@@DarrenMostyn one question please, Do I need to white balance the footage first before applying the Kodak film look. Just incase the shot wasn’t shot on proper white balancing
If someone could only watch one tutorial on colour grading, this is it! Grading isn't just about getting a single frame to look good, it's about getting the whole show matching and looking good. Perfect!
your message got featured in this video! Ive listened as i always do! Thanks for commenting!! Appreciated. I want to deliver what you want - not what I want!
What I love about theis video is all the great info. What I hate about it is that I keep trying to click on stuff in Resolve and then realize I'm watching a video when I keep pausing it haha.
The complexity towards the end was actually mind blowing.. I keep procrastinating grading my footage because I feel I need to understand more, but I think I better get on now.. this has been a big help, the most important bits are the explanations of the individual tools themselves, I come from photography LR/PS working with raw, this workflow albeit accomplishing the same things is very different and not easy to grasp in the beginning.. the qualifier referencing was some great content.
These little tips (ripple node changes to current group, different modes for watching split views) while talking about your topic is really helpful! Thanks for sharing these!
an other very instructive tutorial. While you perform on balancing, I'm discovering new tips and technics from a pro-colorist, the way to organise NODES, their hierarchies, no fear for CST, all is clear now for the two CST (to DWG, to Rec 709) within the main nodes's architecture... thank you so much for efforts you've put into tutorials, very helpfull. All of a sudden you've become my main source of learning DaVinci Resolve, great teacher
"You would expect them to match but they don't". I'm glad I'm not the only one. I shoot the same thing from 2 angles and 2 of the exact same camera, same white balance, exposure and everything set to manual to avoid spending hours grading them. When I import them there is always a difference. I think it's an optical illusion, as the background and lighting will be slighting different, and your eyes adjust to it erroneously. When I zoom in to the white background, pixel for pixel they are the same RGB value, but my eyes see them looking different. It's really annoying trying to correct for perceptual colour differences. Although it might have something to do with different lenses thinking about it
I'm binge-watching your videos since yesterday that I found you, Darren. Paused this video to say a huge thanks! Won't write more, as I can't wait to continue watching!
This is an incredible tutorial. The grouping feature is absolutely essential for my workflow and you explained it perfectly. Cannot wait for this series to continue!
Called out! Haha. I totally agree though. Getting looks is fun and not too hard as long as you have the time to play. But man, getting every shot to have the same look and charm, especially with different cameras and lighting setups, is where the real experience and knowledge come into play. Thanks so much for this info! Can't wait to try some of these techniques out. I've been practicing for years, but still feel like I'm just starting out.
Josh, was a pleasure for you to invite me to grade this video! Loved your channel for years as you know.. I Love Beard Meets Food and Sister Beard! Thank you for agreeing for me to use your footage to make this tutorial to share my knowledge! Wishing you and Adam and all the crew a fantastic 2023!
Really good subject to cover. Shot matching is the thing that is left out of most tutorials - yet colorists need to have good grasp on this. I know I've given you some needling in the past on "not labeling" the nodes. I still really think that for tutorials, people who are new users, that labeling helps them follow the tutorial better. What and how people do in that matter to their own workflow is up to them. The zooming in with the side by sides - I tend to go a lot further and take out everything but the face to analyze skin or blouse/shirt hues. Just a few points in exposure and hero choices. I have been on a bit of rant lately about getting the intention of the photography. You, of course have been doing this for a long time and probably have good eye for it and do it naturally. But talking to DPs and Grips, and such I have been researching what they do and which hero shot best represents their intentions. First being exposure. Depending on the actual DP - if they expose one stop over - it's a good idea to set the exposure accordingly - so knowing what it is shot with, ( the log) and then setting the middle grey, gets you, at minimum, to what they were seeing on set. Using DWG though means that middle grey should be around .336. The other thing is the choice of the wide, mid, close takes. Almost every DP I have talked to, have said that the closer they can get the lighting, the more accurate the footage is. The long shot ( wide ) that usually comes in the edit for an establishing shot, the lighting is pulled back to accommodate not being in the frame. They tend to rely on the fact that you are at a distance, and less scrutiny is put on the frame, as compared to a close-up. There is a point also ( not so much in this particular scene ) but people should sus out the direction and strength of the light source as part of the shot match. If that girl had a bright window on one side of her face and then the matching clip was from an angle that is from the dark side - the exposure is a lot trickier and wouldn't necessarily match on the scopes. That's where your experience kicks in, and you don't completely use the scopes, but make them naturally fall into the same world through the grading. Sorry for the long comment - I love this kind of stuff, keep em coming Darren.
