Transcripts
1. Introduction: So what if I told you you
could change the lighting of your footage after you've show it without
any three lights, without any reshoots, and with just one effect in
Adventure Resolve. Sounds like magic,
right? It kind of is. Hey, guys, I am Ji jo Sengupta. I am your teacher
here at Skillshare. I am huge, huge film enthusiast. I wanted to be a filmmaker
ever since I was 3-years-old. I'm lucky. I'm blessed that
I have that clarity in life. And also, I've done my master's and my
bachelor's in films and animations with a
specialization of VFX from RIT upstate New York. I've had over a dozen awards in my belt over the last
decade, I would say. My latest film got
nominated in Cs. I'm here to transform all
of my knowledge which is here to put it into this class. And again, this is going to
be a very short form class. It's a quick tip
and a quick trick that will usually help you in your overall aesthetic
design and lighting design in case you missed
something else. You're shooting in
natural light or like you're editing footage
with limited lighting. This effect can genuinely elevate your visuals
dramatically. I'll walk you through everything from
setting it up to how we can use it with
the different kinds of lights that we
can actually use. A couple of tips and tricks
that will help guide the viewer's eye to showcase dominance to enhance your story. This is a very beginner
friendly class. So even if you have no
knowledge of how Daventi works, you can just follow
along and you can get any footage relit using the powerful AI tools
within DaventiRsolve. So let's jump in and
let's get started.
2. Setting up the Scene: Alright, so welcome
to the first lesson. So in this one, we
will be understanding what and how the
effect actually works. Alright? So let me
go to my screen real quick, and you can see, I have a very simple timeline. You can download these
footages and the proxy from the project
resources. There's a link. It goes to a Dropbox website and you can just
download all of it. Shouldn't be much,
but if you have a faster Internet connection,
don't worry about it. Recommend them. So if you see, I have a decent timeline,
my proxy is on. So I have an old man. I have a car with the
taillight and the headlights. I have this front as well, and I also have a night
shot of a woman, basically. So basically, what
I did is so far, I added an input
device transform and an output device transform. So all of these videos, if you see, are black
magic raw, right? So I have done a color space
transform in the first node, from black magic to
DaVinci white gamet. So it goes to a
bigger color space, so I can use the data inside it. And then the last node is basically white gamet
to use timeline, which is Rec seven oh nine, which is what my monitor is
seeing at the moment, right? So this is a simple setup.
Shouldn't be that hard. And if you want, I can just show you real quick. Let me just reset this note. All you need to do
is take color space, transform, drag it over
here from the eft. Input color space. You choose
Black Magic Video Gen five, and you choose Black Magic
design video, use timeline. We use DaVinci White
Gamet and this one we have DeVinci Intermediate.
So I think this one. Alright, so that's
basically what you do, and this one is same. You're choosing it from
White game to the Brex 709. Alright, so the way, um, the DaVinci relight works is it is there in the
effects tab here. So let me just move out of here. Let me just add,
let's see if I go to library and I do relight. So this is what the
relight looks like. So I can just drag it here, and then what immediately
this does is you can see. See. So as soon as
I drag the effect within the node group,
what does that do? You can see that this creates
basically a depth map. Of what the footage is. It kind of uses AI and
detects and creates a depth map that you usually
see in three D softwares. When you use like, you
know, those AOV passes, it basically creates a
depth of foreground, midground background of
what exactly is present. And then you can see it
over here, I can kind of, drag it around and see
what the data has taken. So that is what
relight does, right?
3. Directional Light: Alright, now let's get into
the crux of the effect. Okay, so as I said, we have two nodes
over here Wes and input device transform and
output device transform. Now, how do we set this up? Usually, you can do,
like, a serial node, and you can go to your effet, search realit and
drag it over here. But I honestly don't
want to do that. Let's see. Now, that is one
way of doing it if you want. The other way of
doing it is going to library and dragging it directly on top like this and just dragging
it to the note. So that's one way of doing it. So now we have a relight note. So now I'm gonna
what' going to do is I'm going to turn this off. And I want to see first, understand the footage a little bit and see what exactly
is going on here, right? So, we see that he is
in daylight outside, and we see the sun coming
from this side over here. So what I want to do
is maybe I am going to basically enhance that
light a little bit more. So what I'm going to
do is for this case, I think um, directional
light will work. So you can see AI relight has
so many different options. So we have a directional light, which is, doesn't matter where the sources is just
coming from direction. Basically a replication
of the sun. Then we have point
source, which is only a particular point gets
lit, something like that. And then we have a spotlight, which is like a flashlight. So increase like that like that. And something like that. So now, for this case, we'll
use a directional light. And what I'll do is this is now, if you move it further away, you can see in the map that
this is where the sun is. Now, obviously, the sun
is from the bottom, which is not the light
that we want to use. So, let's see. We go somewhere from here. That doesn't make sense. We want to enhance the light
that's already there. So let's turn it off. Let's see, okay the light is exactly here. So let's just move it over
here and keep it over there. Let's output the surface map. Let's see how it looks.
