeline and then select Detect Scene Cuts. This is going to perform some AI magic and automatically find where the cuts are in the film and then slice it up into a bunch of individual shots. As you can see, it usually does a really great job. In the event that it doesn't get it exactly right for your film, you can go through and clean it up, manually adding cuts where necessary, or adjusting the heads and tails of the clip, so it's correct. Again, this is partly why it's so important that our exports be clean. So we had some fun in the edit tab, but we're not going to stay here long. It's time to move on to the color tab and get started coloring our film. Now it's your turn. Import either your own film that you're working on or the example film that you downloaded from the class resources section. In the next lesson, we're going to talk about nodes and how we use them to color our film. 4. Understanding Nodes: In the color tab. Now we've reached the promised land. It's now time to talk a little bit about nodes. You can essentially think of nodes as a color grading flow chart. Each node represents a different adjustment. You can do all of your adjustments on one node, but I find it easier to use separate ones for each adjustment. That way we can toggle them on and off and see what each one does. Another quick thing to note, The order that you put your nodes in does matter for our intents and purposes. We'll remember to put lets at the end of our node tree. But again, don't worry about remembering that because we'll circle back. Okay, so we've got our first node here. We'll right click on it and select Add Cereal. And a new node will pop up right after the first one. You can click them and move them around and order them however you like. You can also right click outside of a node and select Clean up node graph and resolve will space them out nice and evenly. Let's say that we want to add a node before the first one. In that case, you right click the first node, Select Add node, and choose add cereal, Before everybody has their own flavor of combinations of nodes, But I'll show you the one that I typically use. I do five nodes. I usually try to keep them in some sort of order and I name them by right clicking and select node label. My labels are exposure casts, saturation contrast, and lut. Let's go through what each one of those means. Exposure is where I'll set the brightness levels. Making the image brighter or darker casts is where we correct any unwanted color tints and make our color nice, accurate. And neutral saturation is where we adjust the saturation of the colors in our image. Contrast is where we can raise or lower the contrast of our image. And lut is at the end, because remember we said our lut should always go near the end of our node tree. You want it this way because if you put a lut before your exposure node, you won't be able to access all the information in your shot since the Lut node limits it. So this is the node tree that I use and the one that we're going to be using today. Okay. So now it's your turn. Go mess around with the nodes, add some change the labels, move them around. It's important to get a feel for how this page works. It can feel intimidating at first, but the more that you use it, the more it'll become second nature to you. In the next lesson, we're going to start correcting our footage. 5. Adjusting Brightness and Contrast: The first thing that I like to do is adjust the brightness and contrast of my image. We don't want to exclusively rely on how things look on our monitor, because every monitor is different. So what looks good on my monitor might look weird on your phone screen. We'll use the help of some tools and resolve for brightness and contrast. We're going to use the wave form. It may look a little confusing at first glance, but basically it just shows you the brightness levels of your image. The area here is the highlights. These are the midtones, and these are the shadows. The white part is where your image lies in those areas. You can see when we make the image super bright, all the values go to the top, and when we make the image super dark, they all go way down to the bottom. The waveform is super helpful because it shows us when our footage is getting too bright when it goes past this line at the top, it means that our footage is clipping and the whites will be blown out. And at the bottom, when it goes past this line, then that part of the image is pure black and there's no information there. As a general rule of thumb, you want to avoid hitting either of those lines. Sometimes it's okay if you're shooting indoors and there's a bright window in the back, for instance, we might be okay with that blowing out. But overall, it's a good rule to follow. So there are a number of ways that you can adjust the brightness of your image. The first is with the primary color wheels. There are four of them, and each of them affect a different part of the image. The lift controls the shadows and dark parts of your image. The gamma controls the mid tones of your image, and the gain controls the highlights of your image. The offset wheel is like a universal control affecting all areas of the image. So if I go to the gain, which again is the