Transcripts
1. Welcome to my Beginner Masterclass: Hey, guys, welcome to my beginner master class
in Daventure Resolve. My name is Alex,
and in this course, I'm going to teach you the
fundamentals and give you a solid base to work from to start your
color grading journey.
2. Calibration & Tools: What do you need when you start out? Well, you need a system. So you need a PC or Mac. You need DevintiRsolve. Either the free or
the studio version, I definitely suggest
the studio version because it comes with more
tools than the free one, and you pay for it once off. But if you don't want to
pay for it, it's fine. I'm not going to force you. So you have a system,
you have DevinciRsolve. You need some kind of monitor. It could be on the
laptop itself. If you have a MacBook, I mean, it's built in or you have
an external monitor. You need calibration tool. I have the I one display. And then you also need the ultra studio monitor
three G. But what this does the calibration tool makes
sure your monitor is accurate. This goes in between
your monitor and your operating system because this is going to give your monitor a clean
signal, right? It's going to make sure
that the signal bypasses your operating system
because the operating system sometimes does some funky
things to your signal. So this one is for Mac. For PC, it's something that you can install at the
back of your graphics this is the start of your journey in color grading and you don't want
to invest the money. Get a monitor, get calibration. Forget about this guy for now. But if you're
serious about it and you want to have accurate, accurate images, you're going
to need one of these guys. So at the bottom of this video, I'm going to list a few monitors that I
think are really good, that aren't too expensive, that work well for
color grading. I'll also list a few of these calibration tools that
I think are really good, and I'll also put a
link at the bottom of this video to show
you step by step on how to use this with your monitor so that
by the next video, you'll have a calibrated system and we'll be ready to dive in.
3. Import Footage and set up your Timeline: Now that you have a
calibrated monitor, we are ready to import footage
to start color grading. So obviously, if you work
on DaVinci, you know, your files are going to
be here in the edit, and you're just going to use the color page to do the magic. In Davenci, we pretty much focus on the media, where
we put the stuff in, the edit, where we put
the files in order, color where the magic happens, and then delivery, we export. So I'm going to show
you how to move files from let's say if you use premiere to Davenci
to color grade. Here we have a project
in Premiere Pro. First way I'm going to
show you is you use this technique if you do
not shoot raw, right? If you shoot Elg or cannon or anything that's not raw, this is the one
you're going to use. It's the easiest one,
and it's the one that's going to cause you the
least amount of headaches. Go to take our timeline. I'm going to
duplicate this thing. Going to rename this to color. And on this timeline, I'm
going to remove all effects, all overlays, all fade in,
fade outs, everything. I just want clips that need to be graded
next to each other. That's all ideally you want
them in the same channel. You don't really want
them like this one, two, one, two, one, two, it's okay for now, but ideally you want
them next to each other. Then what you're going
to do is go to export. We're going to call
it color ProRes. You're going to export
Apple ProRes 444, make sure your render
quality is maximum, and you are going to export. So I've exported this before
to save a bit of time, and then you're going
to go back to DaVinci, and you're going to find
that export. Here it is. And I'm going to put
it into my media. I'm just going to
create a new bin, keep it nice and tidy. As 444, get in there. Gonna go to my Edit.
Gonna find this export. Put it into our Edit
page and then I'm gonna go timeline and
detect scene cuts. Now it's gonna go
through your whole thing and it's just
going to chop it up. Gonna chop, chop,
chop, chop, chop, up. You have all these clips to
grade in your color page. So that's the first
way to do it. First way to get files into
Davent to start grading. Second way gonna go back
to your Premiere Pro. It's the XML way, right? If you have a hard drive
with all the raw files, this is like when you shoot Raw. You're going to pretty much
Export File export EML. SML just tells DaVinci, Where do these raw files
need to be in the timeline? So it's a way of them
talking to each other. Now, if you have
a hard drive with all the raw files, fantastic. But let's say you are working with an external videographer, they need to send
files over to you. You don't really want them to send all the files
because it's so big, and this is a way to
make it a bit smaller, but still work with raw files. First thing you're going
to do is you're going to go up here and you say file, project manager, and you say, collect files and
copy to new location. And when you do that, it's
going to look at what files are used in your timeline and put it in a specific folder. Now you're going to
use that folder. Instead of the entire
hard drive with all footage that you're
not using in the timeline. So after you do that,
you're going to move the raw footage to
a specific folder. Then you're going to come
back here into DaVinci. Going to create a new bin,
and this will be raw XML. Firstly, we're going
to find that folder and import it to your Davinci. You go to import
all the raw files to your DaVinci that you
use in that timeline. And secondly, you're going to export an XML of this timeline. I've already done
it, and I'm going to import the exported XML. And it's this one. I'm going
to call this color prep raw, automatically set
project settings. Yes. Automatically
input source clips. Well, I already manually
just put them in so we don't need. Sizing, sure. You can just leave it like this. But when you start grading, you're going to use
1920 otherwise, your computer is
just going to lag, which I'll show you in
a second. You go there. The files are in this folder
because I just put in there. But now, you have a timeline. And the files you're
working with raw files, compared to the other timeline. What are we working with here? We're working with
Apple ProRes 444. Now, if you're
here, go Apple Raw, you can start Color grading. And that's how you
get files into Davinci to start your
color grading process.
