Cinematic Color Grading Davinci Resolve | How to create the Hollywood look
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- เผยแพร่เมื่อ 6 มี.ค. 2024
- Hey everyone! Today, we're diving into how to get that awesome cinematic look in your videos using DaVinci Resolve. We'll walk through each step together, breaking down our node setup and explaining each process in simple terms. Plus, we're gonna spice things up by adding a Kodak film effect that'll really make your projects pop!
We shot this footage with the BMPCC 4K in Raw. 3:1, ISO 1250
Lens Sigma Art 18-35 F 1.8
#colorgrading #cinematography #filmmaking
#cinematography #filmmaking
INSTAGRAM: / hermanosbander
FACEBOOK: / hermanosbander - ภาพยนตร์และแอนิเมชัน
Your use of the Bmpcc4k is extraordinarily good. More so, your color grading skills. I’ve watched all your short films and I think you’re one of the best filmmakers here on TH-cam. Thank you so much for this video.
Thank you very much for commenting! we appreciate it very much!
what do we do with our gopros? damnn pricess
hell, I have bmpcc 4k, and i have never come to this level of grading. i need to learn more from this channel.
Crei que era imposible que llegara este dia. Lo hiciste !!! 🎉🎉🎉
This is great, made my footage come to a whole new level following this.
I'm glad it was useful and that you can get results using this technique!!
im so thankfull!! i learned so much. the way you approach color grading as an true artist is a joy to see. what i love the most is the factt that you do certain things AFTER rec 709 and some things before. i think people dont appreciate how much luck we have you share this artistic chain with us. im gonna expermient with it i am so motivated. looking forward for your next masterpiece. Hermanos Bander blackmagic design has no idea how many people are inspired to buy blackmagic. they should give you free stuff. i wish you all the best all the way from amsteredam. God bless you
Thank you very much for sharing your feelings with us. It is a pleasure that our work can be useful. It is very motivating to read comments like yours. success and blessings!!!!
I have never seen any Color grade Step-by-step proper process like this ever. Awesome video bro. No hidden stuff.. Really appreciate your effort bro.
Thanks for commenting, I'm glad you find our content helpful!! :)
@hermanosbander hey bro, Could please explain why we need to convert to cinelog ? I am blank about that
Bro I have been waiting for someone to explain this to me properly for like a year now. I'm going to have to go over this a few times but looks like you may have a good functional workflow here. Exactly what I'm looking for.
I'm glad bro :)
Yes🎉🎉🎉yes🎉🎉🎉 very good tutorial on DaVinci résolve and the color grading 🎉🎉
Thanks!!!
@@hermanosbander ok fine make again more of tutorial on DaVinci résolve and the color grading 😊
Whaaaaaattttttt, the results I got are crazyyy. Sure we don't have the same Camera, but the steps gave a different look, I wasn't even expecting what I'm doing to look this good.
Thank you very much for the tutorial.
How awesome that our tutorial helped you nail that result!
you save my life man !!! thank you !!
I shoot with my bmpcc 4k so this is perfect for me..thank you!
Muchas gracias.
Good job my brother similar to my way of color-grading 🔥
ammazibng video thanks alot
Thank you!!
Hi Bro, this is an amazing video.great content and plenty of information for colour grading. Actually I was very much excited after watching ur short film the last canvas. Tat was wonderful. Thank u so much for teaching us with this type of stuffs.
Many thanks to you bro, we'll keep sharing more of what we do!!!
this channel should be in millions tier of subs.. great job and keep it up..
Thanks so much!! :)
Thank you very much for your lesson!
Hello. Thank you, we wait another tutorial )
Amazing Tutorial
Thanks!!
Great tutor 🎉
Damn the bm 4k has amazing picture quality
Good Morrin Hermanos Thanks i have the Bmpcc6k lookin forward to my next project the way you set up your node tree up Game Changer😎
I am glad to read this :)
Thank you!!!!
:)
Great!
Homem, não sei como seu video apareceu pra mim, mas eu AMEI! KKKKKKKKKKKKKKKKKKKKK
Obrigado!
Very nice work!
Thanks!!
