All language subtitles for DaVinci-Resolve-17-Color-AdvancedColor

Hi, my name is

Daria and I'm a colorist
and a into resolve master trainer.

Today we're going to be looking

at some more advanced concepts
in DaVinci Resolve Color page.

If you've not yet seen the first video
in the series, I suggest you

check it out so that you're more familiar
with some of the core concepts

of the color page
before following along with this one.

But if you feel you're ready,
let's jump into it.

I've already got my project set up,
so this was also a dry

and I have my timeline open
in this project.

I would like to set up color management
before I begin color grading.

Color management is an internal process
and dive into resolve that re maps

the starting point of all your clips
to a single working color space.

So for example, right now you can see
I have a series of clips on my timeline,

all with different sources
and different codecs.

Based on these codec names.

I can see that

some of the clips have come directly
from one of our black magic cameras.

So these are in the Blackmagic
raw standard,

whereas some of the other clips
have been transcode.

So we have able progress
and the index h.r.

Which are some common intermediary codec
standards.

This means that the way
that the color information

in these clips is encoded
is slightly different.

So with color management, we can remap
all of these into a single working

standard that will allow
the color tools in the cover page

to operate consistently and smoothly
producing nice, beautiful results.

Another reason why we use
color management is

so that we can control
our deliverable outputs.

So there's a lot of different standards
that we deliver to,

for example,
cinema projection, television, broadcast,

online, streaming services
and of course the Internet.

All of these use different transmission
technologies

or different display standards.

And for that reason we have different
color standards to deliver to.

If you were grading a non color
managed project, you would have

to hypothetically regrade your project
for every one of those standards.

But with color management enabled,
it's enough for you to simply change

the output standard that you're
delivering to

and automatically
all of your grades will be remapped.

So let's set this up
in the project settings

which you can access via the gear icon
in the bottom right corner of the program.

Going to click once
and then in the sidebar on the left,

I'm going to navigate
to the color management section.

By default, the color science is set to Da
Vinci y RG b,

which is essentially like
disabling color management.

I am going to select my dropdown list

and enable it by selecting DaVinci. Why?

To be color managed.

When I do
this, I reveal some additional controls.

Right now we have a dropdown
for Resolve color management preset

and it's assuming that I want to deliver
for conventional streaming online.

You can see a slight description
underneath telling you exactly

what the standard is used for.

If I click on this dropdown,
I can see that

there's a lot of other standards
represented.

As I mentioned, things like broadcast

and cinema are all covered
as well as SDR and HDR deliverables.

I am going to choose a standard
that's going to allow me to futureproof

my project.

Future proofing means
that if something comes up down the line

and I need to deliver to a new standard
that I hadn't considered or one

that might potentially not even exist yet,
I can still do so with this project.

The standard is called
The Vinci wide Gamut and it far exceeds

any other standards
currently represented in this list.

So pick The Vinci wide gamut.

And then

underneath that I am being prompted for
an output color space and as you are color

grading, this should represent the monitor
that you're using for the color grade.

In my case, I'm on a color grading monitor
set to the rec

seven or nine gamma two for standard.

If you are grading

on your computer monitor,
you might want to check out what standard

it currently uses and set your output
color space to match

when you creating deliverables
for other standards

for things like broadcast and cinema,
you will need to look up what those

deliverable requirements are and set
the output color space accordingly.

The only general rule here is that
you want to start with the widest possible

gamut and then work your way down
as you start creating your deliverables.

But in my case,
this is the widest standard I need.

It's rec seven and then Gamma to four.

I'm going to click Save.

And if I just before I do that, I'm

going to move my project settings
window out of the way and I'll keep

an eye on the viewer as I do this
so I can see the change occur.

Right? So

hopefully you'll notice the color shifted
became a little bit more saturated.

There's a touch more contrast.

It's starting to look more like real life.

So we're now no longer seeing this like
log encoded version of the video clips.

Feel free to navigate
between these clips using the arrow keys

to see that all of the colors
have been shifted and all of the clips

look closer to each other
as well as a starting point.

So now I can begin color grading,
know that I am within a very safe standard

for color grading.

All of my tools are going to behave
in a consistent manner

and I can always change my output
color space if I needed to.

So how does the vintage resolve

know what the starting point
of all your footage is?

Sometimes it doesn't know,
sometimes it does.

For example,
when you're working with raw media,

any of the raw standards currently
supported by DaVinci Resolve will

automatically be remapped into the working
color space that you've set up.

If I go back into my project settings,

I can click on the camera raw
tab in the sidebar

and look at my raw profiles
to see all of the different raw standards

currently supported.

All of these
will automatically be remapped,

so I don't have to worry
about any of the clips that have

blackmagic
raw written under them in the codex.

However, for clips
that have been transcode.

So I will progress the each h.r.

Because of the nature of transcoding,
we are losing some of the metadata

associated with these clips
when they were originally captured.

So we don't actually know
what the starting point is in this case.

We would probably have to either
look up our camera specs

if we were the ones
who shot the footage ourselves

or get in contact with the camera operator
or DP from the project

and find out what color standard
they shot in.

We can then right
click on any of the clips on the timeline

and make changes
to make sure that the input color space

of the clips is specified
and it matches their origin.

So clip number seven, for example,
has already been set up.

I can navigate to input color space
and I can see that this was captured

on a Blackmagic design camera 4.6 k

film using the generation one Color space,

and so that has already been set up
and remapped.

