All language subtitles for 28. Watch me color grade Clip #3 Sam Sunset Color Tab Kolder Cre

All right, guys.

So next, two clips over here.

They are pretty similar.

So it doesn't really matter what clip
you start with.

But I'm going to start
with this last one over here, Number four.

So what we could do
is go to our previous grade here,

the clip of the Landrover middle mouse,
click on it just to apply that grade.

And we can see that it doesn't work
like things don't look that good.

We're getting a bit of banding
here in the sky.

I'm not sure why.

Why don't
we try to get understanding as to why?

But of course

we tracked the car over here.

So if I hit command,
we can see that we have that outline

of the car over there.

So in this case, it's
probably better to just start fresh.

So why don't we go up to color,
reset grades and keep the notes?

So we're starting with that fresh base
snow dream.

We got some skin tones were going to want
to mess around with here as well.

So first things first.

Let's do the same thing as before.

Let's find
a light that looks good for this.

Look over here.

I feel like Casey nine will probably work
well for this, too.

Casey eight looks pretty good, too.

Let's go with the new one.
Kia will do that.

And honestly, like, it doesn't
really matter a lot of the time.

What you start off with,
especially if they look pretty similar,

we can make those adjustments
in our primaries to adapt the lights.

This one looks pretty good.

I think it's a little bit on the cool
side.

Let's close off our lots over here
and let's

bring this temperature up a tiny bit.

Make it a bit warmer.

And I'm

also noticing
that the blacks are very crushed

and that could be due to the fact
that this is an eight bit phone.

It doesn't capture as much information.

So the dynamic range isn't as as strong.

So we have a really bright
part of our image over here,

the sky, it's probably
almost like clipping over here.

If we check our waveform over here.

Yeah, it looks like
we are starting to clip over here.

So we've actually lost data in the
recording process, but that's fine to me.

Doesn't
look that bad to other color graders.

This might cause them
to have a mental breakdown,

but we're going to work with this.

We're going to make it work. It's
all good.

Let's try to bump up our shadows.

Are blacks over here
because they are very dark.

Let's see if we can pull some information.

So in my primaries over here,

we can go to these shadows,
try to raise them up a tiny bit.

And just that alone did quite a bit.

That feels a lot better to me.

Previously, it was too dark.

Now that looks good.

We've evened out the image

and of course, we can do the same thing
with the highlights as well.

Let's try to bring those down a tiny bit,
just a smidge.

And there is

this area that's like non recoverable,
but it's fine.

We are going to survive.

We will survive.

Alex Good to me,
I want to intensify the sunset.

Let's bring more color
and more life to it.

So let's go over here to our sky node
over here

and I'm just going to rename this carbon
because we don't want it to be called car.

So with Sky over here, let's grab

our qualifier and select it.

So we have a couple of

different color ranges in the sky here.

That's why we're also selecting

the ocean here and that's pretty good.

I feel like the color of the sky.

I'd probably want it to leak down
into to the ocean over here as well.

So let's refine this selection.

Let's play around at the luminance fors.

So let's try to eliminate the skin
on my face.

I don't want that.

It looks pretty good to me.

The darker parts of the ocean.

Let's eliminate those.

That's fine.

And we're
just going to play with these sliders

while looking at our preview to make sure
that we have a good selection.

Hue Hue looks good.

That's a pretty good selection to me.

I would just blur out the edge a tiny bit,

just a tiny bit.

And then we can remove
these little things here by

increasing clean, black.

That looks pretty good to me.

If I wanted to eliminate

all of these little elements
that are popping through here,

I can very easily
do so with a simple window.

But we'll leave them alone for now.

I think that's fine.

Shift A to hide that and let's
see what we can do to disguise.

So let's increase the temperature here.

Maybe the tint as well.

We can see

by not selecting the ocean over here
we have this line

that shows pretty evidently the change
in what we've just done.

And same with the sky over here.

Because it's not selected,

we are unable to affect

those areas as much,
so it doesn't look as realistic.

So what we can do
is just refine our selection over here.

So shift A
and I can click the plus icon over here

and drag over into this area here as well.

