All language subtitles for 30. watch me color grade (full project) part 2 Color Tab Kolder

So why don't I just grab a still
and apply it to this one over here?

So let's go to our gallery over here.

Let's just scrub over top of these stills
and see which ones

look good.

And yeah, I think that same first

still that we were working with that
first down looks really good to me.

I think it might be a bit too
saturated for my liking.

Let's

make this snow tree a bit more simple,

so I'll just select both of these notes
here.

Delete them.

I don't know if I want those for now.

Let's go to the left. Turn it on and off.

See how big of a difference it's making.

Looks good.

I would say maybe it's a bit too intense
for my liking.

Let's just close off the keyframe window
here, so I'll just minimize it

and let's bring the gain down on this.

That looks much better in my opinion.

It was a bit too intense previously, but

I don't even think we're going to need
to really make any adjustments to this.

I feel really good about this. Looks good.

Shift to turn it all off Back on.

Looks sick. I'm loving it.

Let's apply that same grade
to this next clip by right clicking on it,

selecting it
just like that looks good to me.

And of course we can apply this light to
this group is dirt biking group.

And if at any point we want to make
an adjustment to this entire group,

we can choose to make these adjustments
either pre or post clip level.

So in this case,
if I wanted to brighten up everything,

I could do that pre clip level.

So any adjustments that I make here
will affect all of the other ones.

So if I wanted to slightly

brighten things up,

I'd be making those same adjustments
to all the other clips

within that same group.

Now this is pretty minor.

I don't think I'm actually going

to want to make adjustments
on all of these clips here.

As a group, I just created a group
in case I wanted to do that

because in a lot of situations
that will save you a lot of time

to just be able to make adjustments
pre and post clip

to a group of clips
instead of having to make them

each individually,
especially on longer projects.

But in this case,
this is a pretty short project.

There's not that many clips

and I don't really have
that big of an issue

with middle Mouse clicking on the clips
that I want to apply grades from.

It's pretty chill in this scenario.

It's really only like a minute long video.

But you know,
if you're working on something

that's an hour long or whatever
group clips and also

remote
grades are going to be huge for you.

So I'm going to reset this
note here in the pre group clip,

No tree.

And let's apply this same grade
to all the other dirt bike clips as well.

So we have one over here.

This first one,
let's apply this to it right away.

That looks great.

Same environment.

I don't really even feel
like I need to make any changes.

I might want to increase the offset

of the primaries here.

Minor. Very minor.

Just bringing a little bit
more light to it.

I almost feel like the primaries.

Yeah, they're a bit dark,
so let's bring them up.

I notice I'm noticing that

the primaries here,
they're at -300 on temperature.

I think that's a bit too cool.

I like it. A little bit warmer.

Even warmer, honestly, probably zero

looks good to me.

Why don't we compare these?

So I'll select these other clips over
here.

I'll go to split
screen, take a look at all of them.

This one tiny bit warmer
than these other ones, but these clips

are separated by the actual clips
over here in the in between them.

So not really an issue at all.

No one's going to notice.

And I kind of like the warmth

in this one here,
but I do like these ones a bit cooler.

Turn, split screen off.

Cool.

And now all we can do
is just apply these grades

to other clips and see how they look.

So with this surfing clip selected,
let's apply this grade looks good.

I feel like it looks a bit too green,
so let's head over to primaries,

bring up the tint stuff a bit too

cool as well

and let's remove

or reset these nodes over here.

Also the skin tone node shifty.

Turn it on and off.

Maybe we bring the intensity
of the up a little bit,

maybe the 0.5.

That looks good to me. Primaries.

I'm going to warm it up a tiny bit too.

I like the warmer vibe.

Looks good to me.

There might be blocks,
maybe a little bit crushed.

I'm not sure.

Let's check the waveform.

So we're approaching it,
but we're not actually clipping anything,

which is fine, roughly clipping
some of these

highlights in the water here.

But I'm not too fussed.

I actually like it.

I like the way that this looks.

I feel good about that.

Let's move on to the next clip.

Apply this same grade over to this one.

Looks good to me. I think the Greens.

