Create This Deep Green Cinematic Look in DaVinci Resolve | Color Grading Tutorial
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- เผยแพร่เมื่อ 17 ม.ค. 2023
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This color grading tutorial covers creating a variation of a warm deep green cinematic. It's longer than my previous DaVinci Resolve tutorials as I wanted to provide more detail and explanation on a few things. Leave a comment if you have any questions. Thank you to all the new subscribers for your support!
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That glow for creating contrast tip is actually amazing, thanks!
No problem! Hope it gives you some awesome looks. Thank you for watching 👍🏼
Great work!!! I love your way of explaining stuff. Its easy to follow and to understand why you are doing which step! :) Thanks
This work flow made my work pop I was amazed.
Great this type of tutorials to have different looks, thanks for this type of content that you generate!!! 👍👍👍
Thank you, bro! Amazing tutorial, amazing channel
I never wanted to work with davinci until i saw your kodak video. now im on it. ive been editing for probably 8 years. but you were the one to make me get into Davinci. i never cared for luts as I just graded everything manually everytime via wheels etc. but after understanding powergrade NOW i actually care to learn all the nooks and crannies. because luts just feel like throwing a filter , but these power grades are baked into it. idk how to explain it but you got me brother. appreciate your vids.
Finally a different approach to grades. Love the workflow and alot of new and non traditional workflow. thanks G. so so unique
Thank you for watching! 🙏🏼🙂
Love it !!! Thanks George for sharing
As soon as I watched this video, I tried it to my work. It really works fine in my work, too. Really helps me a lot. Thank you so much for sharing this. I will keep watching your videos from now on, too.
Glad it helped! Thank you for watching 👍🏼👊🏼
Applaud the idea of trying things differently and there were lots of bits of info on your tutorial for people learning Resolve.But a few notes -you set your timeline colorspace to DWG - at that point the first CST is doing nothing and using a CST on a parallel for your display output is I guess your personal way of doing things but a color space conversion is math a Parallel node blends - so you are actually mixing the colorspace transfer with the nodes below. On a timeline that is set to Davinci Wide Gamut - the nodes are getting fed that space regardless.
The look adjustment after the LUT application, and neutralizing the whites and blacks - I think changes the look from the Fufi lut and kinds of makes it kind of unnecessary, except for getting the film look contrast.
Also not sure what the point of turning on the 2x magnification step and then using the alt/scroll to magnify the trace. It does show two ways to get to the same point, but in my workflow I just use the mouse wheel and get there a lot quicker. As I said I applaud that you showed that method but it wasn't presented with a verbal recognition that it is two ways to magnify. I can see a lot of new users doing both steps because they learned it here. The mouse zoom on the trace, it becomes habit to zoom in, have a look and then zoom back out. Thus never forgetting to turn it off - the 2x zoom is something that all of us have forgotten to switch off.
I like the matte idea for the glow - but again a soft luma qualifier would be just as easy. In Resolve there is always tons of different ways to the same results.
Good information in your tutorial - keep it up.
This was so good man. I've been working in DR for a couple of months now and I'm looking to improve my colourgrading knowledge and this vid definitely helps! Great tutorial man
Glad it was helpful! What kind of look would you like to see a tutorial on?
excellent tutorial as usual. Very well explained and very clear. thank you so much,
Great tutorial... straight to the point
Super interesting and creative dude. Trying this out now on a grade I'm doing and I'm loving the results so far. Keep it up!
Best ever. Thanks!
i really really like your color grading style ~!! thank you so much mister george ~!
Daaamn it made a huge difference in looking clean and crisp and finally getting my blacks black and white white, I'm working in the film industry but I'm not a colorist so could see it was wrong but didnt know how to correct it, this helped a lot thanks!!
Glad to hear it helped! Thanks for watching 🤝🏼
You are a wizard! Very unique approach to a grade. Learned a lot. Subscribed. Thanks
Thank you and welcome! 🙏🏼🙂
Woooow is amazaing
Thank you, nice color grading
This was really awesome man👏
This is unbelievably helpful, thank you for this!
