All language subtitles for DaVinci-Resolve-17-Color-DaVinciResolveMiniPanel

Hi, my name is Daria, and in

this video, I'll be taking you through
Blackmagic Design's mini panel.

We're going to begin with the primary
controls at the bottom of the panel.

These three track bars
correspond to the three

tonal ranges in the primaries
Color wheels palette.

That's your lift,
your gamma and your gain.

The rings around the drag balls
correspond to the master wheels.

So using these, you can normalize
your clips or establish contrast.

So for example, I could use the lift
master wheel or lift ring,

rotate it to the left to lower the shadows

or the bottom of the Scopes parade.

I can then use the gain
to reduce the brightness to get rid

of some of that clipping in the highlights
and normalize the clip a little bit

and then use the gamma
to brighten the overall image.

What's great
is that I don't have to look at my hand

or my mouse to navigate over to the color
wheels palette.

As I do this, I don't have to look at the
master wheels as a navigate between them.

My hands are already
naturally situated on the track balls,

and I can very easily
establish these ranges and even move them

at the same time
as I develop the contrast.

So it gives me a little bit
more flexibility and more fluidity.

As I color grade above all of the track
balls, I can see reset buttons.

So all three of them have an all reset
for both Chroma and luminance.

But then on either side
you're able to reset

either just the colors
or just the luminance adjustments.

So let's say after

I establish my contrast,
I decide that I want to warm up the image.

I could use track balls themselves
to push the control points

towards a specific color.

So in this case I am moving
my gamma towards

an orange tone, a nice little orange feel.

And what's great is that again,
I don't have to

look at my mouse or the control
point in the color wheel in the palette.

As I do this, I can actually feel it out
a little bit more organically and decide

if I want to gravitate towards
a more magenta pink towards a more grainy,

yellowy type of warmth, and then also push
the saturation as I go outwards.

So it's a really nice intuitive
way to work

if I decide that the color has gone
too far and I'd like to bring it back

to its original setting, but I do like
the gamma luminance that I've established.

I could just click on the Rugby Reset

about that wheel
and then we jump back to the original.

Look, if I wanted to reset the luminance
as well, I can click on level

and then that takes me
to the original image with the Gamma reset

to the right of the track pulse.

I have my navigation keys so I can
navigate on various different levels.

The bottom here, you can see that
I can jump between clips on my timeline.

I can also jump between
frames within these clips,

which is really good

when performing tracking
gives me a bit more accuracy.

And then finally,
I also have node navigation controls.

Once I start creating more nodes
in the node editor.

So it's another one of those great things
where I don't have to rely on my mouse

and traveling from
one end of the application to another.

A lot of the work can be done by
using keys directly underneath my fingers.

Now we've established
where the lift gamma and gain wheels are,

but you might be asking yourself,
what about the offset?

Well, this can be mapped
to the existing track balls

by using some of the additional key
controls above the reset keys.

So you've got one in the center here
called Offset.

When I toggle the switch on the right
hand, trackball turns into the offset.

So now I can drag
that towards a particular color.

And just like with the other wheels,
I can choose all to reset that parameter.

The two wheels to the left become
my temperature and my tent controls.

So when I rotate my wheel to the left,
I can cool the image down.

When I drag it to the right,
I can warm it up

and reset it in
much the same way by pressing all.

So let's take a look

at a practical application
of that going to go into clip number two

and with my offset still enabled, I'm
going to rotate the ring

around offset
to brighten the overall room.

You can see the parade's
moving uniformly in the scopes,

which tells me that it is
indeed an offset adjustment

and then I can very quickly
disable the offset toggle

and then make individual adjustments
to the luminance ranges,

which means that I can protect
my highlights by bringing down the gain.

I can bring down the shadows
to establish more of a contrast

and still continue to maneuver the gamma.

And in the end it gets pretty well

distributed image
but it's still a little bit warm.

So just as easily
I can click on my offset key

and then rotate the leftmost wheel

to cool down the image and essentially
moving away from that yellow tone.