❤ can you please make more tutorials like this. Thanks a ton
Sure!!
@@hermanosbander thank you so much
Awesome! I love this videos! I dont have a black magic , I use Nikon Z5 but This gives me ideas. Not even close my results to that but I love the video! Thank you!
Thanks!!! Yes techniques are also applicable to other types of footage, the important thing is to know the strengths of your equipment and keep experimenting.
@@hermanosbander For sure! My dream is have a camera like that one or at least that shoots raw it must be another whole world! Keep the good work matte!
Best wishes from Argentina!
Great channel to follow; keep up the excellent work!
I'm trying to achieve similar results with my BMD footage and have a question. I've noticed that your footage has blanking, just like mine. However, when I apply blanking of that size, I get extremely low values in my Curves - Custom panel. When I apply a zoom transform, the values increase, but I don't want to use the transform tool.
How can I boost the values without using the transform tool? I'd really appreciate any assistance or insight you can provide to help me with this. It's a bit confusing. Thanks!
Thanks!! Our shot has a resolution of 4K DCI, but we made the project in 4096 x 1716 Scope 2.39, so it's a widescreen scene, not the classic 16:9. When exporting in this 2.39 aspect ratio, blanking is automatically generated when played on certain platforms. Working and exporting in this aspect ratio you wouldn't need to zoom or apply black bars or anything of the sort.
Good Video Thanks For Teaching How To Use Luts
Thank you!
@@hermanosbander Welcome
Great Job Man !!!!
Thanks!!
Great Job!
Thanks!!
i try this process with same footage but from EOS R +Atomos ninja V and its look amazing thank you
We are glad to read that! thanks for commenting
nice
, thank you
Amazing video. Beginner here shooting on the bmpcc og shooting raw CDNG. What changes to settings could I do to use this workflow or is just too different?
Thanks!! Using bmpcc footage you should change the settings in the first CST node, adjusting the color and gamma input the same as the settings you have in the RAW window, otherwise you can use the same node structure.
WOW gracias suscrito
Gracias!!
@@hermanosbander A ustedes! podrian mostrar las mejores opciones para exportar? muchas veces se me ve diferente en davinci que en la exportación. Gracias!!
@@aguschar1 Depende de qué monitor utilices para hacer tu grading, si tienes un monitor calibrado en rec 709 gamma 2.4 así debe ir tu salida, habrá un poco de variación si ves tu video en Quicktime pero esta configuración te dará los mejores resultados. Si estás haciendo el grading en monitor mac puedes usar Rec709-A como salida, así tendrás mejores resultados, pronto subiremos un video con esta explicación
Your tutorial is great. I wonder if it can be applied to Nikon’s RAW videos
Thanks!! The node structure can be the same but you must change the settings in the CTS depending on the format in which you have filmed, you must adjust the color and gamma input.
@@hermanosbander Thanks for your reply, I'll try it!
Great look!🔥 Why did you push the warm tons after the the convertion and the blues before?
Thank you! The adjustments in a wide color space are perfect to recover and work global tones, as in this case the blue and cyan tones. By putting the warm tones in Rec 709 on a smaller color space, we make sure that those warm tones don't affect the whole tonality of the image again, but rather add a kind of tint which is what we were looking for in this specific look.
Hi thank you for this tutorial, what app are you using to highlight the mouse and the blue screen. Thanks
Pro Mouse
amazing
Thanks!! :)
thank you for the tutorial,is there a reason why u adjusted colors and contrast after the lut instead of before?
Of course, some processes are best done in a wider color space, so we rescue information and adjust a much wider range of colors, and the contrast for example we prefer to do it on the rec 709 conversion because it gives a different result and sometimes you are looking for that, it is important to define where to make certain adjustments.
Hi bro. loved your work, wanted to ask is input colour space will be the same if the footage coming from a bmpcc 6kpro on the first Cst note? tnx for your feedback.
Thank you! If the footage is from the bmpcc 6k you must change the gamma input in the first CST node, you must select: Black magic pocket design 6k Film
@@hermanosbander tnx for the feedback 🙏
stunning color grading
Thanks!!
