All language subtitles for [1] Understanding and navigating the Color page

- Now it's time to talk about working in the color page.

And typically you don't want to jump into the color page

until you're close to locked picture, why?

Because what if you do all of this color work

on footage that ends up getting cut from the story?

Then you've wasted your time.

So while the edit is in the early stages,

keep yourself to overall primary corrections

in the color page later as picture gets locked,

then you can do much more detailed secondary work

and don't worry, in the next series of movies,

I will explain secondary and primary corrections.

But before we get there, let's dig deeper

into the color page's interface.

As we switch into the color page,

keep an eye on the timeline and watch how it gets

represented in a totally different manner

than either the edit or cut pages.

The color page is all about color grading.

The thumbnail timeline here,

and the mini timeline here are all about navigating the

timeline, not altering it.

We use the thumbnail timeline to see what a shot is.

We could also change the representative

thumbnail by clicking and dragging

because sometimes the very first frame of a shot,

isn't really the most representative frame of that shot.

Now, before we go any further,

let's go ahead and make sure your workspace looks like my

workspace, let's come up to workspace.

We're going to come to our Layout Presets that we set up at

the beginning of this training and click on Load

or Default Start preset.

And that ensures that your screen and my screen

are both set up.

If you don't have that preset set up,

just go ahead and reset your UI layout,

and then put yourself into a full-screen window.

Now you notice the text underneath this thumbnail timeline.

You can double click on the text and it'll cycle through a

couple of different options.

Option number one shows you what codec you're using.

This is especially useful in mixed codec situations.

Double-click again, it'll show you the name of the clip.

Double-click again, and it will show you

what version you're working on.

We're not really going to get into versions in this training.

So go ahead and double-click and we'll just keep it on the

name of the clip.

The big difference between the thumbnail timeline and the

mini timeline down here, the thumbnail timeline,

I can't tell how long each shot is.

Is shot three, which is the shot number up here.

Is shot three longer or shorter than shot one?

I can't tell by looking at the thumbnail timeline,

but look at the mini timeline and it's very clear

how long each shot is.

So it gives me a good idea of relative length of each shot.

I can also press down the option key

and use my middle scroll wheel to scroll in and out

zoom in and out of the mini timeline.

There's no zooming on the thumbnail timeline.

You also notice that the mini timeline shows we're having

an in and out point set, that was set back on the edit page,

where that in and out timeline comes into play,

is if we put ourselves into loop mode.

So if I put this into loop and hit play,

notice what happens, we're back here on shot number one

at the start of the timeline.

When I hit play, it jumps right to my in-point

and it'll play out to the outpoint

and then loop around again.

And I can go ahead and change that I'll just go anywhere

else in this timeline, like right here,

I'll press i to mark an in.

And now if I'm at the beginning of the timeline and I'll do

that by pressing Home to take myself

to the start of the timeline.

And I press play, well now it jumps me to the

my in-point it'll play to the outpoint and then loop around.

If I just want to loop around a particular shot without

setting any of my in and out points, I can use option X,

same on the edit and cut pages to clear my in and out.

Now this loop will always loop around whatever shot I'm

sitting on for the full length of the shot.

To go from shot to shot on the color pages,

use the up and down arrow keys.

In the upper left, we have what's called

the gallery by default.

It's highlighted here that can be switched

with our LUT viewer,

for those of you who like working with lookup tables,

and then also our media pool,

just like we can in the cut and edit pages.

I'll put this back on the gallery.

The gallery, you can think of it as nothing more than

a place to store images.

So if I like how this shot looks,

and I want to use that to match say to this wide shot here,

where they clearly look a little bit different,

shot number three, looks a little cooler

it's a little bluer than shot number one

and I like how shot number one works.

I can right-click in the Viewer and choose Grab Still.

Now we can come down to shot number three.

Double-click and there's our Viewer

it opens up this Viewer mode we've got a bunch of these

controls above the Viewer timeline.

We'll get into all of these details a little bit later in

this training, to turn that off, one option is to come up to

the View menu, come up to Stills

and you see Place Still, this'll toggle

your still on and off.

So on a Mac, it's option command F, on a PC that would be

option Control F to turn the still on and off.

On the right-hand side of the display,

we have all bunch of pallets that we can turn on and off,

including our mini timeline can be toggled on and off.

And our thumbnail or clips timeline can be turned on and

off, this is really useful if you want to say,

maximize your viewer, turn off the gallery as well.

And now we've got a really large viewer here.

We can go even larger by pressing option F,

and now that's a shortcut to essentially turn off

all of the pallets.

Command F takes us into the cinema view

and then command F to toggle it off.

Shift F gives us this minimized view where you can

also turn on your Open Effects

so if we had an effect applied to this shot,

our controls will show up here and we can make direct

controls here while looking at this very large viewer.

