(upbeat music)
- What's going on guys, this is Qazi,
welcome to probably the
most anticipated tutorial
on this channel, I'm talking about Tenet.
We're gonna be creating a
look from this epic shot
that we've seen in the first trailer
and then all the trailers that followed.
There's gonna be so many
techniques that I'm using here
that are gonna blow your mind.
So grab a note pad, like all the say
and also, I need to know if you guys
have a suggestion on how
to watch this film legally,
at home, because I know it's
released in some theaters,
but not in California.
I'm dying to see it.
Also a sidebar.
I just finally got a chance
to watch Parasite with my wife
and oh my God, I mean,
it lives up to the hype and then some,
I am completely blown away.
I wanna do a look on it if
you guys are interested,
if that's something that you wanna see,
drop a comment below and guys,
a couple of announcements,
first of all, check this out,
got a brand new panel, so excited about it
and if you guys wanna
see an overview video,
unboxing video, something
like that about the panel,
let me know and for
those that wanna level up
their cor grading game,
check out the link in the description.
One hour long free training,
where I will show you how to
get the perfect skin tones
out of your Sony S log 8-bit footage,
how to get the clean white look,
it's the go-to commercial look.
How to get the creamy film look,
how to fix the dreaded gamma shift
and much much more, link
is in the description.
And I totally forgot to mention,
today is our kitty's third birthday.
This little guy right here is Ghost
and that's Gilly.
She's so sassy and this
dude is just the dumbest cat
you'll ever meet.
And guys, I just wanna take a second
and thank each and every one of you,
we're hitting hundred K subs
either today or tomorrow
and it wouldn't be possible
without your support.
I mean it, from the bottom of my heart,
I really appreciate each
and every one of you
and if you wanna congratulate me,
then go ahead and smash that like button,
subscribe to my channel
for more awesomeness,
follow me on Instagram,
you know value bombs
are being dropped there
every single day, let's roll the intro.
(upbeat music)
I am so excited to be
working on this film.
I genuinely kid you not,
it is probably the most asked look
and for a very great reason.
It's so pushed but feels so right.
So there's a lot of things going on,
we're gonna go through all of it
and let's just jump right in.
So first thing that I'm gonna do is
I'm gonna go ahead and open up my OFX,
I'm gonna type in palette,
I'm gonna that boy right here
and then let's look at this
and tell the story
through the art of scopes.
So what is really going on here?
One thing that we can
see right off the bat
is just look at what's
happening in the shadows,
they're not even.
So what I mean by that is that
look at how red is down here
and then green is up there
and then blue is kind of in the middle
between the red and the green
and that's, what's creating
that cyan in the blacks
and we can see that,
right, like right here.
So the pure blacks are not there
because this is basically
reading this right there
but the actual blacks are
somewhere around here.
This air is still sitting right here,
it has a hint of a teal
and that's what's coming from here
and we can see it in the scopes.
Also, let's just look at the vector scope
and see where the entire image is sitting.
So the entire image is sitting
in this cyan-ish blue world
and you can see it's cyan and blue
and it's sitting in that world,
it's pretty dominant
but then we see a little
hint popping up here,
which is the skin tone.
So the skin tone is pulled
out right there we can see it
and then there's a little
bit more right here,
which is what this yellow
is in the highlights.
So check this out, it's very interesting
and that's what's creating
that complimentary color.
We got these right there
going on in the highlights,
it's not pure white.
Then we got the perfect skin tones.
They're a little bit de-saturated,
the reason why it looks
so poppy is because
the rest of the image is
pushed so much in that world
and that's what we're
gonna be creating and guys,
even in the wave form,
we can read that, right?
Like look at how green is so dominant
and then red is sitting down here,
that's what creates the
cyan or the teal look.
So now that we have this in mind,
it's gonna help us quite a
bit jumping into our look
and then figuring out a game plan,
how we're gonna attack it.
I'm gonna move to our clip right here.
So this is our clip and
I'm just gonna turn on loop
so it is set to loop
and then let's just go ahead
and park it to our hero frame,
which is gonna be
somewhere around two-ish.
So this is our hero frame.
So I'm gonna park it right there.
I'm gonna go ahead and
get rid of our effects.
So just let's hide the
open effects windows
so we can buy some real estate
and now what I wanna do
is I wanna go ahead and
I wanna click on this guy
so we can actually pull
up our image from here
and that can happen by clicking right here
and saying Selected Still Images.
