What's going
on everybody.
This is Qazi welcome
to the mother of all
tutorials the ultimate
crash course
for DaVinci Resolve Colorists.
I'm going to take this I'm
not doing anything above
resolve all the way to grading
your first professional gig.
And for those out there
who want to become
a colorist I want to take
their game to the next
next level.
Make sure to check the link
in the description below.
And with that said Make sure
to have the thumbs up
subscribe to my child
for more awesomeness
and let's roll the intro.
All right let's just jump
right into the training
overview what I'm
gonna be covering
in this webinar and let's go.
So I'm gonna show you how
to create a database
as if it's your first
time opening resolve.
How do you set everything
up right.
So we're gonna create
a database.
I'm gonna show
you project settings.
I'm gonna breeze through
it I'm only gonna show
you what you need to know
and then everything else we're
not even going to worry
about it.
We're gonna get into I'm
gonna show you the hardest
way to conform your footage
conforming basically means
prepping your footage for color.
So if you're coming from Media
Composer if you're
coming from premiere pro,
or Final Cut X what is the best
way the most
precise way to get your footage
and result and out of resolve.
And then we're going to talk
about color page overview.
I'm just gonna show you a couple
of quick things
you can navigate your way
around in the color page
as the colors
it's very important.
And then I'm going to show
you how to read scopes.
This is your best friend
if you are starting out you're
probably not are not working
with the thirty
thousand five thousand ten
thousand other monitors.
So for that you really have
to rely on scopes to help
you out that extra mile.
And then we're going to go
into color correction.
That's exciting.
I'm also gonna show you color
grading in this tutorial
that I created and you guys
are going to freakin love
it and then everybody's freakin
favorite anything
and everything is apparently
about skin tones
like everyone talks about it.
That was the highest voted
question in here so I'm
gonna be showing you how
to pull the best skin tones
out how to go about
it and then I'm gonna
show you when you're
delivering for the web.
If it's YouTube or Vimeo
how to get the best image
quality without any
artifacts or anything
like that so that's
what we're covering.
Let's just jump right into it.
I have resolved already open.
I hope everybody is joined in.
And let's just jump right in.
OK so the first thing
when you open resolve
you're gonna see this local
database and it's gonna be
just like untitled project.
You don't want to do that.
You don't want a local database
local database meaning
that it's on your Mac OS
or on your PC C drive
you don't want to leave
things there
because what happens
is that if your system
crashes you lost everything.
So you want to put that on your
scratch drive
scratch drive most
of you already know
what a scratch drive.
So basically what we're
gonna do is we're gonna
hit new database right here.
One more thing really quick
this little guy is your
best friend. OK.
Because when you open up
resolve it might look
like that so you could be
like Hey how did you get there.
This little guy always
means that there is a menu.
So when you click
on it pops that open.
This is where all my databases
are and I'm going
to go ahead and I'm gonna
click on new database once
I click on that I get
two options.
By default is selected
to connect.
I don't want to connect.
I want to create something click
on Create.
I'm going to call it something
like resolve
16 underscored DB database. OK.
Or you can give it your
hard drive name.
So it could be Studio 10.
That's where it's going.
Database DB.
And then once that happens
I can click on location
and then where do
I want to save it.
I want to save it on Studio 10.
And then I want to create
a folder and I'm going
to call that folder IDR
debenture into resolve
life training. OK.
And then I'm going to head
enter and I'm gonna say open.
Once we do that all they've
got to do is create
and you're going to see
the studio tenant selected
anything that's selected
in result is gonna
be highlighted in orange.
You can turn that off.
That's our project. Let's just
jump right into it.
What I'm going to do is double
click we're inside resolve.
This is what you're
going to see first.
Or you might see a different
window but this is what you're
going to be created with.
Let's just jump right
into our project settings
and that step a little cog
wheel right here at the bottom
right click on it popped open
and let's just run through
these really really
freakin fast.
So the first thing
that you want to do
or you're gonna see is gonna
be master settings.
You want to leave your
timeline format in 10 ADP.
And that is the source
right here. OK.
Even if you're working
with 8-K footage let's
just say a red helium
or something like that.
You do not want to change
this to a cake.
That's the biggest
rookie mistake.
It's going to choke your system.
Doesn't matter.
You could be using
a Mac or the new map
pros that are coming out.
It's going to choke
your freakin system.
Do you want to leave
that in 10 EDP.
Because ultimately what's
the final output.
If you're working
on commercials things
like that in us the output
is all always going to be
10 ADP so far we're not
moving for 40 anytime soon.
So when that happens
that means you want
to leave that in 10 ADP
because that's the final output.