So with just a couple of rotations,

I've created this really nice
neutral look.

I can compare this image to the original

by disabling the node that I currently
have selected in the Node editor.

I have a disabled key
right up here on the right hand side,

which I can click to compare before
and after.

Also above the reset keys, I have
the ability to toggle full screen view.

I can click on viewer to see the image
full screen.

I can also continue to hit the disable key
to compare my grid before and after,

and I can also use the playback controls
in the bottom right corner of the panel

to playback my clip

to get out of full screen mode.

I'm going to click on the viewer key
one more time to get back

into my interface
and I will jump ahead a couple of clips

and this time I can take a look at the log
remapping as well.

So just like the offset,
it is also toggle switch and it allows me

to jump into the log
mode of the primary palette.

Log controls can be used
for much more dedicated

changes to your shadows
and your highlights.

So in an image like this,
I could first of all disable log

and just make a general adjustment
to the brightness of the image

by, for example, increasing the luminance

in the gamma range to really brighten up
the foreground elements.

And then I can enable the log key

to transform my three track balls
into shadow Midtown and highlights.

And then I can drag

the shadow down
by rotating the shadow ring

and reveal some of the finer details
in the shadows of this image.

So shadow tonal ranges are more exact
and not as broad as the lift,

which means that I'm able to reveal
this kind of information

If I disable the snowed, you can see that
I've gone from having a very dark image

with a lot of data hidden in the shadows
to suddenly revealing

a lot of that information
with the help of log controls.

When it comes to the adjustment

controls that we use at the very top
and bottom of the primaries palette,

you will see these distributed
across the top of the panel

in the form of these knobs
that you can rotate.

So we have our contrast
and pivot represented

our midterm detail,
color, boost saturation and others.

Let me navigate to another clip,

and here I can establish a contrast

look by rotating slightly to the right

and then very easily being able
to adjust the balance of that contrast

by grabbing the pivot with my other hand
and dragging in the opposite direction

to get a good balance between how dark
I want the image and how contrasted,

again, making adjustments
to two parameters at once so that

I don't have to move my mouse back
and forth as I toggle just one at a time.

I might then decide
that I want to brighten

up the overall image
so I can go for the Y, gain control.

So y lift y gamma and y gain is like
adjusting the luminance in the primaries

wheels, but without affecting
the saturation of the image.

But I might change my mind

and decide that I don't want to apply
this parameter change, in which case

I can reset any of my adjustment controls
by simply clicking on the knob.

So it is a button as well as a dial.

If we return to the soft keys

on the right hand side,
we have some additional controls.

One thing we can do is grab stills

without having to go into the viewer
with our mouse As soon as I press grab.

Still, you would have seen that
a thumbnail has appeared in our gallery.

So one of the few things
I would still use a mouse and keyboard for

is then going into this thumbnail
and giving it a custom label

and I can navigate

to a previous clip and let's say
I was trying to match the two.

I could very easily
press play still on my mini panel

to compare the grades
between the two clips in the viewer.

Right now
I have looping enabled in my viewer,

but I can also disable that
using the same soft key controls.

So I'll toggle loop off
and now when I playback, once this clip

reaches its end, it will then proceed on
to the next clip in the timeline

and I can click play.

Still to disable image wipe mode

in the top right corner of the soft keys,
I have undo and redo functions,

which allows me to very quickly
take steps back in my grade.

Or I also have a reset key which allows me
to completely reset the grade.

Everything we've covered

so far can be found in the DaVinci Resolve
Micro panel.

And next slide to take a look at the top
half of the mini panel

to show you where it really shines.

So over here we have a whole series
of additional controls that give us access

to virtually 90%
of the remainder of the page.

On the left hand side,
we have the ability to switch

between different palettes
of the color page.

You can see that
primary is currently enabled,

but if I click Motion for Motion Effects,
the palette automatically updates

both in the color page
to visually represent

which palette is open,
but also in the viewers

in the middle of the palette which show me
which controls I have access to.