OK on the node labels. I forget Im a professional and get so used to which node is which and I dont care to label but you are right - I'll TRY HARDER!! As for details, this is first one of a few I'll do....not giving it all away in one episode!! Thanks as always my friend! Darren
@@DarrenMostyn Recall the line from the 1986 comedy movie The Three Amigos "We don't need no stinkin badges" could apply in this case as "Darren don't need no stinkin node labels" :)
Since getting omniacopes its been super easy to match shor exposure. I just use false colour and im able to quickly see where everything is at a glance and match it straight away.
I want to say - I learn framing stills, and how to view shots for shot matching all this tricks I learned from you, i know resolve tool’s because of your videos thank you for that
Another great video, thank you for taking the time to make these, always great explanations on how things work or are done. I find it very interesting the way you grade and how Cullen Kelly seems to prefer working in a colour managed workflow. I look forward to your next video. 👍
I will literally be first in line for your masterclass. Your perspective on Dehancer gave me the confidence to utilize it for upcoming projects. Keep up the solid work! Too much is left up to interpretation these days(I still have yet to see someone outside you & Qazi have a proper CST for R3D or like Footage). Feedback on color from the right source is everything. Y'all are super-heros for color on YT. We appreciate you leading sheep to greater pastures. All the respect. /salute
Darren, Your “how to…” approach to every day challenges for colorists is a great way to teach grading in Resolve. I can grab it and put it to use right away. Thanks man!
Darren, Thank you very much! I appreciate that you take your time for such highly valuable content. I hope you keep it up, cause I can learn a lot from you 🙂
You're a great teacher! I started using DaVinci a few days ago and your videos really helped me understand Color Management and the basics when it comes to grading. Thanks for your videos!
Nice job explaining the process of matching different clips, Darren. It is a subject of great interest to me because I am currently working with older footage from an earlier camera and I want to use that footage with the clips from my newer camera. I am really looking forward to Part 2 and beyond.
Thanks for this Darren! I've been doing this for a few years but I'm embarrassed to say that I wasn't aware of what node reference sizing did so that’s going to be a great help.
Hi Darren, thanks for the fantastic tutorial as usual! Will you ever do an in-depth tutorial on how to best use the other aspects of Dehancer? (film, print, grain, gate weave, etc.) Thanks! :)
@@Bordsteinpflaster In my experience so far yes, but Ive not upgraded fpr a while and i believe newer version is better. I couldn't upgarde as I have a big broadcast job on here for months that is only just signed off and was worried may change any dehancer settings I had.
Great video. You talked about other videos showing "fixed node tree" but you've got so many videos in channel I couldn't find it. Could drop a link to point me in the right direction please. Cheers
Hello Darren Mostyn, could you make a video about balance? How do you balance images, with offset, gain wheel ? or Global HDR ? Or it depends and if it depends why and how do you know which to use ? Thanks
Hi Darren! I'm subscribed but I can't find your node tree. It's always amazing to watch your videos and how you work! You make it so easy, I'm just a newbie trying to learn from people like you. What you do in minutes it takes me hours... so thanks for sharing all your experience!
Darren, enlighten about the topic of ACES 1.3 👈 I don't see a significant advantage when working with this color science. As we know, Arri, Red and Blackmagic movie cameras have a larger color space than ACES. Moreover, there are compression artifacts, if configured incorrectly. I am aware that this flaw has been fixed in the latest version. But, there are nuances of working with other color profiles when working with ACES. In general, we need a lesson from you so that you tell the advantages and why it is actually developing 💥The ACES 2.0 version will be released soon and we would all like to own this information and use it in our work.
One of the best teachers Ive found on youtube for Resolve grading. Thank you for your work!
Thank you Chase. Really Appreciate that. I work hard on these to give the best info in the shortest time. All the best, darren.
@@DarrenMostyn Do you need to do a cineon conversion to use dehancer
@@hansmills2982 no, you choose color space at the top of the plugin
@@DarrenMostyn one question please, Do I need to white balance the footage first before applying the Kodak film look. Just incase the shot wasn’t shot on proper white balancing
Yeah he is great but must check out Cullen Kelly man he is damn great trust me you will thank me
"Ripple node changes to current group" just changed my life. Never knew, that this existed! Thank you!
As a pro non-colorist, that was the perfect clip to choose how to balance and blend the skin tones between two contrasting scenes 👏😀
Glad you enjoyed it!
If someone could only watch one tutorial on colour grading, this is it!
Grading isn't just about getting a single frame to look good, it's about getting the whole show matching and looking good. Perfect!
Glad you liked it Jamie. Thanks for the kind words.
Wayyyyy too complicated for me. Gotta look for a more basic lesson.
