The Ultimate Color Grading Crash Course in DaVinci Resolve

1. Color Grading Crash Course Intro: Do you want to learn how to take your footage from this to this to this? If he has then welcome to the show. Hello everyone. My name is Adam on the professional animators, sludge video editor and graphic designer or business because a blog camera and I will be your instructor for this course. So in this course, you will learn about color grave, and I'm gonna take you through all the necessary steps to make the perfect calibration as a beginner. So you're probably asking yourself what is called a gradient. So category then is a two-step process, okay? The first process is color correction, and that's when you apply adjustment to the full image. It could be wise balance, it could be contrast saturation. All of those are included and color correction and colored gray then, because when you're finished color correction, you can jump ahead and then creates a creative Look. For example, if you want John awake, you can see that there was a lot of blue and a movie. And that is a creative load. Okay. So when do you need color correction and when do you need color grading? So if you just taught in, as a colorist, you're going to be working on the following. And if use TV shows, reality shows, Whitman's travel videos. And all you need for those as color correction, ok, because color correction is 70% of the calibration process. And when do you need color grading as if you are working on music videos, commercials, and movies, short or long movies. So unless you working for the biggest studios in Hollywood or in the world, all you need is color correction and you will be. So enough talking guys and live jump straight to the course. 2. Download Course files: So before we start a course, you need to download the project files from here. Okay, so right here we have the three fitness videos plus the premium lots. And down here, there is a Whitman video, which I use in the bonus lecture to show you how to adjust the scan. So obviously you're going to need some familiarity with different result if it's your first time touching the venture resolved to course may be a bit intimidating for you. 3. Local Database: Okay guys, let's open the venture resolve some super-duper excited about discourse. Okay, so I'm using the studio version, even if you're using the free version is fine. So the first thing you're going to have when you open the venture resolve as something like this. You have the database here with the disc, and you have your recent projects, you probably won't have anything here or maybe you do. So I wanted to say something before I can open a new project is that's a lot of people when they have the venture resolve, they want to save their files or their data in a specific folder. So if you wanna do does you can just come over here. So by default, you have everything saved on their local database. If you're just right-click and open file location, you can see where everything is. Saved. Projects and I have all my projects here. If you want to change that location, you can click on new database. Creates. Okay, give it a name. Any name, for example, location. Let's say I wanna save it's under my f drive. I can right-click and create a new folder. Make sure the folder is empty, and then click select that folder. Now creates. And you can see a brand new tab will open for you and then you can go ahead and start creating new projects. But I'm not going to be using this space to work on. I'm gonna go back to my initial space, this one. And you can of course leave the Tammany was like this big domino tiles or you can switch to list view just like a in Premier Pro. Okay, so I'm gonna go ahead and click on new projects. You're gonna be working on fitness videos. So I'm just going to type fitness as new name of the projects and then creates. And now I want to head back to the edit tab. So I'm going to stop this lecture here and see you on the next lecture where I'm going to be explaining some technical boring stuff, I promise you guys a won't take that long, is going to be quick. 4. Project Settings in DaVinci Resolve: Okay, so now what I'm gonna do is make this thing full screen. So we can have a better view just like this. And this lecture, I want to talk about the boring technical stuff. I'm gonna go real quick, just the most necessary stuff you're going to need. So the first thing that is really important is the project sitting right here. If you click, you can see your project settings right here. So the timeline resolution is fine. It's what I want. Okay? You can of course work in for k If you want. I'm not going to be working in for k on this video, even though maybe the clips are in 4K, I'm not sure because I don't know the differ from Adobe Stock. And the most important thing here, of course, as a timeframe. So basically not have to worry about anything here, okay? You just, you just leave it like this. Once you impose the projects, everything here is going to change automatically, okay? We gotta see how in a second. So cancel. And now I want to go to the integer result and then preferences. Okay, let's go to system first. So media storage, It's very important. It's where you want your files to be stored, okay? The first one was the database, but this one is the project files. If you want. The media storage locations would be different than the one you have here by default, you just click on add and then just choose any file. For example, I want to save my files here. I can select folder. Now I have two storage locations, but I only need one so I can remove the second one. The other thing I wanted to talk about is Internet accounts. So for example, you can sign into your YouTube or Vimeo accounts and you can upload things automatically. If you've got a user, you want to pay attention to projects backups, you want to have this Dane checked OK, it's under project save on load. And you can choose the backup disk different than the storage desk, okay? Because sometimes the media can gets corrupted and you can lose everything you've been working on. That's why it's important to have this thing. Check, okay, project back, Ops super necessary. Once you're done, click Save. And now we're ready to import our projects. So File, Import, File, Import media. Let's go to the documents that I told you to download. And then let's impose these clips. You see now it's asking you if you want to change the project settings that we talked about earlier. So you click change. Now that I have my files here or I can click on this one and bring it on the timeline. If I click on projects that are in right now, okay. You can see that