So, boom.
Now we got our image right here
and I wanna go ahead and
make it a little bit bigger
so you guys can actually
see what's happening
and I'm gonna pull this
over, something like that
and we're gonna keep our node tree here
and still should be legible,
you guys should be totally fine.
So first thing that I'm gonna do,
I'm gonna go ahead and hit
tab so I can label my node
and I'm gonna and tab is basically,
I went under keyboard customization
and just used tab as my
label or re-namer you will.
So I'm gonna click on tab
and then I'm gonna go ahead
and call this, basically,
this is my exposure.
So EXP, that's my exposure.
So let's get the exposure going
and we're gonna do our
traditional contrast
and a lift gamma gain.
So I'm gonna start off with contrast
and let's just get going.
So I'm gonna come to
somewhere around here,
not anything crazier than that
then I'm gonna go into
my lift and pull it down.
Something like that and
then I'm gonna take my gamma
and lift it up.
And lift down, gamma up, right?
Lift down, gamma up and
somewhere around here
and I'm just kind of looking at my sculpts
and they're not bad.
I mean, if you look at it,
we're kind of in that world,
I'm gonna take my gamma,
lift it a little bit more,
something like that, bring my lift down
and I'm just looking at
the hair to hair match,
boom, boom,
like here to here, it's not bad.
So this is looking pretty good,
I'm gonna take my gain and
just raise it a little bit,
not too much.
So somewhere around here,
because I'm just really looking at
this hottest part right here
and my lights, obviously
have the reason to be
as hot as they can be.
So something like that is not looking bad.
I'm just gonna give it
one more push with a gamma
and then lift down a little bit.
Maybe something like that.
So if I do on and off
just in the first node,
we come a long way.
So if we look at our anchors,
you look at the black points right there
to the hair right there
and we can even see it in the
sculpts how we're matching
and then how much I lifted the gamma,
I mean, look at that .11,
I lifted the gamma up
to like really put it
in the same zone.
Like look at this to that.
So our gamma's looking good
and then look at our gain
up top, boom, gain to gain.
So we're matching on many levels,
even in our wave form, you can see that.
So that is looking pretty good.
I'm gonna go ahead and create
a new node and then here,
let's go ahead and call this our balance
and the way I'm gonna do the balance is
I'm gonna start off at the saturation
so let's just crank it a
little bit, like around 75-ish
and then what we're gonna do
is we're gonna use our color temp and tint
it kind of just balance out
the image, not too crazy,
we still wanna keep it
in that little cyan world a little bit
but I'm just trying to get the green out,
I'm using my tint right now
and I'm gonna pull it back
and then I'm gonna take
my temp and pull it back
and then kind of bring it back.
So keep doing that a little bit
just to get the skin looking right
and get everything else
just looking proper.
So let's a do before and after.
So this is taking a lot of the dinge out
and it's making my image
look somewhat neutral, right?
And the reason why I wanna make it neutral
is because we're gonna
be using our layer mixer
and for a layer mixer to work really well,
you have to create enough separation
so it can push and pull very nicely
without destroying your image
and this will all make sense
once we get into that part.
So let me see, what else can I do.
So let me just do a little
bit of more push and pull
and see how, if I can separate
my image a little bit more,
maybe not, so let's just keep doing it.
My skin is looking good.
All right, I think I'm happy here.
So I'm gonna leave my balance here
and I think this is totally fine.
So I'm gonna go ahead
and create a new node
and then this one is
going to be be our look
and we are going to get
pretty heavy with our look.
So I'm gonna leave my look there
but I'm gonna go ahead
and create a layer mixer.
And in the layer mixer,
this is where my skin is gonna go.
So I'm gonna go ahead and type in skin
and this is my skin.
So I'm gonna go into my qualifiers
and I'm gonna come out of this mode
or else it won't let us pick the skin
and I'm just gonna go ahead and do this,
actually select our qualifier.
Boom, do that.
Look at how clean our
key is at this point.
So now all I have to do
is move this around a little bit
to see if I can get it even cleaner
and that's already looking good
and then go into my saturation
and see what I can do here.
So not much to do there
and then go under my luminance
and see what I can do there,
not much to do there
and then what I can do is
just go into my Denoise
and crank it up to around
10-ish as we usually do
and then I'm gonna come out of here
and now we've done a pretty
good job picking our key.