OK. And that's going
to make everything
so freakin smooth that you can
be using a 2016 laptop
and everything can
work perfectly fine.
Video Monitoring I can
leave it as is or I can set
it to 20 3 9 6 so basically
mimic whatever you have
in the timeline rest looks good.
Let's just go down.
You don't need to change any
of that because once we've
created a database it set
everything up
automatically for us then we're
going to go under image scaling.
One thing that you just
need to look at an image
scaling is input scaling.
So let's say if you are using
red and you have this set
to central crop you don't want
to do that central crop means
that then it's got punch in 8-K
image and then all you're
going to see is like
that cropped image
for your 10 ADP timelines.
You just want to make sure
that you set it to scale.
Entire image to fit.
That means it's down sampling
eight get footage
into 10 80 and it's going
to look so juicy so good.
So you want to do that color
management leave
it as is Do not mess with that.
If you're working on commercials
if you're
working on videos for web
product videos things like that.
This is the setting OK.
It's set to deal by default
set direct 7 or 9 Gamma.
Two point four.
That's exactly what you need
on a Mac. Leave it as is.
Don't worry about any of these
come down.
This is where the freaking
magic happens.
So keep broadcast safe
if this is not checked
you're not a colorist.
If this is checked. Boom.
Congratulations you're a color.
You don't need to watch
this anymore you're done.
I'm kidding but honestly
you need to turn this on.
This means that resolve
got your back.
If you slip up somewhere
it's going to help you out
and it's going to make sure
that when you turn
that thing into broadcast
television whatever network
it's going to take
you that extra mile
and help you out and get
you cleared everywhere
and you're not going
to feel anything.
So now let's go
to general options.
Everything is looking great.
We don't need to worry
about anything.
Camera Ras is not applicable
because we're not working
with raw footage for a
dissection capture
and playback is already set
up subtitles or set up
their latest setup and boom
we're just breezing through it.
And guys this is what I'm
talking about resolve is not
a freaking rocket science.
Yes it goes really deep.
But they are so good with how
they have everything set up.
There's a lot of handholding
happens here and that's great
because it just gets
you started. OK.
It's not as intimidating
as you might thought.
The footage that I'm
going to be working
with is this guy right here.
It's a commercial that I did
for PMG a couple of years
back the Olympics commercial.
So I'm going to pick this guy
and now we're getting
into our next section
which is gonna be conform
so I'm going to show you what's
the hottest way
in the commercial business.
A lot of the creative agencies
are using this method
and it's getting popular
by the second.
So if you're working if your
editors worked in media
composer final Cut 10
or premier pro you know
the traditional way was to bring
in your footage.
Do the raw round trip which is
basically bringing
in your footage with XML or EDL.
And then once it comes in here
you have a conformist
or on an online editor that goes
in and spends the day
syncs everything up makes sure
that there is no slippage
in your time code makes sure
that you know the speed ramps
are translated correctly make
sure that replays are coming
in accurately but that is so
much work
and nowadays everything
is just turn and burn
and we just have a quick
turnaround so you don't want
to waste your time doing
all that but at the same
time you don't want to sacrifice
for the image.
So what you want to ask
for is a clean out.
You're going to ask your editor
that hit Send me a clean
out and what that means is that
they are going to take
off any effects they had
like say a show
locked or something applied
while they were editing
so they can see what they're
editing so it doesn't look
this flat they're going
to take that off they're
going to take their
Transcoded footage
and connect it back to camera
original so it goes
back to Alexa you know many
whatever like are you raw files.
And then once it's connected
they're going to kick out
the highest codec possible
which in this case was progress
for four four because we're
working with resolve we're
working with Alexa many
footage so that needed to be
in 4 4 4. But let's just say
that if you're working
with Sony a 7iii then you're
only shooting in a bit you can
really export programs
regular programs
and that's where we find.
Let's just say you're working
with Panasonic GH5 a camera
that shoots 10 bit then you can
really export and poor as HQ.
You don't need to go farther
than
that but because this is Alexa
or if it was red
then I would ask for progress
4 4 4. So that's what we got.
Now let's get into the
conforming section
so what you need to do
is if I were to just
grab this and bring it down
look what happened.
OK so now I got this one
long clip clumped together.
So it's one baked file
clumped together
so if I were to create
it I can create
this shot and it will apply
that great to the whole thing.
That's no good.
That's not what we want to do
so let's
just remove that and what.
Instead what we want to do
is right click right here
and say scene cut detection
and not like you can see
like now everything is good
to go.
