All language subtitles for Color Grading Crash Course for Beginners in 2020 - DaVinci Resolve 16 Tutorial

What's going on?

Everybody, this is crazy.

Welcome to the mother of all tutorials.

The ultimate crash course
for individual resolve colors.

I'm going to take you
some not knowing anything

about resolve all the way
to grading your first professional gig.

And for those out there
who want to become a colorist

and want to take their game
to the next next level.

Make sure to check the link
in the description below.

And with that said,
make sure they had the thumbs up.

Subscribe to my channel for
more awesomeness and let's roll the intro.

All right, Let's just jump right

into the training overview, what I'm going
to be covering in this webinar.

And let's go.

So I'm going to show you
how to create a database

as if it's your first time
opening resolve.

How do you set everything up right?

So we're going to create a database.
I'm going to show you project settings.

I'm going to breezed through it.

I'm only going to show you what
you need to know and then everything else.

We're not even going to worry about it.

We're going to get into I'm going
to show you the hottest way to conform

your footage, conforming basically means
prepping your footage for color.

So if you're coming from media composer,

if you're coming from Premiere Pro
or Final ten, what is the best way,

the most precise way to get your footage
in resolve and out of resolve?

And then we're going to talk about color
page overview.

I'm just going to show you
a couple of quick things

so you can navigate your way around
in the color page as the color is.

It's very important.

And then I'm going to show you
how to read Scopes.

This is your best friend.

If you are starting out, you're probably

not are not working with the 30,000
5000, $10,000 monitor.

So for that, you really have to rely
on scopes to help you out that extra mile.

And then we're going to go into color.
Correction, that's exciting.

I'm also going to show you

color
grading in this tutorial that I created

and you guys are going
to freaking love it.

And then everybody's freakin favorite.

Anything and everything is apparently
about skin tones

like everyone talks about it.

That was the highest
voted question in here.

So I'm going to be showing you

how to pull the best skin tones
at how to go about it

and then I'm going to show you
when you're delivering for for the web,

if it's YouTube or Vimeo,
how to get the best

image quality without any artifacts
or anything like that.

So that's what we're covering.

Let's just jump right into it.

I have resolve already open.

I hope everybody is joined in
and let's just jump right in.

Okay.

So the first thing, when you open resolve,
you're going to see this local database

and it's going to be
just like untitled project.

You don't want to do that.
You don't want a local database.

Local database, meaning that it's on
your Mac OS or on your PC.

C drive.

You don't want to leave things there
because what happens

is that if your system crashes,
you lost everything.

So you want to put that on your scratch,
drive, scratch, drive.

Most of you
already know what a scratch drive is.

So basically what we're going to do is we're going to hit new database right here.

One more thing really quick.

This little guy is your best friend, okay?

Because when you open up resolve,
it might look like that.

So you could be like, Hey,
how did you get there? This little guy?

All this means
that there is a menu hidden.

So when you click on it, pop that open.

This is where all my databases are

and I'm going to go ahead
and I'm going to click on new database.

Once I click on that, I get two options.

I'm, by default, is selected to connect.

I don't want to connect. I want to create.
So I'm going to click on Create.

I'm going to call it something like

resolve 16 underscore DB database.

Okay.
Or you can give it your hard drive name.

So it could be Studio
ten. That's where it's going.

Database DB And then

once that happens, I can click on location
and then where do I want to save it?

I want to save it on Studio ten,
and then I want to create a folder

and I'm going to call
that folder are DaVinci

Resolve Live training.

DB Okay, And then I'm going to hit Enter
and I'm going to say open.

Once we do that,
all you got to do is create

and you're going to see the Studio
ten is selected.

Anything that's selected in result
is going to be highlighted in Orange.

You can turn that off.

That's our project.
Let's just jump right into it.

So what I'm going to do is double click
or inside result.

This is what you're going to see first,

or you might see a different window,

but this is what you're going
to be created with.

Let's just jump
right into our project settings.

And that's that little cog wheel
right here at the bottom, right

click on it, pop it open, and let's just

run through these really,
really freaking fast.

So the first thing that you want to do or

you're going to
see is going to be master settings.

You want to leave your timeline format
in ten, and that is the source right here.

Okay?

Even if you're working with eight K
footage, let's just say red, helium

or something like that,
You do not want to change this to a K.

That's the biggest rookie mistake.
It's going to choke your system.

Doesn't matter.

You could be using iMac
or the new Mac pros that are coming out

is going to choke your freaking system.

Do you want to leave that in 1080p

Because ultimately,
what's the final output

if you're working on commercials,
things like that?

In US, the output is almost

always going to be 1080p So far
we're not moving to 4K any time soon.

So when that happens,

that means you want to leave that in 1080p
because that's the final output, Okay?

