Transcripts
1. Introduction: To me, coloring is one of the simplest and most fun parts of the video production process. There's no right or wrong. It's just create what is up. I'm Marcel and I'm a filmmaker that loves everything
about post production. In today's class,
we'll be going over color grading and exporting
in Davinci resolve. When I first started
my filmmaking journey, color correction is
something I'll heavily rely on just to make my
shots look better. And then even now with years
and years in the game, I still use color
correction to add a nice finish polish to really
make my film stand down. In this class, we'll go over
the UI and the color tab, as well as the delivery tab. And this is what they call
finishing your video. Now, color grading is what
Davinci resolve is known for industry leader in
color correction and grading for over a decade
and for good reason. Some key takeaways here
would be correcting your flips to fix exposure
and or white balance. As well as building a grade to give your footage
a stylized look. And then exporting depending on where your video will
be seen in the age. There's so many artistic
choices that can be made in that last finishing
process of any film, TV show, commercial,
music, video. This class is great for
beginners or experts. It really doesn't
matter where you're at. Color correction is such
a great polishing tool to finish off your video. I hope you are as
excited as I am. These two things
are very important in the video production process. And when you feel
comfortable and ready, I'll see you all in
the next lesson.
2. Getting Started: Welcome to the next lesson. Again, my name is Marcel,
and I love shooting, editing, coloring, and really the entire post
production process. I have a Youtube channel
called The Modern Filmmaker, where I get to teach my
favorite techniques and get a chance to connect with other creators from
around the world. I have always loved
coloring because it adds that final
polish to any film, TV show, commercial,
or music video. And if you think about it,
the matrix wouldn't be the same without that green tint and the film 300
wouldn't be the same without that red and
gold gritty look. Coloring is really
a chance to add a unique style and look
to your video projects. When it comes to preparing
your workspace and or mindset, just have to venture
resolved, ready. The great thing about color is you could do it almost anywhere. Your bedroom, your office, a coffee shop, the mall. As long as you can
see what you're doing clearly, you'll be fine. We'll be working in the color
tab and delivery tab today. The project we're working on is a simple brand
awareness piece for a photographer that shoots cars. And we've already
gone through the edit and the audio and now we really get to bring this edit to life with the color gray. I have the whole edit
built out and it'll be shared in the
resource tab down below. But if you have
your own material, your own project
you want to work on, you can do that as well. Just follow along
using the tools that we'll be displaying today. Remember to share
your projects down below because it'll
be cool to see how each other's different
creative decisions create a completely different outcome
with the same material. And we can all comment
on each other's work and all grow as
colorists together. Have your assets ready, and be ready to think in
color to create a style. We'll go over the UI
and the color tab and its most
commonly used tools, as well as going over the UI and the delivery tab to make
sure you're exporting your video depending on where you want it to be seen
in its final result. Once you find a
comfortable place to work in and you feel ready, I'll see you all in
the next lesson.
3. Knowing the User Interface: Welcome to the next lesson, we'll go over the color tab UI. I love this tab, and of course, it looks a good bit different
than the rest of the tabs. You're kind of seeing a common
theme among these classes. Devient resolve is almost like several programs
wrapped into one, and the color tab is one
of the most powerful ones. And it's great for creating
style in your film. And the better you
understand it, the more helpful you can be to your clients and production
crews that you work with. So let's dive in to the UI here. So if we go across the
top, there's a few things. We have here a gallery which is great for storing stills
and exporting stills. You have luts for
lookup tables for conforming your raw footage
to rec seven oh nine. You also have a media
pool where of course you can see all the media that
you have in your project. And then you have this
Clips button where you can easily minimize the clip section
across the bottom to give yourself a little bit
more screen real estate. And then over across the
right you have quick export. You have timeline to
where you can see your timeline and how the clips are laid out within your edit. You have nodes which is your node workflow
here to the right, and that is how you'll build out your color grade
throughout a node tree. A little bit similar to fusion but also a good bit different. Then you have effects,
which you have separate effects
in the color tab. Then you have in some
of the other tabs, and it's really cool, we'll use some of these in
the next lessons. And then a light box
to where you can actually see all your clips. If you go across the bottom, of course you have
your clips here and your preview window. You have your playhead where you can play your clips through, you can rewind, you can
go to the next clip. A lot of cool things and
functions you can do there. You have sound options
where you can mute, and then across the
bottom you have the bulk of the tools
that we'll use here. In the color tab here, you have your raw camera, raw workflow and we're
using raw footage. The next lesson we'll
actually get into this. When we turn our raw
footage into Rex 79, then we have a color matcher. So if you have anything like
the X right color checker or if you have a color checker that you put in
front of the camera, this is really good to use
and really easy to use. It's really awesome.
It'll change your white balance in just a second if you have
something like that. And then you have your
primaries wheels, you have your HDR
color wheels as well. If you're in a HDR workflow, you have your RGB mixer
and your motion effects, which are things like noise
reduction and motion blur. Then if we look
towards the middle of the screen, you
have your curves. If you're used to any
kind of photo editor, curves is super helpful to know Devin resolve
in the color tab, you have endless curves. You have the regular curves. You have the huber hue,
the humerus saturation, Hubers, Lumins, Lumins. Ver saturation, saturation.
Ver saturation. And saturation versus lumins, which is crazy and I love it. Some of these tools I use constantly and they're so
powerful and so helpful. And then we have a color warper right next to that
which can change any color spectrum and shift the saturation as
well as lumins there. And then we have a
qualifier which is great at just qualifying certain
things within your clip. Like if I want to
qualify just this car or just the shadows or
just a certain color that could be done right
here in the qualifier. And then we have masking. So if I wanted to make a
mask, any kind of, you know, maybe a vignette around
the edge of the screen, a mask would be a
great way to do that. Or if I wanted to mask
out just this car itself, I could use the mask to do that. And then come over to
the tracker and track that mask to make sure even
though the camera is moving, the tracker will make
sure that the window or the mask is staying
where we want to stay. And then we have a magic mask. So if I wanted to mask
just Bronson himself, the photographer in the chute, the magic mask would be
a great way to do that. And then we have blur and
sharpening functions. We have keying for how much
opacity we want on each node, and then we have sizing options
and then three D options, which we won't get
into but are really powerful three D options for when you're in
a three D workflow. And then all the way
to the right we have our scopes, which again, if you're used to any
kind of photo editor, scopes are very helpful. They're a good visual
representation of what's going
on on the screen. And of course within drop down,
you not only have parade, but you have a lot
of other options to see a great visual
representation. A lot of the time
I use parade and I also use the Vectorscope
to check skin tones. And then I kind of stay
away from the rest. But I do love to
have all of those there because you never know when you're going to need them. And then you have some
settings for the scopes and then you have a way
to pop those scopes out in case you have another
monitor and you want to see all the different scope
options on one screen. I'll close that for now and
then you have information. It's almost like the metadata
tab that we don't see. It's one of the few tabs
in Davinci resolve. It doesn't have the
metadata button, but it does have
the information. So you can see what
clip you're working on, how long the clip is and
what number the clip is, Just different kind
of parameters, there can be very helpful. Spend some time in the UI here. Get comfortable with it
because there's a lot to know. There's a lot of tools here. Get a little familiarized and when you feel
comfortable and ready, let's jump into the next lesson. We'll talk about raw
and log footage and turning that into
rec seven oh nine. I'll see you all there.