So what you want to do
is this guy right here your
best friend hit auto scene
detect and basically resolved
does a wonderful job it goes
ahead and it adds cuts to any
time it assumes that there
is a shot change it's not going
to do a perfect job every time
so that's why when you ask
for a clean cut from your
offline editor you just want
to make sure that they take
out all the transitions all
the graphics all the looks
and they give you the cleanest
image that you can grade
and send back
and then they can just drop
all those things on there.
But since we had some fade
in and fade out it's not
the worst thing that I'm
going to show you will work
around that to fix it in here.
So let's just go
to our first shot.
One thing that you need
to remember
is four kids write them down.
You're going to be using
them a lot and P plus minus.
And as for next let's go
right here.
And as for next P. is for
previous so if it works.
OK. Yeah and as for next
peaceful previous
So like now you can see
that it's moving right here.
I'm hitting and I'm
hitting Pete.
So what we need to do
is two of the same here
and different shot here
is perfect.
Three of the same. No good.
Two of these the same
on the left side. No good.
So two on the right side.
The same different
shot on the left.
That's what you are looking for.
OK so the first one looks
great because two of the same
and then different loading next.
Now I'm going to have minus.
I don't need this I don't need
this I don't need this to keep
hitting minus until we move
on to the next shot
that's the next shot.
So two of the same.
And then this is different.
Now I'm going to hit next. Same.
So I'm going to hit minus.
Next shot.
Now I'm going to head next.
Next next. Good.
Now I'm going to head three
of the same. No good.
Minus minus minus. Next. Good.
Good.
Next same minus minus minus.
Keep hitting minus until
we're on to the next shot.
And that's OK.
So you can you basically
got the idea.
That's what you're
going to be doing.
We're going to be working
on this shot so I'm just
gonna leave it right here.
And then another important step
is to hit at cuts to media pool.
Once you do that now the resolve
of the project
went from or the file went
from our finder level
into our project and we have
it right here. So this is.
There you go.
This is the clip that we're
working on so what we need
to do is right click here
and say create new timeline
and I'm just going to call
it same moon hero from resolve
and I'm calling it from resolve.
So when we export
it it's going to take
the timeline name and it's going
to be set to from resolve.
So people will know.
On the other end that is coming
from us all. That's great.
Now let's go over to our color
page and what I want to do
here really quick is just give
you an overview
of everything that we're
going to be using today.
I can't go over everything.
I can spend a lot of time
going through this page.
So the first thing we want to do
is anytime
you start your grade.
First thing we want to do
is just pick your hero frame.
So in a scene you want
to pick a hero shot let's
just say this is the hero shot.
Now I want to pick a hero
frame for frame is basically
like where everything
is visible everything
is perfect and that's
where I want to start
building my grade off of.
So I'm going to park
it right here.
This is pretty pretty hero
and that's my shot so I'm
going to park it right here.
Let's go to some of these
options gallery when you click
this open this tab open. This is
for your gallery still.
So once I create a look
I can save it here then go
on and create different
looks and then I can
reference those all
looks from here to see
which one I like more.
So you're going to be
using that in your
galleries Jones right here.
Let's.
This is a newly added feature
entries of sixteen.
What this means is if you're
coming from a final cut 10
world then you know
what that is.
I can just hover over
and see what my looks
are going to do once
I apply them and there
is no surprise there.
This is such a welcome
addition didn't have
that before moving on to
the right site clips.
If you have tons of clips
here you've got to click
this guy to open it up
and select which clip
you're working on. I usually
leave it off.
So then we have more real
estate and you guys can see
what is going on on the screen.
This is a node panel or a no
tree panel so that's
where all your notes
are going to be stored.
And this is your open effects
and open effects
is you know where all your
effects third party plugins
resolve plugins are saved.
And if you want to use them
you can use them right here.
And then once you select
them it goes into settings
and you can change
the parameters.
Now resolved works you know
on a no tree structure.
So that is different than layer
based if you're used to it.
And when I create my no
tree structure here I'm
going to explain to you what's
happening and how to set it up.
Bottom left our first panel here
in this section is camera Raza.
If this footage was shot
in RAW then these would have
not wouldn't have been
great out.
And we were able to change
anything that we want here.
If it was shot in RAW.
This is for if you were using
a color checker card
then you can take your coat
check your card. Hit match.
And that's going to do your
balance and exposure
for you and it works
really really well.
This is going to be
the most use panel
in this section right here.
So these are your primaries
wheels and if you guys
follow me on Instagram YouTube
and all that you know I'm all
about primaries most of my
heavy lifting is done
right here. So that is available
right here.
And then I'm not going to work
and worry about
that because we're not
going to be using it.
And then our last panel right
here in the tab is log.
So these are log wheels
these are primaries wheels.
They might look the same
but they're very different.