Thanks for watching 👌🏼
Need more of these videos! I'm curious to know if you're generally using this node structure with every clip you grade, or if there are vastly different node structures you use for different shots. Would love to see a breakdown of that if you use multiple!
The node tree will vary but there are some things that are constants throughout each of them. More tutorials like these coming 👍🏼 thanks for watching! 👊🏼
@@george.colorist thanks! can’t wait to see more!
This is sick!
mind blowing tutorial!! keep it up. definitely solid tutorial content.
Thank you! New tutorial will be up this week. 🙏🏼👍🏼
i came for the look I ended up learning a lot of other things. thank you man. apprecaite the explanation.
Hey Hamza. Glad to hear you learned something. Thank you for watching! 👍🏼
Superb tutorial! Thank you so much!!!
👊🏼🙏🏼
Need more of these kind of videos, Thanks
More to come! Thanks for watching 🙏🏼👌🏼
needed this !! thanks man
You bet! Thanks for watching.
Very helpful video. Thank you for uploading :)
Glad it was helpful! Thanks for watching!
Thank you very much! I am a film student and this helped me to edit the color of my film
Glad it helped! I would like to see your film when its done. Where can I see it?
great ttorial bro
Thank you so much for all your tutorials, new suscriber
Hey Keet. Thanks for subscribing and welcome 👌🏼
Nice approach. Gonna try it on my footage) Thanx
No problem. Thanks for watching 👍🏼👊🏼
I'd love to see you grading a full sunny shot. Where I live in the middle of Brazil we get very high and strong sunlight allday long, golden hour lasts less way less then 1 hour hehe. I love that look but struggle ton get it with our sunny skies and light green leaves
Im sure I'll use a sunny shot for a tutorial soon. 👍🏼
This is really nice bro thx
No problem 👍🏼
didn't know you could adjust the vector scope to find the specific range - thanks for that one
You bet! Thanks for watching, David 👍🏼
Couldn’t find the subscribe button just to find ive already subscribed to you, love your work i follow it through and through!
Hey, thanks man. Glad you found the tutorial helpful 👊🏼
Amazing work! I have recently gained this interest in learning to color grade and editing in davinci resolve and was having a hard time finding a video that would suit a beginner like me who doesn't have any idea about these terminology. Really love the way you explained the parallel node tree and why you used two CST. I am looking forward to watching more of videos and learning as much as I can. Thanks for uploading this mate! 😀
Hii
@@devscreativecollection4373 hi
Great Video!!!
Thank you 🙏🏼
amazing, learnt some grteat stuffs here
plus you got a new subscriber
Glad to hear you learned something 🙏🏼 thanks for watching and subscribing man 👊🏼
as someone trying to switch from adobe programs to davinci, i find your tutorial very insightful but i’d wish that i could see the keyboard shortcuts you use in order to speed up my workflow and i feel like thats would greatly improve the digestibility of this tutorial
thank you so much for the awesome video :) you did an amazing job at explaining the concepts you were using to grade for a beginner
Thanks for the feedback and thanks for watching. 👍🏼
@@george.colorist post notis definitely on :)
Good tutorial. One thing I think you should try is instead of using a Cineon CST before applying the film print, try using an ACES transform into ADX. Cineon is fine, but ADX does a much better job of getting you into the approximate color space of an actual scanned film negative. Also not sure if I understand the thought process behind transforming into Rec 709 before the film print look which also works as a Rec ODT? Just seems like an unnecessary hoop to make your footage jump through.
Resolve’s film emulation bundled luts are designed to be used in a cineon log colour space.
well done
👊🏼
Also you can add glow to highlights using HSL qualifer with only Luminance setting.