And that's going to make everything
so freaking smooth that you can be using

a 2016 laptop and everything can work
perfectly fine video monitoring.

I can leave it as is or I can set it to

20 396.

So basically
mimic whatever you have in the timeline.

Rest looks good. Let's just go down.

You don't need to change any of that

because once we created a database,
it set everything up automatically for us.

Then we're going to go under image
scaling.

One thing that you just need to look at
an image scaling is input scaling.

So let's see if you are using red
and you have this set to center crop.

You don't want to do that.

Central crop means that then it's
going to punch in its image

and then all you're going to see is like
that cropped image for your 80 timeline.

So you just want to make sure that you
set it to scale entire image to fit.

That means it's DOWNSAMPLING

eight K footage into 1080
and it's going to look so juicy, so good.

So you want to do that Color management,
leave it as is.

Do not mess with that.

If you're working on commercials,
if you're working on videos for web

product videos, things like that,
this is the setting.

Okay, it's set to def by default,
set rec seven or nine, Gamma 2.4.

That's exactly what you need on a mac.

Leave it as is.

Don't worry about any of these. Come down.

This is where the freaking magic happens.
Okay.

Broadcast safe if this is not checked,
you're not a color.

If this is checked.

Boom. Congratulations.

You're a colorist.
You don't need to watch this anymore.

You're done.

I'm kidding.

But honestly, you need to turn this on.

This means that resolve got your back.

If you slip up somewhere, it's
going to help you out.

And it's going to make sure
that when you turn that thing into

broadcast television, whatever
phone network,

it's going to take you that extra mile
and help

you out and get you clear

everywhere
and you're not going to feel anything.

So now let's go to general options.

Everything is looking great.
We don't need to worry about anything.

Camera is not applicable
because we're not working with raw footage

for this section.

Capture and playback is already set up.

Subtitles are set up for light is set up
and boom, we're just breezing through it.

And guys, this is what I'm talking about.

Resolve is not a freaking rocket science.

Yes, it goes really deep,

but they are so good
with how they have everything set up.

There's a lot of hand-holding happens here
and that's great

because it just gets you started.

Okay?

It's not as intimidating
as you might thought.

The footage that I'm going to be working
with is this guy right here.

It's a commercial
that I did for P&G a couple of years

back, Olympics commercial.

So I'm going to pick this guy.

And now we're getting into our next
section, which is going to be conform.

So I'm going to show you what's the
hardest way in the commercial business.

A lot of the creative
agencies are using this method

and it's getting popular by the second.

So if you're working,
if your editor's worked in media

composer funnel content or Premiere Pro,

the traditional way
was to bring in your footage, do the raw

round trip, which is basically bringing
in your footage with X Smells or ADLs.

And then once it comes in here,
you have a conformance or on an online

editor that goes in, spends a day,

syncs everything up, makes sure that
there is no slippage in your time code,

make sure that you know the speed
ramps are translated correctly.

Make sure that reports
are coming in accurate.

But that is so much work.

And nowadays everything is just turn and
burn and we just have a quick turnaround.

So you don't want to waste your time
doing all of that.

But at the same time,
you don't want to sacrifice for the image.

So what you want to ask for
is a clean out.

If you're going to ask your editor that,
hey, send me a clean out.

And what that means is that

they are going to take off any effects
they had like, say,

show light or something applied

while they were editing
so they can see what they're editing.

So it doesn't look this flat.

They're going to take that off.

They're going to take their transcode
it footage

and connect it back to camera originals
that goes back to Alexa.

You know, many whatever,
like already raw files.

And then once it's connected,
they're going to kick out the highest,

you know, codec possible, which in
this case was progress four, four, four

because we're working with Resolve,
we're working with Alexa mini footage.

So that needed to be in four, four, four.

But let's just say that

if you're working with Sony A7 three,
then you're only shooting an eight bit.

You can really export pro as
regular processors and that's really fine.

Let's just say you're working
with Panasonic

with a camera that shoots ten bit,

then you can really export and Press HQ,
you don't need to go further than that.

But because this is Alexa
or if it was red,

then I would ask
for progress four for four.

So that's what we got.

Now let's get into the conforming section.

So what you need to do is
if I were to just grab this

and bring it down,
look what happens. Okay?

So now I got this one long
clip clumped together.

So it's one baked file clumped together.

So if I were to create it,
I can create this shot

and it will apply the grid
to the whole thing. That's no good.

That's not what we want to do.
So let's just remove that.

And what instead, what we want to do
is right click right here and say scene

detection and not like you can see,
like now everything is good to go.

So what you want to do is this guy right
here, your best friend, hit

auto scene, detect and basically resolve
does a wonderful job.

It goes ahead
and it adds cuts to any time.

It assumes that there is a shot change.