So using these,
I can also navigate to my curves, controls

my power windows, my tracker, etc.

So yes, you can even work with power windows and track using just the mini panel.

When you're navigating between palettes,

you'll find that you have some additional
controls in the form of the soft

key modes, which are the two arrows
in the top corner here.

So with primary selected, I can jump
between my different color wheels.

Or in this case these will be
your color bars or your printer lights.

When I'm in my curves, for example,
I can also navigate

between the different curve parameters.

And then on top of that,
a lot of the palettes also feature a tools

section here which allow you to go
even deeper into the palette.

So for example, in the curves,
I'm able to gang or

on gang channels and choose
individual colors to work on.

And these are all updates
in the color page interface.

As I select them.

Let me regain channels for now
and click back.

I'll also find soft
key controls at the bottom of the viewers

that allow me to switch
to different pages of certain palettes.

So in the curves, I'm able to navigate
to different HSL curves, correctors.

And finally,

at the bottom of the viewers, we have more
knob controls, which also act as buttons

with which you can make adjustments
and reset your changes.

I'm going to move on to a new clip
and perform a basic grade.

So here
I will use my standard custom curves

to adjust the contrast on this clip.

I am rotating a control point
at about a 20% point line

downwards to darken the shadows
and then creating another point at 60%

to raise it upwards and brighten
the image there.

By creating contrast,
you'll see that there are 20%

intervals for points
all the way across the line.

First to click this,
I would generate points on

my custom curve
so you can see exactly how they're spaced

well and even distance from each other.

Then I can also undo to take it back
to just the curve I had a second ago.

Now, with the contrast set up,
I might still want to address

some of the color imbalanced.

I can see some magenta in this image, so
here I can navigate to the tools controls.

I'm going the channels isolate
just the green channel

to try to get rid
of some of that pink tint.

And we know that pink
is essentially magenta

and the opposite of magenta is green.

So I will go for the 60% line.

And if I raise it just a touch,

that redness
will disappear from the image.

And now we have something a little bit
more neutral and still a bit warm,

but I like to keep it that way
and I can press disable

in the bottom half of the panel
to check how that looks and see

that I'm really happy with the result,
which means I can move on.

I'm going to jump
to the very first clip in my timeline

and I would like to create
a new note to work on.

So we've already used this one
for balancing.

Adding a bit of contrast.

I would like to make a new serial
in which I'm going to create

some secondary changes
to create a new serial corrector.

Note I just have to go in to the right
side of the panel next to the viewers.

These controls
allow me to create new notes

as a serial notes, but also mix her notes
like parallel and layer,

as well as introducing notes with windows
already activated in them as well

as a few other controls, like jumping
between keyframes or selecting stills.

In this case,
it's enough for me to click serial,

so I want, you know, to work on
and what I would like to do is,

first of all, change
the color of the door in this image.

All right, So let's say
we want it to be a different color.

We still want to stick in the curves
palette,

but I will go back in my controls,
and this time

I will select hue versus hue,
which will give me the control

that allows me to select the color
and adjust it into a different hue.

In this case, we have a door that falls
somewhere between cyan and blue.

So I am going to
drag one of these dials. Cyan

rotated upwards

until I change the color of that door.

And I think that's a pretty good space
for it to fall.

You can kind of see where the control for

it lies in the curves
graph in the interface.

I can also use the input hue control
on the right hand

side to then change where this point falls
horizontally.

So I'm not just locked
into these color parameters

and that way the door is a little bit
cleaner.

It's not just approximating.

You can see that the point now falls
very close to the histogram

representation of that door
in the curves graph.

I might also decide to make the door
a little bit less dramatic, less bright.

So for that
I will switch to hue versus luminance

and still go for the same color range,
but this time I'm going to drag it down

to darken it and make it a little bit
more realistic to look at.

Finally, I might want to also

desaturated the color underneath the door
so you could see there's a bit of a

an orange you red tinge under it
and I'd rather keep it neutral.

So that's what we have,
the luminance versus saturation tool for.