4. Working with RAW and LOG: Welcome to the next lesson. And now that we've gone over the UI of the color tab
indventure resolve, which is quite amazing. Before we get into the
thick of things and start color correcting and building a great look for our footage, I just wanted to go
over how to work with raw and log footage and
why raw footage is. I don't know if any
of you have worked with any photo cameras before, but raw footage is great
because it gives you an opportunity to change
camera settings in post, actual footage settings in post, as if you shot it differently
within the camera, which is really, really awesome. And looking over at the
camera raw settings, I have the set to
clip at the moment, gives us all the parameters of how I shot this at the time. Telling me that I shot this in Gen Five Color Science
from black magic. The white balance is actually set right here, the color tint. And tin is set to how
I shot it at the time, telling me that color space
is black magic design and the gamma is the black
magic design film. Then our ISO is 400. Now, if you guys have ever
shot on something like this, Panasonic GH five, then you can't change any of these settings
after the fact. You can shoot and log, which I'll go over
why that's important. But if you've ever
shot on a camera like this or DSLR or
mirrorless camera, most of the time you do
not have raw options. And really you're
kind of stuck with whatever you shot at, on the camera at that
time that you shot. And you can't really change
anything from there. But raw footage gives you the opportunity to
actually change camera settings after the fact, which is really, really cool without destroying the footage. Because if I have baked in settings that I can't
change afterwards, then I can manipulate
the footage. But what I'm really
doing is just that I'm manipulating the
footage where here, if I change this ISO 400-800 then I'm not
just making it brighter, I'm actually changing the ISO of the footage that
I shot at the time, which is really, really, really convenient
and really cool. And if I were to
change the color temp, you're going to get
the same clarity. It's not going to diminish or dissolve the footage at all. It's really going
to keep the same clarity, the same quality. But it's going to
allow me to change the color temperature as if I changed my white balance
in camera as I shot this. Which is really, really great. Now we have these three dots on the right of the
camera, raw settings, where I can click
this down and go to reset and get back to
exactly how this was shot. Now fortunately for me, I shot this with a
great white balance at the time and great exposure. And we can see that
here in the scopes. If I go over to the right, you see that our footage
is pulled down into a pretty low luminance
and our shadows are pulled up into a
pretty high luminance. For shadows, at least we're definitely not
reaching the black. And that's because raw
footage is shot in log. Which logarithmic is something
that some DSLRs like the Panasonic H five or some can DSLRs or
mirrorless cameras. Fuji has this as well. They all have their own
kind of log format. The Pentasonic has V log, the cannon has log, the Sony has log, Fuji has log. You may notice the
similarity there. They all kind of use their first letter as the
beginning of their log, except except for
Panasonic that uses V log. But the reason to shoot in log, even if you are
shooting on a DSR that can't shoot in raw, is logarithmic
footage has a way of taking what's in the
sensor and squashing it down to a lower dynamic range so you can extend it later on, which may seem crazy. It's like, well, why
not just shoot in standard when it's
already pulled out. In contrast and very saturated. Well, logarithmic
footage actually allows the sensor to have a
higher dynamic range, and that's why you would
typically use log. It's not so much
noticeable in the shadows, but it's really noticeable
in the highlights. Usually, logarithmic footage can pull in a higher amount of high luminous levels than your normal standard or Rex
709 shooting modes can. So what we're trying
to do here is bring this raw or log footage
into Rex seven oh nine and that's the
standard viewing of most devices like your phone
or your computer or your TV. They all typically use and have a Rex seven oh nine output
that you're viewing. Computers and computer monitors can go all the way to SRGB, which is a little bit
more color variation, But for the most part, everything is viewed
in Rex seven oh nine, especially anything on Youtube
or Instagram or Facebook. It's not really until you
get into projectors or LED walls that you're seeing
a different kind of output. But for the most part I
would say almost 90% if not more screens that you view or content that
you view is in Rex 79. And so a few ways to transform
this footage from row to Rex 91 would be just
to apply the lut. Now if I do this in the camera rowsetings it's
just going to apply the regular black magic lut that the program knows what
kind of footage this is. And it'll just say I'll use the lut made for that footage. Another way to add a Lut, which is a lookup table
which is kind of it's almost like a coding little metric
that tells the program Okay, based on the footage, this is this is how we're going
to get to Rex seven oh nine And so if I right click on this node and
go down to luts, I can come down to
black magic design. Come down to the five
film to extended video. That's the one I love to
use for my black magic six K pro or any newer
black magic camera that shoots in five film. I'll show you the
difference here, but we have to extended video, which gives us a
great, great look. Now I may want to pull down these high so I can see
more of the clouds. But overall, this is
a pretty good look. Or I could write, click
this and go to lots. Now we'll check out the
five film to video. Now this makes it a
little bit more punchy. The only reason I don't like video and I prefer
the extended video, is because extended video
allows for more manipulation. If I go back to extended video and we take a look
at the scopes, you can see that it's brought
our luminous levels down. Allowing us to have a
little bit more play in our scopes and a
little bit more play in our luminous levels. Which is why I like to use that. Because when we get
into color correcting and color grading especially, we'll want as much play as we can while still having
a rex under nine image. That way we just have a little
bit more room to work in. If these highs were
already at the top, then there really
wouldn't be much more to pull out of them. If the shadows were
already in the blacks, then there wouldn't
really be more to pull out of them because you
really want to have as much wiggle room as you can when working and color
grading your footage. If we go into the effects, another thing that
we can look at is the color space transform. If we bring this
effect onto our node, the color space
transform is awesome. It is so good,
especially if you have different types of footage
within your timeline. This color space transform allows you to tell the program, hey, this is the footage
that we're working with. This is the color space, this is the gamma that we
shot our footage in. This is what we want it to be. One thing we could do to get our footage back
to that same look that we had with the Lt is tell the color space transform
that we're working with. Black magic design in five
which is this wide gamut gen 4.5 Then we can go
to input gamma and come down to
blackmagic design film in five because
that's what this is. Now of course if you're
working with Canon Raw or Ji raw or R Raw or Red Raw, you'll want to
change that based on the footage that you're working with but for this footage, black magic design in five
film this is perfect. Then output color space, we can come down to
re seven oh nine. Then in gamma we can do the same and come down to
re seven oh nine. Boom. Now we're getting the same exact look that we
did when we applied to Lut. If I click off of this,
I'm going to apply, boom, we're looking at
the same exact result. But why would you use the
color space transform? Why is this such a great tool? Well, let's say we have some different footage
in our timeline. Let's say some of it
is black magic raw, but the majority of it
is Panasonic V log. We would want to change our black magic raw to
be more like V log. And we can actually tell
the program to do that. Now I say that because if we have a little bit
of black magic raw, but everything else is shot
on a different camera, like the Panasonic GH five. Then we're better off trying to get the few clips we have in black magic raw to look
like Panasonic than we are trying to change all
of the Panasonic footage. If we have a majority
Panasonic footage to look like black magic raw, unless you have a different
creative choice in the end. But what we would do with
the color space transform is now it knows that the input, what we're inputting
into this program, into this tool is black
magic design in five film. Now we want the output
to be Panasonic V game. And then we can come down to
the output gamma and say, now we want this to
be Panasonic V log. Now we're looking at
a very similar image to what we would get from
something like this. Panasonic H five, if we
were shooting in log, which is very convenient. Then from here we could
add another note, then we could add another
color space transform. Or we could just right
click, go down here to Lutz, then the Panasonic,
and go to V log V79. Which would give us
a very similar look that we would get when transforming our V
log footage from the Panasonic H five to Re 79. Now it won't be exactly
the same because, I mean these are two
completely different sensors. So you're going to get
some different variations, slightly different variations. But overall, as far as color cast and luminous
and dynamic range, overall you're pretty
much going to get the same type of looking
footage to work from. And that's a great
starting place when color correcting a bunch
of different footage from a bunch of
different cameras. So those are the three
ways that you can turn raw or log footage into
Rex, seven oh nine. Play around with
this, have some fun, try to find some different
styles that you may like. And then when you're
ready, let's jump into the next lesson where we'll
go over how to color, correct our footage
to all look more uniform across our timeline.