Other times you might decide
that you don't want to apply

color management on certain clips
or certain graphics, for example,

in which case you can choose to bypass
color management altogether.

With this clip, for example,
the color management has occurred,

but I might find that
it's a little extreme

around the highlights,
which are looking a bit saturated.

I can right click on clip number
ten and select bypass color Management.

And in that case, I go back

to that log look, but at least I feel like
I have a little bit more control

over how I set up my contrast
and my saturation from the get go.

The downside of disabling
color management, though, on clips

is that if you decide
to change your output color

space to a different deliverable standard,
that clip will not react

and it will not be remapped,
which means you will have to recreate it.

So you should avoid bypassing
color management whenever possible.

And then finally,
if all of your media is originating

from the same camera source,

it makes sense to set it
up in the project settings

rather than the individual
input color spaces.

If I go back to my project
settings controls the color management,

I will need to return
to my color management

preset parameter and change it to custom.

When I do that,
any of the settings associated

with DaVinci
White Gamuts will reveal themselves

and packed into all of these
individual customizable parameters.

So now I can set my input color space
into whichever camera standard I wish,

but in this case

I'm happy to leave the default settings
as they are.

I'm going to click
cancel and continue working.

The next thing I'd like to take a look at
is the Node editor and the first video.

We used a Node editor primarily
for organizing our grades.

We had separate nodes for balancing,
for creating contrast and looks.

But in this video,
I'd like to take a closer look at what

the Node editor can do for us
and why Node order matters.

So I would like to perform
a series of exercises with you and test

you on how
well you understand the signal flow.

Hopefully when you complete
these exercises, you'll develop

more confidence in using the node editor
and understanding how to break up

the different stages of your color
grading process.

I have clip number one selected
and the first thing I would like to do

is turn this into a black and white image.

If you've already used the primaries
palette and the adjustment controls,

you'll be familiar
with the saturation parameter.

So you know that it's enough
to drag that down to zero or just select

the numeric field and type zero in order
to produce a black and white image.

But I have another way of doing this
that I prefer.

So I will double click the saturation
parameter to reset it, and I

will go to a different palette in the left
palettes called the rugby mixer.

In this palette, I'm able to instantly
turn this image black and white

by navigating down to the monochrome

parameter and clicking the checkbox
and now have a black and white image.

But I also have some additional control

over the individual red,
green and blue channel strengths.

I can drag these color bars

and increase the intensity
of the red channel, for example,

which will elevate things like skin tones

or anything
that's got earthy or brown colors,

or I can do the same thing
for my green output.

This will affect
natural elements like trees.

And then finally,
I can also do the same thing

for the blue channel, which tends
to affect things like skies and water.

I will reset the green and blue
and just leave my red channel elevated

so that I have a slightly brighter image
than I had originally.

I will label this node call this black

and white to VW
and then create a new serial.

So far we've been using
the contextual menu to add

new serial corrector nodes,
but I can also use a shortcut

which is option s on a mac or alt
s on a PC.

So it's a nice quick way to generate
new character nodes.

And this node I will use to turn the image
into a sepia tone.

The sepia is kind of
like a reddish brown tone

that's most commonly associated
with older photography,

so I'll give it a label in the note
editor.

Return back to my color wheels
and I'm going to drag the gamma wheel

towards this orange

red until I get that exact look.

All right, So this is the first question
I'd like to ask you.

The first test.

What will happen if I switched
the order of those two notes?

Will it make a difference?

And what will we end up
seeing in the viewer?

If we follow the video
signal from left to right,

we can read the first note
as being the RGV input.

This is where the original video
signal enters.

We travel to the right.

You can see there's an entrance arrow
to the black and white node

where the image gets turned
black and white.

The signal then continues into the s.p.a.,
where we then turn it into this orange.

You read Finally
the signal continues into the RGV output,

which is what we end up
seeing in the viewer.

So the order does matter.

But what will happen visually right now,
if I change the order, these two around,

there's a couple of ways
to accomplish this.

One way you should know about

is being able to extract the node
from the connection line.

I'm going to select the node
press e on my keyboard e for extract

the node

pops off and I can now move my black
and white to the side

and make room to place
the sepia toned over there.

When I drop it off,
I will see the result in the viewer.

And if anyone was thinking to themselves,
the image will definitely be black

and white, because that's
the very last action that we perform.

Then you were right.

But does that mean that the S.p.a.

didn't matter at all,

since it's essentially being overwritten
by the black and white?

Well, no, not necessarily.

Remember, we were using the S.p.a.

in order to increase
the amount of warmth in the image.

And when we were working in the RGV mixer,
we specifically increased the red

channel strength that makes this node
particularly sensitive to rent.

If I disable the S.p.a.

right now by clicking on its number,

this will

have an impact on the way
that the black and white image looks.

And in fact, if I go back to sepia, back
to that gamma wheel and start to move it

around, I will continue to have an impact
on the black and white node.

So hopefully this small exercise
demonstrated that node order

absolutely does matter and nodes

always impact one another,
even if it's not immediately obvious.

I'm going to reset my note editor
by right clicking in an empty

area of the node graph and choosing reset
all grades and nodes.

So let's take a closer
look at a single corrector node's anatomy.

You'll see that there are two inputs

and two outputs at the top.

The green input and output carry
the video's RTP data.

So that is the actual pixel information.

Red, green and blue pixel values.