That is another way to do it especially if you want to customize the mask a little more. Some find the qualifier tedious. Personally, I like having the matte node around so I can quickly get a mask for my highlights or my shadows for different adjustments.
nice bro
best tutorioal about colograding hands donw
Thanks for the kind words. Hope the tutorial was helpful 👍🏼👊🏼
Thanks for sharing thumbs up
Thanks for watching. 👍🏼
🤐🤐 damn ! Resolve is Powerful !
great content! I love the way you explain everything. Im eager to know how this would work with Log footage. I don't yet fully grasp the CST method, but I would love to
Thanks for watching and glad to hear the tutorial was helpful. It would basically be the same with log footage. Just set the correct settings in the CST node for your log profile and that’s it.
You haven't seen the node structure because it's very unconventional. It works, so it isn't wrong. haha. Don't let any haters tell you otherwise. Good stuff, man.
Awesome tutorial, thanks mate. The footage you worked with was 10 bit?
Yes it was 👍🏼
Question! What happens if the shot isn't in rec-709 but in BRAW? Do I skip the first CST and make the second cst as the first and then all the parallel notes after it? Thank you. that was awesome. Always learning here, man. Happy 2024
This is a masterclass! Feels awesome to find tutorials for people at the intermediate stage of learning!
Thanks for watching Krish. Hope you got some good tips out of it 👌🏼
@@george.colorist oh for sure!
Phenomenal grade my man! Is this 8-bit or 10-bit footage?
Thanks man. This is 10-bit footage 👍🏼
Great, did you use Rec709a somewhere in the export tab?👍
Dude the amount of software knowledge u have is insane, keep it up man i wish the best for u
I appreciate that! More tutorials on the way. Blessings and good health to you 🙏🏼
Hi there, AMAZING green!!!! One question, with this CST sandwich there's no difference between what you grade and what you export? Thanks
None at all. Are you having this issue?
@@george.colorist yep, I use Sony A7S3, and with this CST I see a huge difference. How many CST nodes do you use ?
@@undersoundfactory4240 Lately I work with around 3 CST nodes in total. If you get a different result after exporting then it may be your project settings or your render settings.
@@george.colorist thanks!!!
Good tutorial brother we need more tutorial
More tutorials on the way 👍🏼
@@george.colorist thanks for taking time to replay
Killer look! Could you breakdown the look that GxAce has in his videos for products and such?
Thanks for watching! GxAce has a great color grade. Maybe I’ll do a break down in the future.
Cool effect with the glow. for some reason it glitches my software and I keep seeing Media Offline flashing up randomly when I add that matte. Also, shouldnt all your primary your corrections go before you convert it to rec 709 within the davinci color space.......?
Could you do a tutorial for a deep blue and orange grade?
It's on the list 😉👍🏼
Now, if I shoot on an Iphone using the Filmic Pro's LogV3 profile, where do you suggest I set my Timeline Color Space & Output Color Space & 3d LUT Interpolation in my Project Settings under olor Management?
And secondly, how do I use the Color Space Transform thing in the Color Menu under Effects? I mean the free version not the 3rd party plug-in. What camera do I select under "Input Color Space", "Input Gamma", "Output Color Space" & "Output Gamma" under the Color Space Transfer Menu because there are no Apple Iphone in the drop down box. Detailed answers to all questions would be greatly appreciated.
I've never seen such an order of nodes before! Did you discover it on your own?
Some things are from experimenting and trying new things. Others are just good practice and a basic way of doing things.
Just started watching this and I am new to color grading. It seems strange with the "subject" node after converting down to rec709 is treating skin tone. Are you not working on subject skin tone in a smaller color space then? Will stop now and watch the rest :)
i get this look by shooting with my bmpcc og and 8mm slr mag lens
In order to achieve this look with BRAW, would I transform it with a rec709 conversion lut first and the edit through the next steps?
Hey can i ask you a question? Lot of videographers in my area use sony 10 Bit cam for shooting and they dont use pictureprofile instead they use light inside creative style. So my question is what will be the input CST for these kind of footage?