4. Project Settings: Let's talk about color
spaces and project settings. So by now, you should have a calibrated monitor and footage in Davinci
to start grading. Every screen we have pretty much uses a color space called
Rec seven oh nine. This is our display. Cameras, however, can capture imagery bigger than
Rec seven oh nine. So that would be
like raw and log. So when we color grade, we are going to start
manipulating the raw and log, which is a bigger
color then convert that to Rec seven oh nine so that we can see
it on the monitor. All our screens are in a color space called
Rec seven oh nine. This is what I'm
viewing this on. Your TV at home is
Rec seven oh nine, and that's where our output
is going to be after grading. Throughout this course, we
are always going to work in a color space called
DaVinci wide Gamet. It's a color space
developed by black magic, and it is a massive color space. So let's set up the
project settings. We are not going to let
Davinci organize our pipeline. We're going to do it manually because Davinci sometimes does some funky stuff in
the background and you don't really know what
it does to your footage. Another reason is if you let Davinci manage
your pipeline, which is here, DaVinci
color managed, some of the tools
actually don't work. So we're going to
do it manually. We're going to do it on
a node based system. Now you have to decide
before you start your your project
going to TV broadcast? If that's the case,
your output color space is going to be Rec 79 Gamma 2.4. If it's going to go
to the Internet, it's going to be Rec
seven and I 2.2. And I would assume most of us the thing is going
to go to the Internet. So I'm going to keep
it Rec seven or 90.2. The timeline color space. This is where we
manipulate the footage. What color space are we always going to manipulate
the footage in? And the answer is
DeVinci wide gamet. De vinci wit gamut,
Intermediate. I'm going to show you a graph
that's going to help you. Also make sure, by the way, the three D lookup table, do it Tetra, just a side note. Master settings 19201080
is usually the standard. I'll make sure
that your timeline doesn't lag when
you start grading. And let me bring up
this graph for you. Here's a good visualization. Rec seven oh nine. This
is the color space. You see this white line? This is what your display
can show, right? The eventuate gamut
is this massive one. It's even bigger than Ari's one. So when we start mixing here
in the big color space, you know, we start
manipulating hues. We have a lot more
information to work with, and then we convert it
back to Rec seven oh nine. If we just worked in
Rec seven oh nine, and you start
manipulating stuff. You can easily break your image. You don't have an
excess of information. You only have that
little triangle. So we always want to work in
the biggest triangle we can, which is DaVinci wide gamut. So let's go to the color page. This is shot on Sony,
this little sequence, and now we are ready to start our color grading journey.
So what is this thing? This thing is a
node. So a node is a box that gives
instructions to the clip. It's like, What do I
want to do to this clip? Then you make a
new box, which is a serial, another instruction. So in every type of project, what you are going
to do is firstly, always convert the clips to our color space to our
DaVinci white gamut. All of these clips are the same. And what I mean with
the same is all of it is shot on Sony,
the same camera. Had Sony here, right? And then we had A and
then we had Cannon. We're going to convert all of them to DaVinci
White Gamut first. Then that's where the
magic is going to happen. Then we're going to move
that to Rec seven oh nine, and it would look like
something like this. I'm going to take all these clips and I'm
going to group them. I'm going to go Shift,
click, right, click. Going to make a group,
add into a new group. This group is going
to be called Sony. And now you'll see we
got two extra dots here. This is clip. This
is the timeline. Now we have a group pre clip. So it's like area for all of these clips before
the main clip. Then we have a post clip as well, and this is the timeline. So in the group preclip, this is where we're
going to change it from Sony to devientiit gamet. Going to use color
space transform. Go to chuck it in there.