It's not going to do a perfect job
every time.

So that's why when you ask for a clean
cut from your offline editor,

you just want to make sure
that they take out all the transitions,

all the graphics, all the looks,
and they give you the cleanest image

that you can grade and send back,

and then they can just drop
all those things on there.

But since we had some fade
in and fade out, it's not the worst thing.

Like, I'm going to show you a workaround
that do fix it in here.

So let's just go to our first shot.

One thing that you need to remember
is four keys.

Write them down.

You're going to be using them a lot and P
plus minus.

And it's for next.

Let's go right here and is for next.

P is for previous.

So if it works stage.

Okay.

Yeah. And as for next PS for previous.

So like now you can see that
it's moving right here.

I'm hitting end and I'm hitting peak.

So what we need to do is two of the same
here and different shot here is perfect.

Three of the same, no good, two of these
the same on the left side, No good.

So two on the right side,
the same different shot on the left.

That's what you are looking for.

Okay, So the first one looks great
because two of the same and then different

go to next.

Now I'm going to hit minus.
I don't need this. I don't need this.

I don't need this to keep hitting minus
until we move on to the next shot.

That's the next shot.

So two of the same.
And then this is different.

Now I'm going to hit next the same.

So I'm going to hit minus next shot.

Now I'm going to hit next, next, next.

Good.

Now I'm going to hit three of the same.

No good. Minus, minus, minus.

Next. Good, good.

Next.

Same minus, minus, minus.

Keep hitting minus until

we're on to the next shot.

And that's okay. So you can
you basically got the idea.

That's what you're going to be doing.

We're going to be working on this shot
Shots.

I'm just going to leave it right here.

And then another important step
is to hit add cuts to media pool.

Once you do that.

Now, the results with the project went
from where the file went

from our finder level into our project,
and we have it right here.

So this is there you go.

This is the clip that we're working on.

So what we need to do
is right click here and say

create new timeline.

And I'm just going to call it Simian

Hero from Resolve
and I'm calling it from resolve.

So when we exported,

it's going to take the timeline name
and it's going to be sent to from resolve.

So people will know on the other end that
it's coming from resolve this created.

Now let's go over to our color page.

And what I want to do here
really quick is just give you

an overview of everything
that we're going to be using today.

I can go over everything.

I can spend a lot of time
going through this page.

So the first thing we want to do
is any time you start your grade,

first thing you want to do
is just pick your hero frame.

So in a scene you want to pick a hero

shot,
Let's just say this is the hero shot. Now.

Want to pick a hero frame?
Your frame is basically

like where everything is visible,
everything is perfect.

And that's where I want to start
building my great off.

So I'm going to park it right here.

This is pretty, pretty hero.

And that's my shot.
So I'm going to park it right here.

Let's go through some of these options.

Gallery
When you click this, open this tab open.

This is for your gallery still.

So once I create a look,
I can save it here.

Then go on and create different looks
and then I can reference

those all looks from here to see which one
I like more.

So you're going to be using that
in your gallery stones right here.

Let's.

This is a newly
added feature in Results 16.

What this means is

if you're coming from a final ten world,
then you know what that is.

I can just hover over and see what my
looks are going to do once I apply them.

And there is no surprise there.

This is such a welcome addition.

We didn't have that before.

Moving on to the right side flips.

If you have tons of clips here,

you got to click this guy to open it up
and select which clip you're working on.

I usually leave it off,
so then we have more real estate

and you guys can see
what is going on on the screen.

This is a node panel or a Node
three panel.

So that's where all your nodes
are going to be stored.

And this is your open effects.

And open effects is where all your effects
third party plug ins, result

plug ins are saved.

And if you want to use them,
you can use them right here.

And then once you select them,
it goes into settings

and you can change the parameters.

Now resolve works on a no tree structure,

so that is different than layer based
if you're used to it.

And when I create my note restructure

here, I'm going to explain to you
what's happening and how to set it up.

Bottom left.

Our first panel
here in this section is camera.

So if this footage was shot in

raw than these would have not wouldn't
have been grayed out.

And we were able to change anything
that we want here.

If it is shot in raw, this is for
if you were using a color checker card,

then you can pick your colored checker
card head match,

and that's going to do your balance
and exposure for you.

And it works really, really well.

This is going to be the most used panel
in this section right here.

So these are your primaries wheels.

And if you guys follow me on Instagram,
YouTube and all that, you know, I'm

all about primaries.

Most of my heavy
lifting is done right here.

So that is available right here.

And then I'm not going to worry about that
because we're not going to be using it.

And then our last panel right here in
the tab is log.

So these are log wheels.
These are primaries.

Wheels. They might look the same,
but they're very different.

And I'm going to show you in a second

what I mean
once I go through all of these curves.