And I'm going to show you in
a second what I mean.
Once I go to all
of these curves.
So a lot of people use curves
you know for their
primary correction instead
of primaries wheels.
I prefer primaries wheels
but if you use
curves totally fine.
You can make your micro
adjustments right here
and then all these tabs
you can just go through
and select whatever you want.
Like you versus you versus set.
And anytime you see these
tabs you're also going to see
this little trickle down
and you can do
the same thing here. Same rule
applies right here.
Down you can just select
like this or you can just go
to the tabs eventually you'll
know which one
is which and you can just
like click on these tabs
without thinking about anything.
The second icon right here
is qualifiers.
If you're coming from premiere
profile coming
from Photoshop This is your
HSL OK.
This is where you pull keys.
This is where I can isolate
you know a certain color
value and then keep
that intact and change
everything around
it or just affect
that specific part of the frame
so that all happens right here.
We're going to be doing that and
then Windows are your
windows if you want a garbage
match something out
or if you just want to apply
something to a specific part
of the frame or if you want
to create vignettes things
like that you have a bunch
of different shapes
and you can use them here
and then a perfect progression
from that is that once you're
going to create a window
you would want to track
it and you don't want to do
manual keep framing.
You want computer to track
it for you and results
tracker is one of the best
in the business.
It's so freakin good.
You don't know that you don't
need to know
anything about tracking.
It just takes care of it and I'm
going to show
you how to do that.
And then this is for blur
and sharpening so if you think
about like beauty spots things
like that they're using a lot
of like mist effect you know
to like make the girls look
like goddesses and that's
happening right
here using the mist.
Or we can use.
I'm going to be showing
you how to properly use
sharpening here and how good
it is how intelligent it is.
And then right here
with his key.
This is basically your capacity
if you were working
with a laser based system
like aftereffects
or something like that's
a key output
here I can control the strength.
So let's just say on this note
if I drop
in a electron it's just
too strong.
I can control the intensity
of that right here.
This is for your positioning
if you want to do any repos
or anything like that that's
gonna be happening right here.
Let's look at this section
on the right hand side.
This is for your key frames
if you're gonna do static
you friends dynamic
create key frames.
That all happens right here.
If you click on this little guy
this is gonna be your
scopes but it's only
gonna give you is limited
to just one scope at a time.
And then I can click right
right here for info metadata
and that's going to tell me
everything about the clip
that I'm working on so I'm just
gonna leave
it on key frame for right now.
And we're moving along.
Everything is looking good
just right click and I'm
going to pop up my scopes Now
that I have my scopes up
let's just study them and let me
show you a few things about it.
So if you're coming
from a photography
background you understand
what a histogram is.
If you're coming
from a cinematography
background videography
background you know
what a way form is.
Now if you have done some sort
of color correction
then you understand parade
and vector scopes OK so parade
is great for white balancing
and just making sure
that everything is looking good
because we can just look at
it right here and tell a lot
of the story what's happening
like reds or a little lifted
greens or right here
and blues are kind of down
and eventually it's going to be
more clear once we are
we start adding
contrast we do proper
exposure and saturation
on the right side wave form
is perfect for just making
sure nothing is clipping
everything is in control
so that's for that vector
scope is for saturation mostly.
It can also be used for balance
and then it's perfect
for skin tones but for
that you've got
to go on in this little guy
click on that and then turn
on your skin tone indicator.
That's very important.
I'm going to show you why.
Just go ahead and turn that on.
All this leaves that on
if you're working
with people histogram is also
going to do a little bit
of these two things you know
so it's going to tell
you if anything is clipping
on the bottom or the top
it's also going to tell
you the white balance
of if everything is in
the middle you know
it's properly balanced
if it's off and sometimes
you're going to do
it intentionally to have it off.
So that's totally fine.
Now that we have that under
control I'm going to go
in here back into my edit page
and I'm going to do
something really quick.
Now don't freak out on me
you know I'm not the kind
of guy that's going to go
in and pull up a grayscale
image and spend 17 hours
on it but I am the kind
of guy who's going to spend
five minutes
on it because this is essential
you need to understand
what's happening on the back end
for some of these tools
you're going to be using.
Nothing is going to help
you more than doing
it on a grayscale image.
So what I want to show
you is the difference
between primaries wheels
and log wheels because just
so many friends and people
that I know that just like me
you know pick and choose
like close their eyes
and they pick one to use
and they're not the same.
OK so let me just before
you start on this move
your screen you're looking
like the wheels what screen.
Oh I'm sorry picture.
You can turn it off.
You can move it. I don't know.
I mean I'm right here.
A little sprocket that's
to make it for one are the.
That's to the movie.