What is the input? The input is Sony. I believe this is Slog two, and the output is DivincidGamut,
Devinci intermediate. You see, now it's
changed it from Sony to Divinciate gamet. Now you go to the timeline. The timeline is all your clips. We're going to create
another node here. This is also going to be
color space transform, and the input is DivincihtGaut, two Rec seven oh nine, 2.2. Right? So we're moving
it from Sony to Davinci. So Sony to Davincis where the
grading is going to happen. And then on the timeline, we're moving it Davinci
to Rec seven oh nine. And all the magic is going
to happen on this clip. This is where we're
doing all the grading. So really important to
understand we're always going to move it to diventutGaut. That's where we're going
to mix it up, then we're going to push it out
to rec seven oh nine.
5. Node Structure: That we have an understanding of color spaces and you got
your project settings right, let's look at what to actually
do in this color page. Going to look at
node structures. So a node is a little box with instructions that
you pretty much tell Davinci to
do to your clips. So the node structure
I'm going to show you is a very simple node structure, which is a nice one
to start out with. We're going to create a
new node. Add cereal. I'm just going to use my panel. So it's one, two, three, four. Second node is going
to be exposure. This one's going to be
contrast and saturation. Balance. Do you know what? We
are going to add a new one. Are you gonna call the CST? I'm gonna explain
what that means. So remember when I
said we are always going to work in
DaVinci wide gamut. These CSTs it's called the
color space transform. There to change your footage from what it is to
DevinciitGameut. We're going to work in
Devinciite gameut and then we're going to push
it out back to Rec 709. So the first node,
we're going to go to your effects, color
space transform. This is soni two to
Davinciite gamet Devinciid. And then that's good. So we're moving it
to DivintidGaut, and at the end, we're going to move it from DavinciitGame. Daventiide back to
Rec seven oh nine. This is going to web. So I'm going to go Gamma 2.2. Make sure on the first CSD. You tone mapping is
none. Second one. You can play around with it, but tone mapping
Davincis pretty good. Now we are moving
it from Sony to Da Vinci is here and
then back to Reck 79. So everything we do is always
between these two CSTs. Now, DaVinci has a
lot of tools in here, and obviously in this
video, I'm not going to go through all of them
because there are a lot. Pretty much our color
grading work is you should understand what
you want to do to your footage and then
understanding the tools in DaVinci on how to get there.
That's pretty much it. I'm going to show you how to get your image to a nice
starting point. So exposure, you'll
see all these wheels, Lift Gamma and gain. Lift is for the bottom
part of your image. Let's say the bottom third part. Gamma is in the middle. Gain is at the top. If
you pull down, lift, the bottom part of your image
is going to get darker. You can kind of see
it here. I'll talk about the scopes in a second. The bottom part of your
image is getting darker. If I go gain, the highest part of your image is
getting lighter, and Gamma is in the middle. So how do we get this
image at a nice spot? Well, we look at exposure. A good place for
exposure is you go to the HDR and you
play with this guy. This exposure up and down. Let's say we want the
image to be here. I'm literally just
going off my eye, to be honest. I'm just
looking at the image. Saying, we haven't changed anything because it's
zero, zero, zero. I don't think this thing
actually needs to be brighter. It kind of maybe darker even. Gonna go to contrast
and saturation. We'll go back to
the primary wheels. We're going to
manipulate contrast. You see, the more I go right, the more contrasting
my image gets. I'm going to leave it there. What's going to do
saturation in here? I feel like this is pretty good. For saturation, I
don't want to go too crazy, but for saturation, you go left, desaturated,
right, more saturated. I'm going to put
that back to 50. I'm kind of happy with
this. It looks pretty good. Then I'm going to go to balance. You probably have heard
of balance a lot. Do you see where these lines cross, like right in
the middle there. Right in the middle there is all your values are the same. So it's black, gray or white. So if we want to
balance the shot, let's make sure
blacks are black. So there's black here, right? If I go, right click and I
say showpicker RGB value. Qualifier. You see
the values there. It's red, green, and blue. When those values are
exactly the same, it's either white,
middle gray or black. So if you want to double check
if your image is balanced, you hover over something
that should be black, and you can see the
value it's 32, 33, 34. Like, that's pretty
close to black. And that's why this image
kind of feels balanced. There's two ways of balancing
is you can either use your offset and pull the entire image in
a certain direction. Right. Remember we said
ft is the bottom passe. Gammos the middle part,
again is the top, but offset is the entire thing. So if we start pushing color into the entire thing,
look at the vectorscope. Kind of moves around everywhere, which I would not suggest. A better way or more
precise way I like it is just using
temperature and tint. Because temperature, you
look at the vectorscope. It kind of, like, makes
that X in the middle. Temperature moves
diagonally this way. Tint moves this way. So if you're only using
these two axises, it's easier to balance your shot rather than
moving this whole thing. So let's look at
the vectroscope. Most of it is leaning left. So if we want to
go more magenta, we are pushing it into the
magenta corner, right? It's green and magenta. It's moving side to side. So we can put it there, and
temperature is the opposite. So if you ever want to
balance your footage, I highly suggest
using temp and tint. I kind of like it without
the balance, actually. Just going to take this
off, but you get the idea. Then lastly, about scopes.