So let's go back into
our reference mode here
and all we have to do is now
let's try to get the skin in
where his skin is by
using hue vs hue options.
So I'm gonna go right there,
we're still in our skin node.
So just so you guys know,
I'm gonna keep it somewhere around here
and we're gonna go ahead
and we're gonna select
our hue versus hue,
hue versus hue,
that's what we're under right now
and basically what I wanna do right now
is go ahead and start
moving my red channel
and just see what I need to do.
So basically I need to add more magenta,
that's what needs to happen.
So if it is sitting
right here, super yellow,
this is magenta so let's crank that up
hue versus hue, my red channel is up now,
I'm gonna do the same with my yellow
and look at first, it's gonna
look kind of ridiculous,
like it's just like,
dude, what are you doing?
It's too much.
So let's pull that up first
and now what we need to do.
So if I do before and after,
there's a big difference here.
Now what I need to do is simple.
Like I'm gonna go under my hue versus
now I'm gonna go under
my huge vs saturation.
So now we're under hue vs
saturation and just watch this,
I'm gonna pull my red down
because I'm trying to
pull some saturation off,
like look at what's happening here, right?
Like it's not very saturated.
I'm gonna do the same thing with my yellow
and all of a sudden,
like if I do before and after,
just look at the difference,
how we're sitting in that world.
Now we have to do a few more things.
So I'm gonna go in here
and click on my hue versus luminence.
Now I'm under my hue versus luminence
and I'm gonna go ahead
and same two channels.
So I'm gonna take my red
and I'm gonna crank it up a little bit,
I'm gonna take my yellow
and I'm gonna do the same.
I'm gonna bring it up
and like look how close we're getting.
In terms of saturation
and the hue values right?
So now what I wanna do
is just simple lift gamma gain.
So I'm gonna go under my gain
and I'm gonna raise it up
and just look at how much
of a difference it's making.
And obviously I don't wanna overdo it
so I'm gonna bring it
somewhere around here
and then I'm gonna go under my gamma
and just pull it down a little bit.
It kind of creates the similar contrast
that we got going on on
his face right there.
Now what I see is that
we need to do a little bit
more hue versus saturation
and we need to pull it
down a little bit more.
So I'm gonna go under my
yellow and pull it down
and let's just leave it here for now.
I can even bring my red up
and pull my yellow down a little bit.
So, let's go far, all of us go far
and then kind of pull back.
All right guys if I do,
are you ready for before and after?
I mean, look at that, before and after.
So obviously we're not done,
we're gonna be making more changes
but the difference is night and day
but that's my skin, it's locked in,
it's not going anywhere.
I'm gonna go ahead and
create another layer mixer
and in this one, once again,
we have to come out of this mode,
all I want do now is
just grab the highlights.
So I'm gonna go ahead and do this.
I'm gonna create a pretty hefty softness
in my luminence value
and then I'm gonna start cranking it
and basically just look what I'm doing,
I'm just selecting my highlights.
Like almost this
and then I'm gonna come out of this
and all we need to do is
let's go back in here.
I'm gonna try to bring
this warmth in there.
So I'm gonna go ahead
and start with my gain
and just start with my gain
and start just cranking it in.
So like really push it,
always us push it first
to kind of start seeing some
big change and then we
can modify it as we like.
So right now, if I do before and after,
it may seem like man, it's way too much
but once we have our look completed,
it's not gonna look that bad.
Another thing that we can
do with our low softness,
we can play around with it
and see how much it helps us.
So if I like, look at this,
if I like really
do that,
like now it's very gentle, right?
Like, so it's not as abrupt
so it's a little bit better.
How much is it affecting?
Let's check it out.
So I'm gonna turn that off
and then see how much it's affecting.
So I can control that a little bit more,
something like that
and now if I come out and go back here,
it's looking a little
bit more doable, right?
So it still has that warmth.
Now guys, don't forget
that ultimately, yes,
we wanna get closer but
we want it to look proper,
we want it to look right,
we don't wanna make it look too fake.
So I think we can still
push it a little bit
and give it a little bit more yellow.
So even something like that
and pull it back a little bit maybe,
so, big difference.
Where we were to where we are now
and we're gonna go back and forth
and make these changes
until it just looks right.
So for now we can park it here.
Now we get into our look node.