CST doesn't have settings for the different picture profiles that are in Sony cams. Just the S-Log series of log profiles. If you use the creative picture profiles that are prebuilt into the cameras, youll have to grade manually or maybe use LUTs that another creator has made for those profiles.
i just adjusted the contrast and got the same look in about 10 seconds.
Imagining I'm working with S-Log 2. The process is the same? I start by converting from slog 2 to wide gamut and then reconvert the wide gamut to rec 709 exactly like you do here?
That is correct. 👍🏼
What camera you been shooting on?
DJI Air2S and GoPro. This shot was stock footage. 👍🏼
Hi Nomadic George, was wondering if you've ever worked with F-log (fuji camera) files and applied Film LUTS to them? I can't seem to make it work. No matter what I do it automatically crushes the highlights below the 70% mark. I've followed some of you steps (great vids btw) and I still can't seem to make it work. I've googled and searched around to no avail. Just wondering if you've ever worked with F-log footage.
Hi Nadia. Are you referring to the film LUTs in DaVinci Resolve? If yes, have you tried these settings? Input Color Space: Rec.709. Input Gamma: FujiFilm F-Log. Output Color Space: Rec.709. Output Gamma: Cineon Film Log. Let me know if these work for you. And thank you for watching!
@@george.colorist hmmm... it did not. I can't figure out why it automatically crushes the highlights below the 70% marker. I can't seem to find anything on this odd anomaly. Basically, when I apply the Film LUT in davinci after the CST node.... the highlight areas look visibly crushed and loss of detail. Eventhough, the initial exposure during filming is spot on to ensure all details are accounted for. Stumped....😵💫
Appreciate your help and taking the time to response though, thank you.
oh wait...I figured it out!! was my fault. I use Custom for color space settings before I start my color grading and had HDR 1000 for Timeline working Luminence (as davinci is having some issues in ensuring that Type color for white.... actually show as white and not grey) was created the crushed highlights situation. I selected SDR 100 instead and no more crushed highlights. I may have to change my power grades if any visible changes appear in the coloring. .... In case someone else comes across this problem (OR... I may have been the only one). Cheers.
@@nadiacheema If you message me on IG with some screenshots I may be able to help. @nomadic.george
Glad you found the solution! Thanks for commenting in case it helps someone else. 👌🏼🙏🏼
Good Tutorial but I am totally new to it, I did not understand a bit. :D
Hey there. This tutorial is more for intermediate colorists who already know their way around DaVinci Resolve but it’s honestly not really complicated. Have you learned the basics of nodes? That’s a big leap forward in understanding how to color grade in Resolve.
If I am using Slog footage, Do I make another node before the first CST node To fix the footage with color space (cine3-slog3-rec709-gamma2.4) and after go in with the whole node tree shown in the video?. so am going to end up with 3 color space transforms turning Slog to Davinci wide gamut. Is this correct?
You would input the slog information in the first CST node to go from Slog to DaVinci Wide Gamut 👌🏼
How do you made de Ext. Matte ?
Right click on serial node, go down to Add Matte, and select your clip name.
What do you do if you imput log footage? that isn't Rec709 to start with? do we still need that first CST? Example I shoot Clog3 with BT.709 colour space.
Yes, still need it. That first CST is where you would input your camera color space settings. Whatever log you're using would go in there. I used Rec.709 Gamma 2.4 because that was the color space of the clip I was using. 👍🏼
@@george.colorist this is true but then after you go from log-dwg (first cst) an then dwg/log (second cst) in this work flow I'm back to looking at flat log footage. how do I work it to wear I'm working with rec709
Can I know what are the fonts you use in your titles?
Akira Expanded
great tutorial, but you say your source footage is 709 which is more shallow than davinci wg, is there a point in your transformations? my understanding is you can not go from shallow to wide (just no point). p.s. Just beginning my journey in Davinci...