things change now is 25, it was 24. The time resolution is still the same. All good, counsel. Now, let me add another clip. This one. And now let's go to the color tab where we are going to start calibrating our stuff here. So just click here on the colored tap. Okay guys, and now see you on the next lecture where we're going to be discussing the color tab and housework under the color tab. 5. Color Tab Overview and How to Read Scopes: Okay guys. So a quick overview of the color tab and of injuries off, so I don't want to spend too much time on it, so it's pretty straight forward. You're going to learn as you work on. And now the first thing we have here are this tells if you click on gallery, we have distills and the sales. The sales are basically when you calibrate your, your footage, you can likely kits and then grab his tail. And when you have it here it will contains all the data from the nodes and the category name. And basically you can right-click and export. It's you can choose anything from here. So people can work. Wait, okay, if you want to share it with someone or key, or key, I said, okay, so these are just tells on delete, it's right here. We have the, let's, we're going to talk about clots in details. Afterward. We have immediate pool. That's where our clip is. This is a timeline. So basically this is the same thing as the edit tab, but just a small version of it's what else is important. So of course, the notes, the notes, there are like layers in Photoshop. If you're used to working with layers, these are the open effects. That's means you can adjust. You can add any effects from here to your nose directly. You have a bunch of them. We're going to be working with sharpened later. Vignettes, watercolor, or there is a lot of stuff in here. Okay, let me go back to Eclipse. And so the reselect Mike Libya, good. You can of course adjust the UI of the venture, of the color tab. As you can see here, but you cannot adjust you cannot adjust this one. I can't adjust it on my computer unless you're working on a big screen or monitor. I'm just working on my laptop for now. Okay. And right here we have all the controls. We have the blur, we have tracking window, we have the window qualifier, the curves, and the color wheels. Okay, so basically that's, it's now the first thing and the most important things here are the scopes. And you want to learn how to read the scopes. So I'm gonna right-click here and go to Show scopes. Bring the four of them. And the most important ones that you're going to be working with are the parade, the waveform, and the victor scope. So the parade, for example, it contains the RGB channels. We have the red, green, and blue. And the rule of thumb for the parade is that you want your highlights, which is right here, to be under this line, which is 1023. So you want them to be on the second line just about here. I think right here they're perfect. We can adjust them further, but they're perfect. Okay? And then we have this line y here, 512. And these are the mid tones, are the mid lights. And the thing you want to have them either above or almost close to 640. And it's of course going to depend on the shots because they're going to be working with a lot of different shots and it's going to look crazy. It's not always going to look as good and easy as this one. Ok, but this is a beginner's course. So I'm choosing something that you can digest guys. And then here these are the shadows, okay, the darkness. And you want them to be as close as this line right here, not the whites, but this line. And the color correction. After we knew doing looks, they can go ahead and course this line is not a problem because you already corrected your footage. But for color correction. That's the rule guys. That rules. If I go to the waveform, same thing, ok. But here you can, here you just see whites and some colors you have, we have some red, some green, and some blue. But most all EC as whites die because the waveform represents the lights and the footage. So up here at the extreme highlights, the window down here as the shadows and in the middle, that's her, okay, that's her in these things right here. And a vector scope. This will tell you if you're shot as balanced on us. Now right here we can see that it's okay. It's not perfect, but it's okay because it's still enemies at all. And as you would just declare, you wanna make sure that this thing stays in the middle. We can see right here is going a little bits to the left. Yeah. Just lifted it to the left but we can fix it, I think. Yes, I think because its color its color gradient unclick erection is very complicated and you never know, but this is, this looks fine if it was going all the way to this side, die would look bad. And we'll see how we can fix that models. Let's go back to the parade. One more thing here. You can see that there is some whiteness in here on the top of these colors. And you can see these spikes. I don't know if you can see it. I don't want to just make this bigger. You can see the spikes right here, spikes of blue. We don't have much on here, and spikes off red right here. Okay, we're going to learn how to fix those as well, because I don't like to have spikes like this on my scopes. I'm just gonna make them flats to align with these white lines. And same thing down here. We have some spikes coming out from the shadows, okay, and we can remove them to get cinematic look on our shots. And also to have a cleaner view of the shadows. Okay? Because these spikes, they just irritates me and I don't like to have them. Now let me just remove this and go back to here. And on the next lecture we're going to start building our node tree. 6. Building The Nodes Tree: And this lecture, we are going to be building our node tree. So I have my first node here. What I'm gonna do is click on old or option two creates a new cereal node, okay? And I need seven of those. Displaced him here. So I'm just clicking olds plus S or Option plus S. And put them here. Nice and steady, okay? If you think these are too much nodes where we haven't seen anything yet, it's bro or ma'am. Anyway, the first note, I'm not gonna touch it's I always leave its fore sharpen and noise reduction. Although I'm not I don't recommend using noise reduction right away. Because most of the time when you use Mozi reduction intervention resolve, your computer is just too slow and it's tensor crash. So I'm just going to use sharpen the second node and going to be the primaries. Ok, primaries. Or masters were going to be adjusting the masters. Domestic ladders are these things right here, okay, these are the cutaway wheels and these are the masters ladders. And