I'll see you all there.
5. Color Correcting Your Footage: Welcome to the next lesson. Now that we've gone over the UI and the color tab of
Da Vinci Resolve, we've also gone over the raw and log and had to turn that
into wreck seven oh nine. Now we'll be doing some
basic color correcting. Color correcting is done to make a unified look among all
your clips in your timeline. Because of course, different
shots may have been taken in different
lighting conditions and different color conditions. And it's important to make sure that all your
footage looks similar, that way you're not working with an oddly white
balance shot. And then a really bright shot and then a really dark shot. Now of course, there are creative decisions based
on the storytelling, where someone may
be walking outside, then they come into
a really dark room. And of course you'll want that
to actually seem like now we're outside and
it's bright and now we're in a really dark
room and it's dark. But overall, you want to
make sure that your footage looks good and that the
settings are kind of correct. It's not so much about creative decisions more
than it's a balance, just making sure
that your footage looks good and that your
luminous levels are in a good standing place with the scopes and that your
white balance is correct. Let's jump in here.
I'm going to go through just a few clips
here within our edit. And then I'm going
to leave you guys to do the rest just to gain some experience and to get your momentum when it
comes to color correcting. If I go ahead and add a couple more nodes to
our node tree and hit, I'm going to add a lut to our last node just so we can get this log raw footage to
a Rex nine standing. Let's right click and
we'll come down to Lut and then we'll come
down to black magic design. And then of course, like
I said, we're using Gen five film and we want this
to be extended video. Boom, Looks great already. Now there's a few things
that I'm noticing that I would like to change
to correct this image. It already looks really good. I shot and a pretty
good white balance and a pretty good exposure
pat on the back to me. But one of the things
I'm noticing is the sky is pretty bright
and I would like to bring that down to hopefully see a little bit more detail in
the sky and in the clouds. If I click on our first node, we can actually right
click this and go node label and change
this to exposure. Now we know that this is the general node
that we're going to be using for our exposure. And I'm going to go to
our curves and then come over to our color wheels. And some of my favorite tools are here in the color wheels. There are so many good tools and I'm just going
to run through some of these real fast
just so you can see them and get a little bit more comfortable
and familiarized. One is the temp. If we
don't have raw footage, then this is where we'd change the white balance of our shot. For some reason this
was really warm, we could drag it to the
left and make it more cool. Or if the shot was very
cool and we want it to be more warm or lay in
the middle somewhere, we could drag this to the right and get a more warm image. Now we can reset this
whole color wheel section with this reset button to the
top right of that window. One other thing that
could be done as well is if we had something
white in the shot, his shoes have this
white section. Now hopefully you have something more white than that at the
beginning of a lot of shoots, I'll set up a white reflector or some white card to
white balance my shot. If I haven't white balanced
already in the moment, one thing you can do is hit this little color picker here. And then click on
something white. Which of course is shoes
probably aren't pure white. But I'm just using
this as an example. You can click on this and that would white balance
the shot for us. Now, not really much
changed here because this shot is actually pretty well white balanced
to begin with. But that is a really
fast and easy way to get a really
accurate white balance if you have something that's
white in the shot and if you didn't think
about white balancing in the moment when shooting. Then from there, like I said, the sky seems a little bright. One thing we can do is bring
down our highlights here, which is really convenient,
really nice to have. We're getting a little
bit more back in the sky, but not that much. Let me go back to zero. While we're getting a little
bit more information, let's try a different technique
just because you never know which technique is going
to get you the best result. Until you try, especially based on different footage
from different cameras. It's always good to try a few different techniques
to see what works the best if we use our curves to try to do this and what we're looking at in the curves. I love the curves invent, resolve because you
can actually see where your footage is sitting
from the beginning. And then get a good
representation of where you need
to change things. If I click on something where
I like the luminous level, let's say our sky is blown out. But I do like how bright
this pillar is here. I can actually click on that pillar with
the qualifier on. And then come over to our curves and lower our highs a bit. This will make sure that
we're lowering the highs, but this pillar stays the same luminous
level that we liked. That's not getting us really
any information back either. I'll go ahead and reset
the curves as well, but that is a very convenient
way sometimes to pull in high information or
even low information. If we had shadows
that were super low, we could pull up the bottom. As I'm doing that, I
actually really like that. I feel like we're getting
a lot more information back in the shadows. As a matter of fact,
I'm going to raise those black levels because we're getting a lot
more information. And then what I'll do is
go back to our highlight. I'll turn this down to get at least as much cloud
information back as we can without losing our
contracts in our pop. Now we'll go into the next node, which I will label contrast. Of course, we have a
contrast slider within our color wheels that we could turn up to get
our contrast back. But I would like to
do this a little bit more in a fine tune way than just let the program dictate where we want
the contrast to lie. I'm going to zoom into
this with my mouse wheel, then I'm going to
click on something in the shadows that I
want to stay at, the luminous level that it is. I want his pants to stay at
about this luminous level, or let's say his shirt, the highlights of his
shirt, the shirts black. This is technically all
in the shadow realm, but I want the highlights of this chirt to stay
exactly the same. I'll click right there, which will make a.in our curves. Then I'll actually make
another dot with in between the dot that
we made and the one at the very bottom right here. And I'll pull this down, that looks pretty good. Another thing that we
could do, another way that we could achieve
the same result, but maybe even get
more into the blacks, is if I delete this dot by
right clicking on the dot, I can actually take this
dot at the very bottom. Because we're not
hitting black level yet, the zero level on the scopes. I could just pull
this back to where now we're almost
hitting the black, which is great if I hit control D to deactivate
just that one node. Now we're seeing a lot
more pop in the image. This is a creative decision. Now, of course, in
color correcting, we're really just trying
to correct the image. We could pull back up our shadows in the end
if we want to have more of a film esque look
when we go to grade. But for now I
really want to have as much information as possible
in this correction phase. If I just grab both of
these nodes and then hit control D, I love that. I feel like we've pulled
out so much more detail out of not just Bronson, the photographer, but
out of the car itself. The car was a little bit
muddy when we started out, when we just did our transform to wreck seven oh nine from raw. The car is just a bit muddy. If we like that look, of course
we could leave it there, or we could even
bring up the blacks, like I said in our
