All language subtitles for Advanced Techniques to Create a Cinematic Look in DaVinci Resolve 17

Yes. Hey,
just on the tin would sell the pipe down

or it's like sell zeroes on the baby
right now.

Right now. Would you sort of shut down?

What's going on, guys, this is crazy.

Welcome back to another

epic video, Advanced techniques
to creating a cinematic look.

Now, when we watch certain shows or movies
and if you wonder, what is that sauce?

What is that thing that makes it

what it is like where every color belongs,
The exposure is just perfect.

The contrast is perfect.

Nothing is blown out,
nothing is oversaturated.

That is what you're going to be
learning here.

You already saw the breakdown from Wreck
seven or nine to the final grade.

This look is substantial

and at the end of this tutorial
you'll know exactly how to do it.

I guarantee that after watching
and absorbing

this information, your grades are going to
just go to the next next level.

That said, it is an advanced material,
which means

you need to have the basics to understand
what's going on over here.

Okay, there's going to be similar effects

that I've used in the past
that I'm going to be using here,

but I'm going to be really diving deep
and showing you what different parameters

do and how to properly use them
so that requires some advanced knowledge.

Now if you want.

To learn more about that
then we recently did a survey.

The majority of you, regardless
of the skill set, are struggling with shot

matching skin tones, balancing
and working with eight bit footage.

So I created a one hour long free
training that covers all of that.

Plus we'll wrap up the training
with an extensive Q&A and you'll also get

a link to download the practice footage,
power grids and some of my personal lot.

So do not wait to check out
the free training link is up top

and in the description below.

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and let's roll the info.

All right, so let's get started.

This one, There is a lot of moving pieces,

so pay attention
and definitely grab a notepad.

Okay.

As always, we're going to start off
with our know tree and.

Do create this look.

Having a proper note tree
structure is a must.

Okay?

If you want to learn more about that,
then I encourage you

to check out the free training
link is down below.

All right, let's get started.

Whoops.

And we're going to have a ten nodes
node tree.

Let's start naming them.

Okay.

So first node is going to be noise
reduction here.

We're going to use inflation

primaries.

We're going to have glow.

We're going to use

light rays

on sharpen or film blur.

This is going to be our film curve

and we are going to

be using Kodak 2383.

Now, the reason why we're going to be
using this is pretty simple.

Okay?

If I take you right here
and you go on shot on Whatcom,

type in Kodak Vision
color 2383, you're going to see some of

your favorite movies
are done with the Kodak 2383 phone print.

Okay.

So we got Joker here, Munich,
The Dark Knight, the Thin Red Line,

The Beautiful Mind, Body of Lies,
Shutter Island,

Thor, Spider-Man,
The Curious Case of Benjamin Button.

The list goes on.

Okay,
so you can check it out for yourself.

But I'm telling you, pretty much think
of any blockbuster epic looking movie.

And it was done Dunkirk.

It was done using the 2383
film print. Okay.

So that's
why we're going to be using that.

I also wanted to use tools
that are available in DaVinci

Resolve so you don't have to go out
and buy something.

So let's start with that.

We're going to drop that color
space transform.

Now, guys,
this is an advanced tutorial for a reason.

Okay?

I'm not going to overcomplicated
just because I'm calling it advanced.

But at the same time,
like I said, I'm assuming that you have

the basic knowledge.

If you don't, once again, I'm

going to say check out the free training
link is down below.

It will explain everything to you,
especially why

I use certain nodes in a specific order.

So all of that information
is in the free training.

Okay, so let's get started.

This stuff is shot on Alexa Mini,
so I'm going to choose Aria.

Alexa, Alexa, lock C Rex seven or nine.

And then here we're going to use neon
film log

Y because
we're going to be using their lots.

And to have a proper conversion,
we have to use neon film log.

If you want to learn more.

Once again,
you have to watch the free training.

And then here I'm going to use a neutral

flavor.

So it's going to be the D 6023, 83
and once I drop it on already,

it looks pretty good.

Let's park it on our hero frame, which
is going to be at 2 seconds right here.

And so far, so good.

I mean, if I turn it on and off,

we're really taking full advantage
of the color contrast.

We got cooler tones
inside, warmer tones outside.

So that's really coming through.

I'm liking what I'm seeing. Okay.

Now what I'm going to do
is I'm going to go in our film curve

and I'm going to start
creating a pretty aggressive curve.

Okay?

So we're going to do something like this.

I'm going to pull this down

like such,

lift it up from here
and then lift it up again

here.

Let's see

that smoothed out a little bit.

One more thing that I want to do,
though, is under 60.

Go ahead and turn on your maximum
output, 200 nits.

And that's going to make sure to even out

like these highlights so they don't
just go super ugly like this.

So if I click get see it cleans it up.

So I like that I'm going to leave that on.

And if I do before and after

with what we did with our custom curve,
like it really did help.

Now we can try to move it around

and be a little aggressive with it because

quite honestly, I do want to pull it out
a little bit more.

I just want to have a bit more pop.

So let me see.

All right.

So this doesn't look bad.

I'm going to leave it right here.

What I want to do in my primaries
is I want to lift up my gamma just a

little bit.

So I'm going to leave it
maybe somewhere around three ish.

And then I want to take my gain
and pull it down.

Not too much, maybe around 90.

And if I do before and after, we're really
getting some information in our low end.

So I don't mind that at all.

I actually like it.

What I'm also going to do

is I'm going to go under my printer lights
and I'm going to do half cyan.

So I'm just going to add
a little bit of mood to my shot.

Okay.

So this is before, which is looking
pretty good and well-balanced, but

with one cyan, it just adds a little bit
more of an X factor to my image.