So a lot of people use curves
for their primary correction

instead of primaries wheels.

I prefer primaries wheels.
But if you use curves totally fine,

you can make your micro adjustments
right here.

And then all these tabs
you can just go through and select

whatever you want,
like hue versus hue, hue versus set.

And anytime you see these tabs, you're
also going to see this little twirl down.

And you can do the same thing here.

Same rule applies right here, twirl down.

You can just select like this
or you can just go to the tabs.

Eventually you'll know which one is which
and you can just like

click on these tabs without

thinking about anything.

The second icon right here is qualifiers.

So if you're coming from Premiere Pro,

if you're coming from Photoshop,
this is your Excel, okay?

This is where you pull keys.

This is where I can isolate,
you know, a certain color value

and then keep that intact
and change everything around it

or just affect
that specific part of the frame.

So that all happens right
here. We're going to be doing that.

And then windows are your windows.

If you want a garbage mad something out,
or if you just want to apply something

to a specific part of the frame
or if you want to create vignette, things

like that,
you have a bunch of different shapes

and you can use them here.

And then a perfect progression from

that is that once
you're going to create a window,

you would want to track it
and you don't want to do manual framing,

you want the computer to track it for you.

And Resolves Tracker is one of the best
in the business.

It's so frickin good. You don't know.

You don't need to know
anything about tracking.

It just takes care of it.
And I'm going to show you how to do that.

And then this is for blur and sharpening.

So if you think about like beauty spots,
things like that, they're using a lot

of like mist effects to like,
make the girls look like goddesses.

And that's happening right here
using the mist

or we can use I'm going to be showing you
how to properly use sharpening here

and how good it is, how intelligent it is.

And then right here where it says

key, this is basically your opacity.

If you're working with a layer
based system

like After Effects or something
like that's a key output here.

I can control the strength.

So let's just see on this note,
if I drop in a lot

and it's just too strong, I can control
the intensity of that right here.

This is for your positioning.

If you want to do any repose or anything

like that,
that's going to be happening right here.

Let's look at this section
on the right hand side.

This is for your keyframes.

If you want to do static keyframes,
dynamic keyframes, that all happens

right here.

If you click on this little guy,
this is going to be your scopes,

but it's only going to give you
is limited to just one scope at a time.

And then I can click
right right here for info metadata.

And that's going to tell me everything
about the clip that I'm working on.

So I'm just going to leave it on Keyframe
for right now and we are moving along.

Everything is looking good, just right
click and I'm going to pop up my scopes.

Now that I have my scopes
up, let's just study them

and let me show you a few things about it.

So if you're coming from a photography

background,
you understand what a histogram is.

If you're coming from a cinematography
background, videography background,

you know what a waveform is.

Now, if you have done
some sort of color correction,

then you understand
parade and vector scopes.

Okay,
so parade is great for white balancing

and just making

sure that everything is looking good
because we can just look at it right here

and tell a lot of the story
what's happening.

Like reds are little lifted, greens are
right here and blues are kind of down.

And eventually it's going to be more clear
once we we start adding contrast,

do proper exposure and saturation
on the right side.

Waveform is perfect for just making
sure nothing is clipping.

Everything is in control.

So that's for that
vector scope is for saturation mostly.

It can also be used for balance
and then it's perfect for skin tones.

But for that you've got to go

in this little guy flick on that
and then turn on your skin tone indicator.

That's very important.
I'm going to show you why.

Just go ahead and turn that on all this.
Leave that on.

If you're working with people,

histogram is also going to do
a little bit of these two things.

So it's going to tell you if anything is
clipping on the bottom or the top.

It's also going to tell you
the white balance.

If everything is in the middle, you know,
it's properly balanced if it's off.

And sometimes you're going to do it
intentionally to have it off.

So that's really fine.

Now that we have that under control, I'm
going to go in here back into my edit page

and I'm going to do something
really quick.

Now don't freak out on me.

You know, I'm
not the kind of guy that's going to go in

and pull up a grayscale
image and spend 17 hours on it.

But I am the kind of guy

who's going to spend 5 minutes on it
because this is essential.

You need to understand
what's happening on the back end.

For some of these tools
you're going to be using.

Nothing is going to help you more
than doing it on a grayscale image.

So what I want to show

you is the difference between primaries
wheels and log wheels,

because just so many friends and people

that I know that just like you know,
pick and choose, like close their eyes

and they pick one to use
and they're not the same. Okay.

So let me just.

Before you start on this,
move your screen.

You're blocking like the wheels.

What screen?

Oh, can I make the picture?

You can print it off or you can move it.

I don't know.

I mean, I'm right here.

I don't. Know.
I've got my little sprocket.

That's to make it fullscreen.

Then that's to

the maybe.

Can you move them up?