Maybe we should isolate the Greens,
maybe play around with those.

We could probably experiment
with this clip a bit more.

So with this top clip over here selected,
I'll grab my qualifier.

I'll select the greens.

Oh, you

see, I had the subtraction
picker, picker, subtract,

so I got to make sure that I have
just the regular picker on.

So let's make sure that we got that

selected shift
A to show us what we have selected.

I don't want the skin tones.

I really just want

more of the greens here.

Let's play around with saturation and hue,

so remove those skin tones
that do not want the skin tones.

It's really just

that area there.

It looks pretty good.

Let's play around the luminance,
see if we can refine it

even more.

Okay, cool.

So clean that up a bit.

Clean white,

blue radius.

Cool.

Shift a Let's play around with this.

We can either bring
down the tint a bit. Nice

now. Looks pretty good to me.

Minimal,
but it takes away like that pink look.

There's like this tint of pink on things
and we're kind of taking that out

by applying
a bit of a green tint to everything.

Looks good to me.

I'm wondering this.

I don't know if it looks too great to me.

Looks, looks all right.

What could we do to make this image
a little bit better?

I think maybe if we play around
with the primaries a bit,

we can kind of just experiment
to see how things look.

Now, of course,
we can't do anything too drastic right now

because it will affect our selection
that we made

of our greens over here.

I'm going to have
to learn how to spell greens.

So yeah, this looks pretty good to me.

The face might be a little bit
too overexposed

and we can use the magic mask
just like we did in the previous lesson

on this exact clip to actually
bring down the exposure on his face.

That should be pretty easy.

But other than that,
I would say this looks pretty good.

Again,
let's take a look at what these greens

are doing over here.

And why don't

I just compare this to the previous clip

just to see what things look like?

Yeah, minimal.

It's a minimal adjustment.

It gets the job done.

You can see
just how far we've taken this image.

Pretty far.

I'm wondering
if maybe I should saturate the sky

a little bit just to see what
it looks like. So I grabbed the qualifier,

scrub the sky

too much,

and let's play around with the luminance

saturation

hue. Cool.

Yeah.

The hues allowing us to pick up
more of the sky there.

That's what I want.

Let's just blur it a little bit.

Shift a and let's desaturated a tiny bit.

Cool.

That was before,

after.

And maybe we can bring it to

just the sky and brightening.

It kind of messes up the edges over here.

So if we could blur it even more

to kind of hide that.

But we also don't
even need to brighten it.

So I can just bring that back down,

right click on it.

This is before and after.

I do like the a bit of a desaturated
look in the sky there,

but it's all subjective
personal preference.

Do what feels right to you,

but that feels pretty good to me.

Let's apply the same grade
to the next clip over

just by Middle Mouse
clicking on this clip.

I've applied that same grade.

I feel like this one, you know, we're
getting a lot of clipping in the sky.

If we look at our scopes, we could see a
lot of the information is getting cut out.

So I'll go over to the primaries
and I'll try to bring back some of that.

Yeah, not too much success.

There's no information up there,
but that's fine.

This is actually a clip that I did use
in the actual official video.

So it did make the cut, even though,
you know, we are cutting out,

even though we are clipping
a lot of the bright parts of the image.

Let's see,
I'm going to turn the on and off.

I feel like the light could probably be
a bit more intense on this one.

So I'll just bring up the exposure
and just like that.

Yeah, that looks a lot better to me.

I'm happy with that. Let's play it.

And of course always have

a loop on to make sure that it doesn't
automatically jump to the next clip.

I like to be able to just watch the clip
that I'm focusing on.

This all looks good to me.

Let's, uh, let's turn these off here.

Or what was this one selecting?

Actually, command the shift.

A what are we selecting here?

Okay, so this is the, uh,

this is from the sky in the previous clip.

So we're making a selection
of those blues.

It actually does look better.

Like this. Um,

we turn it on,

so we're d saturating the blue.

So this was meant for the sky
in the previous clip.

In this clip, we're applying
that same d saturation to the water,

and I do like it Desaturated.

That's a vibe.

Other people I know a lot of other people
like the color and the colors.