Darren, you never fail to bring quality content! Actually the best channel on grading out there
Appreciated Vince!
So refreshing to se another no scrip reader 👊 a rare breed these days 👏
Super-appreciate - Im so not off a script! Not my style! makes it harder though!
Same here haha I usually have a couple of lines on a peace of paper thats all - the rest is 100% winging it 👌
FINALLY
I remember asking for shot matching tutorial on every other community post
Thank you sir
your message got featured in this video! Ive listened as i always do! Thanks for commenting!! Appreciated. I want to deliver what you want - not what I want!
I learn so much just by watching your scopes - thanks for another great vid
I guess its the only channel that shows actual color grading knowledge
28 years in broadcast! 13 years on Resolve
What I love about theis video is all the great info. What I hate about it is that I keep trying to click on stuff in Resolve and then realize I'm watching a video when I keep pausing it haha.
glad you like it
So helpful...my goodness. I need to read the manual more.
This is incredible. As a grading novice, this - and all your other videos - changes everything. THANK YOU.
Life saver you truly are, I've been playing around with some old footage and it's like every tutorial you make is the one I need at the time.
The complexity towards the end was actually mind blowing.. I keep procrastinating grading my footage because I feel I need to understand more, but I think I better get on now.. this has been a big help, the most important bits are the explanations of the individual tools themselves, I come from photography LR/PS working with raw, this workflow albeit accomplishing the same things is very different and not easy to grasp in the beginning.. the qualifier referencing was some great content.
These little tips (ripple node changes to current group, different modes for watching split views) while talking about your topic is really helpful! Thanks for sharing these!
Glad it was helpful!
I've learned only one thing from this video but it was still worth to wach it! Thanks!
an other very instructive tutorial.
While you perform on balancing, I'm discovering new tips and technics from a pro-colorist,
the way to organise NODES, their hierarchies, no fear for CST, all is clear now for the two CST (to DWG, to Rec 709) within the main nodes's architecture...
thank you so much for efforts you've put into tutorials, very helpfull.
All of a sudden you've become my main source of learning DaVinci Resolve,
great teacher
you are very welcome. Glad to hear they are helping.
So glad you put Masterclass in the title. That’s exactly what this is! Thank you for sharing your knowledge ❤
Appreciated Mark.
Genius. All stuff that makes sense once you get the flow. You provide the flow.
Good to hear from you legend!
Definitly the most efficient person on earth to teach something... Can't wait for part 2, thanks again !
Thank you. Grateful for that I worked so hard on my last two episodes and its paying off with comments like that, so thank you,
"You would expect them to match but they don't". I'm glad I'm not the only one. I shoot the same thing from 2 angles and 2 of the exact same camera, same white balance, exposure and everything set to manual to avoid spending hours grading them. When I import them there is always a difference. I think it's an optical illusion, as the background and lighting will be slighting different, and your eyes adjust to it erroneously. When I zoom in to the white background, pixel for pixel they are the same RGB value, but my eyes see them looking different. It's really annoying trying to correct for perceptual colour differences. Although it might have something to do with different lenses thinking about it
Thank you for being a real person that truly wants to share your knowledge in a way that is helpful.
You're so much better than the rest, even those who have much more views!
Thank you Sergey! Very kind words.
Super technique of applying color correction / grading to the whole group at once. Excellent solution
Glad it was helpful!
I'm binge-watching your videos since yesterday that I found you, Darren. Paused this video to say a huge thanks! Won't write more, as I can't wait to continue watching!
This was really clear. Hell yeah.
Glad you liked it
Thanks Darren! I realized a color space mistake I was making thanks to your little bit in the beginning! 🙏😊
Happy to help!
Dude you rock. Best out there in terms of teaching color work in DR. Blow everyone out of the water. Love how humble you are too. Keep killing it
Appreciated kind words Chris.
This is an incredible tutorial. The grouping feature is absolutely essential for my workflow and you explained it perfectly. Cannot wait for this series to continue!
Glad it was helpful Michael.
Well... you make it look easy, It encourages me to go take the next step in coloring. Happy 2023 !
I do the same trick for References as you shown. It feels good to see the pro colorist. Nice video Darren. You are best teacher. Thank you!
🔥🔥
Thank you very much,I learned lots of methods from your video!
Your a legend Mate!
Called out! Haha. I totally agree though. Getting looks is fun and not too hard as long as you have the time to play. But man, getting every shot to have the same look and charm, especially with different cameras and lighting setups, is where the real experience and knowledge come into play. Thanks so much for this info! Can't wait to try some of these techniques out. I've been practicing for years, but still feel like I'm just starting out.