Underneath that you have the blue or key
input and output.

This will carry all of your key
or matched data.

So for example, if you're using power
windows or qualifiers

or even external mattes,
you can reuse this data

using these blue input and output signals
For the next exercise.

I'd like to take a look
at destructive workflows.

So the very first thing I'm going to do on
this clip

is to completely crush
the shadows, to imitate,

you know, setting up a very harsh contrast
at the beginning of your workflow.

I will, first of all, label this node.

I'll call it Lift,

because I will be adjusting the lift
Master will.

We'll go into my primary colors
and I will drag the mass wheel

to the left, down, down, down a lot

lower than I would
normally ever do in an actual grade.

There we go. So it's nice and cross.

You can see a lot of the data
in the image has disappeared.

We can virtually just only see the sky
and this outline of our models face

everything else.

If I disable
the snow, you can see has disappeared.

If you look in the scopes,
you will also witness the waveform also

being crushed towards the very bottom here
against the black point.

All right. So all of that is gone.

I am going to
create another character node

option S or alt s,

and then I would like to approach you
with the second question.

Can we restore this video signal,

all of that data
that we just crushed in the shadows?

And to add a layer of difficulty,
I would like to ask

if we can restore it using another tool
other than the lift master wheel.

So for example, the curves,

I will name my node accordingly.

While you think it over

and then we'll take a look.

I'm going to drag my mouse
over to the curves here,

create a new point, drag upwards.

And at first it certainly does
feel like we have fallen

into a destructive workflow.

As I try to brighten this image,
I will find that I'm not able

to restore the data or to improve it.

In fact, I appear to be distorting
it even further, right,

Because we're increasing
the saturation, were blowing it out

and we're not getting any of that data
back in the shadows.

If I look in the scopes, I also feel

that the bottom of the waveform
is permanently stuck to the floor.

All right.

So the
thing is, the reason this is happening

is because I'm targeting
the wrong tonal range for this image.

Because when we crushed
that using the lift,

the lift primarily goes after
the black point of the image

and then linearly tapers off
and affects the rest of the waveform.

What we're targeting
by dragging the middle of our curve

is more in the gamma range.

So I'm going to right
click on this control point to reset it.

Go down here
towards the black point of the curve

and drag upwards.

And here you can see
we have been able to restore the image.

The waveform is restored in the scopes.

So all of that fine data, all of those
shapes, they're no longer flat.

And as I keep dragging it up,

I can see that everything looks
really clean back in the image.

So if I drag it to roughly
the same position,

you know, to counteract that -20,
I can get back all the details.

If I press shift D, I can bypass
the entire pipeline and see the results.

If I just get a little bit darker,

then you can't even tell the difference
when I bypass.

So it's almost like the lift
crushing had no effect.

So does that mean you should feel
comfortable crushing your shadows

or establishing a really intense contrast
very early on in your pipeline?

No, not necessarily.

Even though this exercise proved
that digital media cannot

really be destroyed within the pipeline,

it also shows that we can accidentally end
up falling into these workflows

where we could lose track of our shadows
or our highlights

and not be able to restore them
because we don't always know

how to perfectly counteract
something that we did in an earlier note.

I wouldn't, for example, only use the lift
master wheel to establish contrast.

I would also use the contrast
and pivot controls.

I might use the shadow parameter
in the adjustment controls

could use the log wheels,
and if three or four nodes

down the pipeline,
I decide that my shadows

are looking a little bit
bunched up or a little bit too dark.

When I try to restore that,

there's not going to be a single control
point or parameter that I can use.

Chances are it will remain
kind of clumped together

and in that case I truly am
working in a destructive workflow.

So it's not really about the digital media
failing me so much as it is

my treatment of the video signal.

That's just been too aggressive.

This is why it's usually suggested
to leave all of your creative color

grading and all of your looks
towards the very tail end of your workflow

or the end of the pipeline,
and use the first few notes

to do the opposite, to clean up your video
signal as much as possible in

preparation for the grade.

In the

final exercise, I want to take a look
at some of the more subtle

effects of node order,
so I'll go back to this image once again.

Right click in the note
editor and reset all grades and nodes.

In the first node,
I will establish contrast.

Nothing too dramatic.

I'm going to go into my adjustment
controls, drag the contrast parameter

until

I get a nice, bold contrast.

I really want to emphasize the sunset
coming in from the side here in the frame,

but I'll also use the pivots
to brighten up the image slightly

so that we can still see
the details on her face.

And that looks really, really nice.

A press command d to disable my contrast
node compare before and after.

And I think that's really good
for establishing a look.

I'll then create a new serial node.

It's option s

and this will be my look.

I'll keep it extremely simple.

I'll use the offset color wheel
to introduce a bit of blue to the image.

And as I start dragging towards blue

before the image even starts turning blue,
it actually goes neutral.

And that makes sense, right?

Because the opposite of blue is yellow
and this is a predominantly very,

very warm image.

So as I start to drag towards blue
and this color wheel,

I get this really nice neutral tone and
then I can take it a little bit further

if I do in fact want this nice, cool
look at.

So I'll take it.

But as far as that, not too dramatic.

And my final question,
my final test for you is

what will happen if I was to switch
the order of these two around?

Will it be better?

Will it be worse?

Will it make a difference?

I can switch the order in the same way

that it did previously
by using the extract shortcut.