highlights and move the wheel towards magenta, you'll see that the highlights of the image will turn magenta. Similarly, if I go to the lift, which is the shadows, and move the wheel towards green, the shadows will shift towards green. Clicking this circle button next to each one, we'll reset the grade of that particular wheel. The gray bars below those affect the brightness of each part of the image. Again, going to the gain section, which is the highlights, we can move the wheel towards the right, which raises the brightness. And you can see that on our waveform that the top goes up. When we do that, meaning that our high lights are getting brighter, then I'll go to the lift or the shadows and lower those to just above the bottom line where they're clipped. We can already see that just by doing that, our image has a little bit more life. In addition to using our monitoring tools, we also have to trust our eyes a little bit. We can play around with the gamma, which is the midtones of our image, and see if that does anything to help. And remember that each adjustment affects the other adjustments as well. If you raise the highlights, you might have to go back and lower the midtones later. Now we can get a preview for what we've done by toggling this node on and off. Click the little number one and the node will be disabled. It's helpful to turn it on and off to get a feel for how it looks and what still needs to be done. You can also do command D on a Mac or control D on a PC. We're turning it on and off and it looks pretty good doing the exposure. The contrast goes hand in hand. An easy way to adjust that is to remember to select our contrast node in the node tree so that we can keep our adjustment separate and go to the contrast slider. With this slider, we can simply drag it to the right to increase the contrast and drag to the left to decrease. You can look at the waveform and see how it stretches the image out when it adds more contrast. Since it pulls the high lights up and the shadows down at the same time, this is great. But say that when you increase the contrast, your image gets too dark. Next to the contrast is a slider called pivot. The pivot basically allows you to keep the amount of contrast you want, but to shift it either brighter or darker. So if you want it to be super contrasty, but you want to make it not so bright, you can pivot the contrast to get it to sit where you like. And if you don't like what you've done with a particular node, you can always write, click it and select Reset Node Grade. And it will wipe that particular node clean so you can start from scratch. That was a lot, but exposure and contrast are the building blocks of your grade. Spend a little bit of time working with those two nodes and see if you can get your shot to a starting place that you're happy with. In the next lesson, we're going to talk about saturation and color casts. 6. Working With Saturation and Fixing Casts: The next aspect of our footage that we're going to address is color casts. The monitoring tool that we're going to use for this is called a vector scope. But first you'll notice that our image is really flat, meaning it looks washed out and almost black and white. Many cameras shoot in what's called a log profile, which is what this shot is. It's beneficial because it gives you the most latitude to make changes in post with our exposure notes selected. We can get it looking more natural by going to our primary color wheels here and dragging down the shadows, making sure to not go past that bottom line if we can. Raising our highlights a little bit. Again, being careful of the line on the top there. And then tweaking the lift Gamma and Gain until we got it at a place where we like. We can also go to our saturation node and bump the saturation level up until it looks nice. We're not trying to get it perfect right now, we're just trying to make it so we can see our image a little better. Next we're going to go down to our scope section here in the bottom right. Just a reminder, this is a section of monitoring tools which help us to evaluate the exposure, color, and other parts of our image. Choose vector scope, we can hit the button with the four arrows to break it out and make it bigger. Basically, what we have here is a tool that shows us the color casts of our image. You can see the different colors in the different directions, Yellow, red, magenta, blue, et cetera. The white blob is your image. For instance, ours here is skewing slightly red and yellow. And if you look at our image, you might be able to tell that a little bit with your eye as well. Click this button with the sliders, and you can select the low, mid or high, which corresponds to our lift gamma and gain. When we click low, we're seeing the color casts of just our blacks and shadows. And we use the lift color wheel to adjust that the mid corresponds to the gamma and the high corresponds to the game. You'll also notice that the vectorscope lines up with our primary color wheels over here, yellow, red, magenta, blue, et cetera. So if I pull our wheels towards green, the vectorscope reflects that. As does our image up here. Our goal is to get the white blob in the middle to line up with the middle of our