Nice. It's nice and blue.

The desaturated vibe is also really cool.

I'm going to stick with that.
I do like that for this clip.

Let's go on to the next one.

Let's apply the same grade.

Way to dark over here.

Let's take off this blue D saturation.

I like it.

We'll leave it on.

So let's head over to our primaries.

Let's bring the offset up
just to brighten everything up

looks good.

Let's go over to the curves.

Just give it a bit more contrast.

I want those bright parts of my image,
even brighter,

dark parts, a little bit darker,
not too dark,

but that looks pretty good to me.

Yeah, this shot just looks crisp.

I like it.

Damn. Looks very nice and crisp.

The water looks crisp.
Everything looks good.

The only thing is skies blown out,
but not really an issue.

Because I like the way
this looks subjective.

Just because the sky is blown out
does not mean we can't use the clip.

So that looks pretty good to me.

Why don't we head over to LightBox?

I'd like to head over here
every once in a while

and just take a look at everything,
see how things look.

Let's zoom in on some of these clips,

see what things are looking like.

So this underwater clip,
I feel like we could probably apply this

to these clips over here

so I can
just middle mouse click on this one

over here in LightBox
and apply them just like that

little bit too contrasty,
but we can go in and fix those.

So command
Z, let's remove these two over here.

I feel like this works
best on this little fish clip here,

so middle mouse click over here
will apply it this one here.

Let's exit lightbox
and head over to that fish clip.

Chivo to see before and after.

I really like that.

I feel like maybe things are a little bit
too green.

Things might just have a bit more
of a green tint to things, which is fine.

Let's see what this node here is doing.

Not much.

Let's reset the node grade.

We don't need that affecting anything.

There's no greens in this clip,

so we'll reset the Greens as well
over here and what we could do.

Shifty. Let's take a look before
and after again.

I want to make things a bit more pink,
so I want to take away that green tint.

So we'll go over
to our primaries over here.

Let's make things a bit more pink.

Doesn't appear is doing too much.

I'll play with the temperature to

try to find what looks good.

This is before.

This is after.

I feel like that looks pretty good to me.

Of course, you know, shooting underwater
with a bit phone, everything's very blue.

I'm limited as to how much I can do,

but even just that that minimal change,
adding a bit of that contrast,

changing the color of the blue
a little bit makes it look cool.

I like that.

So let's jump over to this next clip
over here.

Apply that same grade.

We can see we have a bit more color here.

We have the seaweed here.

It gives us that bit of orange.

And we also have a bit of pink
in the background

to not too much of a fan of that pink,
if you like.

That's the tint over here.

We can see we're on the more pinkish side.

So let's bring that down into the green.

But then let's also
bring the temperature down too,

because I don't want things
looking too warm.

I'd like them to be a bit more blue,

shifty, Turn that on and off.

Same thing in our primaries.

I'll go to my primary reels over here.

Let's bring up

the lift a tiny bit.

I feel like it's a little bit too dark,
but not too much.

I don't want to have that washed out.

Look, I'm personally not the biggest fan

that's going to log.

We'll actually bring up the shadows,
try to just target

just the shadows

command.

We'll turn our primaries on and off.

We can see how much of a difference
that's making.

That looks pretty good to me.

Let's compare these.

Why don't we compare those
with the underwater clip here in the above

one here just so we can see

the kind of vibe here. Okay.

So shot it down above water.

You can see it's a bit more pink
when we compare it to these ones.

But all of these are fully underwater,
so it's totally fine for it to

look a bit different.

But now that I look at it,

I do feel like it might be a little bit
too pink now.

And where is that coming from?

Yeah,
it's coming from our primaries here, so

I'm actually just going to turn down

the output,
the key output of our primaries here.

So it's not as strong.

I'm actually just going
to turn the primaries off.

I feel like it looks better like this.

I don't know what adjustments were made
in the primaries.

There, but I'm stoked with that.

I mean, what I could do
is actually just make a version.

So command y

calibrating version is added

and then I could just enable this and

command B switch between them.

