Master Color Correction & Grading in DaVinci Resolve 19

1. Introduction: Hey, guys, welcome. My name is Dijo Sengupta, and I am a film producer, film director. I own a production house based in Bombay, Singapore, and the US, and I am a huge, huge nerd when it comes to everything related to film. A little bit about my background. I graduated and finished my bachelor's and my master's in films and animations from Rochester Institute of Technology in New York. I have directed a couple of short films, one huge web series on prime video. And some of my beautiful work has been nominated in prestigious prestigious and won several awards in different film festivals across the world, including my latest one is a nomination in Cans 2024, which is a huge, huge deal for me, and I am here to teach you guys how to color correct and color grade your film. Now, there are plenty of courses, plenty of YouTube videos out there teaching you what exactly to do in your software. But the thing that I am giving you guys is I am going to give you the ability to not only know the software, I'm going to give you the ability to think analytically as to what your thought is and apply that thought into the software. So I don't want my students to go around digging, like how to problem solve this, how to problem solve that. If you know the software, those should just be your hands. Your main work is right here. If you want to create something which is a romantic film, we need to know how to think romantic in terms of color grading, in terms of making that taste, that texture. That is what I'm going to be teaching you on how to think film. And also softwares, the tools. I'm going to teach you how to use every single thing 100% from scratch, but I'm going to also teach you how to think color. So in this entire course, I'm going to be differentiating between color correction and color grading. Correction and grading are very, very different. Correction is when you want to correct the footage in terms of exposure, in terms of color, in terms of white balance. Grading is more of your creative look. This class is meant for people who have no idea where to begin but have that passion. That urge have the determination to become a colorist, to become a DIT. And I'm going to be covering each and every single one of these things in this class, including the color wheels, how to read them, how to understand, how to study your footage, through the scopes, through the waveforms. I'm going to be teaching you guys how color space works, how the concept of color space is in every single camera, in everything that we see around us, and how to transform it into something and use it to your own benefit. It will be technical, but it is very necessary for you to understand the concepts. So then you can use your mind a much more creative way. I'm going to be teaching you how to apply a lot. There are plenty of lots there on the Internet, but many people know that applying a lot is its own art. So how to do that in a proper way is something that I will teach. I will cover the most, most popular Hollywood looks. Now, the tutorials you see online on YouTube are just telling you turn this dial here, turn this switch on, put this number on this option. Now, I'm going to teach you what those famous looks are, such as teal and orange, such as bleach bypass. I'm going to be covering these looks, how to do a warm look, how to do a cool look. I'm going to be covering these and actually not breaking the footage, but actually being able to do it in any footage that you want and being able to tell a story through color. The last but not the least is I'm going to be talking about several film effects that are used in Hollywood right now and how to create how to actually know when to use them and when not to use them. This class is for those who have no idea of how to use DaVinci Resolve and have no idea as to how to get into color grading. This is a complete beginner friendly class. I will be walking, hand holding through every section. I will be providing the footages as well for you to practice on and you will be submitting your different grades, your different looks at the end of this course. Sit back, relax, grab a cup of coffee. And get some time, get some alone time, switch off the main lights in your house so that your screen, your laptop, your desktop that color from that screen is more accurate. Get your anti glare glasses, and let's get started. And let's create some amazing, amazing footage that will tell your story. Let's go. 2. Walkthrough of the Color Page: Firstly, let's talk about the color page. Let's go to the color. Alright. So immediately, this might seem extremely, extremely, extremely daunting, right? So let me just walk you around through the color page as to what is what, exactly. So over here in this particular area, we see this is called the clips area. So the clips area is basically, um, how many clips there are, like, one, two, three, four, five, six, seven, eight, nine, ten, 11, 12, 34. So there are 14 cuts. So, the more cuts you do, the more clips there are, right? So that's how it works. So you see there are like 15 in total, so one, two, three, four, five, six, seven. So let's say if I do for example, if I duplicate this, hold Alt and drag it again, now it'll be 16. See, there's a 16 right here. So that is what clips is. Now, this thing right here on the bottom part, this is basically just a timeline shrinked view of your timeline, right? So we have video Track one, Video Track two. So we can turn video track, if you want, we can turn Video one off, so we can see only video track. Because if you remember, we had put Ashish on Video Track two to showcase that. And if we turn it off, everything is off. Nothing is there. So we turn both of them on. See all of them are there. All right. So, um, that's what this area is. This area is basically, your gallery. So gallery consists of, um, just screenshots, screen grabs of current frame. For example, for example, if I get this, I really like this look, I will right click Grab still. So if I grab still, this comes over here, right? So this basically takes a picture, right? Same thing if I go over here, grab still. So you can see. And you can go over here, you can name it like Santos look, and then we Ashlok. So that's something you can do. Um, that's the gallery. Power grade we touch up upon in the advanced course, we will not touch up upon over here. Luts, I will tell you about what lots are. Luts are basically what it stands for is lookup tables. We will be using lots for our creative workflow in the next upcoming lessons. We'll talk about that. Media Pool is basically the same media pool, which includes your bins that we had created in initial stage. And clips, when you click this, it just turns it off and turns it on, right? So you can have this arrow and you can do like graded clips. You can choose that. So we don't have anything graded, so we can do Aclips. So that's something how we can kind of, you know, filter it out. So sometimes what happens is you have a whole timeline. I'll be too much for you. So we can just filter it out. We can do, if a clip color is orange, then show that. Nothing is orange, so it doesn't make sense. So let's say I just want to choose a selected clip. So it'll only show this one. That doesn't mean it's not there. So we can show all clips again. So that is one. Then we move on to the main place. This is your main workspace. Basically, this is the each clip, individual clip. If you press play, that's how it goes. I turn up the