Why TEAL and ORANGE | Split Toning Davinci Resolve 18 Tutorial
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- เผยแพร่เมื่อ 13 พ.ย. 2022
- Welcome back to the channel! This week we're talking about how to achieve the cinematic split toning look. This is the teal and orange look that's so popular in Hollywood. It's popular for a reason working off of the complementary color scheme which is pleasing to the eye and it also creates some serious color contrast.
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Thank you! - ภาพยนตร์และแอนิเมชัน
very interesting. I really enjoyed watching this. Thanks for creating it for us.
Thank you!
Thanks for the great video! By sheer coincidence, I’ve been practicing on the exact same RED clip, and it was very reassuring to find your video, and to see that I was right on track with the same workflow and results. The only real difference is that I had a ‘balance’ node to get the image less warm at the beginning of the node tree, then added the split tone look node after that. My results were virtually identical. I guess it’s a positive sign that I’m getting there! Looking forward to watching for more of your videos.
youtube algorithm suck so back, i took so longer to find a well explained video like yours, hoping to see more real time colour grading in your channel this is why im subscribing!
thanks for the effort and attention! you rock! keep up bro
Thank you so much! For sure a lot more stuff coming now in 2024.
Awesome explanation, great channel !
Thank you, great Work
Appreciate it! Thank you 🙏🏻
Solid ;)
Thank you!
Nice one bro thanks
Cheers! Thanks man :)
Thank you very much.
Of course!
Bro why don’t you have more views and subs… You have to be the easiest to follow colorist on TH-cam ✊🏽
Hey I really appreciate that! Thank you for the kind words
Color correction is not something to just toss aside - the better the photography the less you need to do.
But in post production - color correction is something you have to do because rarely in a scene are you just working on one angle, like cherry picking stock footage like this. The same camera can be used in different angles and the complexity of lighting and exposure, requires that you pick the hero shot and at the point of normalizing, you need to match the other angles - so when you do the "look" that it carries across alternate angles ( and sometimes alternate cameras ) .
Also the mid grey of Davinci Wide is around 344 in 10-bit scale, so when doing an overall contrast - changing the pivot point upwards if actually changing the middle grey and raising the exposure. You essentially raised the exposure when you set the pivot up to 500. Okay if that's was the intention of the DP. But when working with pro stuff, you would need to run that by the cinematographer/DP or director.
Also in Resolve when doing the split tone - if you want the skin tones to stay intact on the curves you can set it to gang the curve ( default ) and click on the skin on a lighter area and then again on a slightly darker area and lock the skin. You were setting anchor points and they may have been close to that anyway, but to be precise you can lock them with that method. Then turn off the lock and adjust the split tone. The image you chose though the darker gentleman would create a problem and you might want to use some method to have the split tone not apply because locking the curve that low would leave you very little to add or subtract RGB on the curve.
Good tutorial for new users though. Your teaching method is sound and this is an important lesson. Well done.
Definitely great points! Thanks for the feedback and it’s yes it’s a lot more involved when you don’t have cherry picked footage.
Just found your channel! Great lessons really learnt alot! Tried many other videos but found your method the most pleasing to the eye. Will you be teaching more looks? K drama dreamy look or commercial clean look
Thank you! Yes I’ll be doing more in the future as well
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A very popular topic lately. Is this a common practice since time immemorial or has it started to be practiced recently?
Its been popular for a while however in a slightly different way. A lot of modern looks have been crafted looking at older photochemical film prints. Now we're just finding ways to do it digitally in a creative way.
@@RaoulEnoiu Very often people make blue shadows with curves, I don't remember movies having blue shadows. It seems to me that the only way to simulate a certain film is to take a real film camera along with a digital one and shoot a checker board. The difference in values will be the correct color shift and it will make a fine LUT.
You can map it out mathematically but that’s heavy into color science which is its own thing. It’s produced some really good film emulations though.