But there's even a faster way
to switch the order of notes,

and that is to hold down the command key
on a mac or the control key on a PC.

And as you're holding it to pick up
the node and drag it to its new position

and then you'll see that look in contrast
have switch sides

and the image has been
substantially affected in the viewer.

So again, node order matters.

But to answer the question of whether it's
better or worse is impos able?

Because all that it is is different.

The way that the look node has affected

the image has changed
because it was not as contrasted.

Instead, we've applied
look to a flatter version of this image,

which means that the blue was uniform
and then we used contrast in a later node

to push the differences
and enhance the saturation of the image.

And that means enhancing the blue.

To compare the two images, I'm
going to grab a still of this second look

and then I'll press Command Z

to go back to my previous setup,
which was contrast

first, followed by Look, I'll double click
the still in the gallery

and I can either drag the pipeline back
and forth to compare the two looks,

or I can even drag the wife

all the way to the left of the frame so
that I'm completely filling up the viewer

and then click the wipe button in the top

left corner to turn it on and off.

If you're still getting used to color
grading and you're experimenting,

it's a good idea to do this occasionally,
to switch nodes around, to really gain

an understanding of how video signals work
and how they get treated.

And over time gain more confidence
about where you should be

placing your nodes in your pipeline
to produce an optimal look.

The next thing we'll be

looking at
is some raw media, how to set it up

and how to calibrate it
using the HDR palette.

Clip Number two,
as you can probably see from the Kodak

title, here is a blackmagic raw clip
that's got quite a wide dynamic range.

You can see
there's a sky in the background

and then characters in the foreground.

I am going to navigate to the camera
raw palette and the very left of the page,

and I can use this palette to set up
exactly how the image is debated.

So that means how the original raw signal
is treated by DaVinci Resolve

and then output to us in the color
standard that we have set up

in color management.

Because this is a raw signal
I have a lot of control over.

It's final appearance.

A lot of these settings and other camera
standards are baked in upon capture.

So things like ISO and exposure
temperature

with raw signals are able to change them
after the fact.

Right now the ISO is set to 400,
but because of how bright the images

and because a lot of the sky
is getting blown out, I'd like to lower

that to say about 100 ISO

Now, even though the foreground
has become a much darker

and now revealed a lot more potential
for the sky at the top.

However, if I look at my scopes,
I'll find that a lot of the sky

data looks clipped,
which is quite unusual for raw media

because it does capture
so many stops of light.

It's actually very difficult to clip
any information.

The reason
why the very top of that waveform

appears flat is because it hasn't yet
been to debated.

So we can select highlight recovery,
the bottom of the camera of our palette

to perform that final debating stage.

Now, this makes it a little bit
more processor intensive,

but of course gives us
a more accurate result in the image.

Hopefully when you click on the checkbox,

you notice that a lot of the detail
in the clouds have come back in the sky,

so I'll turn it off again
so I could see before and after it's gone

from having a really flat gray
look to being much more pronounced.

And it's going to be much easier to work
with when we start

working with the HDR palette,
which I would now like to switch to.

The HDR palette is located right
next to the primary wheels,

but it offers you far, far more control

over the individual
tonal ranges of the image.

So right now
the layout looks quite similar.

We have three wheels on the left

with one global on the right,
which is similar to the offset.

But then at the top of the palette,
I also have these banking controls

that allow me to navigate across
some additional tonal ranges that we have.

By default.

The HDR palette comes with six
tonal ranges.

On the left we have the dark zones.

So from brightest to most narrow,
it's shadow, dark and black.

And then on the right hand side
I have my light zones,

which is from broadest light
highlight and specular.

I can see how these tonal ranges affect
the image by jumping into the zones graph

so I can navigate to that
using this button in the top right corner

of the HDR palette.

And here I can see a

list of these tonal zones
on the left hand side.

And when I select the zone I can see
the direction that it travels in.

So this is the section of the image
that it affects.

In this case, it's affecting the Midtown
to lower midtown's the shadows

followed by the dark,
which has a narrower range of my black,

which is essentially going
after the super blacks of the image.

And then in reverse
we have the light zone,

which has a great deal of overlap
with the shadow zone.

So two stops worth
and then continues to add highlighted

and specular for the very brightest
portions of the image.

With this distribution,
I am able to create more intricate,

grating changes to the image.

I could target the shadows
separately from the midtown's.

Unlike the primaries color wheels in which

I have a great deal of overlap
all across the board.

By the way, the issue of palette
is not limited to just raw media.

You can select any standard dynamic
range clip

and it will automatically map
its operation to that tonal range.

So we'll continue to behave consistently

and produce perceptually uniform results.

But in the case of this clip,
let's start creating a grade.

I'll begin with the global wheel, which is
going to impact the overall image,

drag the exposure

to brighten it up.

So my focus, of course,
is going to be the foreground,

which is where we can see the people.

That's always the priority.

And any grade.

But then I will also want

to rescue some of that information
and the highlights at the very top.

That's the whole point of shooting Raw
is that

we're able to retain all of this data.

But right now

I don't really have a lot of room
in which to expand this information.

Right now, the entire sky and all its
clouds are at the very top of my scopes.

So the first thing I need to do
is bring those a little bit lower.

I'm going to target the highlight
range, click on the exposure controls

and right to the
left to darken that section.

Okay,

so now that I've given myself
a little bit more room in the scopes,

I can go for the more narrow
specular range to drag

the very tops of the waveform
upwards, thereby

creating contrast in the clouds
and enhancing the details.