sound, so you won't hear anything. So you see it continuously goes on to the next clip, so I don't want that. I want to keep playing the same clip again and again because I'm focusing clip by clip, right? So I just go to loop and I press play. So now you see it just loops. All right? So that is one. Let me just make some more real estate. Let me just take this out and let me increase this side. Now, this side right here is basically your main area, your main node graph. So the way nodes work is each node consists of certain functions. So now the functions is what you have to put in it, right? So I understand nodes can be very, very confusing for people who are in timeline, but the nodes are basically simple as this. Each node has certain values. Let me just go here. Yeah. So each node has certain values and each node will add those values and you keep going from node by node by node, and then those values will get implemented in it. For example, we see this node over here. This has nothing. So now if you add key adding nodes, each node will have different functions, right? So for example, this node can be for fixing balance, and another node can be for fixing. Um, this color, another node can be for fixing, that color. This node can be for effects. So basically the whole concept is it flows from left to the right, right? So, keep in mind, node graph flows from left to right. This is the input right here, and this is the output is what it goes out. So it goes from left to right in your whole workspaces over here. All right? Now, going to this option, this is the timeline. You can switch it off so you can see the view of the timeline if you want. Nodes is you can turn off the nodes. Effects, we will get into these effects at a later point when we actually add the look turn it off. Light box is basically an overall just visualization of all your clips together. So you just get an idea as to how things look, so I can turn it off, right? Now, moving on to the bottom left part. This one is camera raw. So there are two things where you shoot. One is you shoot either log or you shoot raw. So basically what is log and what is raw is basically, um, raw is a type of file format where not a file format. It is a type of color space where a lot of information is stored inside. A clip. So when you shoot raw, the dynamic range of, like, the exposures, which is from all the way from shadows in blacks, all the way to highlights and speculars, they're stored inside. The information is in it. Same thing with log. It is a little bit less, but it is still the information is there. That's why when you shoot log or when you shoot raw, things look flat. All right? For example, over here, the things look very, very flat. Understood. So that's how it that's what this part is. This again, how to operate this is an advanced course. I will not be touching upon that. This is your color match. Again, this is advanced. I don't want you to do anything about this. Now, this is where it is important. Initially, when you start off calibrating, these are things which you should. 3. Color Wheels & Scopes: This is called the color wheel, right? Now the color wheel has, you can see a whole spectrum of colors over here. So we have from your orange, red, pink, magenta, blue, tu, green, yellow. So that's the entire thing. So now we have lift, Gamma and gain. So what does lift? Lift is basically your shadows, like the dark side of your clip. Gamma is your mid tones, and the gain is your highlights, like the things which are overly exposed. Offset is an overall thing. I understand. Temperature is basically your white bands. Remember how we talked about color temperature. So the slider basically it makes it blue or it makes it warm, right? So that is what temperature is zero. Tint is basically the so if you see the temperature, we have yellow to blue. The tint is from this side to this side. So basically, we have this would be the temperature, and this area is the tint. So the tint goes from green to pink. Sorry, not pink. The right word is called magenta. So you see, this is the green, and then this is magenta, right? And now, contrast is basically adding contrast to the image. So you can add contrast like that. That's a lot of contrast. So you can see how that's contrast. Pivot is where you are adding the contrast from. Midtone detail is basically we'll touch up upon that later on. This is Command Z for undo. Shadows highlights over here and this is saturation, if you want to make something a little bit more saturated, which is add more color. That's something you can do. Hue and Lumi second these are a little bit advanced. I will not touch upon it right now. HDR is something I don't touch upon in the basics. We will have noise reduction, which I'll talk about later. Now, these are your curves, basically, right? So we have regular curves, which is, if you remember, this is the histogram, this is the shadows, the middle part is your mid tones, and this side is your highlights. So you can see overall it's nicely exposed. This is a new part which came with DaVinci Resolve 19 is called color slice. We'll touch upon this is the keying. These are the windows. This is tracking. This is magic mask. This is Blur and Sharpen. This is just input key. This is just sizing, and this is three D, which we do not require right now. Alright. Now, if you see over here, these are your keyframes. This right here is what your scopes are. So scopes are basically um, to understand your footage. All right. So you can see, we have parade. We have a waveform. We have a vectorscope. We have a histogram, so it's divided into RGB, and we have a CIE chart, which we do not require. A good area is a waveform. So let me explain the difference. So let's just open these waveforms right here. Let's move this apart. Alright. All right. So let's take waveform over here. So we'll take waveform here. I'll put a parade here. I'll put ectoscope and histogram, so I can make you understand what the footage is. Now, the way, um, the waveforms work, the waveforms are Sorry. Alright. So the waveforms are basically this area is the shadows. This is the midtones, and this is the highlights. You can see everything is resting on the mid tones. Same thing is with parade. It's the same thing. The bottom part is the shadows. This is the midtones, and this part is the highlights. Same thing with a vectorscope is this is red, magenta, blue, cyan, green, yellow. So whichever direction you can see the color mostly. So what I'll do is I'll select here. I shal select the options. I'll do like two Zoom so you can see. So you can see everything is just compressed here. It's because this was shot in log, and it is Shog in S log two. That's the color profile. And this is the histogram. You can see RGB. So each waveform has different different options, right? So let's say I'm seeing the RGB, I can choose Y, which is basically just the exposure. I can do RGB. We can show that and show the brightness of the waveforms. I can do this one, which we don't require. Same thing over here. I can do YRGB, which means it'll add exposure as well. But for parades, I can keep this. I can keep this one much more. This is basically the lines. All right. So we can show that. Now what I can do is I can select here. I can do display clock qualifier focus. So basically what that does, wherever I go on the footage, you can see it showing where it is. Like, I can see the overexposed, you can see that peak on the waveform, right on the waveform, you can see that peak. It's showing that. Right on his