Can you move them.
Oh it's a better yes.
Ok guys sorry for the little
interruption but that's
very important because I'm
showing you all this right now.
So let's pull up our scopes.
So we're back in resolve.
And now let's just say I'm
working on an image and I'm
saying that hey it's I want
to bring my I want
to crush my shadows
a little bit.
You know it's too bright.
So if I grab my left and I'll
bring it down and just
look at what's happening. OK.
How everything is moving
in unity like in unison
like how everything is just
working so smoothly.
How it's moving.
Just focus right here while I
use these and now I'm
going to go into my camera
and I'm going to do the same
thing up and down just look
the ease in and ease out
on the knee and in the shoulder
in our
curve like how smooth it is
and then gain is going
to do the same.
That lifted on the bottom
and so that gives
you an idea of.
This is why I tell
you this is the best
non-destructive way
to work on your footage
primaries wheels
is where it's at.
The difference between
you and just a joke schmo
colorist is going to be
that you keep your image
intact and the integrity
of your image like it stays
pristine and primaries are going
to help you accomplish that.
Now let's go over to the log
wheels and let
me show you the difference.
So they might look the same
or very similar
but they are so freakin
different just watch this.
If I go into my shadow and do
the same exact thing just let
go What the hell is happening.
Just look at the scopes.
And not only that.
Just look at the abrupt
line that's being created.
That's basically giving away
your magic.
And if you're a magician
that's a terrible thing to do.
OK. And that's what's
happening here.
Now I'm not saying
don't ever use it.
I'm saying this is
a specialty tool.
This is not how you build your
great you use that to aid you.
Great. And like lean it in some
ways if you're creating
a teal and orange look
or something like that.
This is gonna be a perfect tool
to balance out your black
points and white points
so that's what we're
going to use this for.
And we're going to use it.
I'm going to show you how
to properly do it.
Let's just say if you're working
with Sony footage and there's
a lot of gunk in your skin
and it's sitting
in like the green like Hulk
area which it usually does
and you want to take that out
that's where this is going to be
amazing because it helps you do
micro adjustments so you can
just go in and go opposite
of that green
tent that you're getting.
And boom is going to pull
that from the skin
tone is very important.
OK guys this is it for
the scopes
and the grayscale image.
Let's just go into the
real thing.
That's our hero shot.
So I'm going to park it right
here and let's start cooking.
But before I do that I want
to show you one more quick
thing someone to click
right here and I'm going
to import images from one
of my favorite movies car
dealer Roger Deakins
is the freakin man
and I'm gonna show you.
Pull up these images and study
the scopes for one second.
And that's going to change
everything for you. OK.
You need to understand
how it's being done
in Hollywood because that's
the proof is in the pudding.
This is going to tell
you everything OK.
So let's bring in these images.
And I want to show
you something that's
gonna freakin blow your mind.
I'm going to go up here.
Let's pull up this image.
So I'm going to hit this guy
to pop that image
in and then let's just
move it over so we can
see the entire image.
That's perfect.
Just look at what's
happening here.
Look at where
the highlights are.
So one of the biggest amateur
mistake is that you're going
to bring in your image
and you're just gonna jack
it to the bottom and jack
it to the top and you're going
to be like I'm a colorist
like I just
maxed out like you know my
image was sitting in the middle.
I took it to the top
took it to the bottom.
You know I'm maxing out on my
vector scope but I'm a colorist.
Look at what's happening
here guys come on read this.
And how perfect this is.
Let me just blow this up
make it bigger
so you guys can see look at
the highlights in the clouds.
Look at the highlights
in her face.
Look at the shirt was a white
shirt on this dude in the back
and how everything is freakin
protected and just
looks so juicy. There's
so much contrast.
This is the freaking sauce
guys studied this stuff
when you're working
on your grades.
I'm going to show
you other grades.
Okay so this is supposed
to be around noon.
So this is like high noon.
Just look at the curves where
they're like look at just your
scopes where they're sitting.
Let's go to another shot.
Look at where everything
is sitting.
You understand what I'm saying.
This is really freakin
under like.
Important to understand.
So now that we have that out
of the way let's
start building our grade.
Let's jump right into it.
This is how I always do it.
My structure stays the same.
And then it's really easy.
I'm working on something I know
exactly where to troubleshoot
if I'm asked to do a certain
thing and does what I do
first note it is always
going to be reserved
for noise reduction is going
to make sense in three minutes.
Second note is gonna be
for my primaries
and in this case let's
just jump right into it.
So the first rule you need
to understand
when you're doing a primary
correction is push and pull.
OK with that.
What that means is that I'm
going to go in my left I'm
going to pull this guy down.