vectorscope as much as we can. And to do that we just adjust our color wheels. So let's start with the high section and we'll use the gain wheel to adjust that. You can see that our image is pretty balanced as it is. I think it's skewing a little bit to the blue and the magenta. Over this way all we want to do is take the gain wheel and bring it down more towards the green, just a little bit, not too much. It's not going to be a perfect white circle in the middle. You'll just have to use your judgment and trust your eye a little bit in the process. So we're going to click the slider button switch to the mids, and we'll use the gamma wheel to adjust that. This one is also pretty balanced but maybe going up a little bit towards the top left a little bit. So we just bring it down the opposite way, just a touch, always referencing the monitoring tools, but trusting our eye at the same time. So that one looks pretty good. Once again, don't worry about memorizing all this stuff right now. It's all covered in the resolved cheat sheet that's in the class resources section. The more that you do this, the more it'll become second nature. So we'll just keep going through and making adjustments. You might also have to go back and readjust certain parts throughout this process. We're using our monitoring tools, but we're also trusting our eyes. You might want to go to your contrast node and bump the contrast up a little bit. Maybe tweak the exposure a little. Just work through the image, turning nodes on and off and see what looks good to you. Another tool that you can use are the temperature and the tint sliders. These work by either making your image cooler or warmer, and then also changing the green and the magenta shift. To do that, all you need to do is drag it one way or the other. And to reset one of these, you just double click on the name of the slider. Double click temp, and it'll go back to zero. I think that this image is looking a little bit cool. So I'm going to drag it just a little bit warm and we can toggle the node on and off to check our progress. I think it's also looking a little bit green, so I'm going to bump up the magenta, just a touch. That first clip was pretty balanced right out of the camera. But what happens if it's not in this shot right here, the white balance was set completely wrong and our image is totally blue. What do we do about that? To start with, we're going to go to the exposure node and we're going to choose the wave form. We're just going to get our contrast and our brightness to where we want it to be. We just adjust the gain a little bit. Then we're going to go to the contrast node and bump up the contrast just a little bit. You just play around with it where you want it to be. You'll start to see that our shot is entirely too blue. Whoever shot this set the white balance totally wrong. But not all hope is lost. We can salvage this. We're going to go to the color cast node. And we're going to bring up the vectorscope when you break it out. You can see right here our image is way down in the blue in the cyan, that's the mids are also down there. You can see the lows are skewing that way too. In order to fix this, we're going to go to the high section of the vectorscope, and that corresponds with our gain wheel looking at our vectorscope. We're just going to move this more towards the center, and you can already see it's looking a little bit better. We're going to do the same thing with the mid tones, which is the gamma wheel. We're going to move that up to the upper left. We're going to go down to the lows. Move that around a little bit. Once you start adjusting the color, you're probably going to have to go back and adjust the exposure and the contrasts a little bit. And the saturation as well. I'm going to bump up the contrast, raise the pivot so that it's a little bit brighter. Let's, let's put our saturation at 75% then you just keep going back and forth looking at the high, making adjustments, going down to the midtones, Adjusting it, same with the lows. Throughout this whole process, we really want to just be going up here, toggling the entire grade on and off, so that we get an objective viewpoint of it. We can go down to our nodes and toggle just the casts on and off, and you can see we're already in a much better place. In addition to looking at our monitoring tools, we also have to trust our eye just looking at the image without the scopes. I can see it's still a little bit blue. It's a little bit cool and it's a little green. I'm going to just use the temperature slider. I'm going to warm that up a little bit. Then again, just going back and forth, toggling it on and off. We can also right click on a different clip. Do wipe timeline clip. Then we can see how it looks compared to our previous shot. Can tell the hand is not matching. So we have to go into the casts and try to get that to be a little bit closer. There is a certain amount of Voodoo that's involved in this. This isn't chemistry. There's not a precise, exact answer. You really just have to play around, see what looks good to you, and get it to a place that you feel good about wiping back and forth. You can see that the light coming from the window is pretty cool. If you look at the table right here, this is a blue light hitting the wood. And it matches right here in this image as well. And then looking at the pages, you can see that the color of the paper looks about the same. I think that my image is feeling pretty good to me. But now it's your turn. Work on the color in your color cast node and try to get the footage to a place where it looks good to you. In the next lesson, I'm going to discuss a few tools that will help you monitor how the grade looks and how to make adjustments. 