I'll press Shift F again, and I'll turn off

our Open Effects pallet.

Alternatively, I can turn off the Nodes palette.

So now I've got just the viewer up top,

and then I've got all of my color controls down below.

So if you've got several different layouts of all these

different pallets that you want to recall,

just come up here to the workspace and go ahead and use the

Layout Presets, save the layout as a preset

you can name it and then recall it whenever you want.

The nice thing about this is anything that shows up here in

any of these menus, can be mapped to a keyboard shortcut.

So my Default Start, Load Preset.

If I wanted to, I could come up here into

the keyboard customization and go ahead

and give this a default shortcut

so I could call up that view over and over again,

feel free to try it and I just press Escape

to close out the keyboard customization UI.

Let's go ahead and turn on our Node palette, again.

This is our node tree, and the way to think of the node tree

is we've got these two green dots here,

and the left green dot is what's coming in from

our edit and fusion page, that feeds into the color page

and then the right green dot on the node tree is out.

So when we're done, whatever's happening

within this node tree gets fed into Fairlight and deliver.

That's kind of a simplified way of looking at it over the

last couple of years with fusion effects and the fusion page

and the Fairlight page and the cut page,

there tends to be a little bit more back and forth between

the pages so if you go back to the edit page,

you will see the output of the color page.

And if you want to bypass that both here on the color page

and in the edit page, you'll find this little icon there

and that's to bypass color grades and fusion effects.

You'll notice that it has a little down arrow on the

right-hand side that means if you right-click,

you can choose when you go ahead and use this bypass toggle,

whether you toggle both color and fusion

or just one or the other.

And Shift D is the keyboard shortcut command for toggling

the color bypass.

A couple of other things you might come across

while experimenting here on the color page,

and especially in the node tree is this little pull down

here, Clip and Timeline.

And wherever you have a pull down here on the color page,

you'll also find that you've got these dots.

These dots are just quick and easy ways of navigating

between these pull down menus,

you'll find it here, for instance.

On the Curves palette, down on the lower half of the

interface, we've got all of these different dots,

each dot relates to an item on the pull-down menu.

So if I go down to Sat versus Lum,

it's the last item in this pull down menu.

It'll be the last dot here in these little dot shortcuts.

So what's the difference between clip and timeline?

Well, when you're on the timeline node tree,

any changes you make in here on the timeline node tree,

ripple to the entire timeline.

Whereas changes made here on the clip level

is only for this specific shot.

So I'd say I'd spend 95% of my time here at the clip level

and every now and then I'll jump into the timeline level for

an operation that I want to apply to the entire timeline.

Let's jump into the light box here,

and the light box is a great way of displaying your entire

timeline, and let's really blow this up.

And you can imagine if we had a full timeline here,

one of the nice things I love doing with this is if we take

a look at the wide angle of my room here,

you'll see that I can feed this view out to my client,

out to the display, so that if I want my client

to get a sense of kind of the color story,

how did the shots lining up against each other?

I can jump into the light box and feed this out to my

reference display, out to the client display behind me,

and we can have that conversation happening in real time.

I'll turn that off.

And you can also expose the color controls here

in the light box, by clicking

on this color controls palette.

And so now I've got my light box with my full color grading

tool set down here.

And I can actually color grade while in the light box view.

Let's turn off the light box.

Over on the lower right-hand side of the color page.

We have three additional pallets.

What you're looking at by default is the key frame pallet.

Important thing to note about the key frame pallet is the

all or color, so if you add a key frame in all mode,

every single node, cause we can add multiple nodes up here,

will get key frames if you're in the color mode,

only the node you're sitting on will be key framed.

We'll just keep this to all for right now.

We've got our scopes, which we'll be talking about

in a couple of movies.

And then we also have our metadata palette.

Now, unlike previous metadata pallets in the other pages,

this really is more for reference and you can't actually

directly change anything here in the metadata pallet.

Finally, in the lower middle and left-hand side

of the color page are all of our various color controls,

we've got camera raw controls,

we have our main color grading controls,

and then we have brand new and Resolve 17

if you're working before Resolve 17,

you won't see this pallet, this is the HDR palette,

some advanced color correction controls.

And this is your motion effects palette,

and if you're on the free version of DaVinci Resolve,

if you enable any of these, you're going to get

a big old nasty watermark on this image

and the way to turn that off is to go ahead

and click the master reset.

And every of these pallets has a master reset button.

And then you also find individual reset buttons on a lot of

these tools, so you see over here on the Curves,

we've got this master reset button and then we've got these

individual reset buttons for these various parameters.

We'll spend the next series of movies,

understanding some of these controls and how they relate to

the node tree up here.