Oh, is it better? Yeah.

Okay, guys,

sorry for the little interruption,
but that's very important because I'm

showing you all this right now.

So let's pull up our scopes.

So we're back in resolve.

And now let's just say I'm working on
an image, and I'm saying that, hey, it's.

I want to bring my
I want to crush my shadows a little bit.

It's too bright.

So if I grab my left and I bring it down,
just look at what's happening, okay?

How everything is moving in unity,
like in unison,

like how everything is just working
so smoothly, how it's moving.

Just focus right here while I use these.

And now I'm going to go into my gamma

and I'm going to do the same thing
up and down.

Just look the ease in and ease out on
the knee and in the shoulder

in our curve,

like how smooth it is,
and then gain is going to do the same.

That lifted on the bottom.

And so that gives you an idea of
this is why I tell you

this is the best non
destructive way to work on your footage.

Primaries wheels is where it's at.

The difference between you and just a Joe
Schmo

colorist is going to be
that you keep your image intact

and the integrity of your image
like it stays pristine

and primaries are going to help you
accomplish that.

Now, let's go over to the log wheels
and let me show you the difference.

So they might look the same
or very similar,

but they are so freakin different.
Just watch this.

If I go into my shadow
and do the same exact thing,

just look at what the hell is happening.

Just look at the scopes.

And not only that, just look at the abrupt
line that's being created.

That's basically giving away your magic.

And if you're a magician,
that's a terrible thing to do. Okay?

And that's what's happening here.

Now, I'm not saying don't ever use it.

I'm saying this is a specialty tool.

This is not how you build your grade.

You use that to aid your grade
and they clean it.

In some ways, if you're creating a teal
and orange look or something like that,

this is going to be a perfect tool
to balance out your black points

and white points.

So that's what you're going
to use this for and we're going to use it.

So I'm going to show you
how to properly do it.

Let's just say
if you're working with Sony footage

and there's a lot of gunk in your skin
and it's sitting in like the green

like Hulk area, which it usually does,
and you want to take that out,

that's where this is going to be amazing
because it helps you do micro adjustment.

So you can just go in
and go opposite of that green tint

that you're getting and boom, it's
going to pull that from the skin tone.

So that's very important. Okay, guys,

this is

it for the slopes and the grayscale image.

Let's just go into the real thing.

That's our hero shot.

So I'm going to park it right here
and let's start cooking.

But before I do that,
I want to show you one more quick thing.

So I'm going to click right here
and I'm going to import

images from one of my favorite movies,
Sicario,

Roger Deakins is the freakin man,
and I'm going to show you

pull up these images and study the scopes

for one second, and that's going
to change everything for you.

Okay?

You need to understand
how it's being done in Hollywood,

because that's
the proof is in the pudding.

This is going to tell you everything.

Okay. So let's bring in these images

and I want to show you

something
that's going to freakin blow your mind.

I'm going to go up here.

Let's pull up this image.

So I'm going to hit
this guy to pop that image in,

and then let's just move it over
so we can see the entire image.

That's perfect.

Just look at what's happening here.

Look at where the highlights are.

So one of the biggest amateur mistake
is that

you're going to bring in your image
and you're just going to jack it

to the bottom and jack it to the top,
and you're going to be like, I'm a color.

It's like I just maxed out. Like, you
know, my image was sitting in the middle.

I took it to the top,
took it to the bottom.

You know, I'm maxing out
on my vector scope, but I'm a colorist.

Look at what's happening here, guys.

Come on, read this
and how perfect this is.

Let me just blow this up. Make it bigger
so you guys can see.

Look at the highlights in the clouds.

Look at the highlights in her face.

Look at the shirt.

It was a white shirt on this dude
in the back and how everything is freakin

protected and just looks so juicy yet
there's so much contrast.

This is the freaking sauce, guys.

I studied this stuff
when you were working on your grades.

I'm going to show you other grades.

Okay, so this is supposed to be around
noon, so this is like high noon.

Just look at the curves
where they're like,

Look at just your scopes
where they're sitting.

Now let's go to another shot.

Look at where everything is sitting.

Do you understand what I'm saying?

This is really freaking under,
like, important to understand.

So now that we have that out of the way,
let's start building our grade.

Let's jump right into it.

This is how I always do it.

My structure stays the same,
and then it's really easy.

If I'm working on something,
I know exactly where to troubleshoot

If I'm asked to do a certain thing
and this is what I do, first

node is always going to be reserved
for noise reduction.

It's going to make sense in 3 minutes.

Second
note is going to be for my primaries.

And in this case, let's just jump
right into it.

So the first of all,
you need to understand,

when you're doing
a primary correction is push and pull.

Okay.

With that, what that means
is that I'm going to go in my left,

I'm going to pull this guy down.