All right, wonderful.

And because both the highlight
and the specular ranges

overlap, the broader light zone,
which is on the left hand side,

I can continue to determine
how bright or dark I want the sky to be

by adjusting
the exposure of the light range

while still maintaining the detail
that I've just recovered in the clouds.

And then I can also choose
to, for example, drag the control

point of the light zone to introduce
a bit of color into that range.

So I'm going to pick it up and drag it
slightly towards blue

to cool the sky down and give it more
of a daylight daytime look.

All right,

so with the global controls
set up with my highlights recovered,

I can now navigate or bank to my dark zone
and do the same thing for the shadows.

I would just like to brighten up
the foreground elements a little bit, so

I'll go for the brightest shadow
zone, increase

the exposure.

I would also like to make it
a little bit more saturated,

so really reveal the colors

and the greenery around our characters
and on their clothes.

I'm going to click and drag
the saturation parameter

and now I can use the dark and black zones

to create a bit of contrast by darkening
the lower mid

and shadows in this image.

So let's change the exposure

a little bit, drag it to the left,

and then

with the
black zone just going for the extra darks.

So this is going to be the darkest shadows
in the wrinkles, in their clothes,

in the spaces
between the branches and the bushes.

All right.

And that's given the image
a little bit more depth.

You'll notice that all of the tonal ranges
have a couple of sliders around them.

These determine
the position of the tonal range.

So the cut off point,
you're able to change that position

and determine exactly how broad or narrow
any zone is.

Before you start adjusting these,
you probably want to check

exactly what is being targeted
by any particular zone.

So as well as using the Zone
graphs palette,

I can also click and hold the
icon next to the zone name

that will

display to me what exactly I'm affecting
when I make changes to these color wheels

and their parameters,
their exposure and saturation.

So as you can see,
when I travel from black to dark,

the range gets broader and broader.

It might be a little bit easier
to make adjustments

if you can permanently
see what that highlight looks like.

Thankfully, you can enable highlight mode
and that will display

the last zone
that you were affecting or impacting.

So let's click on the highlight tool
in the top left corner of the viewer

and it's currently show me my black Zone,
but I would like to see where

my light ranges.

So I will go into the light
will make a slight adjustment

to its tonal range and you can see that
by default that actually covered

a pretty wide sections
and not just the sky,

but also the mountain tops, the trees
and also that rock in the foreground,

which is a little bit lighter
than some of the other shadows.

So I can drag this slider upwards

to just
remove all of those foreground elements

and make sure that the light region
stays focused on the sky.

That way, when I make my changes
in terms of exposure

or in terms of color, it's
not than affecting the rest of the scene.

When I'm done, I can disable
highlight mode and see the end result

and I can press command
D to compare my image before and after.

And hopefully you can see that

we've been able to restore
a lot of the data at the top of the image.

We've also made sure

that the image in front of us is nice
and clean and saturated and easy to see.

The next tool will be taking a look at
is the magic mask.

I'm going to click on Clip number three,
which has already been balanced

and I'll make a

new node with the intention
of working on the runner in this shot.

So I'm going to press option s and usually
using other secondary selection tools,

I would have to spend a lot of time
selecting

either the overall shape of the runner
or maybe even targeting her limbs

and her torso individually
and tracking it across the frame.

So pretty time consuming processes.

But instead I can also use the magic mask.

This is a tool that's designed
to recognize people or features in a shot

and automatically track them for you
in order to perform color grading

or any kind of effects
that you want to apply.

Magic
mass can be found in the central palettes

there.

It is a pretty straightforward interface.

We have some selections in the top
left corner that allow us to select

either people or features
and then analysis controls

running across the top
because we are trying to track the runner.

I'm going to leave person selected
and I need to first

indicate to the magic mask palettes
where my person is.

So I will go to the viewer

and I will click and drag
to create a small line called a stroke

on My Runner.

You want to keep these strokes quite short

so that when the tracking begins,
it's able to follow along with the person.

If you have a long stroke,
then it's more likely to separate

from the person that it's following
and maybe grow and sort of float off.

I will now go back to the Magic
Mouse palette.

And first of all, I want to review
what this selection looks like.

So I'm going to select toggle
mask overlay.

There we go.

And that is a very good starting point.

So Magic Mask has been intelligent
enough to recognize not just her torso

and her head, but also the fact
that she's got her arms around her,

even though they're folded
and even her hair.

I can now start the analysis process
at the very top of the palette.

Analyze forward this looks a little bit
like the track or palette analysis tools,

and you can see that as she runs forward,

her body is recognized, her legs
as they move and even her folded arms.

And what's also particularly impressive
is that as she passes

foreground objects,
the mask disappears in those areas.

And that's really important.

When we're color grading, right,
Because we don't want a set of legs

in a grade in the shape of legs
covering our foreground objects.

So ideally, you know,
there shouldn't be a grade. There.

And the magic mask is able
to recognize that.

Now, on the right hand

side of the magic mask palette,
we have a few finesse controls.

These are very similar to the matte

finesse controls that you will find
in the qualifier palette.

These allow us to further
clean up our selection.

The ones to really pay attention
to is the quality in the top left corner.

This allows
you to switch between making a selection

that's relatively processor non intensive,
but less accurate like this one.

So it's more of a soft bubble
around the person versus better,

which will give you something
that's a little bit

tighter around the body,

a little bit more accurate,
but will require more processing power.

