All language subtitles for 26. Watch me color grade clip #1 Acro Color Tab Kolder Creative

So now that we have an understanding
of the interface

and tools within the colored tab,
it's time to start cultivating our video.

So let's get into it.

All right, guys.

So first things first.

I've hand-selected
a couple different clips from the timeline

that I know are going to require
a bit more work to make them look good.

We're actually going to be utilizing

a lot of the tools
that we've learned within this module

to make these clips
look the way that we want them to.

And the reason I did
this is because you'll see in the process

of actually color
grading the entire timeline,

a lot of the clips
look really good with just a lot

applied to them
and very minimal adjustments.

And you will see the process of Michael
grading the entire timeline.

But before we dive into that longer
lesson,

I want to first show
you guys how I would go about color

grading each one of these individual clips
that I've selected right here.

So with the first clip selected, it's
this clip of me and Chelsea

doing Acro over here.

So the very first thing that I would do
is go into my LUTS over here

and with the case pack selected,
what I would do is just select

all of these
and go over here to split screen.

And with selected lets selected
we can see all of these LUTS at once.

So I can get a better idea
of what looks good at a glance

and I can even expand the viewer over here
so I can see things a little bit better.

And we can see there's a lot going on.

And what I could do is actually close this
and just select individual LUTS here

to compare the original with that light.

And you can see that some of these
look a bit intense, and that's

because some of these LUTS
are meant for log footage.

So they have a bit more contrast to them.

But that's not an issue here.

In this case, we can see that this looks
pretty intense, pretty saturated.

But I'm going to show you guys
how we can make this work.

So Casey, too.

I know it looks a bit more intense,

but this is one that I actually use
pretty regularly.

And this is the one that I use
for most of the one plus shoot.

I found that
this looked pretty good with this footage.

When I decrease the opacity.

So the first thing I want to do
is apply our base snow

tree that we've created before
to the node graph over here.

So I'll go into my gallery,

go into my power grids and drag the base
node tree into my node graph,

and things are kind of not centered here,
so I'll just select everything here.

Drag it over. Cool.

And we don't have a node for our look,

so why don't we add one over here
just before curves?

So I'll move all of these over here.

Select primaries, option S
and I'll hit R call this one.

Let's and let's add this let to this node.

So with the left
selected will drag it over here.

We'll turn off split screen
and we'll hide our lots here.

And as you can see, it's very intense.

But we can go over here to key
and bring down the key

output to probably about 0.5 or so.

And things start to look a lot better.

Now, first things that jump out at me
are skin tones.

They look okay,
but I know they're not 100%.

They don't look too great

and the grass is very yellow.

I'm not a fan of this
kind of yellowy grass.

And that was something that I kind of
just allowed to slip in the past

because I didn't know how to make those
specific adjustments.

But now

with node based
grading, making an adjustment like this

is going to be very easy.

And besides that, I think we could do
a couple of different things.

We could probably use Windows

to draw the viewer's eye
to the center of the screen here as well,

maybe darken the bottom right in the top,
but this is a good base.

So what we can do is go into our primaries
before the light

and let's play around with
maybe the temperature a bit.

So I might bring it down a tiny bit.

And you got to remember that

these minor adjustments go a long way.

You don't want to be doing things too
drastic.

It's good to push things a little bit
further and then go back from there.

And that's what I usually do.

But you got to remember that
you want to make minor changes.

So just by cooling things down,
I like the way that the mountains

look in the background.
Now they're not as yellow.

We're bringing a bit
more of that green back there

and that looks pretty good to me.

So just with primaries just bringing down
the temperature a little bit,

I feel like that's done pretty well.

And the next thing I want to do
is correct.

The skin tones now at this stage
I can correct the skin tone or the grass.

It doesn't
really matter in this situation.

So let's start off with the grass.

So to change the grass, I'm
going to go over here to my parallel nodes

and I'm going to select the top one
or actually the bottom one over here.

And let's go into the qualifier and start
selecting our grass here.

So shift A or H
to show me what I'm selecting

and obviously
I don't want any of that water there.

So it looks pretty good to me.