So it's around somewhere around here.

So already it's looking pretty good.

Like, I mean, my blacks are starting
to look pretty good.

It doesn't look flat anymore.

I'm going to take my gain.

I'm going to bring it up
and I'm going to bring it in.

I'm going to keep it
somewhere around here.

Like let's just stick with Roger
Deakins, School of thought.

Okay? So like,
let's just stick somewhere around here.

This is looking fine.

We still have a lot of work to do,
but it's a good start.

If I go before and after is pretty good.

Now I want you to take your saturation,
crank it all the way.

100%. Don't freak out.

Everything is going to look great
at the end.

Just crank it out so you can start seeing
what is really happening here.

So what's happening here is that

my reds are lifted like a mother
and I can see it on my screen.

But let's just say
your screen is not calibrated.

You can just look at your scopes
and your scopes can tell you the story.

Look at how lifted the Reds are
and look at how lifted the reds are here.

Green is here, blue is here.

And that is the theme throughout.

Okay.

In all your score,
that's what they're telling you now.

Where are the lifted the most?

The bottom is touching the bottom
like all of it.

So that means the bottom is looking fine.

I can if I look at the black point
like it's looking fine,

it's the mid tone, the lower mids
where the problem is like this.

Look how lifted they are right here.

And then even the top
is somewhat balanced.

Not all the way, but somewhat.

But the real problem is happening
right here in the lower middle.

So what am I going to do?

I'm going to go to my midtown,
which is my gamma right here.

So if we have a lot of red,
which lives right here, let's pull that.

Let's go, let's subtract that red.

So I'm going to go
right here, subtract that red

somewhere around here.

And now, if I'm looking at my image,
just look at that.

How even this looks right here.

Look at how even this looks right here.

If I do before,
look at how everything is like

the reds are so lifted and if I undo
and look at where my reds are,

everything is just like one
big white line right here.

And that means your balance is looking
pretty proper now that this is looking

good, even right
here, we're looking really good.

Next thing that you need to do
is add more contrast,

because right now that's what's lacking.

It doesn't have the punch that we want.
So that's going to happen right here.

I'm going to grab this
and I'm going to crank it.

Don't be shy.

Just go around somewhere around here.

That's totally fine. It's not bad at all.

I mean, another thing that I can do
is I can just lift

my bottom a little bit
and then I can take my gain

and bring it down just to touch.

And now, if you look at it before
and after, it's looking pretty good.

But look at all this gunk.

You see all this noise,
We're going to take care of it.

I'm going to show you a technique that's
going to blow your mind in a second. Okay.

So now
the next thing that we have to do is

you want to create
as much separation as possible

when you're working with people.

So when you pull keys,
they're the cleanest keys.

And I'm going to show you right now
what I'm talking about.

So one more thing that I want to do
before I go into the next note is

let's try to dial in Delinda.

Look a little bit in here,
just a tiny bit.

Okay?

We're going to be very conservative,
so I'm going to take one left

and I'm going to pull
it down just a little bit.

Now, I just
want to mention, I never work with Mouse.

I'm always working on my panels.

So everything that you're seeing

is like 100% slower than how it would be
if I was just using the panel.

I would be like freaking breezing
through this right now.

But this is just so you guys can follow
along and see what is really happening.

So let's just say I'm happy with this.

This is a little bit of a look
and this is good.

This is where I want to start with.

I'm just focusing on her skin right now.

And then let's go right in here.

Just let's just make sure
that the skin indicator is on

and the skin is sitting right here.

This is sitting in a really good spot.

Now, what I'm going to do
is go ahead and right

click on this note and say layer.

So when you click on layer,
this is what's happening.

Okay?

Anything that's at the bottom,
imagine that that's on top.

The bottom layer takes precedence
on the top layer.

So bottom is top, top is bottom.
That's how you want to think about it.

And if this is our top,
what do we want to do?

I'm going to go into my qualifier
and I'm going to select my qualifier

right here, and I'm going to just do
a nice swipe right here over her forehead.

When you're pulling keys, the best place
to pull keys from is the forehead.

Just remember, this is pretty good, okay?

It's doing a pretty good job.

But you see all these little dots
and like this gunk,

That's because we have so much noise
in our image.

And once we clean
that up, you're going to see

and this is what's going to explain to you
why it's important

to put your noise reduction
as your first notes.

Now, let me go in here and this might be
exclusive to Resolve Studio.

I don't know, but let's just go in here
and let me show you my secret

sauce and guys, this is it.

This is everything.
That's what you need to do.

Go under special threshold, break
the chain.

Just take Chroma,
crank it up around 6.8 ish.

Now, let me make this bigger.

Where did the noise go? You see this?

The freaking image is kept pristine.