So I could click on better right now
just to review what this will be like.

And you should have seen
that changed instantly in the viewer.

There's no longer
this like soft edge around the runner.

And if I was to drag this backwards,
the analysis continues.

You could see that the selection
is accurate around her hair and her legs.

But in my case, I'm
going to stick to faster

because I don't really need
that level of accuracy.

So as soon as I got that,
you could see there's a few more bubbles.

Something that will help me, by the way,
with that edge is this smart, refined

tool, smart, refined on the surface
looks like a standard in and out ratio

to write something that will expand
or collapse your matte.

But in this case, Smart Refined

also takes into account
the result of the magic mask analysis.

Right?

So it knows that it's looking at a person
and it will expand

and collapse based on how confident it is
in its selection.

So if there's like a little bubble
right in front of her fist,

then it might not be super confident
that that is a person.

And that would be
the first area of the mask

that's reduced
as you start to drag smart, refine.

So I'm going to do that.

I'll click and drag to the right

and that will give me a cleaner selection.

Another parameter
that it's a good idea to use

is the blur radius, So that will soften
the edges of your color grade.

After you start to apply it.

I will click on the numeric field
to the right of the blur radius

and I will type in a value of 20.

For example.

And now I'm ready to disable the mask
overlay and start my color grid.

I can still see the stroke in the viewer,

which I can disable
by going into my options,

or I can simply go to a different palette
in the color page,

and then that will automatically hide
any overlays I had in the magic mask.

However, the magic

mask selection is still in place,
so I can still continue grading.

I am going to brighten up my runner,
try to get her to pop out

of this environment, which is already
very saturated, very rich.

I'll go back to the primary palette
and use the gamma master wheel

to make her a little bit brighter.

I'll also use color boost,
and then I can also

use the contrast control
to also make her a little bit more bold.

So when I press command
to disable the mode,

you can see that it's a subtle change,
but she is looking a little bit

more pronounced, a little bit more golden
in this environment.

I can now press playback
and with the color grid already applied

to the magic mask,

I'll be able to see the result
throughout the entire video.

If I pause at any points,

I can continue to press commands
to compare before and after,

and you can see that it's a nice quick

way to enhance a person in a shot.

Or I can do the inverse.

Let me reset my primary palette
and go back to that magic mask

so that instead of affecting our runner,
I am actually inverting the mask

using the toggle switch
next to the mask overlay.

I am instead
affecting the environment around her.

I will hide the mask
overlay, return to my controls

and do something as simple as setting
my saturation parameter to zero.

Now I have a

runner who's in full color
running in a black and white world.

I can play this back.

And that took me
just a couple of minutes to set up.

Again.

Trying to do this
manually using windows or external maps

could take substantially more time,
just minutes, but even hours.

So the magic mask
is really quite wonderful for these types

of color, great setups.

Another thing that we can use
the magic mask

for is also tracking individual features.

In this next clip, I have a character
entering a dark environment

and with uncontrolled lighting,
sometimes you'll have situations

where your subjects
are a little under lit.

So I would like to use a magic mask
to isolate his face and brighten that up.

I am going to jump

to the very beginning of this clip,

Open up magic mask,
and this time, instead of using person,

I'll select features
and I will find a dropdown

menu on the left hand side that allows me
to select particular features.

I'm going to begin with Face.

I'll navigate to the viewer
and once again I'll make a small stroke

to indicate where the face is.

I can enable the mask

overlay in the palette
to see my initial result.

You'll notice that the neck

is not included in the selection,
so usually the face is qualified

as anything that goes up to the chin
to select someone's neck as well.

I will need to go to my dropdown
menu and choose torso exposed skin

and then make a second selection

on his neck.

All right.

I now have a full selection
of his skin tones

and I'm able to perform a track

I perfect.

That was a fairly clean result.

I will like to tighten up

the edges of this mat once again,
so I'll go to my smart, refine controls,

select the new Mac value, and enter
a higher value

to pull in this selection.

And once again,
I'm going to blur the radius to make sure

that my grade
does not appear to sharp around his face.

And now I can jump back to my primary
grading controls

and ever so slightly brighten
the space in this environment.

And maybe also push up the colors

just to touch the color boost
so that it's not looking too flat.

Now, when I press command,
I can compare my before and after.

I always use the disable function
to see if I've gone beyond realism.

That's starting to look too artificial.

But in this case, you know,

whether it's off or whether it's on,
it still looks pretty natural to me.

And now I can playback this clip
to check how it looks throughout.

So I'm pretty happy with this result.

It looks natural when he's in light
and also when he's in shadow.

The next tool I'd like to take a look at
is the color wallpaper.

I'm going to navigate to clip number
five on my timeline

and I'll find the color wallpaper right
next to the curves palette.

The way the water works
is very similar to the curves,

but whereas with the curves, we're limited
to moving our parameters

in a 2D space,
just up and down with the color warp,

you're able to make changes
to two parameters at the same time

as I've got the palette open right
now, and I would like to pop it

out of this environment
to give myself a bit more control.

We have an expansion arrow in the top
right corner, which I can click

to get a much larger overview
of this interface, but I can continue

to resize it using the bottom right
corner of the palette to reshape it

and then

use the head of the palette
to reposition it where I want it to go.

There's two ways of interacting
with the color wallpaper.