grading phase, to bring that muddiness back, to bring that film look back. But I'm really into a very poppy look like I love that modern
family type of pop, even that Netflix type of
pop, that looks pretty good. But one thing I'm also noticing
is a little bit of noise. So I'm actually going to select all these nodes and bring
them over to the right. And then I'll click on
our first node and go to Add node and have an ad cereal. Before I'd like to have
any noise reduction. I do at the very beginning. Now there is no right or wrong. I know people that love to add the lut and then do the
noise reduction afterwards. I know people that do a full color grade and then add the noise reduction
at the very end. I almost like to do
it at the beginning because it's like
give me the cleanest, raw, original, natural image and then let me manipulate
things from there. For some reason in my brain,
it just feels better. So let's jump over to
last motion effect, our last little option here at the end of
this line of tools. And then I'll come to
temporal noise reduction. Let's zoom in here. You can see the noise that
I'm talking about. It's definitely in the shot, it's not really moving
around that much. But even on a still frame, I'm seeing a lot of
noise and mainly chromo colorful noise and then there's lumin noise which is just
black and white noise. I'm seeing a lot of chroma
noise within this footage. So I'm going to
come down here to our temporal noise
reduction and go to frames. I'll go to three. Now
this is dependent on how much computing
power you have. Because the more frames you ask the noise
reduction to look at, the more computer resources
it's going to grab. If you're working on
maybe a slower machine or a less powerful computer, you may just want
to use one frame, but I like to use three
most of the time. Then for motion estimation type, you can use fast if your computer doesn't
have that many resources. But if you have a lot of
resources, you can go to better. But even fast still
looks really good, then with motion range, I usually leave that at medium. But depending on how
much noise you have, you may want to mess around with those parameters to see if
you get a better result. Then here you can see
that our luma and our chroma noise are both Link together. I'm actually
going to delink these. I typically like to move
my luma up slightly, but luma is going to give
us the most disruption. This is going to smoothen
out the image a lot. If I turn this up, you see
that it gets rid of the noise, but we're also
smoothening things out, which gets rid of
a lot of detail, which I'm not a huge fan of. I'll just move this up slightly. 7.6 is good. I rarely go above ten
because you can see how mushy this is getting as
I even get close to ten. Now it looks more like cell phone footage than
it does or smartphone footage than it does a nice
raw black magic six K pro. Let's move this down to maybe four or 5.2 That looks
fine in our chroma Noise. We can actually move
this up a good bit more. Personally, I like a tiny bit of noise because it has a little bit more of a film esque look. Adds a little bit
more of a grit. I don't mind a
tiny bit of noise, but maybe we'll move the
luma up slightly as well. That's fine. I like that. That is a good correction as far as I'm concerned
at the moment. Now let's go to
another shot that seems a lot different than this one is a much
different shot than the one that
we just worked on. But I can copy the
no tree that we just made from the last clip just
to have a starting point. If I go ahead and go to this
clip that we just came from, I can either right click
and go to Apply grade, which will apply the
same exact grade. Or if I reset that, I can write, click this node and
go to a Pin grade, which will add all those nodes
that we put onto that one after the node that we already
have in this node tree. Or it can reset that,
or I can just go to this clip and click
in on my mouse wheel. Boom. And it'll do the
same thing as apply grade. There's one more
trick that we can do as well that's really,
really convenient. If I reset this,
open the gallery, come back to our first clip. I can write click
and it grabs still. Now this is really convenient
for a lot of things. I can export this out, if I write click on this, I can export this
out as a picture. I can export this
with display Let, which is really nice
because sometimes, especially if you're
color grading for someone else and you're trying
out some things, the person you're
color grading for may want to see the looks
that you're making. This is a really nice way
while saving hard drive space. But also with this
still I can come back to the shot that we
were working on right here. One thing that's really cool
is I can hover over this still and it'll show
me the entire clip. But with that grade on it, which is super nasty, I love to bench you resolve. It just makes things
so easy sometimes. But again, I can write, click this and apply
grade or I can pin node graph or
I can just mouse wheel in and apply those
nodes to our new clip. Then I'll close the gallery. One thing I'm noticing
about this is first of all, this one's not going
to have as much noise because it's bright. We can go ahead and delete
our noise node exposure wise. This one also is very bright, so it's going to need a different technique
with exposure. I can go ahead and reset that as well and our contrast,
we can reset that. Also, I'll actually
bring down the lifts. In our color wheels,
what we're looking at is the lift is like the shadows, the gamma is like the midtones. The gain is the highlights. Offset is almost the overall
exposure of the image. We could bring down the
exposure by using the offset, but personally, I like where the sky is
sitting a little bit. I don't want to be too far down and I like where the
midtones are sitting. In particularly, what I'll do is actually
bring down the gain slightly to bring a little bit more
contrast in the clouds. Then I'll bring down the lift. I really don't want
this to get muddy, but I do want the blacks
to get a good bit deeper. Again, if I hover
over the image, we can see in our scopes exactly where
everything is sitting. Let's say if I come to these
highs in the shadows here, make a dot there
in the contrast, and then I can bring
our blacks down. That is nice, and I'm even seeing it in the tree back here. Control D to deactivate
and then reactivate. That's a good looking
image, very clean clouds. Ever since I started
color grading, I feel like I see clouds
completely differently because you start to see more
dynamic range and things. When you start to color,
you almost look at things and you
almost like decode them in your brain as far as how much detail you could
pull out in a color grade. Now that we've gone through
some basic color correction, play around with this and play around with
all the footage, whether you're working with the footage that
we've provided in the resource tab down
below or your own footage. Definitely play
around with this. Use these techniques
to see if you can really bring your
footage to life. Then when you feel
comfortable and ready, let's jump into the next
lesson. I'll see you all there.
6. Fine Tuning Your Material: Welcome to the next lesson. Hopefully you're using
the footage that we've left in the
resource tab down below. And using the same project
that we're using here, it'll make it a
little bit easier. But even if you have
your own material, that's great as well. You'll still learn a
lot from the techniques that we're going to be
using in this section. Let's go through to another shot that is a good bit
different than that one. If we come to this shot here, this shot has a
different white balance. I can already tell
on the scopes, it's way more crushed and it's low in the luminous
levels, but it's still outside. Let's again apply the grade that we used in this last clip
that we just corrected. And now we're seeing
that this has a green cast to it,
it's very muddy. We definitely need to do
some noise reduction. Let's actually reset this and
use the first clip we use, just because we already had the noise reduction
node in there. We'll give us a
better starting point as far as workflow goes. I'll click in on this, on our mouse wheel.