I want to show you. We're going to use vectorscope a lot because that has
to do with saturation. But another one that's really
important is this guy. It's the red, green, and blue. This is luminance. How bright your images? This parade is exactly the
same as this wave form. This waveform is just
on top of each other. Like a parade, like one, two, three, It's next to each other. So you can kind of use
whichever one you want. But I think for this example, I'm going to show you
the waveform because it might be a bit
easier to understand. So each clip is made out
of red, green, and blue. It's a combination of
those three things, and this is a visualization of what this
actually looks like. And when all three on top of each other, the
values are the same. Then you'll get black, white, or neutral gray. So if we look here,
if we look here, it's white down here, right? It's even white here. So I have a feeling this
is this because it's black this thing is a
spitting image of this, by the way, from left to right. So a cool way of seeing how bright your image is is
you go to your qualifier, go here, and you say
display qualifier focus. So wherever I go on this image, it's going to show me where
it is on the waveform. Look on the left side
of that waveform. So I'm going to come into frame into frame starts at the left, going to push right over, and it's going to go
from left to right. So there's something
that's really bright here, and I feeling it's this. It's a little strap. By
using this waveform, you can either use this or this. It's actually
the same thing. And the vectorscope, we're going to start coaligrading
your footage. And if your monitor is kind
of wonky a little bit, right, maybe it's
not 100% calrated. These scopes are 100% accurate, so we are going to rely on
these scopes quite a lot. One last thing I
also just want to touch on because DaVinci
has a lot of tools. Just want to touch on
curves real quick. So remember our CSTs. We're doing all the magic inside of here. We did the exposure. We did a bit of contrast
on it and saturation. We saw it doesn't need balance. Not really. It's pretty good. And then last thing I want
to talk about is the curves. This thing is very powerful. Your Hue versus,
your Hue versus SAT, your u versus Luma
Luma versus SAT, SAT versus SAT, SAT versus Luma. If I want to
manipulate this color, I go to my qualifier and
I want to change the hue, I go to Hue versus. Click on it. I'll tell me the colors here. If I go up or down, I'm going to start
manipulating that color's hue. If I want to change
the saturation of this specific
color, I click on it. I go to Hue versus SAT, pull
it down or I pull it up. Watch out with this
stuff, by the way. Don't go too crazy
because your image is going to break. You can
do minus stuff here. Same is if I want to
darken the green, I go Hue versus Luma. This is very
finicky, by the way. In future videos and modules, I'm going to show you way
better way to get dense colors, but I just want to show
you this versus luma. Luma versus set is
quite a nice one. What it does is, if I want my highest luminous
values to be desaturated, I'll pull this side down. So luma is on the bottom, right? So this is the darkest, to the brightest
area in your shot, and this is the saturation. If I want the higher luma values in my shot to be more
saturated, pull this up. And if I want
lowest luma values, the least brightest
things in the clip to be desaturated,
I pull this down. Then we have SAT versus SAT. So if there's something in your clip that's
really saturated, you just pull this guy
down, meaning I want the most saturated things in my image to be less saturated. Kind of use this when
there's something in your scene that's really
kind of an eyesore. There's a really strong
red or really strong blue that overpowers the image. This is a really
good way rather than qualifying and
going a bit crazy. So you're just bringing down the most saturated things
in your image. And then, lastly, we have
the sat versus luma. So it's not the luma versus SAT, it's the other way around. So this is the least saturated, to the most saturated
I pull this down, it means I want to decrease the, the brightness of the most
saturated parts of the image or increase the brightness of the most saturated
parts in the image. Exactly the same
other way around. If you go this side, you say the least saturated
stuff in your clip, I want to be darker and then
other way around as well. So these curves are
really important to understand and kind
of play around with. If you understand
this, you are off to the races and you can
start color grading.