All right. Not bad. Then I will take out the
relighting map preview. I will turn that off. And now what I can
do is I can go to my basic color wheels, and what I can do is
I can just increase the gamma a little bit and
maybe increase the gain. So you see how much
difference that does? It just literally is
just lighting that area. So if I turn this off. Look at that. Now, what So decrease of
chest a little bit more. Maybe decreases again. Maybe just keep on
the gamma because so let's go too harsh and
then we'll go back down. So just increase the
cama just a little bit. So creasing the cam Perfect. If I kind of disable it
and see how it looks. So you're able to achieve this only through real
light that you're able to actually use the gamma for that particular light
to kind of enhance it. Let me just reduce it a
little bit because it's all about minor adjustments, right? So that is how you set it up. Now, the way you
can do it is now we have these light properties
and surface properties. Now the brightness,
what you can do is let's make a little bit let's make this
a little bit bigger, and we take the brightness
a little bit down. Then if you want,
we can introduce the contrast a
little bit as well. And for the surface properties, let's try to see increase the glossiness a little bit, so we can actually see it. And specularity, maybe
just a little bit more. Now, let's say we
want the shadow softness a little bit more soft. Without width, without width. Now, let's maybe intreus the
brightness back up again. The contrast may be it will be less contrast,
maybe a little bit more. Specularity. Let's
reset that here, increase the glossiness
all the way up. Now, if you disable
it, look at that. Now what we're going to do
is we're going to go back to our primaries and we're going to take the gamma right here and we're going to make this a little
bit more warmer. So now look to create that
sun effect. Look at that. Now, if you see a difference it is also causing the
background to kind of, you know, change as well. So that is something we can actually take into
consideration as well. The way to do that is through
a depth map. All right? Now, what we're going to do is we're going to go here again. We're going to do a depth map. We're going to drag it here. And since it's a depth map, it doesn't have to be
part of the grade. It can be a separate branch. So we're going to
connect it here. And now I'm just going to look
at this deep map preview. Just output this real quick. There you go. Alright. So now what I
want to do is I want to first adjust depth
map. So let's see. I am going to adjust
map levels, number one. And now I want to change
the far limit a little bit more making sure
the mask is proper. Perfect. So increasing the
gamma a little bit near limit. When I want to keep only this
guy to be here, perfect. Then what I can do is
isolate specific depth. I can turn on isolation
and look at that. I can change the target
depth over here. Tolerance maybe
tolerance is good. Softnesss increase the
softness a little bit. Like that. And map FNSs, let's do a little
bit post processing. And we have post filter
post processing. We have turned that back on. So, just maybe just blur
the edges a little bit. Blur the edges
because we want it to kind of do a fall off, right? Then maybe expand it a
little bit like that. I should just keep
that. Span it. Perfect. Now, this was done. Now what I want to do is I
want to take this output here. And what I'm going
to do is I want to connect this output of this to the Alpha depth of
the relite. All right. And just take a look at the
house on the background. Look at how it's
gonna disappear. Boom. So now, imagine how
beautiful this stool is from an advanced perspective
as to how we can actually change the light and actually make it
appear however we want. Now, look at the magic is now. If I wanted, let's
say, the under part of his cap to be lit, so I could move this light
and put it over there. Now, if you look
at the cap here, right here is now
completely lid. So this was before,
this is after. It's creating that fall off
that a normal light would do. Again, this would not be
possible if there was no sun. We cannot just, like,
create new light. In some instances, you can, but, you know, Look at that. Now, that is what
I call perfection. Now, after this,
you enhance light. So this could be part
of your whole grading. So remember, depth map, and then in this one, basically, we have relight, right? So then before this, you
could grade before that. I mean, after this,
you could grade it, do it however you
want it to be done.