I use DWG as an intermediate color space between an IDT and an ODT so I do get a little more flexibility when working with 709 footage.
hi, i was having the same weird gamma issue, but I learned that the fix was to go into the Media page, select all of your footage, right click to Clip Attributes, and then set the Data Levels. i personally shoot with a pcc4k, so I set the Video Data Levels to Full instead of Auto and I never stumbled upon that issue again.
Thanks for commenting this! Will try this out. I have never heard of this way to fix that issue 👍🏼
Can you share your project settings? This didn't seem to work after trying it.
@@george.colorist of course. my project used Davinci YRGB as color science, Rec. 709 in both Timeline and Output color spaces. please let me know if I could help you any further. does the gamma shift issue applies to the whole output, some clips or some images?
That's not correct - the rec709-a hack is designed that only Apple OS ( Colorsync ) is affected. Your idea might fix it on your computer but it will be baked into every device anyone watches your video on- including the ones that don't need it.
Apple reads the NCLC tags on the files differently than other devices - in Resolve ( and other NLEs ) the rec709 gamma 2.4 is automatically tagged 1-2-1 - The second number is what Apple has a problem with as it is the transfer tag for the gamma that basically includes the camera gamma and then adds for the difference for a display. Camera gamma is mostly gamma 1.95 but displays are either 2.2 or 2.4 ( normally ) But Apple reads that second number ( 2) as NCLC defines this transfer function as "undefined". So apple just applies the camera gamma of 1.95 ( approx.)
This is an Apple problem that Apple should fix - at one time apple displays were set to 1.96 - so it was correct then, but all modern Mac screens are near or dead on gamma 2.2 - so looking at something rendered to the industry standard of ITU-R BT.1886 gamma 2.4 at gamma 1.95 - will look washed out and desaturated.
Rec709-a forces the tagging to be 1-1-1 the transfer tag to resort to NCLC definitions ITU-R BT.1886 standards and Apple adds back a display transfer that gets it close to the display setting of 2.2
It is a hack, but as I said it only affects the file rendered playback on a MAC of the master video file.
Then on top of all the information I just mentioned - it only affects color managed players - to which there aren't as many as you might think. On your MAC - people tend to blame Quicktime, but in reality it is actually a color managed player - so is youTube - but not in all browsers.
Hi, please tell me how did you set up the footage for bmpcc4k? I can't convert it to the right scale in any way.
Do I need the paid version of DaVinci to be able to do this?
You will need the paid version to be able to use the film grain ofx but besides that everything in this node tree can be used with the free version. You can always overlay a grain texture in your edit to replace the film grain ofx.
What mac are you using?
2019 Macbook Pro 16"
Whenever I do a CST to Cineon, it really messes my exposure, any idea why?
It's the s-curve that is being applied by the film LUT. It'll happen with some shots. You can adjust the exposure in a node before the CST to improve it but if the footage was overexposed or underexposed when shooting, that could be the cause of that issue.
fica escurecido! assim mesmo? usam mais claro sem sombras fortes
Could you please describe how to apply this technic to shots in DJI Dlog-m profile?
There is no way for the proper CST conversion for this shots, right?
There are a couple things you can try.
1. Set the Input Gamma to ARRI LogC3. Input Color Space can be Rec.709 or Use Timeline depending on what it does to your saturation.
2. Set Input Color Space to ARRI Wide Gamut 4 and Input Gamma to D-Log.
Try it out and see if they work for your footage. I know these are not "appropriate" settings but they can render a good result since LogC and D-Log are similar. I use option 2 with my Air 2S D-Log footage and it gives me a good starting point. If the highlights look a little too bright I use the Highlights control to bring back the detail. Hope this helps and let me know how it goes.
@@george.colorist "and Input Gamma to D-Log" - you mean DJI D-log? Because there is no just "D-log" gamma in the list of CST effect.
Yes, DJI D-Log for Input Gamma.
@@george.colorist both options give strange results with clipping whites. What if we use the original DJI's D-log to Rec.709 conversion LUT? Where in the tree should we put in then? Or it's not gonna work?
why not just do CST as slog 3 input to rec 709-a output...? that's what I've been doing and colors and contrast is great
This footage wasn't shot in slog 3 so that wouldn't be the right input in the CST tool.