This is a tool in which you can select
a certain luminance range in the image.

So in this case,
the bright lit area under the door

and then affect its saturation.

Here I only have four range controls.

I can start with the white point
on the right hand side, drag

it downwards to try to desaturated
some of that area.

I can also go for the highlights,
which is the next custom point,

but I might find that because

there's such a great deal of overlap
with the remainder of the image,

that the image overall starts
to go a little bit desaturated.

So what I can do is try to lock off
the majority of the image,

especially the midtown's
using the shadows,

so I can even click on the shadows
to lock off

that point in its original position
so that there is no change

and then use the input luminance
just like I did with the Excel curves

to kind of extend the area
that's being protected.

And as I push this outwards,

more and more of the colors in the image
start to come back.

And it is truly just the highlights
that get affected as much as they do.

So that's a really good way
of protecting ranges in your curves.

It's just by clicking some of the dials
that you want to lock in place,

and then a point is created around
which you can work.

I will now jump to the next clip,
which will be number three in my timeline.

And here my intention will be to work
with my interview subject.

I'm going to re-enable looping in my soft
case and playback this clip.

And I mean, it is a gorgeous shot.

The only problem is that our interviewee
is wearing a wide brimmed hat,

which makes it a little bit harder
to see her face.

So usually we like to light people up
quite well when we're interviewing them.

And in this case, she's got quite
a long shadow cast over her face.

So what I would like to do
is just add a standard window

over window around her face
and brighten her up a little bit.

I'm going to jump
to the very beginning of this clip.

There we go.

First frame,
and I'm going to create a new node

with a circular window already attached.

So that's in my controls
on the right hand side node plus circle.

And immediately
we see a new node in the node editor.

The circle in the viewer could see
by the representation in the node

to thumbnail that we're already
making a selection in that region.

So it's just about placing it

in the right place in the viewer
and then performing a track.

I have all of the controls that I need
underneath the viewers

in the panel so I can use pan and tilt

to very quickly maneuver
the circle over our subject.

I can then use aspect ratio and size

to get it to match pretty much
distribution of her face in her neck

and then use the softness control
to blend it out a bit so it's less

obvious that we're using secondary color
grading to make adjustment.

So my

selection is now
made and I can start performing the color

grade immediately because I have all
my primary controls right under my hands.

But if I didn't want to see that window
outline, you know, very quickly

to achieve that is simply to switch
to a different palette like the curves

and the outline disappears.

So now I can use the gamma ring
to brighten up her face a little bit.

And you can see the shadows are starting
to disappear right under her hat.

If she's starting to look a little bit
flat, then I can use my contrast controls

to bring some more detail back
into her eyes and her eyebrows.

But then use the pivot to make sure
that it kind of leans towards

the lighter side of things, you know, so
we can still read her facial expressions.

And we're not just
reintroducing more shadows.

I could even add a little bit
of mid-town detail, which is right next

to the contrast controls, and also use
something like color boost in case know.

I find that the gamma took out,
you know, some of the color from her face.

There we go.

So before we even track I just want to
check what this grade has accomplished.

I'll click on disable.

All right.

So that's before That's after.

I want to make sure
that it's not too obvious

if it is starting to feel like a bit
like a spotlight, then I can always go

back to my gamma control and pull it back
just a little bit.

There we go. Disable.

That's looking a little bit more natural.

I can now navigate to my tracker palette
using the soft keys on the left hand side,

and I have all of my analysis controls
at the very top here

and I can see that
I have a forward analysis available to me.

I can click on that

and relatively quickly.

It's run
an analysis of the entire interview

and I can play this back in

real time to see how all that follows,
and I'm really happy with that results.

So it's still following her face
and her neck.

It's still soft around the edges.

Once again,

I can click on the curves soft key
so that I'm no longer seeing the outline.

And that way if there was still a bit of
like a halo around her,

I can always go back to the window palette
and make further changes.

And the great thing is that I don't have
to run the track a second time.

The tracking data is already there, so if
I needed to change the shape or the size,

that's all there was to it.