Thanks. That was amazing. Learned so much.
Great to hear!
Thnx!
Welcome Boris.
Fantastic video!
Hey Darren, just checking in. Keeping being awesome with these videos. I remain your fan, don't ever forget that 😉🙂
Thanks Darren. As ever....great stuff.
Have a great 2023
Amazing video as always, great to work with you on this project! 💙👊
Josh, was a pleasure for you to invite me to grade this video! Loved your channel for years as you know.. I Love Beard Meets Food and Sister Beard! Thank you for agreeing for me to use your footage to make this tutorial to share my knowledge! Wishing you and Adam and all the crew a fantastic 2023!
Really good subject to cover.
Shot matching is the thing that is left out of most tutorials - yet colorists need to have good grasp on this.
I know I've given you some needling in the past on "not labeling" the nodes. I still really think that for tutorials, people who are new users, that labeling helps them follow the tutorial better. What and how people do in that matter to their own workflow is up to them.
The zooming in with the side by sides - I tend to go a lot further and take out everything but the face to analyze skin or blouse/shirt hues.
Just a few points in exposure and hero choices.
I have been on a bit of rant lately about getting the intention of the photography.
You, of course have been doing this for a long time and probably have good eye for it and do it naturally.
But talking to DPs and Grips, and such I have been researching what they do and which hero shot best represents their intentions.
First being exposure. Depending on the actual DP - if they expose one stop over - it's a good idea to set the exposure accordingly - so knowing what it is shot with, ( the log) and then setting the middle grey, gets you, at minimum, to what they were seeing on set.
Using DWG though means that middle grey should be around .336.
The other thing is the choice of the wide, mid, close takes. Almost every DP I have talked to, have said that the closer they can get the lighting, the more accurate the footage is.
The long shot ( wide ) that usually comes in the edit for an establishing shot, the lighting is pulled back to accommodate not being in the frame. They tend to rely on the fact that you are at a distance, and less scrutiny is put on the frame, as compared to a close-up.
There is a point also ( not so much in this particular scene ) but people should sus out the direction and strength of the light source as part of the shot match.
If that girl had a bright window on one side of her face and then the matching clip was from an angle that is from the dark side - the exposure is a lot trickier and wouldn't necessarily match on the scopes. That's where your experience kicks in, and you don't completely use the scopes, but make them naturally fall into the same world through the grading.
Sorry for the long comment - I love this kind of stuff, keep em coming Darren.
OK on the node labels. I forget Im a professional and get so used to which node is which and I dont care to label but you are right - I'll TRY HARDER!! As for details, this is first one of a few I'll do....not giving it all away in one episode!! Thanks as always my friend! Darren
@@DarrenMostyn Recall the line from the 1986 comedy movie The Three Amigos "We don't need no stinkin badges" could apply in this case as "Darren don't need no stinkin node labels" :)
damn dude. i learned so much in just one video. thank you. I can't wait to dive into your content.
Enjoy. Plenty of curated playlists on my channel too.
Love the Channel, great lessons with no bullshit. Congrats
Thanks Phillipe! Appreciated
Since getting omniacopes its been super easy to match shor exposure. I just use false colour and im able to quickly see where everything is at a glance and match it straight away.
Excellent thank you
Darren, you are good! Just love your content. Thanks for sharing.
Great Video the sizing was new for me
Glad I could help
Looking forward to the next one...
Great tips here. Thanks for sharing. Looking forward to the next instalment!!
Amazing, keep'em coming don't be afraid of even more long form extended videos.
Also what about the white balance step?
I did white balance I think ?
Found that I always learn something cool every time I watch your video. Very useful stuffs. You're a master
Thanks.
Very interesting, thank you.
Concise and excellent, as always. Thank you for yet another great tutorial, Darren.🙏
My pleasure!
I want to say - I learn framing stills, and how to view shots for shot matching all this tricks I learned from you, i know resolve tool’s because of your videos thank you for that
Nice one Darren :) Cheers on the fixed node tree! 🙏
Another great video, thank you for taking the time to make these, always great explanations on how things work or are done. I find it very interesting the way you grade and how Cullen Kelly seems to prefer working in a colour managed workflow. I look forward to your next video. 👍
Thank you very much Patrick.
I was expected auto vampire teeth with the gothic color grades.
I will literally be first in line for your masterclass. Your perspective on Dehancer gave me the confidence to utilize it for upcoming projects. Keep up the solid work! Too much is left up to interpretation these days(I still have yet to see someone outside you & Qazi have a proper CST for R3D or like Footage). Feedback on color from the right source is everything. Y'all are super-heros for color on YT. We appreciate you leading sheep to greater pastures. All the respect. /salute
Darren, Your “how to…” approach to every day challenges for colorists is a great way to teach grading in Resolve. I can grab it and put it to use right away. Thanks man!
very welcome
Very nice!