Two different versions,
very similar looks,

but I like the one where it's disabled,
but just in case

I have two different versions
that I can play around with.

But these underwater clips,
they're looking pretty good. Now.

I'll apply that same grade
to this next clip over here.

Little bit
too bright probably on this one.

Let's bring down that offset over here.

Yeah, let's bring down the adjustments
that we've made here. So.

So I can see my curves.

Note over here.

I'm bringing up the highlights

a little bit too much.

Not down for that.

It's a little bit too bright.

This looks a bit better shift
to turn that on and off.

Still, we're losing a lot more information
in the highlights over here.

So let's take a look
at which one of these nodes is affecting.

I think our might be a little bit too
intense on this.

0.8 might be taking it too far.

And let's bring the primaries

or bring the offset down a little bit
just to darken everything.

But I don't want to be losing
too much information.

My highlights over there, shifty,
turn it on and off.

Let's compare it between these two.

This one looks a bit greener to me.

So what I could do

is just

bring down the temperature a tiny bit

and that looks good to me.

Yeah, I'm happy with those works.

Let's apply this same grade
to all of these clips next to them.

So select all of those, apply this grade

and right away,

shifty. Turn that on and off.

The light isn't doing too much here.

Let's bump it up.

Let's go to Curves right next door

and increase these curves.

This is a very different environment
from what we were just working with

in the previous clip.

Shifty.

Turn that on and off.
That looks good to me.

These clips are going to be too dark,
so I'm going to apply this one

that I just made to both of those

much better.

Let's take a look at this clip here, too.

It looks good.

I would say it is a little bit dark,
so it's going to our primer grids here.

Let's bring up the lift a tiny bit.

But I don't want it to feel washed out.

Just a little bit goes a long way.

So that feels good to me.

And if there's any other underwater stuff,

I could probably apply this
same grade to those as well.

So let's try this one over here
to apply this grade way too intense.

Let's undo that.

And I'll probably want to just grade
those individually.

Now, I do have some dirt
bike clips here that we can also grade.

So the dirt bike ones,
we got one over here.

I like these grades up here.

So I will select this clip here, apply
this grade to it.

I will select this other dirt bike clip.

Where is it? This one here.

Let's apply this grade to it.

Perfect. I can already see
just from this thumbnail.

I like the way that that looks.

And let's play around here.

Let's see what other clips
could probably work well with this.

So if you like this clip of Dan over here,
apply this to it.

And let's actually just take a look
at that clip, see what it looks like.

All right.

So it looks like we have a clip on top
of another clip here.

That's why I'm seeing that thumbnail.

So we got to just ignore this clip
when I this one's not even actually

in the timeline, but this clip here
we can apply this grade doesn't look good.

So let's not use that one,
but let's try applying it to this.

This one looks pretty good.

I'm stoked with that.

The Greens, though, a little bit intense.

I actually like it.

I prefer it without

the tint change in the greens over here.

So I'll go back to my primaries.

Maybe I'll bring up the temperature
a tiny bit.

Much better, Much better.

This looks good to me.

I'm stoked on this grade.

This one actually looks really good.

Let's grab that still.

Let's go into
our gallery and maybe we can apply this

to some other clips
in the timeline as well.

Let's see what else we got here.

Another surf shot
to apply that same one here

that looks great to me.

I really like the way that that looks.

Let's see what it looks like on this one.

So a middle mouse click

shifty.

Yeah, totally.

It adds a bit
more of like this pinkish hue to things.

Makes things look a little bit
more magical, if you like.

Those bubbles

makes things a bit more red pinkish.

I really like that.

Remember shift C is the shortcut to fit

the image in your preview.

Let's see what that looks like
on some of the longboarding stuff as well.

So I love that.

I love the way that it makes the mountains

look over there,
but everything else is a bit too dark.

So let's see
what's going on here in the primaries.

Maybe we can bump up the offset a tiny
bit, just brighten things up a little

bit, but

not too much because
we don't want to make the highlights peek

So I'll just bring up the lift's tiny bit.

I don't want to have that washed out look,

it looks pretty good to me.

That's just a quick clip.

Let's apply it to this clip here.

Very minimal.