I'm also going to be combining this

with a window so it doesn't matter
if we're getting some spillage over there.

Don't worry about that.

This looks pretty good to me.

So why don't I play around with

some of these controls down here
just to refine the selection?

Maybe I can get a bit more of the areas
that I'm wanting.

Less of the skin tones,
more of just the grass.

But it doesn't really matter
if I'm hitting those skin tones

either way,
because we're going to be using windows

now. Looks pretty good to me.

And why don't we blur out the edge
a little bit too?

Because we don't want that edge
looking too crispy.

That looks good to me.

And now what I'm going to do
is go over to my power

windows over here and I'll create a new
curved window over here.

So with this selected,
I'll draw over the grass area here

and I'll go around me trying
not to select the skin tones,

and I'll go out a lot more over here

to outside of the border of the image.

Cool.

And now what I can do
is just hit command t on my keyboard

and it's going to automatically
start tracking.

So I'm going to take highlight off
shift or shift

H And we can see if I scrub through here.

It did a

good job and it's a short clip,
so it's chill.

Now we can make an individual adjustment
to just the grass.

So if I hit shift A we can see
it did a good selection of the grass.

We don't have those mountains or the skin
tone selected any more, which is awesome.

So let's go to the tint and bump that down
a bit.

That looks pretty good to me.

If I turn that on and off command D

we can see it's minimal,
but it makes a huge difference.

Huge difference.

This kind of grass to me looks amateur.

Not a fan of those types of tones.

Of course it is subjective.

Some people like that color. I'm
not a fan.

I like to make a greens
look actually green.

And just by bringing the tint down
a little bit, -46, we've gone a long way.

Now there's a bit of this grass over here
that is a bit more of a yellowish tint.

I love the grass in this area here.

This grass here is a bit too yellow.

So what we can
do is go into our curves. So

I'll go curves here and what we can do
is hue versus hue.

By looking at the graph over here,
we can see

we have a bunch of this yellow colors.

So why don't we just select that
and bring it down a tiny bit?

We can see that

you really only have to take it down
a tiny bit to change that color.

If I bring it too much, it's
going to look too artificial.

Like that looks fake.

That does not look good,
so I'm going to be very minimal with it.

Minimal adjustments go a long way.

And just like that,
that looks really good to me.

If I hit Command Z,

if I undo this and redo it,

we can see

that we are affecting
less of the grass in the middle here.

I like the color of that grass over there,

but the grass on the outside
over here, it's changing a lot.

So if I undo that, we can see
how big of a difference that makes.

And it is slightly affecting the grass
in the middle here, but it is

mostly affecting that more yellower grass
out on the edges over there.

And now I would say I really like
the way that that grass looks now.

So shift D allows me
to turn everything on and off

so that we can see how far we've come.

This looks really good to me. I'm
liking this.

Maybe it's

just a little bit too contrasty,
so I'll go back over here to my primaries

and just bring the contrast
a tiny bit down just the smidge.

Tiny bit.

It's like almost barely noticeable.

So the next thing I want to do
is just verify that the skin tones are

correct and things are looking good
in terms of skin tones.

So what I'll do is I'll zoom in on me
and Chelsea over here.

I'm going to head I'm going to head over
to this skin tones node right here,

and I'm going to go to the qualifier
and just select skin tones,

shift or shift H
to show me what I'm selecting

now. Looks pretty good
and I don't want to be

picking up too much of the other stuff.

So we could see the mountains
have very similar tones to the skin

in our subjects over here

and just got too much.

That looks pretty good.

We're selecting all of the skin tones
and like my eye isn't selected over here.

That's simply because it's dark.

So it's it's a lot darker. And there isn't

this there isn't

as similar of a tone as the skin
that's in the light.

So it doesn't matter
that that's not selected

because we don't really need
to be changing that color.

We just won't be changing the color
of the skin that is actually visible.

So if we take a look at our vector
scope down here in the bottom, right,

if you're not seeing the vector scope,
just hit this dropdown here

and you're probably on parade.

So just change it to vector scope.

This line right here, it represents
where our skin tone colors should be.

If you're not seeing that line,
you can head over here to this button

and just make sure that show
skin tone indicator is selected That way.