Noise is freakin gone. Now, if I go into

my key, look how much cleaner the key is.

Now you understand what I'm saying?
How was before?

Now how it is.

And what I need to do is one thing
that I need to do is I'm seeing right here

that I want to grab more of her cheek
and I can see that it's not selecting it

because the luminance is pretty high.

So I'm going to grab my luminance,
I'm going to move it back

somewhere around here.

And let's just try to pull the key

one more time
and see if we can get a cleaner key.

And actually, you know what?

I'm just going to go back.

And then what we want to do is
just go into our blur and just crank it.

Don't be shy, crank that blur.

And the next thing that we want to do
is go into our window

and we just want to go in right here

to our

polygon
window and create a window around it.

So basically I want a garbage
matte anything that's around her.

I don't want to select that at all.

I just want to select her,

nothing around her.

So once I do that,
this is exactly what happens.

And if I turn it on and off,
you're seeing what happens.

And then we're going to go to
the next window and we want to track that.

So I'm just going to head track back.

Boom, It just does it for you.

Everything is freakin trap.

So now that everything is tracked,
I can go in here, make this bigger,

and what I want to do is
I want to go in here to my curves

and I want to grab it from here somewhere
and just pull it up a little bit.

I just want to give her
a little bit of juice.

Just pull her out of the background
a little bit.

Okay? Now I'm only affecting my skin,
nothing else.

That's what's happening.

And now what I want to do is show you
one more trick and that's going to

change your life.

Go in here and click the second tab
right here and under midterm detail.

A lot of people use it for detail.

We're going to use it
for the opposite effect.

So just focus on the face
and let me just crank that up

and show you a lot of detail
and now take it back.

And that's where the magic happens.

Just look at how
it's evening out her face.

And then if I pull it back,
you can see it even clearly.

If I go up,
you see the bags under her eyes.

If I go back like it's smoothing, smooths
everything out.

And for females, I've noticed that
somewhere around 28 to 33 is the source.

That's the good spot.

So now we're going to park it right there.

It's looking great.

I'm going to go to my top layer
and let me show you this technique.

You guys are going to frickin love it.

So let's uncheck this, okay?

I'm going to go into my red

and I just want to add teal,
which means I'm going to subtract red.

I'm going to go to the top
and look at what I'm going to do.

So now you might

go, Dude,
what the hell is going on to her face?

Don't worry about it.

How much do you do?

We want let's just say we want this deal
to be somewhere around here.

That's the look that we want.

All you have to do is go into your window,

create a little window around her face,

tilt it a little bit, smooth it out,

invert it. Boom.

The face is protected,

and everything around her
is freaking perfect.

That's exactly what we wanted.

We're going to do the same thing.
We're going to go in here.

We're going to track it because we don't
want to do the manual labor.

We want resolved to do most of the heavy
lifting.

It's done, it's tracked.

Now you might go,
What about the freakin US Red?

We want that red back.

Because after creating the look like,
look how much red we lost.

No problem. Right click

create another layer node

and I'm going to go back in here,
I'm going to punch in.

I'm just going to swipe over my red
and I'm going to

go back
and I'm going to open it up a little bit.

So with I'm
just going to open it up a little bit.

So select everything and then all this,
all of this, all of this, blow it out,

keep it clean.

And now if I pull out of here
and I click on it, I brought my red back.

Okay,
So this is where the look was created.

If I turn this on and off, like,
look, what's happening.

We did all of that
and it frickin holes in nothing.

There's no artifacts. There's nothing.
Okay, This is holding in.

And the one thing that I'm noticing
right now is, like this thing right here.

And that's
because when I created a window,

I did not blurred out.

And also I could have done a better job.

So first of all, we got to smooth it out.

So once I smooth it out, it's
not going to do what it was doing there.

And then the second thing that I want to
show you is like, let's go back in here.

What you need to do is turn it into frame
and then let's go back.

This is looking good.

This is where it's
kind of coming over her hand.

So first thing we click right here
and that adds a little red dot.

That means that it's recording.

It's in the live recording mode.

Now I can come in here and say,
Hey, grab this guy, go over.

And now look,
this is dynamic and key framing.

It's going to move.

So now I can come in here and
say, Hey, open this up again,

open this up again.

And that's going to close down here
and boom.

So now we fix that problem.

And if I show you what was happening
before, is not going to be happening now.

So let's watch it again.

Looks pristine, looks great.

Moving on this, what I usually use it for
is my look adjustment node.

So basically a look adjustment.

Notice that if I'm in my offset right here
and I grab this guy, I usually just like

rotate, circle it around a little bit
and see what I like.

So in this case,

I like it a little bit around here

because we just create more color
separation, as you can see.

And like, look,
we're just adding like the Joker green

tint to the shadows in the lower mids
and I think it looks kind of cool

and just adds
more separation from the skin.