I'd rather apply
maybe this grade now to green.

Let's see this one.

That looks good to me.

Shifty before and after.

Clean, simple, clean.

Not much that
I would really want to do with this clip.

You don't have to go
that hard with all these clips.

You know, like the adjustments
that you've made on one clip.

A lot of the time they're going to look
good on a lot of other clips.

So in a lot of situations,
you're not going to have to go in

and use the qualifier
and make individual changes.

If it looks good to you

and you just want to make some minor
primaries changes, go for it.

But you don't have to go really hard
with every single clip here.

This looks pretty good to me.

I know what that's like.

Bluer White
Balance is kind of baked into this clip,

so you can't really play around
with the temperature too too much.

But I'll just bring it up a tiny bit

just to make the mountains a bit
more yellow, give it that sunrise feeling.

Let's compare
all these three clips together.

Just make sure that they
they vibe, you know, they feel good.

Shifty before
and after this last clip over here.

It does have that washed out vibe
because we brought up the lift.

So if we go back to our primaries on
just this clip,

bring that down.

I don't want it to be to

washed out

minimal, minimal,

even.

That is still a bit too washed out.

It's okay.

This is going to be more of
just like a silhouetted shot.

But if we go back to our split screen,

these look pretty good.

I would say this clip could probably use

even more of that

temperature and make it a bit warmer.

And that kind of unifies things even more.

I do like this,
if you like, before this clip

option D, by the way, is to disable

all the nodes on the selected clip option
is to disable all the nodes.

Shift
is to look at the original for everything

and then command is to just disable
individual nodes.

But option D will disable all the nodes
as the important shortcuts.

But yeah, I'm stoked with this shift d.

Turn it back on all of these.
They look pretty coherent.

The saturation in the mountain
here is a bit more intense,

but that's totally fine for my preference.

I like the way that this looks.

So let's go over here.

Let's apply
this grade from this longboard shot.

It's pretty simple. It's not that intense.

Let's apply that to this clip of me here.

See what it looks like?

Looks pretty good,

but I'm gonna actually undo that.

Let's take a look at some of these stills
that we've created previously.

I'm going to turn off split screen
so I can see them.

Yeah, I guess

I thought that this one might work better.

Um, I feel like it's blowing out the sky
a little bit too much,

but because this is from the same area
as the previous clip, let's just apply it,

play around with it.

Maybe we can modify things a little bit.

The sky. We got the car here.

The car is in a
completely different place,

so we can see that that same mask
that we had,

that same window that we created
for the car in that previous shot.

In the other lesson,

it is being applied to this clip, and
it obviously doesn't make any sense here.

So let's reset that note over there.

You want to be mindful of these things
to make sure that we don't have

random masks being applied
to a bunch of different things.

The sky here, it's too pink,
kind of doesn't feel right to me.

So let's just bring the key output down
a tiny bit,

commanding before and after.

Just that tiny bit of pink helps.

And why don't we compare this
to the other clip that we created

previously select
that split screen view selected clips.

We could see
they look pretty good together.

Obviously, the sky here is much pinker,
but that's totally fine

because this could be different
times of day.

You know,

the water here
in this clip, maybe it's a bit too green.

So why don't we, instead of making
this car, we can change this to water.

And let's go to our qualifier.

We got to turn split screen off.

Let's select the water over here,
make sure qualifier is selected.

Shift A to show us what we're selecting.

Cool.

Of course, we're affecting
a lot of other things as well here.

If we want to make a selection
just around the water,

we probably have to combine the qualifier
with the power window as well.

But let's see what we can do
just with this.

So why don't we go into our curves?

The hue here, I think this is probably
the range that we want to be playing with,

and I
want to just push it down a tiny bit.

So normally it's like that

tiny bit and it's
okay that we're affecting

everything else in the image too,
and not just the water

shift before and after command
turn that one node on and off.

Let's zoom in on the water,
see what it's doing.

Very minimal.

You guys might not even be able
to see the difference.

I don't want to push it too far because it
starts to make things look a bit purple.

But that's the thing though.

Like with color grading, you want to make

the most minor adjustments
in some situations.