Hi, your work was very good but I had a doubt as to why I went from REC 709 - 2.4 range to rec 709 - fimcine log range. Would it just be lut compatibility?
Hello, thank you!!! Yes, the reason why we convert to cineon film log after converting to rec 709 gamma 2.4 is to be able to use the film emulation lut. Since this type of luts are designed to be applied to cineon film log gamma material.
That looks awesome, great tutorial. Got a Black Magic 6K full frame arriving soon. Any chance you could export the node tree and send it to me please ?
Thank you! You can make the node tree as it is in the tutorial, as long as you have Davinci resolve studio you will have no problem to create it following the steps
Sisisisisii por fiiin!!!!
Excelente video Maestro!! Podría hacer uno con el perfil HLG3 en Sony ZV E10 por favor?? 🎉
Gracias! Ok lo tendremos en cuenta!!
Do you recommend getting a plug-in like Dehancer or is your style very similar?
Yes we recommend it, it is a tool that gives a slightly different result, with other textures. It all depends on what result you are looking for, soon we will do a tutorial using dehancer.
its stupid to compare colors from RAW to Final))) you need to compare colors from 709 to Graded Final Version.... you dont need to show RAW image like example, what the reason? you start your grading not from raw... raw to 709 its just basic step, to see what you shoot, and than you grade...
Yes you are right, but we are simply not making a comparison, it is just a sample of the material as recorded by the bmpcc4k and the result you can get, as in the tutorial you can see the whole process of the image.
But in future videos we can make that comparison from Rec 709 to the final look.
@@hermanosbander from raw to graded, we dont see your grade , cos we dont know what was in 709)) we need to remember start, and than find final) but final is really good, yes 👍
Relax ur vigygy.. no need to be intense 😊
Tranculo, skinny super man.
Why you hating this much? Relax dude.
Thanks
Subscribed bro ! Put more contents ✌😂
Thanks!!
One thing that i noticed that might not be correct. I thing for cineon film log transfer output transfer from rec709 should be P3-D65 and not rec709 correct me if I'm wrong.
Yes, it could be more technical to use P3-D65 before the LUT, but testing I have noticed that it only affects the saturation, and with the fact of using the kodak 2383 lut we obtain a very desaturated image due to the characteristics of the LUT and if instead of Rec 709 we use P3-D65 the image is even more desaturated, for this reason I simply leave it in Rec 709.
@@hermanosbander i have seen many colorist profisonals are not transferring colorspacees property. Not mentioning to you because i totally got your point and tested rec709 myself as you said is better saturated with kodak film looks. I'm glad that you properly transformed all your colorspaces correctly.
You should use p3 if your output will be cinema theater or HDR rec2020 p3 limited, most of internet content is 709 color space limited, so it turns out less saturated inp3 because colors are out of final color gamut.
🔥 🔥 🔥
Best workflow I never seen thank you
Thanks!!
Hi, why have a CST to REC 709, Gamma 2.4 and then another CST node straight after changing the gamma to Cineon Film Log, Why not just have 1 node going from Davinci WG to Rec 709 and Cineon Film Log?
Of course it can be done without the rec 709 conversion, but it is our way of having everything in sections, so if we decide to combine the transformation with the Kodak lut we can do it without any problem, in this case we do not lower the intensity of the kodak effect, but in some other cases we do it.
@@hermanosbander thanks, makes sense
Best tutorial i ever seen. Subscribe for You ! I have question what did u put into project settings/color management? 1. Color science: davinci yrgb managed? 2. Auto: off ? 3. Color processing: hdr DWGI? 4. Output rec709 scene? Thank You if u could naswer me on that quick question !!
Ohh sorry i'm watching second time and i see on the begining
Thank you very much for watching and commenting. Yes, at the beginning of the tutorial we show the project settings :)
How do you do the kind of video where you notice the transformation of the video from raw to the final result? Like the clip in the beginning...I wanna show the transformation of a clip from raw to color correction...
Inside davinci resolve there are some transitions called Triangle Left, then you place the ungraded video in your timeline and on top of it you place the video already graded, then you place the transition and you get the effect.
Amazing, can you share your footage to try on it, please ?