You can click and drag the control points
that are already on the grid,

or you can maneuver to the viewer

and click directly in the viewer
to interact with the grid.

So by default, when you open up
the color wallpaper, you end up

working on the hue and saturation
parameters.

For example,
I can click on the trees in the viewer

and I can start to drag to the left

to saturate that green tone

or drag to the right, to saturate.

Notice that the control point
and the color warped grid

is reacting to my adjustments
as I hold my mouse and I move it around.

So that selection is the color range
that I've selected.

If I drag downwards,
I start to also rotate the hue

and then I can continue

to go outwards
for more saturation or inwards for less.

And that's really

the power of the wallpaper,
you know, Whereas with the HSL curves,

I would have to jump
between two very different

distinct curves to accomplish this.

Look with a color wallpaper.

I can essentially just go by, by feel
and also go by what I'm seeing

in the viewer and drop off my control
point when I feel I'm ready to.

In this case, maybe
we're going a little bit more abstract.

So instead of emphasizing
the greenness of this environment,

I'm instead
going to try to make it look quite dry,

but also quite vibrant.

So I will move towards an orange tone
and then drag it slightly upwards

and then released my mouse
to drop off the control point.

When I continue to move over the viewer,
you might notice

that there's a lot of activity
happening in the color workroom.

So first of all, you see this Red Cross
jumping around, which is representing

the color values that I'm currently
hovering over with my mouse.

So it's telling me exactly what
shade of blue or green I'm currently over.

But then there's also this yellow box
that jumps around

to indicate the closest control
point to the area that I am hovering over.

And that's letting me know
which control point

I'll be dragging in
if I start to click and drag in the viewer

with this very

low set of divisions
and the color corporate,

it can be quite difficult to make
an accurate selection and adjustment

so I can navigate to the bottom left
corner and I will find a division amount

for my rings and for my columns.

I'm going to click

and change this division
to a higher number like 12.

By default, the two parameters are linked.

So when I choose 12,

I am going to now have 12 divisions
for both the rings and columns

and a little bit more precision,
especially when it comes

to the blue sections of this image.

Because when I hover over it,
you can now see that

the area of blue represented by the vector
scope trace in the background

now has a column directly over it,

so I can click and drag

to target these mountains
and the sky all in one go.

But what if we

wanted to effect the mountains
without affecting the sky in the image?

In that case, we will need to lock off
a section of our column

to make sure that not everything within
the color werber grid is being affected.

I'm going to reset this one control
point by right clicking on it,

and then I would like
go back to the viewer in order to analyze

exactly
what part of the grid affects the sky.

And when I do this,
I'll find that the yellow box

mostly falls on that second point
in the blue column.

So what I would like to do
is lock it in place so that it will not

be affected by any future changes
in this region.

To do that, I will navigate to the toolbar
on the right hand side

and a button allows me to convert
a selected point to a pin.

When I click on that,

the pen adopts a dark outline,
meaning that it's locked in place.

This, by the way,
also happened to our previous point.

We changed the color of this tree.

When you make a change, automatically
a control point locks in place

so that no future changes
happen to that particular region.

But now with the blues,
I can return to the mountain

and click and drag to make a change.

And with the sky locked in place
that will no longer

be affected as dramatically,

I can then click in the top left corner

to collapse my color wallpaper
and I'm all done.

I'd also like to draw your attention
to the collection

of resolve effects
that come with the software.

When you first download it,
go into a new clip number six

and launch the open Effects library
by clicking in the top right corner.

Here, you will

find dozens upon dozens of effects,
all under different categories

that you can navigate
and add to your notes.

There's also a search field at the top
in case you don't know

exactly which category your effect is in,
you can start typing

and effect will filter itself out.

So in this case, I would like
to check out the tilt shift blur.

This is a type of effect
that imitates the look of a

tilt lens which has multiple focal points.

The really nice way
of drawing the audience's eye

or drawing their attention
to a particular subject.

In this case,
I'm going to pick up the effect

drag and drop it over the note
in the editor and you'll see how the top

and bottom of the image
have gone out of focus, seemingly.

So it's a type of blur.

I can use the settings on the right hand
side to enable the depth map preview,

which allows me to see exactly
which area is in focus,

which is anything that's black
and what is out of focus.

So the wide areas

I am going to change my focus sleep
so that it's a little bit higher.

I want to make sure that our character
who's walking into the building is

fully in focus,

but then also change the focus range

and, make sure it is
definitely focusing on him.

And then finally, I can use

the near blur
and Far Blur controls to indicate

exactly how blurry I want
the bottom of the frame to be and the top.

So I'm just going to add
a little bit of blur.

I want to keep it semi realistic,
but I do want it to feel almost dreamy,

You know, like we're being drawn
to the center of the frame.

Very good.

And I can press

command F to full screen
the image and playback

the clip.

Open effects allows you to do
quite a lot to your clips.

So some of these are visual based,
some of them are effects based.

There's a lot of blur functions,
a lot of corrective type of effects.

And what's great also is that
they don't have to just live in the notes

on their own.

You can combine them with other techniques
in the color page,

including using the primary stills
and even the secondaries.

So for example, in a clip like number,

I could choose to hide someone's identity

by applying a blur effect,
but then isolating it with a power window.

Let me create a brand new mode

option S

and I'll begin by
first creating the window and tracking it.

I'll activate the circle preset,

reshape it, resize it to the man's head,

right,

Then move to the tracker palette

and analyze forward.