this one is going to be the whites balance using the cutaway wheels. Okay, because you have many different ways of balancing your footage. But the most effective way for me is to use the color wheels. A lot of people use this automatic balance, fan, whites balanced, qualifier on air. You have to click on it and then just find the most whitest area of your image and click. But anything with automatic, I just don't trust it. This node is going to be for the contrast. And pivots. The five node. It's going to be for the curves. And secondaries. Yes, please. This one. Vignettes. Optional. But I highly recommend to work with vignettes either outside or inside vignettes. And the seventh one is the color grading. So creating creative looks. Basically when I say color grading, I'm talking about secondaries gradient, not the secondaries curves. And what you do is you have a, you have to create a creative looks. So depends. Do they want the shot to have more orange units or more blue or more whatever. Like. For example, if you see the metrics, you can see that there was a lot of green and the shots that says a creative look. John wake, you have lot of blues. The Joker, The same thing. You have lot of greens and the shots sometimes you have some yellows, I don't know. Okay. So that's what That's what we mean by color grading or creative look. So one shots is more dominance, India and the clip. And so I said calibrating or lots. So I'm gonna show you how we can create creative looks manually real quick. And of course lots we're gonna be working with lots because lots can be really helpful, okay, you can spend hours and hours creating a look. But of course, it, sometimes it's may never be as good as using a lots. Okay, with that being said, I'm gonna keep this lecture shorts right here. And on the next one, we get a star, correct? In upper shots. 7. Color Correction: Okay guys, now at time it time to say good pie. Anyway, sharpen will leave its here. We've got a primaries. Now here in this copes, I'm going to switch from parade too waveform. Okay? Now we're doing primaries. In primaries, that means I'm only going to be playing with the master sliders right here. All rights. So rights on its app. It looks perfect. I don't want to touch is I'm going to break the lifts a little bits down close to the 0. And as you can see, I'm moving very gently because literally guys literally a little bit and calibrate in just a little bit, goes too much. Okay, you want to be very careful. It's a gentle process. You don't wanna go crazy. You just want to move it just little bits. Okay. A little is more literally in calibrating because I'm moving it's, but you can see that number tree is not changing. But in the graph, you can see that it's keeps moving. Okay, around here. I'm going to bring the gamma up. Maybe 0.04. Okay, so the gamma is the mid tones. It's her scan. I wanted to bring gets little bits. So much. I think four is fine. And I can compensates again down here on the left. Okay, so color correction is a balancing things. So you gonna be playing a pink Bonk. Ok, between these notes. It just how it is. You can ask any professional, they'll tell you the same thing. Okay. Now at this stage, I want to go back to my parade and check if everything is all rights. Looks good, looks good. Okay, we can see again here, we have to adjust this blue dominance color is red. And now it just cycle and announced by clicking on the number of the nodes. And you can see that already these styles looking better. You see the next thing I'm gonna do with the primaries tell selected, I'm gonna go ahead and crack at this saturation up to 100. Probably thinking what the F is this guy doing as ego legit? What is this? You don't do this. Trust me, man, I know what I'm doing. I've been teaching this thing for two years and I've worked on a lot of projects. Okay. I just hate to show clients projects because I remember once I wanted to share a project that I was working on, all my social media. So I asked the client if I could and he was like, No, we have to ask the actors, maybe you get a Brown. All of lab Lana said, Okay, nevermind, I'll never ask someone else again. So once we add the saturation, we're gonna leave this node and we're going to come over here to contrast and pivots. Okay, we can fix this saturation by contrast and pivots. I'm going to increase the contrast around here. Okay, everyone understands to contrast. So what the Contrast does is that a makes the dark area and the picture darker and the white areas in a picture wider. Ok, that's what the contrast desk. So around here is fine. And now we're going to play with the pivots. I'm gonna bring it down to the left. So it's, we'll make the white areas off the contrast even more whiter. Okay, so here's this thing. The contrast make dark areas darker and whites areas wider, but the pivots is goes ahead and like we find, it's even more so if you bring it to the left, it's going to focus on those white areas in a picture and make them wider. On the left is gonna make everything darker. So if I go like this, everything is dark. You see? Let me bring it down to here. Okay. And it looks just Aldon not thinking about Suma. Around here is fine. And now let's toggle and announce to see what's going on. And you can see guys a difference, okay, this just just calibrating. I mean, it just color correction. Okay. For someone who doesn't know what's going on, they may think it's We did some grading on her skin and stuff, but I just correction guys. Oh, lights. Alright. Now, once you're happy with the contrast and the pivots, we wanted to come back to the whites balance, okay, and as you can see here, we clearly have a problem with the blue. It's down here. The most dominant color is D read. So we're going to fix the offsets. And we're going to fix the lifts and the gamma. So let me thank you for a second. We have red here and we need to increase blue. So on the upsets, I'm going to go the opposite color or Fred just slightly move it, slightly, slightly move it guys. And here you can see that the blues are going up, up, up around here. I think they're in the same spot right now. Let me just check. Yes, on the same spots we can see that we couldn't get the green, but that's fine if we cannot get all three of them on the offset. So we'll get, we'll get the green later. Ok. It looks fine. Now we can see that we have more blues on a picture definitely. Now a time to fix them from the bottom. Because look at here, we have more red down here, closer to 0. And we have no blues here. It's little bits up. You can see that it's not balanced. So I'm gonna go to the left, which is the shadows, and then