So let's just say
I want to leave it there, right?

What I want
to do is I'm going to create another node,

this one, I'm going to pull it down

so any finishing touches are going to live
at the bottom layer.

And this is where
I'm going to create my vignettes.

So what I'm going to do is create a circle
and be generous with the size.

So I'm going to go like this.

I'm going to turn it a little bit and
you can make it bigger a little bit more.

So this is looking good.

Let's just do this
and then let me show you

where your softness needs
to be somewhere around 21 to 25.

So I'm going to keep it around 22 ish.

That's great.

Now what I want to do is right click on it
and say, Add node outside node.

So we want to affect only the outside.

Yet now I'm going to go in here, I'm

going to say, Hey,
chain that up, linked that everything up

and now I'm going to go right here
and I'm going to pull it down.

I'm looking for drama, okay?

This is drama.

Like the focus is
where the focus should be on our hero

and not on anything else.

Now, we know for a fact that she stays

in the center of the frame,
so we don't need to track this one.

Don't overdo anything.

Just do what you need to do.

So now this looks freakin classy as hell.

Looks perfect.

A couple of last touches
to, like, really bring it home.

And it's going to happen right here.

Like our blurry and sharpening.

I want you to go right here, go to Radius,
pull it down to 47.

That's the source.

If I make this full screen and if I show
you what's happening, turn on and off.

Just look in her eyes.

It's not adding
unnecessary self sharpening everywhere.

It's just putting it We're supposed to.

I'm going to go under green.

I'm all things green. I love green.

Nothing gives you the feeling of film
and then adding some green.

I'm going to go to 35 400
and I'm going to add some strength.

Now, this is shot on Alexa,
so it already has some green,

but this is just going to accentuate it
a little bit more.

And guys, let's do this.

Let me just go into versions
and let me show you before and after.

Let's turn that off and let's just enjoy
this look that we eat, this concoction

that we just cooked up so fast
and just look at the two,

okay?

So we pulled out a key.

We did our primary correction.

One thing that I'm noticing right
now, though, it can use a little bit

more softening on the node
that we had on her

face.

So super easy.
We're going to go back in here.

We're going to go into right here
and we're just going to soften it

out a little bit and then we can also
make it a little bit smaller.

So just hugs her a little bit more.

And now if we play it back, that's frickin
perfect.

Okay, so simple. Look,

really effective.

And once you have your concepts down,

you can attack these and get crazy results
very easily.

Let me just turn off
the look that we created.

And if we wouldn't have gone for the look
and they wanted like natural poppy thing

and we could have just done that
and that would have been the end of it.

But we wanted to take it a step further
and just like really,

really freakin create a mood, you know?

And that's what that is.

So that is it for the tutorial section.

I hope you guys loved it.

Let me show you one last thing.

Let's move on to the delivery page
and let's look at this.

So let's just say
you were exporting this for web.

You want the highest quality.

Go click on page two six for Master.

This is how you're going to start it
off. Are going to click right here.

This is your best friend.

Click on this guy

that's going to open up that window
so you can see everything here.

And now that I'm here, I just need
to worry about couple of things,

but I need to do is 1080 BE
It sounds good.

24 frames, sounds good. Automatic.
That's ugly.

I want to restrict it
and I want to be restricted to 40,000.

If you are doing 1080p 40,000.

If you're doing 4K, you HD 80,000.

Okay, I'm going to go into advanced
settings.

I'm going to pull this down.

I'm going to turn on for sizing to highest
quality force DBA to highest quality.

It's applicable
when you're working with raw footage,

but just get in the habit of using that.
It doesn't hurt.

And now what I'm going to do
is click on these three dots

Save as new preset,
and I'm going to call it

web 1080p four HD, whatever you like.

Now, if tomorrow,
if I'm working on a different project,

whatever, I could be anywhere,
and then I can just come in here

and I can click on Web ADP
and it's going to pull up exactly

all of my settings and I'm ready to go.

So let's just say I want to render
just this guy right here, not this

I can just click render,

I can pick up a destination,
whatever it might be, unless just

one thing that I want to do is go
in, file and see timeline name.

So select my timeline name.

And now I can say, you know what,
just dump it in

documents, head render.

Q And now it's in your render queue.

Start to render

and boom, resolve the super fast life.

Look how fast it rendered it out.

And that is.

That.

And there you have it.

I hope you guys enjoyed the crash course.

Now the good thing is that you're off

to a pretty solid start that you can build
on, but resolve runs deep

and if you really want to take your game
to the next level and become a pro

colorist, make sure to check out the links
in the description below.

Hit a thumbs up.

Subscribe to my channel
for more awesomeness.

Please share this with your friends
and I will see you in.

The next video.