Is this setting applicable for nikon NLOG too?
You can use the same node tree but you have to change the input in the first CST, input color and input gamma to match your material.
Dude, is it not destiny to immediately convert to Cineon in the rec.709 node?
Of course, we can apply the conversion on the first output node, but this way we have full control over the effects and if we wanted to, we could combine the whole Lut kodak effect at will.
hello which coloroutput is best for cinema/theatre?
Hi, it is always best to set your output to Rec 709 gamma 2.4, as long as your color grading monitor is calibrated like this.
Can i do this on a sony camera slog 3
Yes, you can use the same node tree but changing the settings in the first CST, input color: S Gamut 3.cine if you filmed like that, and in Gamma: Slog3 or the profile you filmed with.
tutorial for sony a7iii please
Hi can you do a tutorial for Sony a6400 using slog 2 s gammut picture profile thanks
Soon!!
why i can't setting Camera Raw Feature in my node like your? in my app is like disabled
Surely your clip is not Raw, it may be a log file but if you can't adjust anything in the camera raw window it is not a Raw.
@@hermanosbander i see, thanks man
Fucking amazing, bro. Thanks for share! Can you bring more content with ordinary cameras like sony, canon or fuji?
Thank you! Yes, we will be making tutorials with footage from other cameras.
No me lo puedo creer 😮 lo hiciste!! Muchas gracias por adelantado y gracias también por escuchar a tus subscriptores. Me compré la BMPCC 4K pero no consigo un color bueno ya nose que hacer. Espero que con tu vídeo tutorial aprenda de manera profesional, LOVE!
Esperamos que el tutorial sea de ayuda y con gusto estaremos haciendo más tutoriales!!
Bro can I use the same method to sony footages ? Or it’s different?
You can use the same Node structure, the important thing is to change the color and gamma input in the CST node.
@@hermanosbander thank you brother , please do other videos in English , we don’t understand your language, your contents are so great bro ! Keep in up this good work !! ❤️
@@Chanu_SL Here is the english version of the tutorial: th-cam.com/video/sUiUaPpIVPY/w-d-xo.html
@@hermanosbander much love Hurmano! 😂🫶
Thanks!, is it possible to know your project setting.
At the beginning of the tutorial, after the intro, our project settings are shown
@@hermanosbander Wow! not sure how I miss that, is that what you guy's use all the time? & thanks.
Not always, it all depends on how you want to process the footage, but it is a setting we use a lot. @@reyvaz2951
@@hermanosbander Is what I imagined, Thanks.
you just need one CST from DWG to Rec709 cineon, don't need to convert to 709 2.4 and after cineon, and your last corrections after out are in display referred
Of course it can be done without the rec 709 conversion, but it is our way of having everything in sections, so if we decide to combine the transformation with the Kodak lut we can do it without any problem, in this case we do not lower the intensity of the kodak effect, but in some other cases we do it.
Can you do some in S-log3?
Sure, we will keep it in mind!
Cordial saludo, es posible que hagas una version en español?, Muchisimas gracias.
Aquí está la versión en español: th-cam.com/video/OB5YbaXOBzA/w-d-xo.html
@@hermanosbander Muchisimas gracias
What about skin tone correction in the video?
In this specific case, we are happy with the skin tone, so we didn't make a specific adjustment. Skin tones should also be influenced by the scene's environment, otherwise, it will look artificial. In this clip, the skin blends well with the color palette. It's not necessarily a natural tone, but it's what we were aiming for here.
how to acheive this look in Sony a7 iv, can you help?
We have not worked especially with the Sony a7 but we have done color grading in Sony S log, soon we will do a tutorial.
nice work can u give me the video to try color on it ?
Thank you! If we reach more views we will share some footages
Does this work with gameplay
You would have to change the Color and gamma input to match your footage
Will this be the case for Apple Log?
The same node structure could be used for Apple log, what should be changed are the settings in the first CST node, this is where the input should be given according to the type of footage to be graded, I am not sure if at the moment Davinci resolve has already incorporated the settings for Apple log.
@@hermanosbander Davinci resolve has already incorporated the settings for Apple log!
Is this all in the free version?