We can see our selection has increased.

So now we have our entire sky selected.

But then we're also dealing with a couple
other things over here as well.

Of course, I do not want to affect
my skin tones at all,

but that's something that we can worry
about a little later on.

I can also just mask
that stuff out as well.

So why don't we try that?

Why don't we actually just try to

add a window to

my face here so that we're not

affecting any of the skin tones?

Looks good.

Let's hit command t let's track.

It should do a decent job
that looks chill, looks good.

Shift a turn that off.

We could see that it's not perfect,

but we really only needed to affect
the areas

that are are leaking through

are being affected so

if I zoom out here shift A

and I go back into my window,

I can feather it out a bit,

feather
it out a tiny bit in the outside to

cool.

And now what I'm going to want to do with
this mask is make sure that I have

this button selected right here.

This allows us to invert it.

So if I hit Shift A, we can see that

we have eliminated
those skin tones from the selection.

So let's just scrub through and make sure
that they are in fact eliminated.

That looks pretty good to me. I'm
happy with that.

So now let's go back in here,
turn off highlight.

Let's try to play around with
the sky a little bit more.

I'm just

scrubbing through, seeing what looks good,

maybe bringing up the ten to be

minimal.

Adjustments go a long way.

Always. Let's turn this on and off.

Command the

yeah I like I like the more pink.

Before it was greener everything had a bit
more of a greener hue.

We've made it pinker.

We've also warmed it up a tiny bit,
but it can go in any direction.

We can we can cool it down a bit too,
if we want to.

It's really about person preference.

I'd probably

say actually warming it up a bit more.

Just slightly though.

We could see if we if I push it too far,
it makes things

start to feel a bit off

and I'll probably go into my curves
over here versus hue

and maybe change the color of this blue
over here so we can see that.

I think it's this spike over here
that shows us this blue.

So I'm going to try to change that.

Yeah, we can see how that affects it

and I'll just push it to the extreme,
see if there's much that we can do.

Not too much.

So what I

will do with that is actually
bring down the saturation of it.

So just make it less blue.

Maybe even this to

bring slightly bring down that saturation.

Okay,

cool.

So minor adjustments,
but they go a long way now.

I feel like the shadows are still a bit
too crushed here.

So going to go back into my primaries.

Let's bring up the shadows even more,

but not too much,

because then I can start to see like grain
and stuff

in this part of the image.

See that that does not look good.

So we don't want to push the shadows
too much.

But overall, I would say that
looks pretty good if I hit shift.

This is where we started.

This is where we ended off and yeah,
I really like the way that this looks.

Another thing that we can do
is potentially use Windows

to kind of lead the viewer's eye
to the center of the frame here.

What we could do
is add a window to the bottom.

Right?

But that's one thing
that I'm kind of skeptical of right now.

I don't know

if that's the best thing to do
because it's going to crush the shadows.

And I don't want to crush them too much,

but let's just apply it,
turn it on and off.

And you could see
I applied it to the primaries here.

So that's not the move.

So I'll just disable that.

Let's go head over to these parallel nodes
over here.

Let's grab a gradient,

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

We want it to be the other way around just
to select this bottom corner over here,

just to kind of like hide it.

You know, we don't want to draw the
viewer's attention to that area too much.

Minimal, minimal changes.

Command D just darkens.

That area
brings of years of attention here.

And what we could do is just add
another window and maybe just a circle,

apply it to the center here

is probably too big

feather it out like crazy.

And let's just slightly, slightly

bring up the exposure.

Just slightly.

And what we could do
is just hit command to have it track me.

We'll see how it does.

Might do a decent job,

bring that back over here.

And because it's not just around me,
it's it's

it's gathering points,
tracking points from the background, too.

But I'm pretty centered in the shot,
so that works well.

And yeah, if we turn that on

and off, it's
a very minor, minor adjustment.

Both of these, but they go a long way.

We could select both of them, Command
D, see what they're doing to our image.

Now let's expand our viewer over here
and take a look at the before and after.

So this is after
this is what we were dealing with

at the start,
and this is where we ended off.

Things look pretty good.
I'm stoked with this.