drag it as towards red. Just tiny adjustment like this. Still have a problem with the green. I'm gonna get it later. Ok, I think around here is fine. And now the last thing you wanna do is go to Ghana, okay, which is the midterms. And then just cuz we went around red and yellow here. You wanna go to the opposite direction a little bit on a gamma, just a little bit, just so that we can have that contrast. Okay, that's, it's okay. 0.01 is good. So it was 0 before and we moved it to 0.01 and minus 0 here. Okay, that looks good for me. It looks perfect. We just need to adjust the green's a little bit so we can do it later. Okay, so now that we've done for the white balance, well, we need to do is go to the curves. And said right here you can see that some colors are more dominance. And I can tell, for example, the color that is dominance as blue and maybe a little bit of green. So with the curve selects it. You want to go to the curves panel right here. And then I'm going to choose and we see Hugh versus saturation. Okay? And the colors I have problem with are the reds and the blues. So we can click the red here. And then I'll bring gets a little bit down. The blue. Same thing, bring gets a little bit down. And the reason why the blue is dominance in this picture when we fix the red because of the blue carpets, ok, she's laying on a blue carpets and Buzz the lights so it's creating that reflection of the blue and the NB footage. Okay, so around here, I think it's fine. Now we need to adjust the highlights and shadows. Okay, so D spikes that you can see. The spikes that you see here needs to be adjusted. Ok. And maybe just Move this blue a little bit up. Any way we can go ahead now and adjust the highlights and the shadows, the spikes. I don't want to have them here. So the next thing would be to go to luminous versus saturation. Okay? And the next thing I will do is click on whites. That's, we'll add a point here. And that means when I adjust the saturation, it's only going to affects the extreme wise on the image. So I'm going to bring it down. And as I bring it down, you can see that the blue is going up and the spikes are gone. To select that. Now they look all balanced, almost all balanced. We're gonna, we're gonna do the same thing for the black. Once IT saturates the black, I will have that cinematic look. Now they've gone from the bottom. Okay. All good. So till here we did a pretty good job guys. Now what I can do is come over here to the curves and just open this tendency. If I can still balance anything, it looks pretty much powerless to me. From the sub. And we're fingers balance. So let just presented that is for any x, y reason, we need this, highlights, this red, this green, I'm sorry. Two gets a little bit down. What I can do is select the green channel and then just break this down a little bit down just like this. Just move it, you see, just move it and it will change. Now it looks pretty much even more balanced. If I want to move something balances from down here, I can move this in either to this position or up here. So from the bottom it looks all good. And I think we're going to leave it here, guys, we did a pretty good job. Congratulations. Now let's move to the vignettes. So vignettes are super good. They add that's extreme look or that nice dark look to the footage. So selects the vignettes, go to Window and circle. Okay, I can increase the size these amounts. So the way you zoom out from the screen monitor is by pressing or click in backward on your, on your mouse. Like this. I'm going to crack it a softness all the way up. And then it's going to pan knots, Baum, sorry guys. So it's got to be aspects. Just turn it to an oval, kind of sold off the left. So I'm gonna bring it down to 0.04 or five from six months S5. Ok. Now you can see that the vignette is inside, so it's on her belly, but we want to bring it to the outside so I can invert is here. And here you have it. So we have an outside vignettes that can be adjusted. Maybe decrease the opacity a little bit, and go back to the scopes. Now we don't have to worry about these things, you know, crash and a 0 because it's on a new nodes. If not Sunday Color Balancing nodes. Okay, this is just the vignettes. People will, not people, but the director will understand that it just the vignettes and that thing is normal. Another thing I want to mention is that sometimes you can see that most of Hollywood movies, everything is right and sits in the middle. They don't have these things. And that's well, actually allow you to have more details on a picture. But the thing is you have to know the rules, work by the rules. So in order to break them later if you want. But if you're just telling, of course you're gonna be, you're not going to be hollywood level movie greater where K is. So just work by the rules. Maybe degree is this thing I'm a little bit more size. My God, I kept clicking on pan to the model I want. Because I'm just adjusting the vignettes. Let's see now. What war or decrease his MAR It's a matter of preference, guys, you can leave it as it is if you like it that way. We're well, OK. Now we can go to the Calgary then finally, Cool. 8. Creative Looks: Okay, Creative looks. So as I said earlier, when it comes to creative looks, you want to know what's color is going to be dominance. And the clip. And that's well depends on the message and the idea of the movie or the short film or everything that's working away. That's why I said, if it's a reality TV show and all that stuff, you're not going to need calibrate in, you know, cause what's for, you know, people are just watching this stuff. Either to get the news or to watch, you know, reality shows or to watch a match, a soccer match, football, whatever. But if you're working with video for commercials, video clips, and movies, you want to know what's the message behind that's type of gig. And therefore, what's color is going to be dominant. That's why having a basic understanding of color theories can come in handy is, I personally have a class on color theory. You can check it, say your own skills to. That's going to help you a lot. Even though if you're not a graphic designer, I am a graphic designer to and a video editor slash animator. And I'm takin, let's get the color grading. So the guy or the clients, he says listen, when he distinct to be more orange, we need more orange to this shot. What I can do with the color gradient selected, grabbed the gamma. Move, it's around orange, like this. Until you happy. Okay, you need orange. So here you go. I give you orange. So now if you ask me, it looks like I just apply the filter. Okay? That's why rule of thumb. When you