head, this is where it's like, a little bit dark. Same thing on the TV like over here, the black side, you see, this is the dark side. White up right on the wall, this is where the wall is. So you can see even on the Histogram, you can see the lines which are showing the values of what it is. Now, what I can do is I can go over here. I can do a low plus filter. So a low plus filter does is basically it cleans the waveforms and makes it more crisp, right? So that is that. And that is basically what scopes are. So whatever you want to use, honestly, is beneficial for different things, different things are there. So you close it. And basically, what you can do is you can, let's say, I want to turn off I can keep the scopes. The scopes are right here. Actually, let me just there you go. So these are the scopes which are, like, on the right hand side, right? So you see waveform, the same options right over here is the waveform. You can turn this off, turn that off, like that. And then this is basically the information of the clip. So if you click on this, it basically makes it full screen, and you can see stuff if you want. And you can just close it. And the other thing that is fun is you can do like you can do a 21, you can do a single one, you can do like a 61. So 61 shows everything around, but we don't need that much. I think two is fine. We can have a waveform, and maybe we could have, like, um just a vectorscope or maybe like a histogram, something like that, you know, I like to usually I'm okay with one or sometimes I'm okay with four if I want to see stuff together. So now, this is basically what scopes are okay. If you have any questions, please let me know in the comments below. That is what scopes are. 4. Color Space and its Transform: Before we begin, correction, let me talk to you about a thing called CST. Now, what is a CST? It stands for color space transform. Remember how we talked about law and og Raw and log, right? So basically, remember how those are color space is just like it's just like the information is just in it, right? So for example, Sony has its own thing values such as S logs. So they shoot in log, which is logarithmic. Then, um, Black magic, we have Black Magic raw. Then there's red raw, then ARE cameras, they have ARE log C. Then they have Raw, as well. Apple released this new thing called Apple Log, ProRes raw. So these are the more raw and log. These are basically the color spaces of, um, what that camera can shoot. So what is the color space? Let me bring out this chart that we have. So if you see, um, over here, I'm just going to put one, and I'm going to do chromaticity. Alright. So this is basically what a color chart is. It's called the horseshoe, right? So basically, what is this? So Rec seven oh nine is basically the color spectrum of your TV, which is the amount of colors which is there. Let me just, um, do this CIE chart. Alright? So if you just Google this and let me just open like an image which is easy to understand. Alright. Let's just see this wolf. Maybe they will have some nice stuff. If it loads, which is Alright. So if you see here, this is called overall the color chart, right? So now, what you can see in your TV is basically this little thing, it's called Rex 709, right? Let's do that right there. All right, so you can see SRGB and Rec seven oh nine is pretty much the same. So actually, the colors which exist are like all these colors which you see. These actually not you don't actually see these different all these different hues and tints which are available. You actually don't see it on a regular TV. You need a HDR TV. Not you know, how people who actually sell HDRTV that's not real HDR. HDR is measured in, like, Candela meter square, I think, Candela, Candela or meter square, which is called Knits. I think that's what it is. Let's just like Knits is Candela per square meter, yeah. I was right. One can tell a per squaremere is equivalent to one it. So that is basically the brightness of the light, right? So basically, you are not able to see it because this is the only thing that you're seeing. So this is what color space is. So now, if there people are shooting in raw, basically what happens is they shoot much more bigger. Like, for example, in Adobe color space is that much bigger. So there's more colors that you can actually see. Same thing with, um, if you do, let's say, let's say, HDTV, you can see that is the color space of HDTV. Then we have, um, let's say SMPT or we can do Pro photo. So that pro photos basically it gives a huge color space. So you can see that. So over here, that's what color space is. And that's what actually you can see this is the color that we can see. So mostly of the things that you'll be working on either for YouTube or your regular TV or your mobile phone or something like that, everything is mostly Rec seven or nine. Unless it specifies that it goes over certain knit value, then it is not HDR, right? So a lot of monitors which are like in cinemas and stuff, those are probably 600700800 knits, which is like actual HDR, that can actually give up that brightness. If you increase the brightness to after a certain point on a regular Rec 709 monitor, you won't be able to see it, right? So Rec seven oh nine is basically what is available on the TV. What we do as a color space is we change this from log to Rec seven oh nine first, what basically something that we can do. So what you do that with is you go to Effects. You search over here called color space Transform. You drag it over there. Alright? So now, the only way to work with color space transform is you need to know what you're working with. So I know this was shot in Sony. So what I will do is I'll put a input color space. So this was shot in I know it was shot in S Game three sine, color space and the Gamma, which is the curve was shot in. S log three. So you see immediately that converts it into a Rex 709 image. So the output, color space and the output Gamma is used timeline. So what is that? So if I go to my settings here, you can see my color management. My timeline is basically DaVinci RGB Rex 709. That's why it automatically did that, right? Now, how do I keep adding nodes? I can right click. I can do add node, add serial. And you can see the shortcuts which are here. I'll start using these shortcuts from now on, right? So add a serial. And what I do is I made it to CNA and Slag three. And now what is going to happen is now basically I have you see how this chart is, how it has increased the color space. So you see basically I have the log footage. I had all the information. I just pulled it out through the reg 709 because everything was compressed. Now, if let's say I disable this, the way to disable is to click here and you disable it. See how you see how the chart becomes less and then pop I increase, it becomes more. So if you see the waveform, you see how the waveform has overall increased, and even the curves over here has increased. If I disable it, the shortcut for disbing is, by the way, Command D in disabled. You see how everything just opens up, right? Everything just literally opens up. Now, if you open up, what is the whole concept is that, okay, I have this over here, but now all the information that I want to grade on is gone, right? So that's why I remember how I said the node goes from left to right. So you have to keep in mind, a color space transform always needs to be the last node. So I clicked on the node and deleted it. So I went, I put it all the way back and I right click and I label it and I do CSD. All