I make it and I keep playing back
and the overall movement remains.

Now let's take a closer
look at the Node editor.

I'm going to jump into a brand new clip,

and this clip has already been balanced.

So if I disable the first node

that's present, you can see that
the image has been brightened up

and there's been a bit of a color boost
applied to the environment.

I would like to make
a few additional changes.

First of all, I'm very distracted
by this overcast or blown out

sky, so I would like to introduce
a bit of color back into it.

I will start with a serial node

and knowing that I will want to create
a look at this stage.

I would rather also introduce a layer node

so that I can work on the sky separately.

So with that new node selected,
I'm going to press on the layer soft key

and that will give me a layer mixer node

with a layer node
underneath that number three.

So once again, I return to my keyboard

just so I can name this note
and keep track of what I'm doing.

And each one of these

can also use my mouse to move these around
and keep track of where I am.

And now I can make my sky selection.

I will press the qualifier soft key

to open up my HSR qualifier controls,

and you can see that hue and saturation
are already represented in the viewers.

But I can
then use my arrow keys to navigate

to the luminance control as well,
which is what I will primarily

need for a selection like this,
because it's just the white sky.

There's not much of a color to target
or a saturation range.

But what I do need to do is indicate
that there's

a certain luminance range
that I would like to go after.

It's a little bit hard
to, you know, just go by ISO.

So it's really helpful to also see what
that qualifier selection looks like.

That's called
highlight mode in the viewer.

And you can see the highlight
soft key on the right hand side here,

the top of the panel, when I activate it,
I can see the highlight icon has appeared

above my viewer,

but it's not made a difference because
obviously I haven't made a selection yet,

so I'm going to rotate the low
luminance knob

and we'll see that range get narrower
down in the qualifier palette.

And then when I look up at the viewer,
I will eventually start to see elements

disappearing that no longer fit
within that high range.

So if I go high enough, there you go.

You could see the shadows start
to disappear first, then the midtown's,

then the highlights.

But eventually the sky will remain
because it is just

that blown out is just that bright.

So once I bring it up to this extent,

I can start to clean up the selection
further.

So as I navigate further to the right,
we could see

I've got my matte finish controls,
which we always use at the very end

to further clean up our selection.

So at the very least, I'd like to perform
a little bit of the noise thing

to get a cleaner edge on this selection,

and then I'm good to continue grading.

I can turn off my highlight mode
and use my standard primary

grading tools
to, for example, darken the sky.

So in this case I'm rotating the gain

ring to the left to darken it,
and then also add color to the sky.

So I'm going to use the trackball itself
to introduce a blue color.

And right now
it's kind of going for more marine blue.

I'm going to drag it
downwards to give it a warmer blue.

There we go.

And then I can continue to decide on
the brightness of the sky with that ring,

and that looks quite natural to me,
so I'm very happy with it.

I can click on Disable to compare before
and after

and you can see that
that was a really quick adjustment,

you know, in order to perform
essentially sky replacement.

I can also navigate between my notes
if I wish to continue working on them.

So again, we're not touching the mouse
if we don't have to.

I have a previous note
and next note available

to the right of the track boss
so I can click that a couple of times

or as many times as I need to to rotate
between the available notes.

But eventually it land
on the one that I want to address

in this case,
I just want to work on the overall image

and after which I want the sky
to overlay on top of that.

I will give it a name though.

I'll call this my detail mode.

And here I just want to

boost some of the information
that's already visible in the image.

I will increase the Middleton detail
in order to sharpen a lot of the elements

that we see in the foreground the animals,
the rhinos, the grass and the trees.

I'll also

rotate the gamma
to brighten the foreground

and also increase the color boost,

unlike saturation
color boost will increase the saturation

intensity and colors
that are naturally low in saturation.

So that way, if I had something
in the image that was already

very high saturation, it's
not going to be affected as dramatically

as it would have been using
a flat saturation adjustment.

Okay, wonderful.