So it's around somewhere
around here.
So already it's looking
pretty good.
Like I mean my blacks
are starting to look pretty
good it doesn't
look flat anymore.
I'm going to take my gain I'm
going to bring it up and I'm
going to bring it I'm going
to keep it somewhere around
here like let's just stick
with Roger Deakins
school of thought. OK.
So like let's just stick some
around here.
This is looking fine we still
have a lot of work
to do but it's a good start.
If I go before and after
it's pretty good.
Now I want you to take
your saturation blanket
all the way 100 percent.
Don't freak out.
Everything is going to look
great at the end.
Just crank it out so you can
start seeing
what is really happening here.
So what's happening here
is that my reds
are lifted like a mother
and I can see it on my screen.
But let's just say your screen
is not calibrated you can just
look at your scopes and your
scopes can tell you the story.
Look at how lifted the red zone
look at how
lifted the Reds are here.
Green is here.
Blue is here and that is the
theme throughout. OK.
In all your scopes. That's
what they're telling you.
Now where are the lifted
the most the bottom is touching
the bottom like all of it.
So that means the bottom
is looking fine.
I can if I look at the blackest
points like it's looking fine.
It's the mid tone the lower
mids where the problem
is like look how lifted
they are right here
and then even the top
is somewhat balanced not all
the way but somewhat
but the real problem
is happening right here in the
lower mint.
So what am I going to do.
I'm going to go to my midtown
which is my grandma right here.
So if we have a lot
of red which lives
right here let's pull that.
Let's go.
Let's subtract that right.
I'm going to go right here.
Subtract that red somewhere
around here.
And now if I'm looking at
my image just look at that.
How even this looks right here.
Look at how even this looks
right here.
If I do before.
Look at how everything is like
the Reds are so lifted.
And if I undo and look
at where my reds
are everything is just like one
big white line right here.
And that means your
balance is looking
pretty proper.
Now that this is looking good
even right here we're
looking really good next thing
that you need to do is add
more contrast because right now
that's what's lacking it doesn't
have the punch that we want.
So that's going to happen
right here.
I'm going to grab this and I'm
going to crank it. Don't be shy.
Just go around somewhere
around here.
That's totally fine.
It's not bad at all.
I mean another thing that I can
do is I can just
lift my bottom a little bit
and then I can take my gain
and bring it down just to touch.
And now if we look at
it before and after
it's looking pretty good.
But look at how this gunk
you see all this noise.
We're going to take care of it.
I'm going to show you a
technique that's going
to blow your mind in a
second OK.
And now the next thing
that we have to do
is you want to create as much
separation as possible
when you're working with people
so when you pull
keys they're Kleenex keys
and I'm going to show you right
now what I'm talking about.
So one more thing that I want
to do before I go
into the next note is let's
try to dial in to look a little
bit in here just a tiny bit. OK.
We're going to be very
conservative so I'm going
to take my left and I'm going
to pull it down
just a little bit
now I just want to mention
I never work with mouse.
I'm always working on my
panel so everything
that you're seeing is like
you know 100 percent
slower than how it would be
if I was just using
the panel I would be
like freakin breezing
through this right now.
But this is just so you guys can
follow along and see
what is really happening.
So let's just say
I'm happy with this.
This is a little bit of a look
and this is good.
This is where I want
to start with.
I'm just focusing on her skin
right now.
And then let's go right in here.
Just let's just make sure
that the skin indicator
is on and the skin is sitting
right here so sitting
in a really good spot.
Now what I'm going to do
is go ahead and right click
on this note and say layer.
So when you click on layer
this is what's happening. OK.
Anything that's at the bottom.
Imagine that that's on top
of the bottom layer takes
precedent on the top layer.
So bottom is top top is bottom.
That's how you want
to think about it.
And if this is our top
what do we want to do.
I'm going to go into my
qualifier and I'm going
to select my qualifier right
here and I'm going
to just do a nice swipe
right here over her for head
when you're pulling keys.
The best place to pull
keys from is the forehand.
Just remember this is pretty
good. OK.
It's doing a pretty good
job but you see all these
little dots and like this gunk.
That's because we have so much
noise in our image.
And once we clean that up
you're going to see.
And this is what's going
to explain to you why
it's important to put your
noise reduction as your
first notes.
Now when we go in here
and this might be exclusive
to resolve studio I don't
know but let's just go
in here and let me show you my
secret sauce and guys
this is it. This is everything.
That's what you need to do.
Go under a special threshold
break the chain.
Just a chroma crank it up
around six point eight ish.
Now let me make this bigger.
Where did the noise go.
You see this the freakin image
is kept
pristine noise is freakin gone.