So the first thing that we need to do,
this is a very, very crucial step.
The first thing that we need to do,
we need to even out everything.
You see that there's some
discoloration going on,
like this is green
then this is like a bluish hint right here
then this is also cyan.
But there's multiple
different tonalities going on
so the way we're gonna control that
is we're gonna go back into our primaries
and I'm gonna go into my
hue versus hue options.
So now I'm under my hue versus hue,
and I'm in my look node
and I'm gonna go ahead
and start messing with a few parameters
and see what happens.
So now when I bring my green down,
like, look, it's kind of evening it out.
So if I go before and after,
like it was way too green
and now it's less, right?
So now I'm gonna go under my cyan
and pull that around
and now I have to
actually pull the cyan up
to get it close to that green value
because as long as all these
colors are in the same world,
it's gonna be a lot easier
to then just apply that
one big cake on look,
which is like bringing that color in
and it will all make sense.
Now I'm gonna go under my blue
and I'm gonna start moving
it around and once again,
so, bringing that up a
little bit, it evens it out.
So now if I do before and after, like,
look how hodgepodge all these colors were
to like how even they're getting now,
I'm gonna go back to my
hue versus saturation
and I'm gonna take my green
and I'm gonna pull it down.
So it does help a little bit.
So what this does is that, look at it,
okay, so it's evening out
the whole thing a little bit.
So now that we got that going on,
what we're gonna do is we're
gonna go in our RGB curves,
we're gonna break up the chain.
So usually it's like selected like that,
break that up and I'm
gonna go in my red channel
and just watch this
I'm gonna take that here
and I'm gonna pull it down.
Boom.
So like, look what I'm doing,
that's pretty dramatic,
now I'm gonna go under my green
and I'm gonna pull that
down, not too much,
take the sting off a little bit
and now I'm gonna go under my blue
and let's see what we need to do.
So we can take the blue up a
little bit but not too much
and now if I do before and after,
it's a pretty big difference right?
We're still not there but it
is a huge, huge difference.
Now I'm gonna go and do an append node,
like create another
node, I'm gonna call it
look adjustment and in this one,
I'm gonna grab my offset
and I'm gonna start moving it around.
Basically, now I'm just
trying to get that green in,
the greenish teal that
we got going on there.
So I'm bringing that color in
and it's coming in pretty hot, right?
So if I do on and off, like look at now,
we got that hint going
on through and through.
What I'm not liking is that how
we have a little bit of the
greenish teal in the hair here
and we have bluish teal too
much here so let's fix that
and fixing that is pretty easy.
I'm gonna go on my log wheels,
I'm gonna take my shadows
and I'm gonna start countering that.
So just look at it.
Now, I'm bringing that back in there.
Just look at this.
If I do before and if I do
after, just look at the hair,
you get what I'm saying?
Massive difference.
Same thing with the jacket.
Just look at that jacket,
look at the jacket.
We're getting there,
this made a massive, massive difference.
Now there's a few things
that we have to do.
So I'm gonna right click right here
and I'm gonna say key mixer.
What's the point of this?
This is gonna change everything.
So I'm gonna put the key mixer here,
I'm gonna send this output up here,
I'm gonna send this output here
and then I'm gonna send this through,
I'm gonna feed it into my look node
and you're gonna be like,
dude, what did you just do?
Everything looks like garbage and it does,
until we do this.
Now I'm gonna go in my
key settings right here
and I'm gonna go ahead
and I'm gonna invert it.
So now I'm saying, leave everything else
like the face and the lights
but affect everything else
around it.
If this is a bit too
much, it's a bit to push.
We can go in our key gain right here
and we can pull it back,
it kind of split the difference,
so let's see.
Maybe something like that,
like that's already looking better.
Now what is happening with our lights?
Because our are just not really giving us
this yellow that we're looking for
and that's when we can go back in
and we can mess with it a little bit more.
So I can kind of just put
a little bit more yellow
and like I said guys, I
don't wanna overdo it,
I don't wanna make it too artificial.
So I just want to introduce another color.
So if I do before and after now,
we have like a fun, little color going on
that like breaks everything up
and it looks still realistic,
it doesn't look fake,
so I'm gonna hold it right there.
Now I wanna go under my look
adjustment one more time
and I wanna split the
difference a little bit
'cause I feel like it's breaking up a bit,
like too much for my comfort,
I want it to be even.