7. Comparing Clips: So you're going along coloring and everything seems fine. But you want to make sure that your shot not only looks great, but that it matches with your other shots. Earlier we looked at how to toggle certain nodes on and off to check and see how they look. But we can also toggle the entire grade on and off to check all the nodes at once. This button right here, the kind of sparkly rainbow button, toggles all the nodes your entire grade on and off. Turning it on and off can help you have fresh eyes on what you've done so far and see what you still need to do. Say that we want to compare this shot to another shot and make sure that they match. Yeah, we can click this clip, then click the other clip, and then click back, but that's annoying. Instead, click on the clip that you're working on and then right click on the clip that you want to compare it to and select Wipe Time Line clip. That will bring up this little split screen. You can select the line and drag it around or switch to horizontal corner to corner picture and picture or any other number of views. This way you can adjust your clip making sure that it will match another clip. And you can do this with any clip on your timeline. Just do it the same way. Highlight the clip that you're working on and then right click on the clip you want to reference. This is a great way to make sure that your entire project is consistent and uniform in the way you're grading it. To get out of this view, simply click on this button here and you'll go back to the normal viewfinder. Give it a shot. Compare two of the clips that you've been working on to make sure that they're lined up. If not, use this view to make adjustments. In the next lesson, we'll talk about using windows to make changes to a specific part of the image. 8. Working With Power Windows: Everything that we've been working on so far has been about changing the entire image. When we boost the Ian, it changes the entire frame. But what if we want to change just a specific part of the image? That's where we use Windows. If you use Photoshop before, think of Windows as using the lasso tool to select and work on a specific part of the photo. So down here in the middle, we click the window button and it'll bring up a new window workspace. Let's create a window. What do you say? In keeping with our neat organization, we're going to create a new node for our window. I'm going to do it at the very beginning. So I write, click on the first node, go to Add Node, add cereal before, and then you can just organize your nodes however you want to keep the node window nice and neat. I'm going to right click on the new node, select node label, and put in window. So when I click on the square linear button, a box pops up. Everything inside this box or window will be affected by the grade on this node labeled window. So if I turn up the exposure, only the box is affected. We can move the box around. Clicking the blue dots on the window. We'll change the position of the window and adjusting the pink dots, changes the feathering of the box, making it wider. We'll create a gentle, gradual edge on the window, pushing it all the way in. We'll create a sharp edge on the window. We can hit this button to turn that window on and off, and this button here will invert the window. Now instead, we are adjusting everything outside of the box. It still works the exact same way, just inverted. We can also create circular windows, windows with no feather, just hard edges. We can also use a pentool to draw whatever shape that we want. We can create a gradient mask, which emanates the window from this line out in the direction that the arrow points. This is really great for say, a sky where we want to have an adjustment, gradually drape over an image. Let's say that we want to create a mask round her face. To brighten it up a little bit, I'm going to create a new node at the beginning of my tree by right clicking on the first node, clicking Add, Add, Serial Before then I'm going to click and change the node label to face. Then on that node I'm going to click on a new circle mask. Then you just mold the window so it fits around the face and makes whatever adjustments you want. For this one, I'm going to bump up the exposure a little bit and maybe add a touch of contrast. Making sure to feather it enough so that the edges aren't noticeable. To preview what a window is doing without all the lines over it, simply click on a different node and they'll disappear to toggle that node on and off again. We click the number here and to me it looks pretty good in this shot, she stays pretty static. She's not moving around in the chair very much, but if she was, then the node wouldn't move around