6. Practical Example: This video, I'm going to show you actually how I color grade this entire sequence to give
you an idea of what I do. I'm going to reset
all of these nodes. I'm going to go to exposure, and I'm going with my eye. Contrast, I had a
bit of contrast. I'm going to go down
with my offset, and I'm going to go up
with my saturation. I'm going to go
back to exposure, and then I'm going to
go to contrast again. Through. Kind of
happy with that. Gonna go to my vectorscope. I like the colors, to be honest. We're gonna go down
the offset a bit, bring the entire image
down a bit, a bit darker. Okay, let's do it here. I
think I'm happy with this. Gonna go into my curves, and I'm going to see
what it looks like if I just bring down
her skin tone a bit. I do like when it's
kind of rich, though. I've done the first clip, and I'm happy with this grade. I need to apply this
to the second one. Okay, now that we're
in the clip panel, this is the timeline,
this is the clip one. And we are happy with the grade on this
clip, the first one. I want to match
this to this one. And what I'll do is I'm
going to go to this clip. I'm going to right click
here, and we say apply grade. It's going to copy over
the grade I've done here. And if you're lucky, it works. Usually, it doesn't, but
it gets you kind of close. So now what we'll do is going
to look at my waveform. See how bright this is here? You see how dark it is
here at the bottom. This needs to go up.
So we're going to go exposure bring it up,
bring it up, bring it up. We're going to go
in your contrast. We're going to go
offset because we want the entire
image to move up. You see if I go here,
exposure, right? And I go to HD and I
bring up the exposure. My blacks at the
bottom here stay here, but everything else moves up. I'm gonna reset that. If I
want to match this to this, look how high our blacks are. So I need to get it
in the same world. And how I do that is
I go to contrast, go to primary color wheels, and I move the offset up. G here, decrease
the contrast a bit. Now I'm just going
to go with my eye. So we can see her skin
tone here is kind of red. So although see, this one's
raised up a bit more now. Though they're not exactly
on the same level here? With my eye, it's a
different scene, right? So it's like it
still feels right. So we raise the up a bit. Don't worry too much that you see the bottom of this
image is right there. So this bottom of this image
has to be exactly there. Just get it in the world
and then use your eye. Use your eye to kind of
figure out what feels right. The more you do it,
the more you're going to get a sense of kind
of understanding. Like, this feels light
wise, it feels right. So her skin tone here. The only thing that I feel like is different is her skin tone. Obviously, there's also a different light that's pushing on her, right? There's like sunlight
pushing on her. Here it's a bit brighter, and here it's a bit darker. So what I do either change
this or change this. And I don't actually
want to darken a skin here because I think it's actually going to look bad. This feels good. So what we do here is we're
going to go back to you versus you and pull that down a bit and try to get
a bit more red out of it. The skin tone doesn't
have to be exactly the same because it is different
lighting conditions, but just this feels better. Like, this is what it was.
Just takes off that redness. If it goes here, here,
and then the next shot. Next shot, we're
going to do the same. Right click on the previous one, you're gonna go apply grade, and hopefully it works,
play it through. It goes from here
to there. Okay? She feels a bit dark.
So we'll go back to the exposure, bring
up the exposure. And then this is
pretty much what we're going to do
with each clip. You're going to
go back again and play through after
you've graded it. And then when it feels right to you, your project is done. So you're going to do
this, and you're going to go back and forth
the entire time. You're going to go clip
by clip by clip by clip after you grade it,
go to your timeline. This is a nice way
of just scrubbing through the entire thing to kind of see if
it feels right, fine tuning your shots. And then when you are happy, you're pretty much done
with your project, and then we'll move on
to how to export this.