right. So basically, I have converted my image from Sint to Rec 709, right? So that is the first initial way of a color space transform. Excuse me. Now, that is something that you can do number 5. Primaries vs. Log Wheels: 12 is firstly, I want to overall correct the image. All right. So now, to explain this, I have to talk about primaries, which is lift gamma gain, and then we have these log wheels called shadows, midtones and highlights. Now, what is the difference between lift Gamma gain and shadows midtones and highlights. For that, let me bring a chart over here. Let me bring a generator. Let's see if they have it here. Like a gray scale. I just want to see if we can find gradient generators. There you go. Generators. I just want to do, like, um, gray scale, right. Let's add this one. Let me just do this. Just take a screenshot of this. It should come up, but I don't know why it's not coming up. It's just, um, No, thanks. Alright, screenshot, and I just put it here. Hello. And I take this right here. Alright. Now this should work. Alright, cool. So open the Wavefm, right? So now, if you see this is a simple um graph which is there. So now if I take it red, you see how it's splitting to red, Magenta, this is blue. This is green. So if you see only the bottom half is happening. So this is to reset This button is to reset everything. Gamma, same thing. See how it's spitting the mid tones, magenta, blue, green. All right. Same thing with again. This is the overexposed, so this part should split. All right? Makes sense. Now, lift, what it does, this wheel basically is the exposure of that lift. So if I scroll right, you see how it is evenly going up the lift, the black part. Now if you see the gamma, see evenly it's happening. And the gain, which is the highlights, is just simple like that. Now, the difference between this and the lift, gamma and gain on the log wheel is that if I take the log and I take let's say the lift see how that is. So basically, the difference between log and thing LGG, which is lift Gamma gain, is that shadows do not affect the mid tones or the highlights at all. It only affect the shadows. However, on the other hand, the lift lifts up the image from the bottom half. Understand. Same thing with the gamma. You see the gamma lifts up the entire image from the middle, but from mid tones, takes only the middle part. Same thing with highlights. You can see it only affects the highlights, only the highlights. However, in the LGG, the gain, it takes that entire thing together. So that is so you can understand what lift, gamma gain, and shadow Mtones and highlights are. Now, you might say, Gigo the highlights. How does it know like this is the end of the highlights? So it doesn't. It does a ballpark thing, depending on the image. What you can do is you can um, choose the highlight point, basically. Basically, let's say, like, if I have this one, this highlight over here, so the range. So we have the range of the highlight. So I put the highlight as just the very top part, and then I can increase the exposure. So now only that little part happens, right? Same thing if I do like the shadows. So you see how it's taking more than the shadows, I just want a little bit. So I just decrease the range of the middle point, and then I can just lift the shadows up now. Now only a little Wu botabo is happening. Alright? So that is, um, basically what I forget what the original was. This is the overall reset, by the way. This one, right here, right? So that is what shadows Mton's highlights are. Same thing with shadows, if you make it red, it only splits that part. It doesn't affect the other areas of your curve. All right? So let me just go ahead and let me just delete this thing and we go back to color. Let me actually delete this as well. I don't need this. Shift Z. Go back to, let's say, use this Ashish over here, this clip. No, sorry. So you can see over here like this thing is now graded. So that means because we applied the CST over here. All right. So now what I'll do is I know this CST is going to be across all footages, right, because everything needs to be converted to Rec 709. So what I'll do is I click all of these clips and then I middle clip this one. Middle click the one which is graded. So what that does replace active grades, replace. So all of them have been converted to Rec 709. Same thing as shift, click, all of this and replace. So you can do that, or what you can do. For example, this is not click, you can just do this one. Right click. You do, uh right click over here. And then there's like this thing called apply grade poop. So it's done. So that is how you do overall conversion to CST. Now, to get into a film look, so I will talk about that. But first, let's balance the footage. So let's use this 6. Basic Correction & Balancing: And I go add none, and we'll add cereal before. All right. So we'll talk about. Serial nodes is basically serially, it progresses, right? So over here, what we'll do is we'll call these primaries. So overall, a primary balance I want to do. So basically, now I'm taking a look at the waveform. I want to lift up the shadows a little bit, right? Like, overall. So I will do the primary balance, which is LGG, which is called lift gamma gain, right? So I'll just lift these a little bit. Take the gamma, make sure its face is also lit, take the gain. Maybe don't expose that much, bring it down. Bring the gamma to a point where I want the skin to sit, so I can see the skin is sitting right here. Like there, take the lift out. I want to just take the lift a little bit. I don't want too much of a thing, so I just do that. Increase the gamma. Maybe I want the skin to be a little bit more brighter, bring down the shadows a bit, take the gain up, like that. So let's say I just stretched out the thing a little bit, so that overall is a good balance. Let me just bring the gamma chess to weave it down. Yeah. So you can always go too far and then dial it back in. So you understand what's happening exactly. So this was my primary balances. Then what I'll do is I'll add a serial node. I'll call this saturation. I'll just call it sat, and maybe I'll just add a little saturation so that again, Baby steps, right, don't go too crazy. So we add saturation. All right? So we have this. Then what I'll do in this node is we'll call it saturation slash contrast. So we add a little bit contrast as well. That's good. Like a 1.1, 1.2. So that's good. So now you can do Command D or Control D to just see before and after a saturation. This is the primaries. So you see how far we have come. So select both of these. This is before. This is after before, after or before, after. So that is what saturation contrast. So basically, now I'm going to just check the balance. So you see it's more if I now look over, um, if I take up the waveform, if I just choose, let's say, the vectorscope, you see there's more red. So what you can do is there's this option called show skin tone indicator. So you have to keep in mind that regardless of the ethnicity of the person, the skin should sit on this line always, right? Keep that in mind. So let's just um let me just do extends. Uh, show to ex zoom, and just do midtones. Over here, you can do mid tones, low ends and the highlights as well, if you want. So the midtnes is mostly the skin, which is it's sitting on the line, which is nice. So you can see it's a little bit red on the reddish side. So let's just balance it out a little bit, alright? Let's just balance it out. So what we'll do is we'll take another node. We'll go over here, we'll call it white balance. The way you can white balance is you can adjust the temperature a little bit. So if you see, I'm just going to decrease this waveform, keep it here. If you see, I'm going to do waveform. If you see I'm adjusting the temperature, So I can make it a little bit more bluish. So I just reset this. So how do you say it's very, very orange? Let's just reset it a little bit to the blue. So this is one way you can do. Or what you can do is. So just reset this. Let's do one, and poop. Alright, so that is white balls. So now we have primaries saturations and white. 