with her face as it is. What do we do? Because we don't want the adjustment to just floating around in space there. So what we can do is go to the tracker workspace at the bottom right here. Then with that node selected, the one that has the face window on it, you'll want to make sure that the window is where you want it in the frame. And then you're going to push this button here. The back and forth tracking button, like magic resolve, automatically tracks the face, keeping the window over at the entire time. In this example, she doesn't move around very much, so it's not that impressive. But if she was turning her head or moving her head around the frame more, I think you'll be surprised by what an amazing job resolve does by tracking it. When you play it back here, you'll see that the window does follow the tiny little micro movements her face makes. And if she was moving around more, it would be a lot more noticeable. So now when we play it back, we have a perfect little window adding just a papa brightness to her face. Which again, if you want to see it without the lines on top, just click on another node and you can play it back. You can use masks for anything to adjust the window, to change the color of a person's eyes. The possibilities are literally endless. Now it's your turn, create a mask on one of your shots, make some adjustments, and play around with the tracker. In the next lesson, we're going to go over lots. 9. Using LUTs: You've probably heard a lot about Lutz. It seems like every tuber has a Lut for sale. But there are a ton of misconceptions for how Lutz should be used in your grade. In my opinion, Lutz can be a great starting place for coloring your image. They can offer a nice jumping off point and can often save you a bit of time. But you should never just throw on a lut and call it a day. You still want to grade each clip making sure it looks good. To see why, let's jump in. So to add a lut, let's go to our note tree. In my note tree, I always put the lut last and then make the other adjustments before it. That's because when you start out with this beautiful flat log image and then put a lut on it, it clamps down on the information, so you have less latitude when you say want to make the image brighter or darker. Change the exposure change the saturation change the contrast, et cetera. So highlight the let node and then click over here to the Lut gallery resolve comes with a lot of really great lets built in. And I've got some extra ones that I've installed myself. But don't worry, I'm not going to try to sell you any. You can click around and hover over a lot to preview what it'll look like. Some luts are more for converting the color space of your image and some are for adding more of a heavy duty look. Let's choose one that has a little bit more of a look to it, since a lot of you are probably wondering about that. These Phantom lets by Juan Mala are really nice and have a good range of neutral conversion looks mixed with some more heavy duty grades. Always make sure that the lut that you're working with matches the picture profile that you shot in these clips are all log three, which is what the lut pack was specifically designed for. If you mix your footage with a Lut that's meant for a different camera, things can get pretty funky. Let's choose this one and see what happens. As you can see, the image does change a lot, but it's still way too overexposed, Which is one of the reasons why you never want to just slap a lut on something. You need to tailor it and make sure that the image looks good underneath the lut. It's still going to require the same process that we did before to get it where we like it. I'm going to switch to the waveform view, break it out, then I'm going to go to the exposure node. Just move things around until we get it to where we want it to be. And you can see what I mean by the lut clamping down on the information. So if we raise the gain all the way up, it hits a certain ceiling that's imposed by the lut. And the same is true at the bottom. You can see the line where it limits what we can do to the image. So we added a cool lut to this clip and we colored it to our liking. I want to make another clip in my project have the same look, but I don't want to have to do all those steps again. Well, that's where the gallery comes in. So click up here on the Gallery button. If you don't see the stills and power grade sections, just click this button. Stills basically allow you to copy the adjustments you did for one clip and put them on another. It takes the whole grade, your entire node structure in all and transfers it over to another clip within the same project. The power grade section is the same thing, but this folder spans across all projects. So if you have a node tree structure that you like to reuse or a grade that you find yourself using over many projects, this is where you would keep them. Try to make sure that you're saving stills into the right folder. If you're doing a specific grade for this film, you don't necessarily need those stills to transfer to the next project. So how do we do this? Let's go back to that clip. We just added the lot to making sure that we have the still section selected. We go to the