Okay. So I'm going to leave that there.

Now that I've done this, I'm
going to go back in my contrast

and I want to start massaging my contrast
just a little bit more.

So I'm going to grab it from here.
I'm going to pull this down

to something like that and

I'm going to take this and

maybe park it somewhere around here.

Now, what I want to do at
this point is going in noise reduction

because it's just so much noise right now
that it's looking super nasty.

So let's clean it up.

I'm going to go under my motion.

I'm just going to turn on one frame
and then grab the threshold to 4.8 ish.

We want to do minimum amount of noise
reduction or else it just gets like very

mushy and weird.

Even something like this.

Like right now
we're punched in really close.

But if I pull out and if I do this, it's
already looking very, very clean.

You can even see it before after.

So it's doing a really good job.

And I think that's all I want to do.

And this is where we're at so far.

Okay, I'm going to go under my glow node

type in glow. So let's throw on a glow.

And then what I want to do is
I want to go and select soft light.

I'm going to grab my shine threshold,
pull it back all the way.

And just by doing that, like,
look at how punchy everything got.

Without looking digital,
it still has that film character.

If anything, it's adding more film
character to my entire image.

Just look at the oranges outside

and then the teal coming through
and just everything

is so much more pronounced now
under film Blur.

This is going to be a very hard

to tell on YouTube,
but I'm going to go in here.

Usually we add sharpening here,

but this time we're just going to add 2.5
to blur

and it's in enough to do the trick

and make it look more quote unquote

film like cinematic.

But it's enough where it's
not going to blur your entire image.

Okay? So it's not going to do that.

It's just going to add a little bit
more character.

And guys, ultimately,
that's what cinematic look is all about.

It's adding character, adding atmosphere.

That's what we're trying to do

with all the techniques
that I'm showing you right now.

Okay, So here I'm going to type in

light rays.

Let's drop it on.

So once you drop it
on, it looks super ugly.

This is not how we want it.

So we're
going to go back into our effects.

So the first thing that I want to do
is control the angle of it.

So I'm going to change
the red direction to

add an angle,

and then I like the angle that it's at.

I mean,
we can move it around a little bit,

but I think I don't mind how it's
just kind of pointing at our talent.

Now. What I want to do is
I want to take the length

and I want to start
extending it all the way, okay?

And just look at it.

It makes it so realistic.
And at this point,

I can take the softening
and then start softening it up as well.

And that just tapers it off on the tail

end to just make it feel more realistic.

So if I go through,
you still see the volumetric lighting

that is created with this effect, but

it is just so believable

that I buy it right?

And it just adds so much character
to my scene.

Once again,
we're after character and atmosphere.

Okay, so this did the trick.

We don't have to go overboard with it

because as all of this,
the idea is to create a look.

That is a look, Danny,

that could be applied on the entire scene,
not just on one shot here,

I'm going to use Results 17
that Ford's new feature had an effect.

And when you drop it on,
it just looks garbage and looks so bad.

So don't use it like this.

Let's get in there, get granular
and see what we have to do.

So what I'm going to do
is I'm going to go under my strength

and I'm going to pull it back.

And as
of now, we're not really doing much.

I'm going to take my dilator

strength and I'm going to turn that up

and then I'm going to take the spread
there and

turn that up as well.

And now if I pull back and if I do before

and after again, we're going after that
atmosphere,

that imperfection
that you get through the film negative.

And that's what we're going after.

That's what makes film
so much more cinematic than digital,

because digital is too calculated, it's
too perfect.

Okay?

Where the photochemical process is organic
and it's more cinematic,

okay, Just at least to our eyes.

And I like that.

Again, not overdoing it, just doing enough

where it's tastefully done yet.

Just look at what all these effects
did, okay, and the way we use them.

So if I turn this on and off, just look
at the character that all of this added.

Now, mind you, we're not using any power
windows, we're not using any qualifiers,

we're not even using

it just cell curves

where using are these broad stroke tools

that created something very,
very beautiful.

Okay. And like I said, guys,

even advanced techniques
don't mean rocket science, okay?

It's all about how you wield
the sword is what makes you an expert.

So let me kill everything.

Start from the beginning.

I went with the Kodak 2383

because that's
where the experience comes in.

I wanted to create a film look,
and that's the first step in doing that.

If done right, then I took my custom curve

and further enhance that film curve.

Then we went in our primaries
and just lifted the bottom up

a little bit, added a little bit of cyan
to give it more of a cinematic look.

And then I dropped in Glow

and just look at how 3D,
how it just made everything pop.

I added

light rays to give our light some volume.

We added film Blur and it's very subtle.

Probably you can't tell on YouTube,
but I promise you

I'm looking at a 4K image
and it really goes a long way.

We added noise reduction
and if you look it in this area

even like this,
you can tell the difference.

Okay, so after before all gunky
after all cleaned up

and then we added hair lation,
which just helped us with that

ambiance, with that
like atmosphere that we're after.

And let's
check out the final look in full screen.

Hey, just on the tomb itself.

Pipe down

or slice out seals.

On the video and do a strike.

Now we just sort of shot them.

So now you can pretty much tell that
there is a method to that madness, right?

Like you can't just like draw
all different nodes in

whichever order and cross your fingers
and hope for the best.

That's not how color
grading works. It's not rocket science.

But at the same time,
there is a certain structure.

If you want to learn more about that,
I highly, highly encourage you to

be checking out.

The free training link is going to be up
top and in the description below.

Just make sure to head the thumbs up.

Subscribe to the channel
for more awesomeness and remember,

work hard, get obsessed, get possessed.

I will see you guys in the next video.