Wow super helpful. Thanks
Glad it was helpful!
Great content!
Amazing helpful video ty for making it to show us
No problem - glad it worked for you!
Superb 👌I never knew you could group clips. Thanks 😊
Darren, Thank you very much! I appreciate that you take your time for such highly valuable content. I hope you keep it up, cause I can learn a lot from you 🙂
No plans to stop yet! Thanks for the kind words.
this is awesome !
THANK YOU
So fantastic, Darren, thank you!
My pleasure!
Another awesome video D. 🙏❤🎉
So useful🙏
Thank u sir♥
You're a great teacher! I started using DaVinci a few days ago and your videos really helped me understand Color Management and the basics when it comes to grading. Thanks for your videos!
You are so welcome Guillaume. Check out my playlists maybe - well curated so might help you to not have to watch my 100 episodes!
Nice job explaining the process of matching different clips, Darren. It is a subject of great interest to me because I am currently working with older footage from an earlier camera and I want to use that footage with the clips from my newer camera. I am really looking forward to Part 2 and beyond.
Thanks once again for your insights as a working professional
I really need a basic tutorial on nodes and what the heck node trees are really all about!
Brilliant! Very interesting and very useful, thanks Darren.
Glad you enjoyed it Ray!
Superb, thanks Darren. That was very nutrient dense!
Glad you enjoyed it Appreciated
Thanks
Thanks for this Darren! I've been doing this for a few years but I'm embarrassed to say that I wasn't aware of what node reference sizing did so that’s going to be a great help.
More Breakdowns 🔥
You look like rec 709 conversation of Robert Downey Jr. I love your content 💪🏾
Fabulous Thanks Darren
Very welcome martin. Good to hear form you again.
Hey Darren, Great Tut as usual, I wondered can you make a Tut about Export Settings for TH-cam/IG/Netflix deliverables by any chance?
Awesome content as always, thanks for sharing.
Super nice video ! I've been using reference sizing a looot lately and it really helps put things into more context when it comes to shotmatching :D
great tutorial dude!
Appreciate it!
Hey Darren, great video can't wait for part 2!
Not sure if you've already done it, but would love a video about printer lights
Very nice look
Thank you
i think false color ofx will serve you way better in matching exposure in talent's face and complex shots ,
good series, looking uo for more :)
I have false color on my omniscopes all the time.
Hi Darren, thanks for the fantastic tutorial as usual! Will you ever do an in-depth tutorial on how to best use the other aspects of Dehancer? (film, print, grain, gate weave, etc.)
Thanks! :)
It has potential for an episode yes. There is a discount code in the description BTW if you are looking to buy it. All the best, darren
@@DarrenMostyn if I may follow up on MP's question here, is it best practice to use the dehancer node after the 709 transform?
@@Bordsteinpflaster In my experience so far yes, but Ive not upgraded fpr a while and i believe newer version is better. I couldn't upgarde as I have a big broadcast job on here for months that is only just signed off and was worried may change any dehancer settings I had.
Great video. You talked about other videos showing "fixed node tree" but you've got so many videos in channel I couldn't find it. Could drop a link to point me in the right direction please. Cheers
you are best
Like the ceiling cant hold us
Hello Darren Mostyn, could you make a video about balance?
How do you balance images, with offset, gain wheel ? or Global HDR ? Or it depends and if it depends why and how do you know which to use ?
Thanks
Thank you so much. Your tutorials are always valuable. If I could know about the management of the contain for an SRGB version!
Hey Darren, I'd love it if you could do more on your grading process for BMPCC 6K pocket footage like this.
I literally just searched Darren Mostyn color grading and got this notification 😄
Enjoy! darren.
Hi Darren! I'm subscribed but I can't find your node tree. It's always amazing to watch your videos and how you work! You make it so easy, I'm just a newbie trying to learn from people like you. What you do in minutes it takes me hours... so thanks for sharing all your experience!
Very good tutorial!
Thank you!
Darren, enlighten about the topic of ACES 1.3 👈 I don't see a significant advantage when working with this color science. As we know, Arri, Red and Blackmagic movie cameras have a larger color space than ACES. Moreover, there are compression artifacts, if configured incorrectly. I am aware that this flaw has been fixed in the latest version. But, there are nuances of working with other color profiles when working with ACES. In general, we need a lesson from you so that you tell the advantages and why it is actually developing 💥The ACES 2.0 version will be released soon and we would all like to own this information and use it in our work.