So now when I disable the grays,
you can see that

the foreground has been boosted up
and now I have that really brilliant sky

laid over
the top as well as in the sable key.

I have a bypass key with which
I can bypass the entire pipeline,

which means that this is my original video
signal and this is our end result.

What about if I wanted to add a node
at the end of this pipeline

for that I could use the append soft key

that will

add a
new node right after the layer mixer.

It has appeared
a little bit off to the left

because it hasn't got enough room.

You can always fix this
by reducing the size of your nodes

if you had to, but in my case, I'm

happy to go in and manually perform
a little bit of housekeeping,

but there you can see that's
where the node has appeared, the very end.

And here is where I want to create
my look.

I'll accomplish this using my curves
palette.

Return to that.

I'll go back to my custom curves,
which is where we have,

you know, all of our different channel
controls.

I'm going to go into my tools and
make sure that the channels are unchanged.

And specifically,
I want to target the blue channel.

I'm going to go for a cross process look,

and I would like to do sort
of a reverse S-curve on the blue channel.

It's going to give me a like a really nice

fairy tale type of look.

So blue shadows, yellow highlights.

And because we're applying it
at the very end of the pipeline,

it is affecting everything prior to that,
including the sky.

I can even increase the contrast

to make this a little bit more dramatic.

Make it pop. If I wanted to. There we go.

When I disable this now, you can see that
that's a pretty substantial color shift.

I do very much like the yellow highlights,

but then if I bypass the whole thing,
then that's a lot more dramatic.

Finally, something I need to touch
upon is to do with a new addition

to the color page in DaVinci Resolve 17,
and that's the HDR palette.

So even though there isn't a soft key
directly related to it,

I can navigate to the HDR palette
by holding

the user button in the bottom right corner
and the soft keys on the left

and I will find HDR
as an option in my viewers.

So I hit the soft key right above that
and that will open up my HDR controls

and it will also launch

the high dynamic range palette
on the left hand side of the color page.

I have previous and next zone controls
at the top of the viewer

with which I can bank my HDR wheels

and wherever I'm rested when I'm banking
I can then use the arrows

and the soft keys on the left to navigate
between the banked color wheels.

So at the moment in the dark zones
I have my black, my dark,

and then if I move one page across,
I have my shadow

and my global just like I do
in the palette on the color page.

And then three wheels at the bottom of
the panel are mapped accordingly,

so I can start to rotate the ring
on the right

track ball and I will find that
the shadow exposure starts to go down,

or I can move the track ball
and I will find that those shadows

get affected first
and reset works in much the same way.

Using the viewers.

I can also switch to the zones graph

and that way I can see what the zone
graph distribution is in the color

page interface while still controlling
all of my individual tonal ranges.

So underneath here I still have my zone
pivot controls my zone

fall off as well as things
like exposure and saturation.

If I was to make a custom zone

that will automatically map itself
to my color panel interface.

So let's say I was in my HDR palette
and I had a very distinct

look that I was going for
and I decided to call

it Midtown.

That tonal range

will now appear in my list of tonal zones

and it will also appear in the viewer
as long as it's banked.

So if I switch back to my wheel's view,
I can use previous and next zones

to navigate to an area where I can see
Midtown's and I can always navigate to it

using my arrow keys.

So there is my mid tone and I can

then decide to control the exposure
and the saturation

with highlight enabled.

I can determine where I want the zone
to begin.

Second, drag
it all the way to the left here

and now I know exactly
what I'm targeting in the image.

I can also adjust the falloff range
so that we have

a more robust target on the shadows.

And I can turn up highlight mode.

And I know that the mid tone
is my central wheel,

so I can then make adjustments to it here

and maybe make the image
a little bit more dramatic

looking with that type of contrast.

And that takes us to the end of this
mini panel overview.

As you can see, a lot of this work can be
done with just the mouse and keyboard,

but working with the panel is
so much faster and so much more efficient,

especially as you start
to take on larger projects

and you will find that as you spend
less time traveling across the page,

a three day job can become a one day job.

Thank thanks so much for watching.