And to me I can see this tint changing.

This is off, on, off on.

The change looks minuscule,
tiny like barely noticeable

for me.

I can notice it clearly, actually,
but I hope that you guys can also see it

through the compression,
but that small slight

change in the water is,
I think, exactly what we needed.

So why don't we compare those two clips
again, go back to split screen

over here

for water.

So let's turn this on and off.

Green blur,

minimal adjustments.

That's really it.

And it's it's so great to have this

split screen feature to be able to shot
match like this.

Of course, we could play around

We can intensify the sky as well
and make it a bit pink or if we want to,

by changing the key output here
to turn it on and off.

So it looks like for what it looks like
after just to get it to match there

a bit more, I might even want
to bring down the highlights a tiny bit.

You could either do that in Curves or

in the

primaries.

Oh, that looks better to just
bringing down the highlights in the sky

because before they were a bit too bright.

Now these two clips
look good side by side.

But let's take a look at just this clip
and just make sure that things don't

look like off
or weird or anything like that.

No, I would say that
things are pretty good.

Um, let's see, maybe
what's going on with the skin tones here.

You can see everything is kind of
scattered, which is reorganize things,

noise reduction.

We don't need any noise reduction.

What's going on here?

This is final node.

Also don't need this one here.

Skin tones. Just verify.

Skin tones look good.

I would say that
I don't even need to verify.

Actually, I'm happy with those skin tones.

Those feel good to me.

And you guys, this is
this is the general process.

I'm just going to continue
to go through my timeline just like this.

I'm going to apply previous grades
to new clips to see if they work.

I'm going to experiment
with the save skills I have in my gallery.

If there's a clip that I find doesn't
look good with any of the previous stills

that I've made, I'll go back into
my let's play around with the LEDs

that I have here from the case pack or,
you know, any of the LEDs that come

with DaVinci Resolve or any of the LEDs
that you download yourself,

play around with them, experiment,
see what looks good,

but feel

free to, you know, apply
previous grades that worked

well in other scenes to other scenes
and see if they work well.

Make the adjustments necessary
to make them work if they don't.

But this is the general process
of how I like to color grid my timelines.

Once you know everything is color
graded in my timeline,

what I'll do is just open up lightbox,
take another look at things here.

Just make sure that I like the way
that everything feels.

I'll probably bring up the size
of the thumbnails here to scroll

through them and just make sure that I
like the way that everything is looking.

So right now I can see that I can apply

this light
to one of the other arrow clips here

so this one can
be applied to this one here.

That looks good.

We could apply this one to this one
here to this one here too.

And of course, they're pretty intense.

We're going to want to make
those same adjustments before probably

bring down the capacity of the light here,

make those same minor changes.

We can see
we have some green leaking over here.

I'm not sure what that is.

Looks like it's from this node here.

But yeah, that's the general vibe.

I think the most important thing for me
is to select a handful of clips

from my entire project and grade them
in a way that I think works well for me.

Feel free to create multiple
versions of grades for each clip.

That's totally fine.

Save all those different looks as stills
within your gallery, and then that way

you can always go back to your gallery,
apply different looks to different scenes

and make modifications from there
if you feel the need to.

But yeah, this is pretty much my process
of color grading an entire timeline.

I don't
want to go through the entire thing.

I think that that's going to be pretty

time consuming,
but you guys get the gist of things.

You've learned a lot.

We've learned how to use base Node three.

We've learned how to update our base node
trees.

We've learned how to use group clips,
even though in this situation, group

clips
might not really make the most sense.

We know how to use them in scenarios
where they can be very beneficial.

That is my process of color
grading this timeline.

Of course, keep in mind
this is a shorter video.

It doesn't really make sense for me
to use remote grades

or group clips as much in this scenario.

But when you're working on much more

extensive projects, for example,
like the next time I make a minor video

or something along the lines of like,
Hey Tam, like a short film project

or documentary style video,
I'll definitely be using

remote grades and group clips a lot more.

But that's it for this video
I hope you guys enjoyed.

I hope you learn something new
and I'll catch you in the next one.