apply any creative look in the gamma, you want to counter it so you wanna counterparts. And the shadows. When I'm trying to say is that if you go orange, Go to the opposites color, which is blue. If you go violet and go to the other Scholar, which is green and so on. So here are the wants, orange. So the opposite is going to be blue or cyan. So I'm gonna move towards blues in the shadows little bits. So I can make it look a little bit realistic. Okay. Just like that. Increase it here a little bit more until you happy. Okay, that's good. It looks even more realistic. Okay. So you can see the difference, guys. If I undo it, it looks like shit. Like you just apply the filter. If I add a blue, starts to look a bit surreal. Okay guys. And of course, if you're working for the biggest studios in the world, be 1.5 the details of the details. So you're going to be working with a thousand and thousands of color grading node. You're going to have one for the scan on, for the leg, for the shoes, one for the data to that at the top. But this course is not for this type of color gradient. This is a beginner crash course that will allow you to say gigs and work on them right away. With normal clients, with normal studios, nuts, big as color gradients studios, okay? Because now we're going to be Tolkien else after we, after we're finished each correction, we need to have another ten nodes, you know, just for the smaller area correction, one for the dumbbells, one for this one of the dial. And today, I will have a masterclass on color gradient, but this one I just for beginners. Okay, what else we missing? Yeah, sharpen. We need to add sharpen to sharpen the image a bit more. So open affects look for sharpening. Whereas sharpening, sharpening, sharpen, sharpen, sharpen Carmen, Here you go, sharpen. So if I click on an off, can you see the difference? No sharpen. Would sharpen. No sharpen. Would sharpen. Yeah, there is a difference, as you can see. Now, I wanted to talk about lots, okay, and that going to be for the next lecture. 9. Working With Luts: Okay, and now that's you know how to apply creative looks manually. Gonna go ahead and talk about slots. So right-click on this node and aren't and I want to resist knows grades so I can apply. And the let's come over here to lots, but before that we need to add them. Okay. So I hope hopefully did download the files that I told you to download workspace. Remove full-screen. Go to folder. Let's copy them. Okay. Go back to full-screen window. Projects, citizens, append lots folder. It's under color managements. And here you wanna go ahead and just paste the lots folder I already have. It's here. It's action lots folder right here. So no need to do it again, will also do weights. You click on Update lists. Give it some times, maybe two minutes or want to minutes. And then click Save council. Now I can apply my Lutz. I can come over here to lots and look for action. You can see you have a bunch of them. If you just click on one and weights, you will have a preview. All right, it looks good. It looks very good. Maybe this is not what the client wants. Sees this one. This one looks almost like the like the grade in I did. Someone looks good. Exert energetic basis here. Cool. Now let say for any x, y raise and now we have the less here would denote selected. You think this is too strong. I wish I could dial it down. No problem. Come to note, key gain. Bring it down. Maybe to health. And if we want even more, unless you happy. Okay, so for me, that's fine. I think around here. And here we have its Guys. Here. We have it just like that. Okay. So we went from this shitty flat look look like a scary movie to this. Okay? Oh, let me do this. We went from this to this, to this creative look. And now click on clips. And this has the autoclave I want you to work on. Okay? So click on it and then hover over the one with all the gradients. And then middle click on its with the middle mouse button. And it's going to copy everything. You see. Well, this is not the same shots. So probably you don't like this or you're like it's I don't know. This side is a bit difficult to deal with because we have the lights behind her. So it's going to be a bit challenging to work with this one. And if you don't have the middle mouse button, what you can do is control Command Z to undo. So click on this one. Right spline with no grade. Click on this one with the grade. Apply grade. You have. It's so what I want you to do is clean everything from here. I'm just keep denote tree because I don't want you to rebuild the no tree from the beginning every time working on a clip. It's going to be very complicated. And then go to color, resists and click on grades and keep notes. And now you can start working from this, from the beginning. So I'm gonna do this one, but I'm not going to be explaining everything as I did earlier. I'm going to work silently in real quick. And you can do you can watch me and see how I'm working ok. Just on this one. The third clip, you're going to be working on your own using the same techniques that I showed you earlier. So on the next movie, I'm going to be working on color corrects him. This clip. 10. One More Grade: Okay guys, so I'm gonna be doing this clip now. But this time I'm going to be going a bit faster. So let's analyze. Our waveforms are sealed going on, click on the primary's. Right here. I can see that we have too much lights because the Bardo, the subjects, is just behind the window or the lightest comment. So I need to dial down the lights a little bit. Down, down, down to the second line. I'm going to increase the gamma master slider. And just like dots so we can bring the skin outs. Five. I'm bringing this thing even further and bring the shadows down to almost 0. Yeah. One more thing I wanted to tell you before I forget is that if I go back to this clip and I remove the color grey then and the vignettes. If you go to victory scope, you can see that's everything is still right here in the middle. It not go in to the left, nor is going through the writes everything staying here in the middle. And that a good indicator that the shot as well balanced. Okay, let's bring those back again. Wave form. Let's go back to clip. So I think this is fine. So if I go on and off, we can see already the difference. Now, I'm gonna go back to the parade. Increase the saturation and the blue color as a dominance color. Here. I'm gonna go to contrast and pivots. And increase the contrast. Decrease the pivots. Okay? So this is a matter of preference. You can stop whenever you feel like you have enough contrast in your shots. Cool. Now let's go to whites, boss. So we have a lot of