Now if I go into my key look
how much cleaner the key is now.
You understand what I'm saying.
How was before to now how it is.
And what I need to do is one
thing that I need to do is I'm
seeing right here that I want
to grab more of her cheek
and I can see that it's not
selecting
it because the luminous
is pretty high so I'm going
to grab my aluminum somewhere
and move it back somewhere
around here and let's just try
to pull the key one more time
and see if we can get
a cleaner key and actually
know what I'm just gonna go back
and then what we want
to do is just go into our
blur and just crank it.
Don't be shy crank that blur
and the next thing
that we want to do is go
into our window
and we just want to go
in right here to our
Polygon Window and create
a window around it.
So basically I want a garbage
mat anything that's around her.
I don't want to select
that at all.
I just want to select
her nothing around her.
So once I do that this
is exactly
what happens.
And if I turn it on and off
you're seeing what happens.
And then we're going
to go to the next window
and we want to track that.
So I'm just gonna head track
back but it just
does it for you. Everything
is free contract.
So now that everything
is tracked I can go in here
make this bigger and what I want
to do
is I want to go in here
to my curves and I want
to grab it from here somewhere
and just pull it up
a little bit.
I just want to give
her a little bit
of juice just pull her out
of the bag down a little bit.
OK. Now I'm only affecting my
skin nothing else.
That's what's happened.
And now what I want to do
is show you one more trick
and that's going to change
your life going here
and click the second
tab right here and under
mid-term in detail.
A lot of people use it for
detail we're gonna
use it for the opposite effect.
So just focus on the face
and let me just crank
that up and show you a lot
of detail and not take it back.
And that's where
the magic happens.
Just look at how it's evening
out her face
and then if I pull it back
you can see it even clearly
if I go up you see the bags
under her eyes if I go back
like it's smoothing smooths
everything out
and for females I've noticed
that somewhere around
twenty eight to thirty
three is the source.
That's the good spot.
So now we're gonna
park it right there.
It's looking great.
I'm gonna go to my top layer
and let me show
you this technique.
You guys are gonna
freakin love it.
So let's uncheck this OK.
I'm going to go into my red
and I just want to add teal
which means I want
to subtract red.
I'm going to go to the top
and look at what I'm
going to do.
So now you might go Dude
what the hell is going
on to her face. Don't worry
about it.
How much TV do we want.
Let's just say we want this deal
to be somewhere around here.
That's the look that we want.
All you have to do is go
into your window create a little
window around her face
tilted a little bit smooth
it out inverted the face
is protected and everything
around her is freakin Perfect
that's exactly what we wanted.
We're going to do the same
thing we're gonna go in here
we're going to track
it because we don't want
to do the manual labor
we want resolved to do
most of the heavy lifting.
It's done. It's trapped.
Now you might go. What about
the freakin U.S. red.
We want that red back
because after creating the look
let's look how much red we lost.
No problem.
Right click create
another layer node.
And I'm gonna go back in here.
I'm gonna punch in.
I'm just gonna swipe over my red
and I'm gonna go back and I'm
going to open it up
a little bit.
So with I'm just gonna
open it up a little bit
so select everything
and then all those all
those all those blurt
it out keep it clean.
And now if I pull out
of here and I click
on it I brought my red back.
OK so this is where
the look was created.
If I turn this on and off
like look what's happening
we did all of that
and it freakin
holds in nothing.
There is no artifacts there's
nothing OK.
This is holding it.
And the one thing that I'm
noticing right now
is like this thing right here.
And that's because when
I created a window
I did not blurred out.
And also I could have
done a better job.
So first of all we got
to smooth it out.
So once I smooth it out
it's not going to do
what it was doing there
and then second thing
that I want to show
you is like let's
go back in here.
What you need to do
is turn it into frame
and then let's go back.
This is looking good.
This is where it's kind
of coming over her hand.
So first thing we click
right here
and that adds a little red dot.
That means that it's recording.
It's in the live recording mode.
Now I can come in here
and say Hey grab this guy
go over and now look.
So this is dynamic.
Keep framing it's going to move.
So now I can come in here
and say Hey open this up again
open this up again and that's
going to close
down here and boom. So now
we fix that problem.
And if I show you what
was happening
for is not gonna
be happening now.
So let's watch it again
looks pristine. Looks great.
Moving on.
This what I usually use
it for is my look
adjustment node.
So basically look adjustment
node is a fine
in my offset right here.
And I grabbed this guy.
I usually just like rotate
circulate around
a little bit and see
what I like.
So in this case I like it a
little bit around
here because we just create
more color separation
as you can see and like look
we're just
adding like the Joker green
you know tend to the shadows
in the lower mids and I think
it looks kind of cool
and just adds more separation
from the skin.