Hey, I bought your powergrade but my DavinciResolve don't allow me to import.. Why?? Any solution?
Hey Christian. Thanks for your support. To start, make sure you’re running the latest version of Resolve. Let me know if that doesn’t work.
I DON'T KNOW WHTY THE SERIAL NODE DONT CREATED AS I SEE IN UR VIDEO SO HOW I CAN FIX IT
You can try right-clicking on a node and selecting "Add Serial Node". 👍🏼
Ironically I prefer the shot before it was graded 😅 That is way too much stuff to remember
🤷🏻♂️
I tried this on video from mavic 2 and it does not work at all :(
What exactly isnt working?
Love this, but a bit too complicated for someone who just wants to add this look onto their footage
受益匪浅
Glad to hear that! Thanks for watching Min 🙏🏼
Color transform suppose to be at the end my man
Bro your audio level is too low... try to level your audio to -14 LUFS
preset
"promosm"
When will AI be able to do this with a click of a button
One day I suppose.
I am just a begginer and this looks way to complex with too many steps for one scene. I change from Premiere Pro to Davinci because I tough Davinci was more straighforward. Lumetri is easier in Premiere but I just hate the performance of their software. O well, pros and cons...
Hey there. I’m glad you left a comment. Don’t let the big node tree intimidate you. This type of node tree would not be too practical in a professional setting where you’re color grading for a client on a time crunch. Some colorists are working for themselves and/or have the time to use bigger node trees. Some of these tutorials with larger node trees also serve to share different techniques for going about different things so that’s why you won’t see a one-size-fits-all approach across my tutorials. I try and treat color grading like painting so I take time to really customize the look I want. If you have any questions about anything you saw in the video, let me know. Thanks for watching.
That’s way too much work. Curves, contrast will, coloring will do that without all that. It’s just editing a photo as a photographer
He's doing most of the things for wider control.it's a proper workflow.not a easier grade.
They trying to do that just to look professional, it doesn’t need só mny nodes
Thanks for all the work you put into this tutorial. But there are a number of odd choices in the node structure used. There’s reasons why others don’t use similar techniques. There’s many problems. For example, applying a white balance correction on a node connected through a parallel mixer. The WB operation will be shifted as it’s mixed in the parallel mixer. Or mixing adjustments made in different colour spaces. There’s also lots of unnecessary nodes. For example, instead of bringing in an external matte, you could have dragged your RGB input into the alpha of your glow node. As your ultimate goal is an image with a strong creative look, the issues are perhaps a moot issue if you like the final result. Thanks for your video.
@@mediamaubere9850maybe, maybe not. Could be because it helps u see everything easier, instead of having to cramp multiple things into one node.
Curves and contrast are more of a destructive workflow. You’re taking away rather than adding or working with your color depth.
Coloring photo and coloring video couldn’t be more different, and your comment really shows that you don’t understand resolve all that much
I'm not a pro, so I might be mistaken but I feel like you do a lot of unnecessary steps. For example If you like to have clean blacks than use lum vs sat curve and adjust it accordingly.
Depending on your footage, that method may cause some artifacts on things like skin, blue hues, and gradients. It is one way to do that but should be used lightly since you do lose information. Balancing with log wheels doesn't lose information, it just moves it around.
@@george.colorist Definitively balancing log wheels is more precise so for that reason it is nice to use it but why would I lose information with sat vs lum curve? Also it is actually safer for artifacts because curve can have smoother range.
@ Because you are removing hue information. In any following nodes you wont have that information to work with (assuming you need it anyways). Usually when using Hue vs Sat to balance shadows, the curve is a little narrow which can cause an ugly gradient of color. Using it lightly can get you a decent effect though. Again, its just another way of doing things. Not right or wrong if its working for what you need 👍🏼
@@george.colorist ok thanks!