blue we need to go to, right. It looks almost the same. And now I'm gonna do the same thing for the lefts. We need to bring the blue a little bit down and go toward the red. Just like that, that's enough, I think for the gamma began to go just a little bit to the blue or scion. You want to be in those cold colors. That's enough. And walking rather than try and the previous clip as the gain, okay, because we have too much green here, we can adjust it with the gain if I go opposite direction of green, which is violet. Ok? A little bit more like this. Maybe like this is fine. Pretty much. Everything looks balanced here now. We should gain little bit more. So this is looking for, this is, this is, this is fine. This is fine. I'm either, in fact, this is pretty much balanced here. And down here it's pretty much balanced as well. We just need to get rid of these spikes. Now let's go to the curves. You versus saturation. And you can see that we have a lot of blues here, okay, we have a lot of blue eyed blue as the most dominant colors even after adjust and every fan. And you can see it's right here and Domitille, look at the blue, it just here. And the reason again, delights plus the carpus and it's casts in the blue color even under her body. So there was a lot of blues in here. I'm just gonna decrease the saturation until you feel that's okay. So what I'm gonna do next is inputs more blue in the lower saturation. And I give this input to you. If you drag it to the right, you're going to input some more blue NDA. And the shots, if you drag it to the left, you're going to decrease more blues and the shots. Okay, let's zoom in. So I want to keep the blue, but I want it to be lighter, okay, so we can still have the blue. But it's not as dominance as it was. Maybe I can increases in little bits, and that should be fine. Okay, so what you can do here is as you can really put this one and the same level as DES. If you're just crank it all the way down and then bring this one all the way to the left. You can see it's going down, going down like crazy. And now it's in the same levels as those too. But I'm losing the blue and I still want to keep the blue. So you need to find this perfect balance. And you need to accept the fact that this blue right here is going to be dominant a little bit, no matter what we do to keep that blue carpets and the shots. So I'm gonna put it just right here. Or maybe 21 is fine. And just leave it here for now. Let's see. Click on Read, decreases a little bit. And that looks good for me. We can make it, we can make it even more in the creative look Law here. But now only just make sure everything is balanced. Because go back to the blue or cyan maybe and then just decrease the signs a little bit to just a little bit robot to abou. Yes, I'm, you know, I'm going back and forth. So I can get that perfect balance. Not too much blue and nuts. And nuts, no blue. So I wanna keep doubt perfect balance. Okay, I'm, I'll leave it here. Let's go now to luminaires versus saturation and do the same thing as we did earlier, because it gets rid of the spikes down and up. Drawback to the curves. We're not, we're not going to need now to adjust the curves right here because everything's seems well-balanced. Okay guys, let's move to the vignettes. And this time around we get to apply vignettes but inside this object and that's outside this object. Because you can see that this shot is a bit close up and we have a lot of shadows here. So it almost looked like an outside vignettes. So go to Window, circle, size on this circle to fits the subjects. Softness. Then go to levels. Just a little bit like this. And now here again, you can apply your creative look after everything is balanced. So we did the primaries. Whites balance. A me, uncheck this, uncheck. The histogram. Nope, sorry, not the histogram, the victor scope. Everything is right in the middle. The reason why this thing here is small. A, because we have a lot of shadows. Okay, we don't have too much contrast. We have a lot of federal z on our body, a lot of black. That's why it's small like this. Will it go back to the waveform? So the parade. So as you can see, it's all about tweeting this scope skies. Okay? And everything looks good now, okay, everything looks well-balanced. So I'm going to click on the color grade now and try maybe add more saturation. Just like this. Ok, so we can have more colors. And then you can apply your lot. So defend is, I love to add saturation and its own node. So I can change this to saturation number two and then add the new cereal node. Would Dillard's. Okay. Firstly, me just assume we have interference and his bone. So let's choose this one. Well, I can see this one. This one. So it looks good. Yeah, look at this. 56 decreases right here. It's a balanced these. And yeah guys, hey, we have, it's C. So that the whole thing about calibrating, you know, it's all about balance. I shot. So you work here, then you come back here, then you come here, and then you'd go back here and then you come here and then you'd just off down here. It's maybe difficult free odd at first, but then if you just give it some times and you know, do it over and over again, It's gonna get easier. Then you can start adjusting and creating your own looks OK, just using the same method we use in this class. So we have our shots here. Usually our if, if it was a real projects, I would apply the same lots of that I apply here to here. But this course is just to show you how to work, what stuff. So that's OK to apply their frontlets. And you can see that we did a pretty good job. And we did a pretty good job here too. Don't let your bird. Okay. One thing I forgot to apply is to sharpen that thing UP. And I think maybe decrease the standard limit bits further. To hear. And desaturation. You see why now I put the saturation on its own notes because maybe I need three degrees of now it looks better. And CD hands looks better. And you know what's remove the saturation. It looks good. Just chicken some stuff here, guys. Now, it still looks blue. But it's a bit of blue. Well-balanced blue. Okay. Exported. 11. Export Settings: Okay guys, exporting, Now it's time to exports. So we can choose the name of the file right here, type its translocation, save, and then choose the formats right here. You can choose anything. I usually go with MP4. And here you have the preset. So for example, if you are exporting for YouTube, you can just click here, venue, MP4. Here there was lot of presets right here. Final Cut Pro Premier XML that if you want to do a round trips, Hu, Premier, Avid Pro Tools Audio only, whatever you want, man. Okay. Want us to choose everything you add to render queue with the electric replace an existing file, replace. And then click on style rendering. 