4. Point Light: Oh, that's amazing. Now let's try another one, which is a point source light. So let's take another footage. Same thing, what we're going
to do. We're going to edit. Sometimes what happens
is, these effects are extremely high
intensive on your computer. So what I would recommend is, if you see my GP
utilization is, like, fluctuating, what I would recommend is you go to Playback, Render cache, you use SMRT. So what that does is
the ones that are red, those are getting cached out, and the ones that are blue
are already cached, right? So you can take a look,
see all the reds. That means that it's
getting cashed. So we just have to wait
for it to be blue, and then you know
you can actually use that and actually
see how it's done. So let's wait for a little
bit, see this line. There you go. Now it's
blue, which means we can actually do a playback. Amazing, right? Okay, now let's
move on to the next clip. We will use this little
Uh, let's try this one. Let's try this one, which is since it's
really, really dark, which is the Mercedes logo. So first, I will again, the reason why I'm
not grading this is because I want to
really show you how, you know, the depth
map actually works. If I want, I could,
you know, go here. I could, like, lift
up the gamma overall, lift up the gain,
take up the lift. I can show this all to you,
but I wanted to show you how the raw effect kind of of
relight actually works. So, again, let's go here. Let's take the relight. Let's search relight,
and we will put it here. Now, perfect. Now in this one, I want to focus more on the
logo of Mercedes of the car. So I will kind of move it here and maybe increase
it just like that. It's a point light,
so I want maybe, like, a little fall off as such. And let's say we move it here. Perfect. Now let's see the surface map.
All right, not bad. And we'll turn off the preview.
Increase the brightness. Now, what I'll do is I
want to take the gain and the gamma right here and I'm going to
increase a little bit. And the gamma. Now you see look at how
it doesn't create light. It enhances light by
mimicking a certain light. Well, in this case,
it's a point light. Brightness, increase
brightness. Look at that. This was before, by the way, this was before this after. Now, again, this is not just
a typical gamma or gain. This is you're actually creating an AI point light and enhancing the features
through AI with the lights, which is already there,
which is amazing. Now, you can see this
is, like, kind of, like, let's try to show
scopes real quick. And I want to show you h this
is more on the blue, right? So now, what I want to do is I'm going to
actually take this gamma, the one that we did
for the point light. And let's go back to ex overlay. Now, EffexOlay take
the brightness up, and let's take the gamma
over here and let's make it maybe si and look at that. Or maybe even fun.
Let's do a contrast. You know, since the headlights
are kind of bluish, whitish, bluish, let's
do a little contrast. Create that teal and
orange look amazing. Again, micro
movements. Now again, we see the background
is kind of getting lit. So the same thing what we do is, I am going to, again,
close this out. Library, I will
search depth map. All right. I will
drag this here. I this is not part of the grade, so I will just put
this up over here. Now, what I want to do is
I want to fins this again, so we go to depth map. Alright. So first, we
adjust map levels. Depth map preview.
Let's keep this on. So take this far limit. Far limit like this, complete black your
limit. Just like that. I'm trying to do a rough mask. Perfect. Take the gamma. This It's nice. Then we
have some isolation. Let's try some isolation. Target depth. Is perfect. And let's go to our map
finnessPost processing, and we will just blur
it out a little bit. So that there's a fall off. Alright? Perfect. So that
is the master we want. Now, I'll just remove this,
take this back on here, and I will take
this to the Alpha. Boom. Look at that. I'll just wait for it to cash. Now, we have this one creating contrast
with the headlights and the logo of the car. Isn't that something?
Now, in this one, we could maybe, you know, switch it up moving more closer, but we want to keep it near
the logo because that's the cinematic taste and the style that we are
going for, right? And last but not the least, what we're going to be
checking is the spotlight.
5. Spot Light: Alright, so now we will be
taking a look at the next one, which is the spotlight. So again, relight, we drag here. Boom, immediate effect. We see. First, before I do anything, I'm just going to turn this off. What's the footage like? So you can see that what I want to do is she
has a very good key light. What I want to give her
is a little bit fill, like, right around this area. And we have a worm
that's coming up, and we see, like, you
know, there's some red. There's some red, some yellow, some cyan, bouquet
that's happening. So let's give her, like,
a nice little red, red, fill slash Edge,
something like that. Let's see what we can
work with, right. But I'm just trying to
understand the footage. Again, don't get into
the footage without actually thinking of
what is going to happen. We got to think as to what exactly the things that you
do need to be intentional, basically what I'm
trying to get at, right? So again, clip now what I'm gonna be doing
now what I'm gonna be doing is I'm going
to choose spotlight. Let's turn this on. And I'm going to go on this
side right here like this. So this is harsh.
This is softer. So what I'm going to
do is I'm going to increase the spot like this, maybe like this and
move it just like that. Maybe a little bit closer. We'll see what we can work with. And let me turn on like, from here, maybe a little
bit closer. Perfect. Let's turn this off.