7. How to apply a Film LUT: Now, how do I apply a film t? So now for applying a lot, we have plenty of lt, which is here, we have different film looks. But the way DewituRsolve reads these is not through a separate color space, right? So the color space to use in that is you go to the CST node that we have. You click over there, you go to this thing called a SineonFlm log, right? So SineonFlm log is what the DwentureRsolve reads. You add a node, you label it called Lt. So now in CST, we have Gamma three CNA Slog three, use timeline, and then we have it two Sian film. So it goes from Slog three to rec seven oh nine color space, but the Gamma SyeonFlmlog. Now, since it's Sinon film log, do we can right click over here. Lut Let me just remove myself. Lut, we can do film look and we can do a Rec seven oh nine Codec 23 83. Now, look at that. Imagine how far you have come already, right? Isn't that amazing. So now, this is basically how you apply a film look. So this is an initial thing that you can do as your film look, alright? In the next lesson, we will talk about, uh, creating our own custom look after this look. So this is initial starting point to how we can start grading. So this is where I finished the correction, which is the balance, the saturation contrast, the white balance, I started applying a film look with a lut and now I'm going to properly grade. We're going to be talking about an orange and teal look. We're going to be talking about a bleach bypass look, right? And we'll talk about some warm looks and some cool looks as well, we'll show how we can use the curves to effect that. All right? Thank you so much. 8. The Teal and Orange Look: So basically, where we were so we created let me just don't know the effects. We created the ut, the CST, and we did the primary balance. Let me just go with this is primaries, saturation and contrast. We did a white balance, balance the entire image out. Obviously, you can see through the scopes right here as well. Then we did a color space transform, which we did in the beginning, and what we did is we added a ut. Alright, so now what we will be talking about is we will be talking about the different aspects of looks. So first, we're going to be touching upon the orange and teal look. Now, why do you think the orange and teal is so so important? If you take a look at the color wheels down here, Orange rests somewhere over here, right? Like right here, and then teal is somewhere right here. So you can see how these are very opposite from the color wheel. This is my friend is called complementary colors, right? Because they're opposite parts of the color wheel. Same thing with green and magenta. We can see they're opposite of the spectrum. That's why they are so beautiful is because they complement each other. They are literally opposites of the entire spectrum. So that is what we're going to be creating. The way to do that is through curves. Now, if you see the curves over here, these are basically the curves which is on a histogram. So what we'll do is to create that look. We'll add a serial node, right? We add a serial node. We will call this one the L. All right. Let's say we call it the look. Now, what we can do is we can check. Now, obviously, we can see this is, um, the lower end of the footage, which is, like, the shadows, the dark side, the mid tones, and these are like the highlights, right? So this is what we're going to do. What we'll do is we'll take an anchor point somewhere, like right here, which is somewhere in the middle, right, where the main mid tones lie. So basically, you know that you are not affecting that howsoever. So what we'll do is this chain, right? So what does this chain do? This chain basically grabs everything together. So let's say if you unlink it means now only you're dealing with the exposure. So let's say if I do this, you're not really changing the color, you're just changing the exposure, okay? So now if I do, let's say, red channel, you're just increasing the red and nothing else. If you're doing the green channel, you're just increasing the green. If you do the blue channel, you're increasing the blue. So that is what linking and unlinking means. If I link it together, I'm changing all of it together, not just any particular channel. So let's take that one. Just do a point in the middle, which is like somewhere in between. Let's take the blue channel, for example. Let's take the bottom part, which is like near the shadows, and let's just increase it just weave it, right. What we'll do is we'll try and make a small little rainbow. So we do the blue. Then we take the green and we just move it, like, right. So because blue and green together, they bring teal, which is like this color. If you see the color wheel like right here, right? Same thing. We'll take the red channel over here, which is towards the highlights, and we'll just increase that just a bit. And then we'll take the green again. Now, if you take a before and after look. So that, my friend, is a very beautiful way of just showing what orange and teal is. And obviously, the main mistake what people make about orange and teal is they force they literally force an image to just split it apart to have to make it look blue blue and orange. Like, you know, that's something which you should never, never, ever do. You should do justice to the source footage, justice to the color of the actual image. Because in real life, this shot that you see right now, this shot was not shot with blue or this was not shot with orange, you know, like, yes, there was a little bit of warm light, but the outside light was day. There's no blue. There's no teal as much. So you can't make teal magically just appear, right? You can't really just do that. So, you got to keep in mind that subtlety is the name of the game. You need to understand you need to understand that what exactly is the colors that are there in my image? Based on that, you make a decision. You can't force orange and teal when everything's, like, dark, you know? So, keep in mind, orange and teal is possible. So if you see over here, we made a little bit teal over here, and we added a little bit reddish to the highlight. So we added some color separation. But that is only how much if this doesn't look like the typical orange and teal that you see in movies, well, they were shot with lights which were orange and teal. So the lighting needs to also be done in that particular manner to enhance that footage, right? Now, this is one way of doing it. Now here is another way of doing it, right? So let me just, uh, make another node. And let me just disable this with Command D. Let's take over here. We do this look number two. Alright, so look too. Now, we did this with curves. Now what we will do is we'll do this with our log wheels. The log wheels are very, very similar. What we'll do is we'll take a look at our parades. I'll just put that over there. We'll take a look at the parades over