viewer, right click on it and select Grab Still. This will put a little thumbnail here in the window to keep things organized. I'm going to right click it, select changed label, and call it something like short film Look. Let's go back to our timeline and select another clip. I'll go to Color Reset, and choose all grade and nodes to start fresh from the beginning. Then we go over to the stills gallery. Right click our short film, Look still, and choose Apply Grade. You can see that it pastes the entire look all our nodes. The let that we selected everything, the only problem is it's way too dark. We have to go back and adjust our nodes to this clip to make it look good. Remember, we can highlight the clip we're working on. Right click the shot we're trying to match and select Wipe Timeline clip to bring up the side by side view. It even allows us to compare the wave form so that we can be sure that things are matching perfectly. One other little tip that I have for using the stills gallery is setting up a universal node tree the way you like it. That way you don't have to create it every time for every clip in a new project. The way you do that is go to a clip. It doesn't matter which one. Reset all nodes and grades so that it's clean and neutral. Add all the nodes you normally would. Mine again are exposure casts, saturation, contrast, and lut. Don't make any adjustments to the nodes because we want them to be blank. Go to your power grade window, right Click the image and select Grab still. Then rename it something like Node Tree or whatever you want. This will create a still that will transfer across all your projects. You'll be able to go into a project. Click on any clip, right click on Dean Node tree and it will give you a nice clean note tree all ready for you to start. That way you can jump right in and start making adjustments. Everything is right there for you to start working. It's okay if you don't have an idea of what your ideal node tree would look like yet. You can start with the example I gave, or some version of it at the beginning, and after a while, you can adjust it based on your preferences. Now it's your turn to create some stills and transfer a grade to a new clip. In the next lesson, we'll go over how to take your newly colored footage and export it. 10. Exporting Your Footage: Okay, we're feeling pumped. We've got our short film colored and now we want to export it app. So we're going to leave the color tab, go down here and click the Deliver tab. This is the work space where we're going to export our project. So let's dive in up here. Resolve has some common presets available to you, but we're going to adjust the settings ourselves so that we can learn how. So let's just say that this is a short film that we're going to send to a film festival, so we want it to be as high quality as possible. So first we're going to click here and choose where we want this file to export to. I'm going to create a new folder on my desktop and have it go there. Next, we're going to give it a file name. I trust that you know how to do something like this. Okay, so next we have the option of exporting as a single clip or individual clips. This is our short film, so we definitely want to select single clip. Individual would be if you still wanted to make tweaks to the edit, but we're done now. Next we choose which format we want. There are lots of options but for us we're going to select quick time. Again, we don't have time to go into Codex and the like. So with our example of delivering to a film festival, they're probably going to want some flavor of Pros. Either Prores 422 HQ or Pros 4444, most likely. So let's just choose 422 HQ. Next we have to choose our resolution. Our film was shot in four K, so let's choose ultra HD. We can click in the audio tab, and if you want to adjust these settings, you could. But these are fine for me. The file selection allows you to make adjustments to the file name, but for me, this is fine as well. Once we have all of our selections, we click Add to Render Cue. And then you can see that it goes up to this window here in the top right. This is the render que where all the projects you want to render are. If you had multiple projects or multiple versions of the same video, they would all be here. But since we only have one, we can click Render All and sit back and relax while resolve sends it out. And with that we are all done. 11. Final Thoughts: Congratulations, you have now colored your first project from start to finish. Even if you had never opened resolve before, you now have all the tools and knowledge to get started coloring your own projects. So keep playing around and resolve. Go shoot some projects with your friends and work on the color grade. The more that you use it, the better that you'll get. And once you conquer the basics, you'll be able to add more advanced tools to your repertoire. I would love to hear about your progress and resolve and to answer any other questions you may have about coloring. So please leave them in the discussion section and I'll be sure to respond. Also, upload some screen grabs to the project gallery. I would love to see what you worked on. Thank you so much for watching and I'll see you next time.