So let's just say I want
to leave it there right.
What I want to do is I'm
gonna create another node
this one I'm going to pull
it down so any finishing
touches are going
to live at the bottom
layer and this is where I'm
going to create my vignettes.
So what I'm going to do
is create a circle and be
generous with the size. So I'm
going to go like this.
I'm going to turn it a little
bit and you can
make it bigger a little
bit more.
So this is looking good.
Let's just do this and then let
me show
you where your softness need
to be.
Somewhere around twenty one
to twenty five I'm going to keep
it around twenty two ish.
That's great.
Now what I want to do is right
click on it and say
add node outside node so we want
to affect only the outside. Yet.
Now I'm going to go in here.
I'm going to say Hey chin
that up link that everything
up and now I'm going to go
right here and I'm going to pull
it down I'm looking for drama.
OK.
This is drama like the focus
is where the focus
should be on our hero
and not on anything else.
Now we know for a fact
that she stays
in the center of the frame
so we don't need
to track this one.
Don't overdo anything.
Just do what you need to do.
So now this looks freakin classy
as hell.
Looks perfect couple
of last touches dude
like really bring it home
and it's going to happen
right here. It's like a blur
and sharpening.
I want you to go right here.
Go to radius.
Pull it down to forty
seven that's the source.
If I make this full screen
and if I show you what's
happening turn on and off.
Just look at our eyes.
It's not adding unnecessary
self sharpening everywhere
is just putting it was
supposed to.
I'm gonna go under green on all
things green.
I love green.
Nothing gives you the feeling
of film
and then adding some green.
I'm going to go to thirty
five four hundred and I'm
going to add some strength
now this dishes shot
on a Lexus so it already
has some green
but this is just gonna
accentuated a little bit more.
And guys let's do this.
Let me just go in two
versions and let me
show you before and after.
Let's turn that off and let's
just enjoy this look that we.
This concoction that we just
cooked up so fast
and just look at the two
so we pulled out a key.
We did our primary correction.
One thing that I'm noticing
right now that it can use
a little bit more softening
on the node
that we had on her face.
So super easy.
We're going to go back in here.
We're going to go into right
here and we're
just going to soften it out
a little bit and then we can
also make it a little
bit smaller.
So just hug her a little bit
more. Enough we played back.
Looks frickin perfect. OK.
So simple look really effective.
And once you have your
concepts down you can
attack these and get crazy
results very easily.
Let me just turn off
the look that we created
and if we wouldn't have gone
for the look and they wanted
like natural poppy thing
and we could have
just done that.
And that would have
been the end of it.
But we wanted to take
it a step further and just
like really really freak
in and create a mood you know.
And that's what that is.
So that is it for the
tutorial section.
I hope you guys loved it.
Let me show you one last thing.
Let's move on to the delivery
page and let's look at this.
So let's just say you were
exporting this for web.
You want the highest
quality go click on H2
six for M.. This is how you're
going to start it off.
Going to click right here.
This is your best friend.
Click on this guy that's
going to open up that window
so you can see everything here.
And now that I'm here I just
need to worry about a couple
of things but I need to do
is tending to be some good 24
frames sounds good automatic.
That's ugly.
I want to restrict it and I want
it restricted to 40 thousand.
If you are doing 10 EDP forty
thousand if you're doing
four K you HD eighty thousand.
OK I'm going to go into advance
setting from there.
Pull this down.
I'm going to turn on for sizing
to highest quality force
de bear to highest quality.
It's applicable when you're
working with raw
footage but just get in the
habit of using that.
It doesn't hurt.
And now what I'm going to do
is click on these three dots
say Save As you preset and I'm
going to call it Web
10 ADP or HD whatever you like.
Now if tomorrow if I'm working
on a different project whatever
I could be anywhere and then
I can just come
in here and I can click
on web 10 ADP and it's going
to pull up exactly all of my
settings and I'm ready to go
so let's just say I want
to render justice
guy right here not this.
I can just click render I can
pick up a destination
whatever it might be unless
just one thing that I want
to do is go in file and say
timeline Nan so selects my
timeline name and now I can
say you know what just dump
it in documents had rendered
queue and now it's in your
render queue start to render
and boom resolve this super
fast flow how fast facet
rendered it out and dat is that
and there you have it.
I hope you guys enjoyed
the crash course.
Now the good thing is that
you're off to a pretty
solid start that you can build
on but resolve runs deep
and if you really want to take
your game to the next
level and become a pro
colors make sure to check
out the links in the description
below to get a thumbs up.
Subscribe to my channel
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share this with your
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