And let's just increase the gamma real quick
and see what happens. Okay, so we see a little bit. So I'm just going crazy with
the gamma so that I can actually understand what the
light is actually happening. All right. You can see the
spot light a little bit. Alright, so we can move closer
here, maybe a little bit. And then, you know,
now, let's see. Maybe increase it and then take this decrease the
softness. Let's go here? No, actually. This is good. This is nice. Alright, perfect. Take this. Take the spread, decrease it like that, alright? Now what I'm going to do is I'm going to go to the effects. Just be move it just a
little bit like that. Then what I do is take the brightness over
here on the side, maybe just increase it just
a little bit like that. Okay, the other thing
that I want, again, is maybe take the brightness, reach a little bit
more contrast, let's decrease the
contrast a little bit. And since this is like a model, I want to kind of work a little bit on the
glossiness as well. Maybe maybe increase the
glossiness and reduce the specularity that it
gives just like that. And then increase
the specularity. All, perfect. And then
the shadow softness, I can just soften it a lot. All right. So let's see the preview how it
looks, right perfect. All right let's see
the surface map. Alright, not that bad. Now what we're going
to do is same thing. I'm going to take a depth map, put it on the node, connect it here, connected
to the output. Same thing, resulting. I'm going to adjust
map levels first. Take the levels,
take the far limit. My decrease it here,
take the near limit. So like that far limit, we move it back that perfect. Then we do isolation. Isolate it, and let's
see target depth. That's good. I think in post processing,
we could just, like, you know, blur it out
a little bit again. Take the blur.
Let's blurred out. Cause again, I'm trying
to get it for the light, not for for keying
green screens. Alright? So that's that disconnect it. Connect that again, and I'll take this connect
it to the Alpha. Boom, look at that. Now
I'll just disable this. See, disable Enable. Perfect. Amazing. Now what I'll do is maybe just now what I'll do is I'm going
to take the gamma of this and I'm
going to make it. I'm going to add a
little bit more red. All right, we'll take the gamma. We'll just go red. Red. Perfect. Red.
Even the gain, I'm going to make it
a little bit red. Now you can see there's
a little bit artifact, which is happening here. I'm going to turn this
off for a second. See how there's a little
artifact that's happening. So the way we could fix that is either with the depth or either with the
relight effect. So just call this relight. No. This can happen. Again, this is completely
neural engine. The whole thing is using
neural engine and also AI, so there can be glaciers. So the way we can
fix this is first, let's try to reset the
contrast, see if that helps. Okay, not really. How about
the reach? Not really. Alright. Maybe the
glossiness is creating that. Not really. So it probably is the light
which is creating this. So what we do is
go here like that. So again, decrease soft
decrease the overall spread, and just keep it there. So move it over there, maybe increase that and
keep it, right there. And now let's see. There you go. Fixed. That artifact was happening because the
spread was too much, right? So this was there too much, which is why this
halo was happening. So now we decreased
it because this is meant to create those
minor movements, right? So now, if I turn this off, and let me just go here and let me turn
on and off this effect. Without with, without
with, without, W. Look at how beautiful
this relight effect does to create that
sense of depth, to create that
sense of atmosphere with the depth map
and the real light. Again, this depth map is again, AI and neural engine based, so so is the real light. The real light uses the same
technology as the depth map. We're just reconnecting
both of them together to create a mix of atmosphere and a mix of intentional color grading.
That is what this is. So we've kind of gone with
the directional light here. We have gone with the
point source light here and we have covered
the spot light here. Oh, there you go. That is relight, and sometimes
the depth map comes in clutch when you don't want the entire footage to be relit. You just want certain
aspects to be relat.
6. Thank You!: So, if you've stuck
around so much, thank you for
attending this class. It was more of a
tutorial as to how we can elevate each and every
footage and not only grade it, but also grade it by
adding lights in it. So this tool is
extremely powerful. This is not a replacement
of lighting on actual sets. This is just a replication. How a light to maybe
achieve that level. So again, onset make sure you
light properly, regardless. This is to enhance that effect, not to recreate light magic. You cannot recreate light magic, then that's a complete different image generation
ball game that we have to do. This is more of basically enhancing what
you've already shot, enhancing shadows,
enhancing the edges, something that is already
there to work with. Remember, this is not a
substitute for hard work, right? And if you guys have
any questions at all, please come in below, and I'll be happy answer
any questions and get on call with any one of
you guys. Cheers and Duces.
Jijo Sengupta, Be the Master of Space & Time