Now I just grabbed my cyan
and I raised it up quite
a bit to bring the gap
a little bit closer between the two.
Now I can go into my offset again
and then pull it down until
I get that Tenet teal.
Get it a little bit more.
So now we're getting that Tenet teal
but we have to make up for
it with our shadows again.
Remember we had to offset that.
So I'm gonna go under my blacks
and I'm just gonna keep raising it
until we cancel it out.
And once again, I'm just
focusing on what's happening here
and making up the difference.
Let's go into our lower
range and raise it up
so we can affect it a little bit more.
So now we're really
getting into her jacket
and then let's keep going
and bring in that pure black.
I'm just focusing on her hair right now.
And then I'm gonna go back in my low range
and kind of crank it.
So now I'm grabbing her jacket
and it's getting in that
similar zone right here
and what we need to do is
just go back into the skin
and manipulate it a little bit more.
So I'm gonna go into my curves
and I'm gonna go under
my red hue versus hue
and I'm gonna try to
pull it back a little bit
and then do the same thing with yellow
because now we just kind of have
to give it a little bit
more juice if you will.
And then I'm gonna go under my gain
and kind of raise it a little bit more.
And at that point,
let's just bring in a
little bit more saturation
in our yellow
and pull it down to somewhere around here
and go back into our hue versus hue,
gamma down, gain up.
Let's go back into our lights
and give it more yellow.
So something else that
I'm noticing right now
that needs to be fixed
is definitely the skin
just needs more juice.
So let's try to do that.
So I'm gonna go under my
red and yellow individually
in hue vs saturation
and then I'm gonna try to crank it up
so you are gonna see the
saturation coming in, see?
And then I'm gonna park
it somewhere around here
and now I wanna go under my hue versus hue
and take my yellow
and try to bring back some
of these skin tones, right?
So just take it toward that magenta.
And now if we just do
a quick back and forth
between the two.
so we're getting a little
bit more color in her skin
and I think we can do more.
So I'm gonna go under
hue versus saturation,
take my red and like crank it up
and now let's do before and after
and now let's give it a
little bit more contrast.
So I'm gonna go under
my contrast and pivot
and I'm actually gonna start
giving it some contrast
and then again, take my gain, lift it
and now let's do before and after.
Okay, so much better.
So if I do literally,
I mean, this is before, this is after.
So now we're really creating a cool,
like look at this to that,
we're getting really, really close.
If I do before and after
on the skin, I mean,
it's just a night and day
and that's what's really
selling the whole thing
and then we got a very similar tone
in terms of the background going on
and then we pushed the lights.
I wanted to push them
but once again, guys,
like I said, I mean, if you look at the,
on the sculpts level,
it's looking really good.
I mean, look at the blue to the blue,
green, to the green and
then red to the red.
So it is looking good
but I just don't wanna
push more than that.
I feel like it's gonna
start looking cheesy
and it's just not gonna look right
and look at the green to the like,
like the shirt to the shirt,
skin to the skin and here to the hair,
like, I mean, we are hitting like,
look at the hair right there
and even let's just look at the sculpts,
how close we are to what we got going on.
So let me just do before
and after a couple of times
like this to like really
see if anything sticks out
that I need to fix.
Now, the last two things that I'm gonna do
to really wrap it all up,
I'm gonna click right here,
create a new node and basically
it's going to be be a vignette
and I'm gonna go ahead and tilt it
and add it somewhere around here
and then give it a little
bit of a aspect right there
and give it just a little
bit of a rotation and then,
soften it up quite a bit.
So I'm just gonna go around 60 ish
and then what I wanna do is,
I wanna go ahead and invert it.
So now, I go into my curves
and I'm gonna go ahead and
make sure that they're chained
and then I'm just gonna
go and select it from
40% point right there and
then start bringing it down
and basically let's just
click on this once again
so we can see what we're doing
and I'm focusing on this side
and let's just bring it down even more
and keep it somewhere around here.
Now guys, let me tell you something.
I'm not really gonna worry
about what is happening
on this side and some might go, dude,
nothing is happening here
so let's just keep it as is.
The thing is for me,
I want it even because
the lighting is even,
you get what I'm saying?
Like the lighting is
coming from both sides,
it's not coming from just one side.
So this is the kind of stuff
where you have to be not blinded by
what is really happening in the image
and when you try to do one to one,
you get carried away
and you go too hard on that.