I think the skin tones also look good,
but of course we can check those as well

if we want to.

And so we can head over
to the skin tones over here.

And because the skin tone node is coming
after this parallel node

and all these other nodes,

we would be making those adjustments
on top of the other adjustments

that we've made.

Now, if we wanted to make adjustments
to the skin tones in our image over here,

if we did it in this sequence over here,
that skin tone adjustment would be made

on top of all the other adjustments
that we've already made.

And in this case,
that might not be that bad.

But we can bypass that simply
by selecting our skin tones

node hitting E
to take it out of the chain of commands

and we can grab the input over here

and apply it to this right here.

So now with the skin tones node,
we are referencing the original image.

We're not referencing the image
that's coming out of this parallel

mixture over here, which has everything
that we've done previously.

And then we'd be making changes on
top of everything,

which in this case could be fine.

But instead I'm going to bypass
all of that by taking the output

of the original source,
feeding it into the skin tones here.

And what I could do
is actually just add a new input

on the parallel mixture over here,
and I could just throw this into here.

So it's going to mix
that in as well on top of everything else.

So now I can go into my qualifiers,
select the skin tones, shift A

to show me what it is that I'm selecting,
But I got to make sure

that I have the picker over here
on the left selected.

I had the plus selected.
That's why I wasn't seeing anything.

So I can start making my selection

with just skin tones.

It looks pretty good to me.

That's clean it up a bit.

And with that

selected,
let's head over to our vector scope.

Looks like skin
tones are looking pretty good.

Why don't I actually break this connection
over here and connect

this into this parallel node area

shift A will allow me to see

the selection, but with all of the grades
that we've already made.

So now I can view the vector scope
and see what's going on

with the colors
that are being exposed here and highlight.

And we can see it's on the line.

It doesn't look bad, but we could probably
just maybe bring down

the greens a little bit to kind of shifted
over to the left a tiny bit,

maybe play around with

the temperature.

These are very minor adjustments,
almost like I would want to

zoom into the vector scope
to see what's going on

with those colors.

But very, very minor changes.

You probably can't

you might not even be able
to see the change that it's made

due to online compression,
but it's taking it from a bit

more of a green hue
to a bit more of a pink hue.

And that just adds a bit more life
to the skin tones.

Super minimal, but goes a long way.

It just makes the final image
look a lot more professional.

So I ended up not using
the original source for the skin tones

just because in this case it's so minor

and the adjustments that we've made
are not too drastic.

It's totally fine

to make this adjustment in line
with the chain of commands over here.

And then I realized
I didn't really have to use the output

from the original source
and feed it right into the skin tones.

It's okay for it to be
within this parallel nodes area right here

because it's such a minimal change
that I'm making.

But yeah, this clip looks great to me.

Now let's expand the viewer over here.

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

So this is before.

This was our original image.
This is what it looked like.

And this is with all the
work that we've done to it.

So I'm really stoked on that.

I would say this clip looks really good.

Again, this is eight bit phone footage.

I'm so stoked with what we are able
to achieve within DaVinci Resolves

Color page.

Now what I can
very easily do is show my clips

and let's Middle Mouse click
on this new clip that we just graded.

Apply that grade to this one.

And because it's the same setting,
things should look

pretty similar.

Alex said to me, If I wanted
to make any minor changes I could.

Let's look at the node tree.

Let's see, maybe we don't need this middle

circle here,
but still it looks pretty good.

That circle window doesn't look bad.

We got our skin tones
selected down here at the bottom.

Kind of pointless.

Doesn't really do anything in this case,
so we could just delete that.

But overall,

Alex, pretty good.

We could play with the curves
a bit more in this node tree.

Maybe just bring up the maybe
just bring it up a little bit over here.

Make it pop a tiny bit more.

But overall, that looks really good.

Now what I can do is save this as a

still so right click
grab still added to the gallery.

And that way when it's time to start
calibrating the entire timeline.

I have these stills over here of different
looks that I like

for each one of these images,

and that way I can very quickly apply them
to any other clip within my timeline.

That's it for this video.
I'll catch you guys in the next one.