7. Exporting: Now that we've done
color grading, how do you export this? So it all depends on
where it is going. If you are exporting it to
YouTube or somewhere online, what you'll do is you'll
go to 8264 Master. Click on that guy, type the
file name that you want, export it in the
resolution that you want. Make sure if you shot
in four K, though, don't change it here
because this timeline is still in 1920 times 1080. So if your timeline is not four K and you're
pushing it out to four K, it's actually taking
that image and trying to blow it up. So
it's going to look worse. If your project is in four K, what I suggest is you
color grade in 1920, but at the end, you go to your project settings,
go to your master. You change that too. Four K. Now your timeline is
going to be four K, and the resolution that
you're going to be outputting to is going to be four K.
Go to advanced settings, make sure these two are checked. Force debaer, force sizing
to highest quality. And then you render. And that's how you have file for online. Now if you are exporting
stuff back to, let's say, Premiere Pro, right? You're not working in DaVinci, and you need to move these files back to
Premiere Pro and kind of, like, put it back
into your edit. Best way to do that is
clicking on Premiere XML, make sure, obviously, all
of them are selected. Go individual clips. I'll automatically do that. I'd suggest using
Apple ProRes four, 44, depending on how
your timeline is set up, if it's with XML and raw
files or ProRes 444, you'll have this option. If it is with the raw files, you can render it at
source resolution, which you should do. If it's ProRes 444, you can just choose four
K or whatever you want. And then make sure it
says force sizing, highest quality, force,
deber to highest quality. Then you are going to
render this to a folder. What DiVincis going to do is
going to export each file or each clip on its own
and then actually attach an XML on the
end so that the editor, when he's in premiere
you can just upload that XML and he'll have your timeline with
the graded clips. Extra bonus. If
you're working with raw Raw files and he did
the XML type of importing. What you can also do is
you can add handles, and you'll do that over here. If you want to export
it to Premiere, click on the Premiere XML. You go Apple ProRes 444. If you use the Raw Import XML or you're using log
footage with an XML. You have this option
that you can render at source resolution
because Daventi understands what
the resolution of that source file is. That's
the best way of doing it. If you've done the Pres 444 way of getting the project in, just render it at four K or
whatever your timeline is, then make sure
these are selected, force sizing to highest quality, and then force Duba
to highest quality. And then you'll export
it to a folder. All your files all your graded files are
going to be there. And then included in
that will be an XML. The editor or you, if
you're using Premiere Pro, can import to Premiere Pro, and it'll create a timeline
with your graded footage.
8. Stream Deck: Let's talk about some
of the tools that I use that you might find. Interesting. So
obviously, I have this panel, which I'm
not going to talk about, but I want to talk
about the stream deck that I have. I don't know
if you can see this. But I I think I have the Excel. All it is, it's actually just shortcut keys diventi
that's mapped to it. So instead of me
trying to grade here, and I go right click
add node, serial node. If I want to copy grades over, if I want to adjust my image
very slightly with yellow, blue, I use my stream deck. What I can do is I
go on new nodes. If I want type of nodes, if I want parallel
nodes, Oh, I want. I want serial nodes or layer
nodes or whatever I want, it is mapped to my stream ec. If I want to copy grades over, copy this over, paste it here. I have small adjustments that
I can make to the image. If I want my reds of
the entire image to go up ever so slightly or
yellows or magenta, it's mapped to all the
colors so you can make really fine tuned adjustments, which is actually really nice. I have it on here. I also
have where you can play, where you can loop things. And then what do I also have? I have some funky
stuff on my stream. Point I'm making is that
if you do get a stream Dk, it's super handy to have. I don't think you need the
biggest one that I have. I think I have the Excel, maybe like a large will be fine. But I will put a link at
the bottom of this video. So if you do get a stream deck, you can download my profile, and you can just upload it to your stream deck and then use
it or even modify it if you
9. Wacom Tablet: If you are wondering
about this thing, it's called the Wackem tablet, the feeling this gives you is more of an artist
kind of feeling. When you color grade
a lot, try and make the experience as
pleasurable as possible. And so the combo of
this and the panel, I feel like an artist, you know, adjusting, playing with colors. It's very intuitive
and I feel like I'm in that image rather than if I had a mouse and
I'm clicking around, it's just I just don't like it. Feels too mechanical to me. And that's why I have this guy. And with this thing,
it's really sick. Feels way better. So obviously, I'm not forcing you to buy it. Don't buy it if
you don't need to. I just really love it. So it's the Wacam tablet, large or extra large. I
think it's the Lodge. And then this guy
just from Amazon. And all this does is make
sure I don't stick to
Alex Runhaar, Colorist