So for me, I'm doing this
and I'm liking what's
happening in this side here
and that's pretty good.
Now what I'm gonna do
is I'm gonna create an outside node
and you can also do it
just by right clicking
and saying node, outside node,
I have a key on my panel
so I just hit that.
So this is going to be
our outside vignette
and then this is going be our inside
and that's gonna be basically her.
So I'm just gonna go
ahead and raise her up
and basically I'm just
focusing on where he is
and I wanna kind of put her there.
So maybe bring it down a
little bit, something like that
but now if I do before and after,
just look at the amount
of difference we've made.
So that is pretty epic and
now if I take these two,
it's kind of unbelievable
how big of a difference this makes, right?
Like when you don't have vignette
and you don't do this technique,
like it just looks like,
oh, this is perfect,
like let's print it
but then you do this and
there's so much more emphasis
on our girl.
So now if I just go ahead and do this
and we just go to our girl
and I take these two nodes
and turn them on and off,
just look at the amount of
difference we're making.
And now let's bring this image
and let's go between the two
and just look at the amount of
difference that we're making.
Like, if you look at this
and then if I just do
before these two and after
and now if I just do a swipe
and look at the diff, you
know what we've created,
I mean, guys, this is
a pretty insane look.
If I park it right here
to where we started
to where we ended up, I mean, come on
and just look at the skin and everything.
So now what I wanna do is I wanna go here,
I wanna go back into this mode,
so now one thing that I am noticing
as I am bringing the vignette
and like bringing this down
is that it's adding a
little bit more green
than the color that we actually want.
So in order to control that,
we can do a couple of different things.
First thing that I'm gonna try
is I'm gonna go under my curves
and I'm gonna go under my
hue versus hue options.
So right now I'm under my hue versus hue.
And what I wanna do here
is I wanna take my cyan
and kind of twist it
and I think that kind of did it, right?
So, I mean,
it's just a hint
and we kind of wanna
just get back into that.
Like, we don't wanna go
too far away from it.
So actually let me just undo this
and then try it again.
Too much and then pull it back,
obviously do too much
and then pull it back.
So even something like that
and then this doesn't really do anything.
So I feel like even something like that
brings a little bit of it back
and we are seeing it here too
right where the vignette
is that it gets green
where the vignette is.
So even here we can see that
and now we just like balanced it out
and it was just, color
grading is all about nuance
and especially look
recreations are all about that.
So even like a little bit of a blue thing
that we got going on
there, we have it here.
So you can see it, how close
we're doing like one to one,
a little bit of like a
greenish- yellow if you will
that's happening here, we have that here.
You see what I mean?
So it's really well blended in.
If you look at it,
like if we bring that in,
how well it's blended in.
So, all right,
so let's go ahead and I'm
gonna kill all these nodes
and let's start with the first
one and see where he started
to where we ended up.
So we started with our exposure
then moved on and did our balance
and that helped us a lot
with pulling clean keys.
And then we went ahead,
worked on the skin
and that makes all the
difference in the world
and then went ahead and
grabbed our highlights
and pushed it toward that yellow
to kind of bring this juice in
and then gone ahead and
dialed everything in
so we can start creating
some sort of a look
and then in here, in our seventh node,
which was a look adjustment,
that's where most of the magic happens.
I mean, just look at,
we were most of the way there
and we could have called it here
but I wanted to take it a step further
because we can obviously see a vignette
that's happening here
and then how they do
it is just popping out.
So I wanted to replicate that
and another thing that happened
here is this right here,
a key mixer where we pulled our skin
and our highlights and inverted it.
So basically we affected everything
besides the skin and the lights
in this look adjustment node.
Then we moved ahead with our outside node
and mimic this same vignette
that's going on over here
and then created an
outside and brought her out
just like what's happening here.
So like he's pulled out,
everything else around him is brought down
and that's our final look,
let's check it out in full screen.
(upbeat music)
I hope you guys had a blast.
Let me know if there
are any particular looks
from TV shows or movies
you want me to recreate,
drop a comment below,
do not forget to check out
the link to the training,
which is also in the description,
one hour long training,
it's gonna take you from
not knowing anything
about Resolve to comfortably
working on a professional gig
and guys on that note,
smash that like button,
subscribe to my channel
for more awesomeness
and I will see you in the next video.
(upbeat music)