That really helped. That really helped that noise. If I turn this noise
reduction off, there's a lot of
noise in this shot, which is surprising given
the fact that we were shooting middle of the day and there's a lot
of light going on. And now we can move on
to white balancing. If I move these nodes over, I'm going to make a new node in between our noise
reduction in our exposure. And then I'll label this
one B for white balance. We'll need to correct
this white balance a bit, because even if we
see in the scopes, we're seeing that there's a
huge shift in the Greens. Typically, the
greens will not be at the top unless that's
a creative decision made. But usually you want the
Greens to sit in the middle. If I come over to, again, our automatic white balance
tool, we can click this. If I click on this license
plate that is white, not like in that gave us, it's closer, but it gave
us more of a purple shift. What it did was change
our tin and tint here. I'm going to right
click on this white balance node and reset that. And then come over to
our camera raw settings. We'll go decode using clip, which will give us
all of our parameters that we shot with
in the beginning. Then I'll move our temperature over to the right a little bit, making this a little warmer. Then I'll move our Tin
slightly to the right as well. I think that looks pretty good. Let's keep working with our color temperature
that looks good. Before we go to
contrast, let's see what our exposure node has
done to this image. I like that, but there's a few things that I
would like to change. If we go to our highlights and
we can reset this to zero, then pull this down a bit,
that looks pretty good. And then we can go to our curves where we pulled
those shadows up. Pull those down a bit. I don't want to pull
it all the way down, because then things
get a little bit muddy when it comes
to his shirt. And inside this Jeep here, let's pull this up just a little and then we'll
come into our contrast. We'll reset this node. Then what I'm going
to do is click on, let's say his shirt about here. Like maybe one of the
highlights in his shirt. Then we can use
that same technique and pull the shadows down. Stretching out our shadows to give us a little
bit more detail. And I'm going to make
one more contrast node because I really want to
massage this into place. This footage is squashed. There's a lot going
on in the shadows. We just need to stretch
those shadows out. If I can make another dot
here in the curves and then pull our shadows in, oh, yeah, that
looks pretty good, but we get a little bit
destructive when I go too far. And you can see that here. It's really breaking up the image and giving us more noise. We want to be careful, maybe I'll come out to here and then make a.in between.
And pull this down. Yeah, I'm liking
that a lot more. Then we can come to
our noise reduction, see if we can get rid
of some of this noise. Now that we've created a little bit more
noise, I like that. But one more thing I'm going
to do is click on his skin. The highlights in
his skin right here. Let's see, hold on. One last thing I'm
going to do is make another towards the mid tones, but the high, mid, and pull. This up, this is making
a little bit more punchy to feel like
the rest of our clips. Now, if I select all these nodes except for the lut at the end
and hit control D, that's a pretty big difference. People always say, oh yeah, just throw a lut on the
footage and you're good to go. This was just with the
lut on the footage, that does not look ideal to me. It definitely looks drastically different than this image that we're all seeing right now. This seems a lot more correct, but now that we can
see a little bit more, I'm going to go back to our
white balance of our camera raw and shift our tint to the right a little bit more because the skin
seemed a little green. It's looking like Sony
footage right now. That's not what this is. Boom, Now that looks great. Maybe a little bit
more to the left. Boom. Now we're
getting a much more uniform look among
our three shots here. When breaking down the color
correction of this footage, if I just go through
here and select all these nodes and hit
control D to deactivate them, We're starting with raw
footage which is logarithmic, very flat and we used a lut at the end to change this
to rec seven oh nine. This is just the standard
black magic lut. Black magic gen five
film to extended video. And then our first node
is noise reduction. I love to start with
noise reduction because I feel like when you're
getting a clean image in, that's the best place
for the program to reduce the noise. And then from there we
went over some exposure. The sky seemed a little bright. I felt like we could retain more detail in the clouds here. And so we brought down the highlights in
our color wheels. We just brought down
our highlights about -67 And then we
raised our shadows in the curves to get a
little bit less muddy here in the shadows of
the car and of a shirt. And if I activate that node, we just brought more
of the image to life. We couldn't bring back too
much detail in the clouds, but we brought back enough to at least bring a little bit more dynamic range into the shot, at least seemingly and visually. And then we went over
to the contrast. The contrast was just to bring in more of the
blacks into the shadows. Because right now, while we
have a lot of detail here, a lot more detail
than we had before. We made our exposure
adjustments. We use the contrast
to really bring the blacks of the image
back down, closer to black. If we activate that, boom, now we're seeing
even more detail. If I deactivate, reactivate, you're seeing that some of these blacks and shadows
almost seem the same now. But once we brought
our blacks down, we're actually seeing
a lot more detail and getting a much more
punchy image if we select all of these nodes and deactivate before the
let and then reactivate, oh my gosh, we're seeing so much more detail if
I full screen this, so much more detail, which just gives us more
room to work with when we go to grade the image and
to make a stylized look. Now, this is all
personal preference. Some people may like
the starting image more based on the look and feel
they want their edit to have. And that is what's so exciting about you all sharing
your projects down below in the gallery is we'll get to see what creative
choices you made. Because you may be seeing
what I'm doing and saying, you know what, I like
what he's doing. But I think I'm going
to do something different and that's
cool. That's awesome. I'm sure when I see you
all's projects back, I'm going to see
some things that I didn't think of
and be like, wow, that actually gives it a much more different vibe than what I created
here for the class. So if we scrub through here to the next clip
that we corrected, we worked with the shot of
the car just all outside. And if I go ahead and take away these nodes that
we had beforehand, this is a much brighter
shot and there really wasn't too much to
do after adding a lot. Just for corrections sake, I just wanted to kind of
bring down the clouds slightly just so we get a little bit more
contrast in the clouds. And then of course add a little bit more
blacks because some of this all seems a
little bit muddy. But as we turn on the
contrast node that we made, now we're seeing a much
more punchy image. You may love how it
looked to begin with, or you may even pull
it down even darker to make more of a stylized
or different feel. Then lastly, we went to
this image here which before our corrections man with just a lot this
looked terrible. I was not a fan of
this shot sometimes. Honestly, I couldn't
even explain why this shot turned out so much different than
the other ones. I think this may have been
two K instead of six K, but this one just looks drastically different
even though it was shot outside maybe only
about 20 minutes after I shot this shot. You never know what kind of conditions that you're
going to be in. And that's what color
correction is all about. It's about correcting
your shots to look more uniform given what
you had to work with. If we go back, the first
thing I did with this one was noise reduce because you can see we had a bit of noise here. Again, even though
we're shooting outside in broad daylight, we had a bit of noise here. And I really see
it in the chroma. Noise like there's a lot of almost red purple splotches in his skin casting across
this whole shot. Then next, we exposed
the shot to bring up the mid tones and the
shadows a little bit more to create a little bit
more separation between his shirt and the
background of this car. Then with our contrast, we added more contrast
and more punch. And then we added a
secondary contrast to add even more punch, which really brought
the image to life. And it's really interesting
because some people say, you know, yeah, yeah, just
add a lut and you'll be fine. But I mean, if you
look at this with just the lut that almost
looks like it's still log. It almost looks still
raw, it looks so flat. But this really
brought a lot to life. So now that we've learned
the basics of color correcting in the color
tab of Da Vinci resolve, use these tools and try to find your own kind
of corrections. If you're using the footage
that we made available in the resource tab down below or if you're using
your own footage, definitely mess
around with this and play around with
different parameters. Maybe you saw something
that made you curious, like a tool that I
didn't use and you might find a new trick that I didn't
even stubble across here. But once you feel
comfortable and ready, let's jump into the
next lesson where we'll go over creating a
stylized grade to really add a more stylized look to our footage. I'll
see you all there.
