All language subtitles for Pro Color Grading In DaVinci Resolve - With Lifetime Updates - Ground Control

Welcome to chapter four.

We're going to start diving into resolve
and actually looking at the color palette

set up here.

So here we are
in the default view of the color page.

I have a project loaded up
that we'll get to here in a few minutes,

but let's explore some of the big ideas
behind the color page.

If you're familiar with Resolve,

you know that it's split up
into multiple different pages,

and each of these pages has to do
with a specific job in post-production.

Starting from the left,

we have the media page
where we import and manage our media.

We have the edit and cut pages

where we actually put together our story
in a timeline.

We have the Fusion page, which is
for fancy things like VFX and graphics,

and then we come to the color page.

The idea behind the color page
is to have a dedicated environment

where you can focus on
making the very best images you can make.

So it kind of hides all the other things
when it comes to moving things around,

editing them on the timeline
hides all the audio, and it just gives you

the tools that you need to do
color grading.

Now, this is a little bit different
than using a color effect in something

like the edit page where you might do
something like go up to your effects

and grab something like contrast pop
and drop it onto

a clip

and then select the clip.

Go to the inspector

under effects

and you can adjust the parameters there.

You can color grade a whole movie
like that, but it's a lot of steps

to even just start
to adjust the colors of a clip.

So the way that resolve thinks about this

is it just

opens up this same timeline
from your edit page

into this dedicated environment
and you're looking at one image at a time,

and anything that you mess with on
the interface will adjust.

Just the shot that you're looking at.

This is a great way to work
because it lets you move really fast.

I can just hit up and down on the keyboard

to move in between our shots

and we can quickly make our adjustments
here in the color palettes down below

and switch to a different shot
and we can move through our movie

very, very quickly.

Now, granted
all the things that I just did,

you probably would never do,
but the whole environment is set up

to give you the very best shot
at adjusting color for your whole movie.

We'll dive into all the specifics
here as we get on.

So for now,
if this looks a little bit intimidating,

if you haven't dove into the color page
a lot, I know there's a lot of tools,

but we're going to go slow and walk

through the major ones that you need
to know in order to calibrate your films.