And there we go.

Also to expand the size of my viewer
so we can see this a little bit better.

They could see that
the window track was successful.

It was very, very quick.

And now I can go back to my open effects

palette and I can choose something
like the mosaic blur

drag and drop it onto my node.

And it's already isolated by that power
window, which is already tracked

so I can play it back.

And the mosaic blur follows
with my subject's head.

One of the last things

I'd like to touch upon
is how to save your grades for future use,

and also how to share your grades
with collaborators.

We've created a look on clip number one,
and I would like to transfer it

to a different clip on the timeline
so you can see that clip number eight

has a very similar
feel as the same environment.

It's the same subject, so it should be
a pretty straightforward process.

Let's see also a clip.

Number one,
I will right click to grab a still

and I can click under it

to give it a name

so I can keep
track of what this still contains.

And then going to click on clip
number eight.

And I'll also collapse my open effects
panel to give myself a bit more room

in the note editor

to apply a still or grade.

It's enough to right
click on the still and choose apply grade.

You can also middle click A still

to apply a grade as if you have a mouse
on the scroll wheel.

The fastest way to do it.

However, when I applied this grade,

I'll notice
that the color doesn't quite match.

So if you look at clip number one,
the blue is quite soft, it's quite subtle.

There's not a lot of saturation
in this image,

whereas in clip number eight,
everything seems a lot more pronounced.

The contrast is more intense,
the colors are a bit brighter.

So it feels like we weren't

really able to successfully we this grade.

But if you watched the first video
in the series, you'll know how important

it is to match clips before you start
to share grades across them.

And before I applied this look,
I already had a match note in place.

I'm going to return clip number eight
and I'll press Command

Z to take a couple of steps back
and find my original match.

Note If I disable this note,
I can see that my image was a little bit

darker to begin with, a bit more low
contrast, and it's been graded

to match the starting point
of clip number one on the timeline.

So what we want to do is add the blue

look after this note
and not to replace it.

To do that,
I have to once again right click my still,

but instead of apply grade,
I'm going to choose append note graph.

So this will append the entire grade
or the entire note structure

that was saved and that still

this is still not a perfect match.

But I can see now that I have my contrast
that's been separately added

after the match with
then the look note following.

I don't need the contrast
because that was generated for clip

number one I did specific
to this environment into this look,

so I will select it and press backspace
on my keyboard to delete it.

Now I have a match node that was designed
to imitate the look of clip number one,

followed by that very distinct blue
look that we created.

And now when I compare these two clips,
you can see that they're much,

much closer in appearance.

So now the blue look is once again
quite soft.

And we also have lower saturation
in both cases.

Also, the tone of our subject's face,
her skin tone is looking very similar

in the shadows, where, of course,
seeing a slightly different side of her.

So there's more of a highlight,

but that all seems to match up
quite well in terms of color.

So as you can see, copying grids
between, clips is pretty straightforward.

You just have to make sure that you're
not overwriting your match notes

or any steps that you took to make sure
that the starting point of your clips

are the same.

And in this case, it was important
not to just apply the whole grade,

but rather to append it
in order to preserve what you already had.

Something else that's important to know
what to do in the to resolve

is being able to export and import grades.

In case you're working with collaborators,

I'll start by exporting agreed
that we created on clip number two.

This was our HDR.

Look,
I have to begin by creating a still first.

So right click in the viewer, grab still
and then I need to

right click the still in the
gallery and choose export.

I will place this on the desktop

and I'll give it a name like HDR Mountain.

Then I'll click export
and then I'll see what it looks like

on the desktop.

All right.

So I've opened up my finder window
and I can see that the amount

mountain grade has actually been saved
as two separate files.

A dot, DPS and dots.

Drex, you need both of these in order
to share your grade with someone else.

The DPS represents the visual components,

so the steel frame that you've grabbed
that we see in the viewer,

whereas the DDR X represents
the node pipeline in the node.

Editor Right.

So the metadata of the color grade.

So of course you need that
in order to share the grade.

But the Drex doesn't
really travel on its own.

It will always piggyback on the DPS,
so you have to send them both.

But how would one import
this set of files?

I've already generated a still
that I've shared in the DRA

that you would have downloaded
for this project.

So if you go back to them into resolve
and right click in the gallery,

you can choose import

and then navigate to the part to that dry

folder that you would have used
to restore this project.

You will find that within this
diary is a stills folder

and within
that is a grade called Drama Sky,

which is also broken up into DPS
and they are ex now

depending on your operating system,
depending

on how your finder or explorer
window is set up,

you might not even see the Drex file
or it might be grayed out.

And that's perfectly fine because
you don't really need to interact with it.

It's enough to just select the DPS file

and click import.

And as I've mentioned,
the Drex really does piggyback off that.

It will come with it.

An AC is still in my gallery and
this is pertaining to clip number nine.

Hopefully you can recognize that.

So if you select

clip number nine, you can right click
the still

apply grade.

And now we've carried across
that entire grade.

So this was made up
of a balance of contrast

and even to secondary grades
for the sky and the ground.

Thank you so much for joining us
for this overview

of the Winter Resolves color page.

If you have any remaining questions

or if you'd like some advice, please do
join us on the Blackmagic Design Forum.

And also if you'd like to check out
some of the other training materials

in our series on the Vintage Resolve,
please go to our training page

where you can download our books
and take a certification exam.