7. Discovering Creative Grading: Welcome to the next lesson
where we will create a stylized look and grade
for our edit that we have. Now let me just go ahead and play back our edit so you guys can see how color
corrected my footage. Love it to death. You may
notice that there was a couple shots in there where I already stylized a little bit. And that was just to
kind of add a little bit of flare to the overall feel. And I knew that these shots were going to have
their own look and not kind of be a part of the same style of the
rest of the video. I'm just going to
take these clips, move them up to our top track. I will right click on this
track six, this video, track six, and add new track. Then I'll move this new track. I'll right click and
say move track down. What I'm going to do
is add an adjustment layer to this track six. That way we can color grade everything underneath
here all on one track, making sure that we have a
unified ubiquitous grade among the whole video, but not on those stylized clips that I made black and white. I'll go over here to
our effects under our toolbox and then
drag in adjustment clip. Then I'll elongate this out until the end
of our video when the logo comes in
because I stutter the logo over a clip of him. Again, I'll actually take this logo track and move
this clip all the way up to the track that we put everything else on
that's stylized already. Now we can pick a hero
frame, I love this shot. And we'll go over to the
color tab by default. If you go to the color tab, the color tab is going to use whatever clip that
you're on top of, but that's on the
very top because our adjustment layer is
on the top of this clip. Automatically, when we
go to the color tab, our adjustment clip is
going to be selected. And if you wanted to color grade or color correct
anything under that, you'd have to click
on it by itself. Or one thing I like to do, if I need to go back
and color correct, then I can just disable
this video track. And now if I go back
to the color tab, it's going to start us
actually on the clip that we're looking at and not
the adjustment clip. I'm going to show you a couple
different ways to stylize, one being a little
bit more simple and basic and then one being
a little bit more dramatic. First of all, if I just make a few new nodes by hitting on, the first thing I'm going to
do is push some colors into our grade Just to make this pop a little bit more and
to add some color contrast. The most simple, the go
to is a teal and orange. I'm going to do a teal and orange of my own
that I like to use. But I'm going to do
this in the log wheels instead of the primaries wheel. I'm going to do this
in the log wheels. And why I like the log
wheels is because it has these range options here. We're right now saying that the shadows are
everything under 0.333 That being 333 on the scope about right here is probably
what we're looking at. Then the midtones
would be in between this range 333 and the 550. And then the highlights would
be everything above 550. But we could change that if
we see that in our footage. We want our highlights to start somewhere else or our shadows
to start somewhere else. Or if we want our mid
tones to be selected in between a certain range,
then we can change that. If I come to our shadows
and let's say I push these slightly to the blues, what I'm seeing is this blue
is also falling onto a skin. If I deactivate this
with control D, I'm not a huge fan of that. I want to bring our
shadows down a bit. Now I'm seeing it more in his
shirt and under his chin, in the shadow here than I was
just overall on his skin. Maybe we'll bring this shadow range down even a
little bit more. That's nice. Then we can take
our midtones or we can push these into the orange or
bring in some warmth. Yeah, I like that.
Maybe even a little bit more. That looks nice. Maybe we'll take
our highlights and move these a little war as well, but not too much. I really don't like to move
my highlights off of white, but I do want a little
less blue in the sky. I like that. Yeah, that's nice. We'd sculp through and take a look at some of
our other shots. Yeah, that's good.
That's simple, but it's a nice, stylized grade. One other thing I'm going to
do is come to our next node. And maybe we'll add a
touch more contrast here. By pulling up our curves
and the highlights, pulling down our shadows. But in the very bottom end,
what a huge difference. If we select those two
nodes and deactivate. What a massive difference
his skin really pops off the screen at this
point if we keep scrubbing through here to
check our other shots. Oh yeah, that looks fantastic. Once you create a
stylized grade as well, you may notice that some shots, based on how you corrected them may need to
change slightly. Like this one in particular, I'm seeing a lot of highlights. I want to bring those
highlights down a bit. If I go to this clip and
pull down our highs, yeah, now we're getting a little bit more of the sky detail back. It's simple, but it looks great. One last thing we'll do in our adjustment layer for
this grade in particular, is make sure that our
blacks are black. Because now that we've pushed
some blue into the shadows, our blacks are actually
going to be slightly blue. You can actually add
more contrast to your overall image
with color contrasts. But then by making sure
your blacks are black, that way you have black. Then you have, let's say,
blue or teal in the shadows. And then you have more warm
tones in the mid tones. And then you have
white at the top, creating four layers of contrast between your
shadows and colors. If you come over to you, our
luminous verse saturation, This is a tool that
will allow us to change the saturation
based off luminous levels. If I make a point here and then just pull
this last point down, now we're getting our
blacks back to black. You're seeing this in
our scopes as well. You're seeing quite a
drastic change here where it was just all hues
of blue in here. Now we have some hues of
blue about right here, and then in these divots here, it turns back into black. Right here, it's more black. And over here in our
shadows, it's more blue, which is fantastic.
Then we take a look. Yeah, it's a very subtle change. But again, that's a
stylistic choice. You may want those
blues in your blacks, but I prefer just to have that extra layer of
contrast, color contrast. If I full screen
this and deactivate all the nodes, oh my gosh, you can definitely
push things too far, but sometimes you'll correct
things and you're like, oh, that looks a lot better
than it did in raw or log. Then as you start grading, you build a look and you're like then you go
back and you like, wow, this is what
the lut looked like. This is what Rex seven
oh nine looked like. And now it looks like we're
looking at Rex nine plus. This is way more of an
emotional, more drastic image. Let's get a little
crazier and let's reset this whole node tree. I'm going to make a couple more nodes now that we're reset with. The first I'm going
to do is go to our curves hit on
our first node, I'm going to bring
the Blacks up, and I'm going to
bring our highs down, almost seemingly flattening
out the image again. And then I'm going to
jump to our third node, and I'm going to hit all
to make a layer mixer. I undo that and then right
click and go to add node. You'll see that we have several
different types of nodes. We have serial node, which is the main
nodes that you'll work through just being
this node processes, then the next nodal process, then the next nodal
process, of course, serial. Before then you have
add parallel nodes. These nodes can work
together in a line. Then add layer mix. If I add the layer mixer, our bottom node is actually
in control at the moment. If I go over here to,
let's say the saturation, and I pull the saturation
all the way down, we're just seeing a
desaturated image. Because now our bottom node in our layer mixer
has taken control. But we can use this layer
mixture to do some cool things. If I come in and right click on the layer mixture and then
go to composite mode. Then let's come
down to soft light. Now we almost have like a
saturated type of look, almost like the matrix
or like a John Wick or like a Thriller look Almost like a horror
type of look. Let's say I grab the layer
mixer and deactivate. Let's say I grab all of
this and deactivate. I love that look, one thing I could do is
go to our node before the layer mixer go
to the saturation, because this could be
too desaturated for you. And what you can do is move
your saturation up to find a nice midpoint which
I like it there. Now if I grab all these and deactivate, let's full screen. Then one thing we'll do is
add another serial node. After the layer mixer, we'll add a little bit more
contrast to the image. So I'm going to make a dot here and then bring
our blacks down. I'm actually going to
make another dot at the very bottom and bring
them down this way. This is a little bit
less destructive, because if I move this
all the way over, I could start crushing
the Blacks completely. When, if I make a dot here, then this last dot at the end, we'll ensure that we don't move our blacks any further
than just black. I can move this down and you see in the scopes that
this is keeping a safe range for us,
that looks great. Experiment with your
project using these tools and techniques and try to
build something awesome. Try to build
something that really leans into the
preferences you have. Because you may be looking at what I created
and say, you know, that's okay, but I would like to create
something different. When you're ready, jump into the next lesson. I'll
see you all there.