It'll give you that line right there.

And we can see that we're pretty good.

Things don't look too bad, but we can
shift this over to the right a tiny bit.

And remember,
that's the thing with color grading.

These slight adjustments
make the biggest difference.

So let's go over here
and let's play around with the tint.

Maybe.

I think if I bring it over,
if I bring the tint up a tiny bit,

we could see if we're watching
the vector scope.

That color is moving from the left
more over to the right.

I want that to be kind of centered there
and that looks like

it's perfectly center now.

And if I hit Command D

on the skin tones first
I got to turn highlight off command D

makes a very minimal adjustment

and I don't even know
if you guys will see it

because of the compression
on on YouTube or Vimeo.

But it does make a difference
and that's something that I always want

to make sure I'm doing
correctly is making sure

that these skin tones
are actually looking natural and 100%

and little adjustments like this
make a big difference.

Now, of course, we have also affected
the mountains in the background as well,

but I would say that

that adjustment is so minimal
and actually like the slight tint,

I think it just adds a bit more color
to the mountains in the background.

So I'm happy with that.

Now if I hit shift D, we can see
where we started and where we're at now.

I think that that looks great.

I'm really stoked with this
and this is just a great example

of how far we can go with the tools
we have here in DaVinci Resolve.

Back in the day,
I didn't think it was possible

to make these kind of changes
from footage shot on an eight bit phone,

but thanks to all these amazing tools
that we have in DaVinci Resolve,

we're able to isolate
any region of our image very easily

and make the changes that we want.

Whereas before I always thought that
I should be shooting everything in raw

so I can make these kind of adjustments

with all the extra information
that comes with those images.

But that's not really the case anymore.

We can make any footage look beautiful,
even this eight bit footage

coming from a phone, it really just comes
down to your skills as a colorist.

Now, there's a couple more things

that I think we could do to this image
to make it pop a little bit more.

The first thing I'd want to do
is to add some more windows.

So after my parallel mixture over here,
I'm going to hit

option S and add another node.

And what I'm going to do here
is I'm going to add

a window to make the bottom of the image
a bit darker.

So let's go to Windows.

Let's create a new gradient window
shift a shift

H to see what we're selecting and
we want this to be the other way around.

We only want to select the grass like that

shift day.

And let me bring

that exposure down just a tiny bit.

Not too much because like if I bring it
down like that, that's, that's excessive.

Doesn't look realistic.

I just wanted to bring it down a tiny bit.

And now with this node selected,
I can hit alt or option

P and I will create another window

down here for the sky.

So let's grab another gradient window,

shift A
to see what we're selecting over here.

Drag it down.

That looks pretty good to me.

And let's

brighten up the sky a little bit,
just a tiny bit.

And I'm looking at this.

I feel like I might have actually overdone
the shadow here in the grass.

I just want it to be slight.

Now, if we

select both of these nodes here, hit
Command D, we could turn that on and off

and we can see how much of a difference
that makes.

So take a look at this image.

This is before we added those windows
and this is after.

You can see that by brightening the top,
darkening the bottom,

our eyes are guided
to the center of the image

and that's a really cool way
that we can use Windows

to really emphasize what we want
the viewer to pay attention to.

So just by making
those simple adjustments,

we are emphasizing what it is
that the viewers should be focusing on and

just subconsciously bringing the viewers
attention to the center of the image.

So I'm just going to expand the viewer
over here.

Let's zoom in and let's
take a look at the before and after shift.

Shows us our original image.

This is eight bit footage
from a phone shift to turn that back on.

And we have a pretty crisp looking image.

I really like the way that this looks.

I honestly can't express how powerful
these tools are with the individual

resolve to make your color grading ideas
come to life.

This is eight bit footage
and we just took it from this flat,

pretty ugly looking image
and brought so much life to it.

We balanced the skin tones,
made the grass a lot greener.

There's a lot more life to this image.

So just a reminder, it doesn't matter
what kind of gear you're using.

If you know how to color, great.

If you know how to use the tools in post,
you can really bring any image to life.

So that was clip number one.

Let's jump on over to the next clip.