12. Saving Your Personal Luts: Okay guys, so for any x, y reason now you finished with the gravy in everything is good and you wanna save your footage as degrading kick out so you finish it, the grading, everything is good and now you want to save it as a customized or personalized lots. So how you do it? First go to clip and now select your wanted clip that you want to save as a lots. Right-click and then look for Generate 3D LEDS, sixty-five point cube, which was a folder. And then save is give it a name for example. And in save it's writing here. I already did it. And it's this one right here, a floods. Okay? So click save, I'm gonna click Cancel because I already have it. Once you save is you want to go ahead and find your folder, copy it. Then go to Project cities on the recolor management's find open lots. You can copy it here or creates a new folder. As you can see, I already have it here. Then update list. Once it's updated, you can go ahead and click save. I didn't want to do it live because it's too much sign. So I did it before recording this lecture. Law says there, let me go back to full screen. Come on, full-screen. Go to Edit tab. I'm going to put the clip here again. Selected. Go back to the color tab, lots. And you can find it's right here. So all the way down because it's an yuan. This one right brain gets put it here. Give it a time to render. And what you have is ok guys. So if I go back to the edit tab, but this one on top of this one. And inspector double-click on crop in crop lifts. And you can see right here. And that's it not the same. Ok. You know why? Because we need to apply calibrating first. Okay guys, well, this is how you save your lights in case you want to save it. 13. Skin Tan Using The Qualifier : Okay guys, so let's say after you finish the color correction and color gradient in the vignette and everything, you need to adjust the skin of the subject. So it's happens a lot. I'm winning videos. You can get requests like this. You get those customers, they tell you you can you just the color of my skin tone and make it a little bit more brown, Give me a tan, something like this. So how you do it is that you do it with the qualifier. Now in this video, I want to show you how to make the perfect selection adjust then the right tools, okay? So select to a qualifier and make sure you have the default one here. And then click Juan's. Okay, once you click, once, click on highlights. Now you want to go ahead and pick disqualify right here with the plus icon and then make another selection. Let's say this time we want to select the hand or the arms. So the first step would be to try and make the perfect selection using the selected range of the qualifiers. Why here? So I guess this is as perfect as we can get it with the qualifier. Now I'm gonna go back to my defaults qualifier. And the next step would be to just the huge saturation and aluminums. So let's start with center. Maybe bring it's to the left a little bit. Then with with just try and I'm bringing it left and right. See what's working. No blankets, rights, softness. It try different things with the saturation. High saturation. Low saturation or softness. That's working now. Here again. It tried to luminous. I think I went a little bit too far, but I need to select this hand as well. Let's see how we can do it. Like this. It's fine. C with the high luminous can see no changes in here. Okay, so there is no effect in here with the heights and get down a little bit or nothin. Softness. And then high softness. Ok guys. So the trick here is to try and play with those, try different stuff until you get the perfect selection, okay? There is no straightforward way to do it. You have to try different stuff, but you must understand what to tweak and what to leave alone. So the next step after we finish with the try and toggle on and off between hue saturation. And luminous sea, which one we can sacrifice for the greater good. Apparently, we need all of them. Okay, and now the next step would be to select the black and whites and make sure you are on number two here, not number one. Number two. Now let's play with the radius. So we're gonna go ahead and try different stuff here as well. Increase the radius. I wanna get tours of this thing. Iteration. Let's see, we bring it to 334. Literally the iteration i want for now. Again with the black and white, we can still adjust the center of the EU and do width and everything. I guess I need to increase the softness under saturation, just like this. And you see once we increase the softness, we have a perfect or almost perfect selection. We got a little bit of the hair, but that's their collateral damages. We can do nothing about it. I'm still adjusting stuff here. Ok. So let's play this thing. Yeah, I think we gotta perfect selection of her scan. Now, let's go back to normal to the color wheel. Let me zoom in. And now I'm just, can I come over here to the gamma, which is the mid tones and bring it toward red or brown. Ok. and never bring It's true green or yellow. Green make people look sick. Yellow, they just don't like it. So I'm giving her brown ten here thing this has enough. You can maybe just increase the temperature a little bit. And the tenth mid tones. So it like I'm cooking a little bit of salt, little bit of pepper. Now, let's toggle on and off to see the difference. You can see the difference here on the Scopes, on the parade, and you can see the difference on the image. And that totally good. Let's go to the Edit tab. Bring the clip ones here again. Toggle on and off. Inspector crops with left so you can see the difference guys, it looks so real because of the softness on the saturation. Ok. And just like dots here we have its 14. Adjusting The Skin Tone Manually Using The Curves Instead of Using The Qualifier: And this video, I want to show you a fast and accurate way to manually adjust the scan individual resolve using the curves instead of the qualifier guy. So as you can see here, we have this footage. So I went ahead and did some basic correction, adjustment the exposure and saturation. Now I'm gonna go ahead and add a new nodes, okay? And on this new node, we will start with the skin tone adjustment manually. The go-to technique, of course, is that you can use the qualifier to qualify the skin and then refine the selection of the qualifier, which began to take a lot of time and then you can work on adjusting this can this method is good, but it takes lot of time, as I said. And sometimes the contrast between this canon, the rest of the