8. Adding a Stylized Feel: So now that we've gone
through how to grade your footage to create
a stylized look, experiment with your footage and play around with
these techniques to create something really special and different
than I did here. Or it's fine if you copy
exactly what I did. But I would love to look in the project gallery down
below when we're done, and see a bunch of different techniques that I
don't even think of. Now if we start working
in parallel nodes, which are another favorite
type of node to work in, I like to do some relighting
in my parallel nodes. So if I go to add parallel, now these nodes are working
together at the moment. The way nodes usually work is this node is being processed, then it's processing this node, then it's processing these
layer mixers. Then this one. If I were to take this node here and just crush the blacks, I can come into my next node and try to bring these back up. But those crushed
blacks are just crushed because it's
processing this node. And then we're making
effects after that, get back to our starting point. Let's say I take
this parallel node, I make a point here, and let's say I
crush these blacks. I can actually go back
to this node underneath, because these are actually
processing together. I could actually
pull our blacks back up and I could actually
recover those blacks. Because these nodes are working together at the same time, being processed
at the same time. One thing I like to do, let's bring art
shadows back down. Actually, we'll start the shot. I'm going to make a vignette, just giving it a
little bit more of a film stylized look by
making a power window. Then I'll raise the power
window, making it pretty big. And then I'll soften it with
our soften parameters here. You can hit this
high light button right here to see what's being selected in your Power
Windows or a qualifier, which we'll get into next. But then I'm going to
invert this like that, Now the outside of
our shot is selected. I'm going to soften
this a bit more, then come over to
our curves and we'll hit off the highlight so we
can see what we're doing. I'll bring the edges down
slightly, I like that. Then I'll move our softened
up a little bit more as well. Then in this bottom node, in our parallel nick, I'm going to go
to the qualifier. I'm going to go to a different
shot, maybe this one here. And we'll hit our highlights so we can see what
we're qualifying. And I'm going to raise
our Luminans to qualify, just the highlights, I
like it about there. Then I'll go to the L soft, which would be the low soft. And I'm going to move this up. I'm going to go to clean
black to make this a little bit cleaner
and not so splotchy. They'll move our low up
a little bit more as well. Yeah, that looks good. I'll hit off our high light and then I'm
going to come over to our color wheels and
I'm going to raise our gain that is sick. This is one of my
favorite things because we had no
extra lighting, we had no lighting
rigs on the chute. It was all just natural light, which gave us very
soft even lighting. But at the same time,
we couldn't provide a usually you have
lights around, like back lights
and hair lights and key lights to shape the light. But even in post, this
is a really cool way to add pop as if we had
some lights on set, creating a little bit
more of an elegant look. You can see we're really making a drastic change
here to the image. And I'm actually going to find
this clip in our timeline. We're doing these adjustments. As I said before, you may see something that
you want to correct. This is definitely
one of those things. I'm going to bring
our highlights down. Maybe I'll do it
with the gain in the color wheels.
Yeah, I like that. I move our shadow control up. That's great. We can go back to our adjustment layer.
Screw up through here. If we deactivate all these nodes that we made in the
adjustment layer, wow, what a different look. What a different vibe. Even this simple shot, it literally looks like
we have lighting behind him and in front of them where before it just looks very even. Gosh, that looks way more
dramatic These shots as well, much more dramatic,
much more punchy. Oh yeah, I love that high light pop just makes
all the difference. Oh yeah, that looks fantastic. One last thing, and a big favorite of mine,
let's make another node. And we'll move this over here. We'll hit Effects, and
then we'll go to a glow. That glow is cool, but
it's a little much, it seems a little more dreamy than it does
realistic or creative. But in composite mode, composite type, under the glow, I'm going to come
down to soft light. Then I'm going to move our shine threshold all the way down. Then we can move our
opacity down and pull this up until we
find a good effect. I'm liking it at
maybe close to 200. If we full screen this and
then deactivate that node, reactivate, it just adds
another level of smoothness. It really brings
things together. I like that. Just a
little bit more magic. There's something
about that effect that really gets me
every time if we select all of our nodes one last time, full screen, deactivate, reactivate, man's got a
real smooth look Again, some of these we may want to
go back through and correct, but overall, I feel
like we're getting a real nice, nice image. We bring these highlights down. Yeah, that's great. This lesson started with adding an adjustment layer
over our entire edit. It's a very easy way to add a grade without having
to go through clip by clip and adjusting things to
all have this stylized look. Instead, you can just add an adjustment layer
over the entire edit. And then inside
of our color tab, we can actually build
out a grade that'll be unanimous in form
over the entire edit. A much faster way to
work in the beginning. If I break this grade down by selecting everything
and deactivating, the first thing we did was
pull our highs down and our shadows up based on the technique that we were
going to use going forward. The next we added a layer mixer. And if we activate
that layer mixer, you can see that it
gave us a desaturated, almost more monotone look, almost making our color seem a little bit more
pastel than vibrant. The way a layer mixer works is the bottom layer is now
in control over both. But what we did was come into the layer mixer with
the right click, and with our composite mode, we went to soft light. Now you can make this even
more dramatic by overlay, or you can make it
even more dramatic by going to hard light and making a dramatic effect with
that desaturated tone. But I like to use soft light because I feel like it gets us a good place in between of
that desaturated punchy look, without going a
little bit too far. Then the node before
the layer mixer, we added a little bit more
saturation back to the image, giving it a much cleaner look, but while still being
very statilized. If I deactivate and re, deactivate, reactivate,
that looks pretty good. Then next, we added a little bit more
contrast in the blacks, bringing in a little bit
more detail and punch. Then we added a parallel mixer, which is layers
that work together. Instead of this node
processing after this node and these nodes
processing after this node, These nodes will both
process in unison together. It's a little bit more of
a less destructive way to work when relighting. And I love to add relighting. So the first thing
we did was add a vignette to make it seem a little bit more dramatic
and to make what was in the center of the screen
pop a little bit more. Then we actually qualified
highlights with the qualifier. If I turn on our highlights
here and turn this on now, you can see that we've
got a qualification made in just the highlights, if I hit off the high light, you can see that represented
in our scopes that will keep our blacks black while punching up our high lights quite a bit. That's a pretty drastic
change from what we had really giving the
image a lot more pop. And then we ended
things out with the glow effect that really just smoothens things
out and adds a, I don't know, a little
bit more magic. What we did in those
parameters was change the composite
mode to soft light. Then we turned down our shine
threshold to the bottom. And then we turned down our
capacity at the bottom. Work this up until we felt
like it felt comfortable. Now after we made our
grade, our stylized grade, one thing that was helpful
was going back through some clips and recalibrating
our correction. Because we made
corrections based off where the clips
were at the time. But now that we've
pushed things further, it really helps to go back
through your corrections. It helps to readjust them
based on where your clips are lying after you push
them with the grade. For instance, if I were to
show some of that here, like this shot is a
little bit darker than it was before we made
our stylized grade. It could help to
raise the shadows. This shot of the car out in the field or out in this gravel. This one's a little
brighter than it was before we added our
stylized grade. This one might help to pull
this down in the highlights, giving us a little bit more
detail in the shadows. This clip is the same. This one is a little bit
further pushed now that we selected those highlights
and then brought them out. If we pull this down, now we're getting our
clouds back while keeping our stylized grade. If we deactivate everything
with this button up here, boom, if we just bypass, we're seeing such
a different image. Make sure to comment on
each other's work and give feedback so we can all grow
together as colorists. When you feel ready, let's
jump in the next lesson. We'll export our project in
the delivery tab of Davinci resolve based on where we want our final
result to be seen.