here. So you can look at the waveforms as well, but I like to see the parades because I just like I just want to see the waveforms of three separate colors. Alright, so now with shadows, what we do is you take the color wheel. We move it to the tail side, right? To the teal side right here. So as you can see, over here, we see some of this getting teal, some of the black side getting teal. Same thing, what we will do is the highlights. We'll increase it to the orange. Same thing with the mid down. We will make it orange. I is good in a way, but also keep in mind, you're also forcing it. Like see over here how you're actually the red, how the red is just being super, super down. So the way to fix it is, let's say, I take the red channel, just the red channel, and I just increase it. But if you see if I decrease it from the bottom, how it's becoming red. So what does this show? That just because red is hitting here doesn't mean that, okay, let me just take red and just increase it. It doesn't work like that, right? Because a color, when it comes to color, it is a balance of everything. So the more, if you increase the red, the green and blue become minus. So it's like a balance game. So you need to understand how these things work. So if you see the waveforms, if I'm increasing the red, you see how the blue and green are going down is because what's happening is you're not just removing red from here, right? You're introducing greenish, bluish, and stuff like that. So now what's happening is you're getting artifacts, which is like here, which is not really good. So let me just remove these curves. So yeah, this is one way of doing the orange and teal look. Alright? This is the second way. That was the first way. Now, you decide which one you like. You like this one or this one. This one? Or this one. All right. So that is one. I like the first one, so I'll delete this one, and I'll keep this one. All right. So this is the typical orange and te look. And obviously, if you want, you can do more if you want in your look, you can add a little bit more contrast if you want. That's something you can do. Now, if you want to enhance the orange and tee look, you can go into these different types of curves which are these. They're called the Hue versus. 9. The HSL Curves: All right. So let me add a serial node. And what I will do is sometimes when it gets too clustered, you just right click, you do cleanup node graph. So everything just becomes a line. So now I don't want all of these in a line. I put my correction here. I'll put my look here, and this one right here. So what I'll do is with my look, I'll move these together like here. I'll put my look here, and over here, I will add this thing called a parallel node. So add parallel. Now, what does parallel do is basically they are two nodes together, and they're just working simultaneously, right? So it's like serial is like it goes one after the other after the other. Parallel is two or three or four nodes together going. It's like two passengers on the same coach or the same thing. Over here, it's like per coach is just one, but over here we are capacities to. So that's why they're called parallel because they work parallel together. So now, this one, you see right over here, this is called Hue versus Hue. Now, what is hue versus hue mean? Hue versus Hue means that you take the hue of a person of a particular color and you adjust that hue. So hue versus hue means you take the hue, you adjust the hue. For example, I choose the reds, right? I choose the reds and I change the hue. See how I change the hue to a yellow? Now I'm changing the hue to a magenta. All right? I take the let's say I take the blues, I change the hue. To a green, I change the hue to another Gena. So that is what Hue versus Hue is. Hue versus sat, which is the second one, is you take a particular hue, you choose a particular hue and you change the saturation only of that hue. So the first one was hue versus hue, which is you take a particular hue and you change that hue. Second, is you take the particular hue, change the saturation. For example, we have over here, let's say now Astec' skin is too, um, saturated, in my opinion, but I like the saturation of everything else. I don't want the saturation of, um, I don't want to reduce the saturation of the entire image, but I just want to reduce the saturation of his skin. So what I can do is I can take and click the particular skin area. So you see immediately the points are made. Now what I can do is I can just decrease the saturation. See if I bring it all the way down, see how it becomes black and white means there's no saturation. So obviously, I'm not doing that. You can always go more to understand what's happening and then dial it back. So look at that. I made it a little bit less saturated. Or if I want, actually, in my look, I want it more saturated. So I'll make him have a spray tan, but this is not nice because you're getting artifacts because there's no color information, and I made it a little less saturated. So what I can do I can do this. I can do hue sorry hue versus sat. All right. So if I disable it, enable it. So you see how that creates a little bit of a difference. Now, the next one is hue versus luminance. So this is fun. So you take the hue and you adjust the luminance only of that particular hue. For example, you take the hue of blue and you adjust the exposure of just the blues. For example, let's say we have this thing over here. So we take this, so you see it's falling under the red spectrum, and I decrease the luminance of that. Or I increase luminance. So I can do that, or I can choose, let's say, this right here and just decrease luminance increase luminance. Now here, you can see, it's not making much of a difference because everything's prettymu properly done. So we're anyway underexposed. Not underexposed, but on the dark side, stick this one and we can just make it more brighter. So you see how it's just making everything just more brighter, it's just making it more darker. So over here, Hue versus loom doesn't make sense. Then we have the loom versus set. So basically, you take the luminance of a particular thing and you decrease the saturation. So what that can do is, for example, I take the luminance of this one pup so you see how it's capturing the wide, the lighter area, which means this is more luminant decrease the saturation or increase the saturation. Same thing. We have SAT versus SAT. You take a particular saturation, you decrease that saturation. Same thing over here, we have SAT versus lm. You take a particular saturation and you reduce the luminans. So these are different ways of how you can play with your image. Now, if I take all of these three Command D, this is the look that we created. This our custom look with the initial starting of the t. Alright? Now, what you can do is now the same look, what I'll do is I'll make a different type of look, right? So the way to do it is your right click you create a new version, right? So you create a new version. We can call it Version two, and okay. So it creates a new version. So the shortcut is Command Y to create a new version, and then Command B is to switch between Version one and Version two, right? Or you can go over here Version one, Load, Version two, load. So I'm on Version two right now. And what I'll do is I will take this. I will delete this. 10. The Bleach Bypass Look: It. All right. So now we have version one, version two. Now, in version two is what we'll be talking about is the bleach bypass look, right? So