In the free version the more advanced effects such as Aperture diffraction or CTS can be used but Davinci Resolve will place a watermark
i still do not know CST in final or in start.. realy do not understand when and why place this node....
You must go to the start, choose the input and the gamma with which your material was filmed, so you prepare your footage to work in the color space in which you set your project. And at the end of the node chain you place another CST to give it an output, depending on where your exported material will be played, the standard is a rec 709 gamma 2.4 output. In this tutorial there is an extra process in which we make a conversion to cineon film log to later use a lut, but it is an extra step, not essential. Also in this tutorial there are some processes that are applied after the output CST, but it is optional.
@@hermanosbander will be super helpful if you do another tutorial about this.. for example why (intermediate why not film) its abot black magic. and what bout sony and what about arri. and how do you know which one when use ? Thank you!
Hi Very good, could you share with me this image so I can practice
Thanks!! This footage is currently not available for download but we will be uploading downloadable material in future tutorials.
@@hermanosbander Thanks for responding, so can you use this technique in future tutorials? I really liked.
🙌🙌🙌🙌🙌🙌🙌🙌🙌🙌🙌🙌🙌🙌
why two CST? why just to make blackmagic to 709 on first node?
Because it depends on the color settings of the timeline, when using Davinci Wide Gamut as color space, we must convert the footage to this color space before converting it to rec 709.
What was the last node for?!?!
It is always good to have a last node for global adjustments, a bit of contrast, a bit of saturation, etc. For retouching, in this case we don't use it but we have the option to make any adjustments there.
what is the name of the program?
which program, you mean Davinci Resolve?
where to get the footage?
.
In future tutorials we will upload the footage
5:38 I don't have a section Composite mode !? Davinci 18
Composite mode is available in Davinci resolve studio
@@hermanosbander I have Studio 18
@@hermanosbander I can only enable Composite mode in Layer mixer
my node doesnt appear the composite mode. why? is it a bug?
Composite mode is available in Davinci resolve starting with version 18.5
@@hermanosbander hey, i found this information in commens. So Idownloaded the lasted version, and work very well. thank u so much! I have learn so much with u, its a great tutorial
@@rrrcarol Thanks!! :)
can i get the raw file for the practise ?
This specific one is not available for download but we will be uploading tutorials with downloadable material.
hello mate. Why your channel is not monetized? I know a way to fix it if it's not ...
why i Can not choose composie mode?
It is because of the version of davinci resolve you have, I think this option is available from version 18 onwards.
Can i get this lut ?
The Kodak Lut is built into Davinci resolve
An amazing tutorial! Could you share the footage for practice? I really appreciate it
Thank you! If we have more views in our tutorials we'll upload some footages :)
This is a great video, I only wish you didn't use an AI voice. Really the only reason keeping me from coming back
Same here
Thank you, the AI gives us the flexibility to change the language of our videos so that more people can get to know the way we work, but we will take your comments into account!
What I don't like about tutorials is that everyone thinks you are using rec 709 and expensive cameras, but what if I'm using footage from Shutterstock or using AI generated videos? I'm guessing that input wouldn't work, cause I tried before.
Of course, each footage needs different input settings, in the case of stock or AI footage, the material must be treated as if it were rec 709 or srgb, depending on the footage. Soon we will do a tutorial with stock and AI footage.
awesome you juste gaine a sub from me for this turtorial
Thanks so much :)
You have problems with color correction. Why did your gray building turn green? This is the science of color correction, what about tinting. It is necessary that the entire card is well painted. How can I tell you... The way you paint is done by inexperienced people. The right side of the building is in order; it is supposedly illuminated by the setting sun. But why is the building green on the front side when it should be gray.
In color grading you want the tones to be as close to reality as possible and that everything looks natural, but color grading is a creative phase, here it doesn't matter if the tones are not the real ones, it's about finding a look that you like, experimenting, changing some tones as you wish. There are hundreds of movies where we see colors and tones that are not real but it doesn't matter in these cases, since you are looking for a unique look that projects something. If you are looking for natural and realistic colors that's fine, if you are not looking for that that's fine too.
Great response!! 👏🏾