video is too aggressive. Okay? So I have a simple way that you can use much easier and the changes or the adjustment that you will add to this can, well be smooth, okay? Will be the opposite of aggressive, which is smooth. And we will do this using the curves. Ok guys. So let me show you how to adjust the skin using the curves. Alright, so in the second note, choose curves. And then right here, I want you to choose you versus Hugh. Why he u versus u? Because we want to adjust the colors. So let me explain those, okay, so you can better understand why I chose to you. So you versus saturation means that we will be adjusted in the saturation of a hue, of a specific color. You versus luminous means we will be adjusted in the luminance of a color. Luminaires versus saturation means will be adjusted enter saturation of the luminous. And now you can understand or guess what saturation V saturation is. And you versus you as a character, select this one. Now what the qualifier? I'm gonna go ahead and select an area of the skin. And I wanted the area to be neither dark and neither tube. Right. Okay. So something in the middle like this, right? You can see now that we have a point here, the center point, this is the view that we just selected. And the two points here are the limiters, okay? These will limits what we do with the U K. The next thing I want you to come over here and choose the vectors cope, OK. And why we choose into Victor scope is now because we want to make sure that the color is now going toward yellow or green. Ok, we want the color to follow this line which has the skin tone line. And if you don't have this right here, you can come over here to the sentence after you choose a vector scope. And you can check, show to zoom, to zoom and check shows can turn indicator. Okay. Then you will have something like this. Every don't have these. You will have something like this. And if you have this, you have something like this. Okay? And the next thing we wanna do is that we want to adjust these new versus you to match this color to this line. Okay, now we don't want to match it exactly to this line. We just want to make sure it is aligned with this line. If you know what I mean. Anyway, I'm going to start by adding a little bit of hue rotates. Okay, you can see now how the colour is move in and maybe adjust the inputs of the hue to the left's, okay? Because I don't want it to be near green or yellow like this. So the worst sense you can have on the scan as green or yellow because it tend to make people look sick. Okay, so we want to avoid doing this. Now one thing I can do to get a clear selection of the scan and understand what I'm doing on a victor scope is that I can come over here to win though, selects a mask. Okay. And then adjusted to an area of this can maybe like the forehead, like this. All right. I'm going to zoom in. And then softness. I will reduce it to one. And we go, this is a good selection. Now if I go back to the curves, I want you to pay attention to this. Look, if I increase the, you rotate too much. Look what happens to the skin. Whereas you can see some magenta right here. And if I decrease it too much, you can see it is getting toward green, okay? And we want to avoid this at all costs. So what I will do as keep it somewhere around six maybe. Like this. Not too aggressively and you can barely see the magenta, alright? Okay. I prefer the color of the skin to be toward radar or magenta rather than toward green or yellow. If you increase it just a little bit more. And we go, once we finished, we can go ahead and remove the window. Ok. Now if I go to workspace viewer mode, full-page viewer. Does this. Open the notes. And you can see the before and after. Okay guys. Now you can see the adjustment. Is there not too aggressive? It's smooth. And we can definitely see some switch from a little bit of green tends to reddish sort of magenta. So this process is creative, which means it's going to be different from a person to another, but the rules are pretty much the same. All right, let's go back to the normal viewer mode. Like here, bringing back the nodes. And now I want to extend those limiters little bits, ok, so I can reach. More areas of the skin just like this. Okay guys. Now we finished with you versus your, you can see this line is almost perfectly aligned with the line of the skin tone. Okay. What's what is recommended in the venture resolve? You don't have to pay attention to these areas. These lights right here, because these are just coming from the highlights. So you don't pay attention to those and from other colors on a video. Okay? And the most important line is this one right here, the most obvious one. Now finally, all we can do is add another node. And this one is going to be for saturation. Okay? So let's go ahead and switch from here versus you to view versus saturation because we want to increase saturation of the hue. And one thing I want to tell you about Hugh and skin, okay? So the darker the skin, the little bits you, you need to add or little bit saturation you need to add. Okay? You'd only need to add small amount of saturation. And the lighter the scan, the more saturation you can add before your image store getting assaulted. Now since she's an African-American woman and she has dark scan, I'm gonna go ahead and add just a little bit of saturation after I selects the scan. Okay, so I'm gonna go ahead and add little bits, something like this. And again amount to the same thing. I will extend the limiters so it can reach more range or tonal range of this. Can I just have to be careful with this? Now let's go out and see the before and after. Before, after the saturation. Okay. So guy, this has my process. When it's come to a just end the tonal range or the skin tone of the subjects. I usually prefer to use this method using the qualifier than or find a selection with the qualifier and then adjust this game. Okay. Because I feel like it tends to create a more aggressive skin look and I like my skin tones to look as natural as possible. Okay, I'd hate to overdo Ids. So using the curves versus, versus saturation is a good way to targets the skin tone of subjects without over Kellen. It's so guys, I'm not saying don't use the qualifiers to qualify this kind. Okay. A lot of pros used a qualifier. I'm saying that the qualifier is quite aggressive and you should be careful with the adjustments you inputs to this scan. Ok? This method is much easier and it gives a more natural results or this can, okay? The best way of course, is to use a combination of the qualifiers and curves. Okay guy, so pretty much done with the course tank for watching and take care.