the way the bleach bypass works is first I add a serial node, and then I add a thing called a layer node, Ar? So what a layer node is is basically it's like layers, but the bottom node is the top part of the layer. So that's what a layer node does. It's a little complicated, I understand. So what a layer node is, let me repeat it again. When you add a layer mixer or layer node over here, the bottom node is the top layer. You have to think about think like this. These two are the layers. This is the bottom layer. This is the top layer, okay? Bottom layer, top layer. That's what the layer node does. Now, what I'll do is I'll take the top layer and I'll take the saturation of this image. Go over here, take the saturation, and bring it all the way to zero. All right? So that does is I'm taking the topmost layer and I'm decreasing saturation. Now, over here, this is the layer mixer. What I can do is I can add a composite mode. So what that does is this composite mode. Overlay. Look at that. This, my friend is called the Bleach Bypass look. So what this does is basically the composite mode of the desaturation is being overlaid with the actual colored image. So what this does, it gives a silverish tone to the entire entire image. So this, my friend is what a bleach bypass look is. So that is something that honestly is beautiful, and there are some lot of huge, huge films which are done through this look. Obviously, none of this would be possible. This look would not have come without, like, these primary saturations, wide balance. There's plenty of, like, hues that maybe I can create more like I can create over here. I can take like, let's say, the hue, the hue versus sat. I can take this saturation over here, maybe increase it to bit. So you can see how this at least retains the skin but but maintains that silverish look, you know. So that is what the bleach bypass look is. So you can see this is Version one, Version two. This is the orangenteel look. This is the bleach bypass look Ongenteelbleach bypass, orange entele bleach bypass. So you can see how it creates different types of stories through different types of looks. So that is where you need to play around. And one thing I would definitely recommend is you can play around with these as much as you want. What we'll do is we'll create another version, another version you can make by command Y. So Color grater version is added right here, you can see. Now, I'm going to just delete this thing. Pup. Alright. You can do many, many types of looks. You can do something which is a warm look, something which is a cool look. So that depends upon your particular 11. Warm and Cool Looks: So what we'll do is I took this entire thing. Let's use another clip, for example. Let's use this particular clip. It's extremely sad. We'll take this one. Let me just delete Version three because I'll just use this other delete version. Sorry, B, version two, version one. Version three, I will delete it. All right. Delete it. Now what I'll do is I'll take this orange and teal look. I'll go over here, and I will middle click this. Look at that. So now the whole thing is completely, completely messed up, obviously because it's a different clip, so that obviously I am not expecting anything else. I'll just delete this thing. Now, obviously, you can see the primaries don't make sense. The CSD and the lot is done, but over here you can see the primaries. Since it is outside, it doesn't make sense. So what we have to do is we have to take the gain. We bring it down. You see let's let me show you what I mean by this. Let me bring the scopes up. I'll bring four of them together. Actually. So if I see over here, I'll have the waveform. So you see how everything is just like super, super just clipped, right? Like the waveform, you see the waveform. It's like everything just super clip. So what we'll do is we'll take the gain. We'll just reduce it. Reduce it. Take the gamma, increase the gamma bit so that his face is there. But we have to make sure be cognizant about them sky as well, so we can decrease a little bit more, take the lift, decrease it more, spread it out open, take the gamma, maintain what's happening right there. All right. So now let's say I have this is good enough. Let's say I want to create a cool look. Now the saturation contrast, the saturation increase the white balance. Let me just reset this node here. All right. So the white balance, let's just make it a little bit more cooler. Now, what I want to do is with this, you can create a warm look or a cold look. So added a serial node. I'm going to call this look I'll take the lift, and I'll make it a little bit more bluish. I'll take the gamma, make it a little bit more blue. Take the gain. Let's add a little bit contras and let's just add just min or minor things make a huge difference, guys. All right? So now this is before, after. I want to keep everything just like overall cool. So instead of doing gain, what I'll do is I'll reset the gain. I'll go to my log wheels and I'll take my highlights, and that I will crush them blue. So you can see how you've just made something just a melancholic look, right? He's just like, just sad in general. So now what I can do is I can make this even more darker. The way I do that is I take this another node. What we will call this node is we will call it a window. Now, what is the window? So this is the window. You click right here. These are basically called masks, right? So what this mask does is you could click on it. It brings a circle. Now, what is a circle? This is basically basically a mask. So now, let me just increase it. All right. So what this does is basically this is the highlight. So you see, over here, what I've done is I've highlighted. So basically, what is a mask? A mask is any shape that you make. This is weird that I'm explaining this on a color page, but I think it's super important you understand what masks are. A mask, this is something which will really be helpful in the next module, which is the VFX module. But what is a mask? Imagine anything, any particular piece of paper. A mask is you take a cutter and you cut it out. So a mask is basically a shape. It could be a square, triangle, rectangle, custom shape that you make, and it cuts what is below it. Understand. All right. So this circle is basically the cutter. So as soon as you see the highlights, this highlight is basically showing the Alpha channel. The Alpha is equal to transparency. So basically, this area is transparent. This area is non transparent, what do you see? So you can see wherever I make the shape, I can make the shape like small, big. It's like cutting through what the image is. So I want to make his face appear properly. Like this. Like right here. I'll just scroll use a scroll window, the scrolling of the mouse. I want him to appear properly. And what I will do is I will take these purple things, and I'll just increase it. Now, what that does is it just softens or blurs the highlight, basically the mask. Basically, imagine this. You take, um, a little cookie cutter, right? You take a cookie cutter and, um, you cut open a paper, and then that's a proper circle, right? So basically, if you take a look here, you take a cookie cutter and you properly cut it. So it's like proper like that. And all you want to do is you blur it out. What that does is it just blends the two together. So now what this helps me do is if I turn off the highlight, the shortcut is shift ge, right? Shift H is the shortcut. Now, what this does is since whatever I chose over here, which