9. Exporting Your Final Video: Welcome to the next lesson, now that we have color
corrected our shots and built a stylized gray to really
give our footage a look. Now we'll go to export
based on where you want your final result to be seen because that is a big deal. In the delivery tab,
just going over the UI. The UI and the delivery
tab is extremely simple. In the top you have
timeline select just based on if you want to deliver different timelines all at once. I'll show you how to do
that here in a moment. And then you have
your preview window, so you can actually take
a look at your clips. And then you have your
clips themselves. You can actually make
sure that you have all the clips that you
need within the time line. And then you have your time
line actually below that. And make sure that you have what you want rendered selected. And by that I mean
have these in and outpoint set because that's
what will be rendered. If I only had an in and
Outpoint set to here, then that's all that
will be rendered. Or to here that
would be rendered. So I want to make sure that
I have the very end of my video selected and then I
can hit to make an outpoint. And this way, our endpoint and outpoint are the entire video to make sure that we
have the entire project selected to be exported. And then across the left we
have our export settings, which will dive into pretty
deep here in a second. And then to the right
we have our render que, because you could
stack up renders here, like if you have a
bunch of different time lines that you
want to export, you could stack them up along this render cue and
then select them all. And then hit Render All. And then that way you
don't have to, you know, go through and render one and then come back
and render the next one. You could just render, you know, six plus videos at a time
and then just go out, have lunch, and then come
back and they'll be done. Now if we go into
our render settings, we have a custom export
and then we have a lot of options for places that you may want to
render your video to. And it's already got some really great options like Youtube. And we have a drop down here for different
resolutions for Youtube, and same with Vimeo and
Twitter, and Tiktok. We even have presentation
formats Dropbox, and exports for ML's or Abbot. If we want to export
out to another program for someone else to
take over the project, we can do that
very easily there. But from here I'm just
going to render out. Thinking about Youtube
in particular, because like I said,
where you want to render out to is very important. And let's say you want to render your video out to Instagram. Now you can upload
a four K video to Instagram that is
the highest bit rate and the highest resolution. But the thing is Instagram has parameters
that it really wants. And it's really important
to kind of look up what Instagram likes because if you give Instagram the
highest file type, the highest
resolution, then it's going to do a lot of work in re encoding your video and it could crush the quality
in that process. So you're better off
giving it what it wants, that way it doesn't have to
reformat your whole video and more likely to keep the quality that you
originally intended. And so for social media, I highly recommend
looking up the bit rates and resolutions that
these platforms really like and like to take in, because they could end up
crushing your video in the end if you give it something different than what it wants. And most of the time
when working with a director or
producer, or a client, they'll tell you, hey, you know, this video is going to
be seen in a theater. So for that instance,
you'll want a completely different format than you're probably used to. That format is here DCP
and ready for you to use. Or they may say, hey,
this video is going to a TV broadcast and
we want progress. We want it 444, which is kind of popular when exporting
things out for TV. But let's say we're just
exporting to Youtube, which we have a preset there. But let me break this down
just so you guys have a better understanding for what these parameters
actually mean. So first we'll need
to name our file, and then in location, I'll just click Browse. And let's go straight to the desktop just
to make this easy, but you can select any file
location that you would like. Then down here in format, I'm going to go to MP four, that's what Youtube
really likes. And you can use H dot
264 or H dot 265, and then under encoding, now you can use auto, but I have an Invidia
card which will render this video for me
instead of using my processor. So in this instance I'm
going to use Invidia. Then from here I'm going
to go under resolution. I'm happy with it
being four K. Now, you could hit this
vertical resolution button if you wanted to export this, let's say in portrait mode for Instagram stories or
something like that. But for now I'm just going
to use normal wide screen, 38 40 by 21 60. And the frame rate is
going to stay at what? I had my timeline in 29.9 And
when it comes to quality, this is what you really
need to look out for. Because if I was exporting
for something like Instagram, I probably make
this maybe 12,000 KBS because that is what Instagram is usually
displaying on the app. But for Youtube, I'm going
to use 45,000 because that's usually what Youtube will display four K videos in. When it comes to the bit rate
and then encoding profile, I always move this to high, that'll get you the highest
encoding profile export. And then typically I leave
the rest of the parameters as is and then come
down to add to render. And you'll see it'll
go in our render que on the right
hand side and we can click Render and it'll
start the render process, which depending on your computer computers power and performance, it may render faster or slower. It also depends on
what kind of effects or noise reduction you
have on your clips. But usually the render in
Divent resolves pretty quick. But again, that's
highly dependent on your computer's performance and how intense your timeline is. Now that you have a
general understanding for how the delivery tab works, maybe poke around with
some different options. Maybe try some of those
different presets along the top, because I could choose one preset and then add
that to the render cue. And then maybe choose
another preset and add that to the render cue. And then select them both
and render all that way. I could see in the end
which one looks the best based on where I
want it to be in the end. Once you're done rendering, I'll see you all in
the next lesson.
10. Final Thoughts: Congratulations,
you have made it to the end of this class and
I'm so proud of you all, and I hope you feel a lot
more comfortable within the color and deliver tab
in Diventure Resolve. These are two very
powerful tabs. Indoventuy resolve,
they're really what Venture Resolve is known for. It was a world renowned
finishing program before it added the Edit tab and the Fusion tab and
the Fair Light tab. And now you really know two of the most powerful things
about Da Vinci resolve. So don't forget to share
your projects down below. I've really been looking
forward to seeing the different creative
decisions that you guys made. And how using the
same material we could all come out with
such different results. And also make sure to comment
on each other's work. Leave some feedback
so we can all grow as creatives together. And of course, I'm
Marcel Ptillo, and thanks for
joining this class, and I'll see you all
in the next one.
Marcel Patillo, YouTuber, Filmmaker