is this one. So whatever effect I do, whatever color grade I do on this will only affect this and not this particular part. Understood. For example, if I make, let's say, the midtones magenta, you see how only this particular thing is affected, none of it is that. See that? Now, if I decrease the softness, and if I turn off the power window right here off, this it'll be like a proper circle, which doesn't make sense, right? So I do a power window and I just increase the softness. And now I turn Oh, sorry. And I turn it off. See how it's blended more properly. Now, obviously, this doesn't make sense. So I'm going to reset that. But what I'm going to do is I'm going to take the curves, go here, link all of these together, and just increase the exposure a little bit, increase the exposure a little bit. And I want to do the opposite, which is I want to reduce the exposure so that my subject over here, I'm maintaining dominance and I don't get distracted by what is outside. What I do is I take this, I add a node, I add outside. So what that does, this blue means Alpha. So it's taking the Alpha of this. So if I see the highlight, it is the opposite. You guessed it right. It is the opposite. This one is that, this one is this. So now what I can do is I can take the curve. I can decrease it. So look at that. It's giving an overall maintaining this entire thing throughout. So that is a way of how you can create a cool look and how you can use power windows to make that look, right? So now, obviously, the thing he's moving around a lot. So how do we fix this? What we can do is I take the power window. I take this one over here. What I will go is I choose this thing, which is a tracker. I will just track forwards and backwards so that even if he is moving a lot, the tracker will remain there throughout. So now I just turned this off. Look at that. So that, my friend, is how you create and maintain dominance in image. Now, this might be a little too much, so I was going to decrease it just a little bit. But you see the difference that it creates. That is before. This is after before, after before, after. Before, after. All right? Now, this is one cool look. Let's make a new version. Command Y, Y, Y Y. And now this look, instead of now doing blue, what we will do is we will make it warm. Make it completely warm and take the log, take the highlights and make it warm. We can do a little bit of a Magenta. So you see how this part is a little bit Magenta? So if I come over here and I take a look at my vectorscope, you see how a little bit magentas come out over here, see? A little bit of magentas here. So that is basically how you create loaves. You can play around with these, see what you want to feel like. So over here, I made the for example, now I just realize this. Remember the outside window that we have over here, what we can do is we can just take this outside. I want to make these greens a little bit more green. I take this midtone and I make it more green. Look at that. So you see with this, you create separation of color. So this is more orangish, and this is more green. So this right here, they are adjacent colors. So that's also a type of look that you can create. So if I take off this, remove it before, after before, after. This is Version two that we created. Version one, Version two, Version one, Version two. Now you decide which one you like. Alright, so that is how you do it. Now, moving on to something called effects of film. Now how do we do? 12. Basic Film Effects: Let's just put all of these over here. I want to create over here a serial node. Now, what you can do, we have these effects called film grain. So this grain is good grain, right? So when you make this, it just overall, it adds texture. So if you just see the grain only, it adds an overlay of these grains. So back in the day when things used to be shot on film, like actual film, this is how originally it looked, and this is what makes a film look. So you can choose your 16 MM or you can choose like your 35 MM. So they have different grains. So if you play m. They have like that flickery flickery effect. You see? That's something we can do. So this is called grain. This is one effect. The other film effect that we have is called alation. So halation is basically a glow, sort of a glow, but not the kind that you're looking for. It's like, it takes certain aspects of a certain parts of an image, and it makes a glow. For example, I just added the default. You see how there's, like, a small little glow like over here. So here, let's say, I just want to view glow alone over here, right? So you can see the glow which is happening. So if I decrease the threshold, take around the normalization, you can see how much glowing is happening. So if I remove the glow, see, that's too much, right? So it needs to be a subtlety is the name of the game, right? So take that a little bit, take the strength down a little bit. Gamma maybe a little bit up. And then that, but I don't want so much highlights. I go like that. Maybe I want somewhat just over here. And then you glow alone, that is what creates the look. Now, after the halation, I realize that these things, the overall this part is too much. So I go to my window and I decrease this part. Like, the overall met tones a little bit. So look at that. That is what halation is. Let me just clean the note draft. I just don't need the timeline. Look at that. That is our nod graph. It goes from left to right, just follow the arrows and that is how you create looks. All right, guys. Thank you for your time. This color grading was basically covering the basics of color grading. There's a lot more that is in color grading. I will be talking about it in the advanced courses in the future. Let me know if there's any particular topic that you would like to speak about. This is it and comment below, add your questions, chat up with me on discord to see what I want to see your footage that you have shot with my creative grammar, with my tips on live action. So whatever you have shot, when you're color grading, if you have any questions and stuff like that, please have a chat with me. I want to know exactly what you have if there's any problems or if there's certain directions that you want to go and how do you want to achieve that? I will be more than happy to explain or make a small little mini lessons for you under this section because since you have subscribed to the filmmaker journey, you will have access to the future courses within this section, right? The advanced ones will be very, very separate, but thank you so much, and I will see you guys in the VFX side where we will choose some of these clips and make amazing magic, right? Thank you, guys. 13. Thank You!: Alright, so that is the end of the course in color correction and grading. I hope you guys had somewhat of a take backa. If you have any questions, please use the discussion. Hit me up on Instagram, hit me up via email. I'm available to chat with you if you have any questions. If there's new project that you're working on and you want to just focus on a certain look and you have questions on how to approach that from a mentality perspective, hit me up. I'm always here to help my students. And I love to chat, remember again. I am a nerd. I can talk about this all day, all night. This is my passion. This is my love. And I hope you guys share and empathize that same emotion with me. And I'm so glad you guys took the time to go through the entire course, and I hope you guys get something amazing out of this. Cheers, peace.