Transcription
Welcome back to my YouTube channel, everybody. Today is another day, and I want to give a breakdown of this look. How, how I was able to create this look using everything inside of DaVinci. As you can see here, I have my notes all seated here, and I will take you through this whole grid. Let's roll the intro.
So, this clip was actually sent to me from one of my clients, and he needed something simple but clean. So I had to come up with this look. Let's see it on a bigger screen. This is how it looks. So clean and simple. And I have this on the entire project. This is like the entire project itself. You can see if I should, let's, let's put everything on the screen so we'll be able to see what we have. So this is like the entire project. This is the entire project. You could see how balanced and everything the whole, the whole grade is. I have the same node tree structure because it's easier for me to pass my grade to the next and next till I keep going where I need to add an extra node, probably I do, um, here. You can see I'm not having much of the, um, node trees. I think here too, or maybe here. Yeah, you could see here I have just three. Here I have just three. All right, so let's go into through this whole process of how I was able to create this look as we, we grade together.
So, first things first, I did my conversion, which is in my post, um, group here. I did my conversion. This is my Rec. 709. This is just my normal DaVinci film lot. You can see the difference from my Rec. 709 with the DaVinci film lot. I was able to do that. And then back to my node trees here. Now, remember, in remember in almost all my videos, I always tell you that your first three nodes are where your look starts from. That's like your base. If you don't get this right, you don't get it right. Your grade has to start looking good from your primary correction, even before you go further.
So, what did I do first? I, I, I had to fix the white balance of this image itself. If you could see how the dark areas look like. So when I put this on, you see where we are. Most times, where we want to grade and we are being given an image, we want to just create separations immediately without even asking what was the main intention for this look. Was it supposed to be warm, or was it supposed to be, um, bluish? Just those questions should be asked so it's easier for you to know why and why, why you want to grade this image and what you are trying to tell when grading this image.
So, after my white balance here, which I used my gain with my linear, you can see normal way. The next thing here is my exposure. When I put this on, you can see where we are now. It kind of took down the highlight of the, the image itself, which is not bad. This is what I was going for, a controlled look. Remember, color grading is more about control, not over pushing. So, this works way better for me because I'm still going to adjust some, some parts a little bit. And then the next one here is just my saturation, just a little. You could see the HSV. I didn't do much of it. Sometimes you don't have to do too much. It's just a little change and we are good to go.
The next thing here I worked on should be my reds. And you can see this is it. This red here. Simple. I used my, my HSV, my HSL qualifier just to select that part because I didn't want to select every red, but just this particular one. And then this part here was selected. Let me show you. You can see what is doing to the image, which I don't want. So I had to select it, this part, and then I invert it so it won't affect that area. And then the next one here, I took down the bluish feel in this image. Remember, I told you sometimes you need to ask to know if the look your client wants is a warm look or a cold look. So I had to take out those blues using my curves. These are just basic tools inside of DaVinci that you could learn to use. You could see how the blue was being pushed already. So here I took down the blue. So you'll notice the blues around these areas and down, everything is gone. Even the ones on her hair.
So, the next one here was just the next one here is her skin. Let me show you before and after. Before and after. So I had to make a selection because I tracked her. So I don't want to select other areas that are like more similar to her skin. So I had to like do this selection and then I tracked her. She moved and, you know, I tracked everything. And from this, from this to this, I also had to use the, the, um, midtone details to like make it soft a little bit. So this is, this is where we are. We are not even done opening all the, the node trees here. Nothing really much, but this is how simple I was able to get this look.
The next thing here, if I put this back on, you can see I had to still drop down that saturation that is being popped here. It's more of a control thing. She, she is actually the center of attraction. So I want to make sure she remains the center of attraction. And the next one here is our glow. When I put this on, you'll see the change. Can you see? You see the change? It's just the glow. I did my setting, my, um, little corrections. And then here I push the color to the warm tone, to the warm side. So that was how I was able to get. You could see the RGB values there. And then in this particular node, I had to like fix the highlight around this place. So when I put this on, you can see just like I said, color grading is more about control, not over pushing or overdoing. So I had to control the highlights around this area and then I tracked those areas as she moves with it. I didn't, I did not even do anything in this node. Probably maybe if I wanted to boost her face or any other aspect or any other side in, in this grade, I could do that, but I did not do anything in this node.
So here is where I like kind of pop the image with, um, the curves to get a certain kind of contrast which I want. So if you take a look at the parade here and also the image itself. So, um, let me push this back to this level and make it big on the screen so you can see what this node was able to do. So, um, this, I put it back so you can see what this, this node just did. I was able to get a good amount of contrast with this. And mind you, I still keep, keep my image in control. You can see my waveform, right? And, um, this last node here is where I created a simple look, just a simple look to put a warm tone in this image. And when I put this on, and that's it. Nothing much. Just this whole process. And I clean up my image in my, in my post group here. Clean up my image. I'll make this big on a bigger screen. And this whole process you I just showed you was how I was able to create this entire look. Nothing, no external tool from any place, no plug-in, nothing. Just the whole DaVinci tools, everything inside of DaVinci. So, I say most times you have to learn how to use all these tools before you even move to getting external plugins. So, this is how I was able to create this look. Very simple. You could see it's the same node structure. I didn't do much. If you follow everything I just did in this particular node, let me clean everything. So you'll know that it's the same node structure. If you check here, you can see it's the same thing. The only difference is that here I had a fourth node because I wanted to control this, this part, this, this particular part of the image. That's why I had a, um, default node here from one, two, three, four, while here I had just one, two, three, and then I controlled my, my red. Okay, I think the only plugin I use, oh, I didn't use no plugin, pardon me. It's just the DaVinci compress, uh, color compressor here. I needed to fix this red to match with this car and this, um, this phone boot. So no external plugin. This was everything inside of DaVinci I used.
If you check this image here, you would also see it's the same node structure. I had four here because why? I had to control the red around this area. You can see, um, let me put it back and I'll highlight it so you can see. You can see this red around this area. I needed to control it. So every, the entire image here, the entire project has the same node structure and me trying to adjust the image to take out the highlights and everything. Can you see if I take this node out, you can see how bright this area is. But we need to focus on her. So with this node here, I was able to control how this particular, um, area looks in the entire grade. So if I put everything all together and put it on a bigger screen, this is what we have. So this is, this is basically how I was able to create this look. No external tool, just DaVinci Resolve, completely.
Thank you once more for coming back to my YouTube channel. Make sure you like, share, subscribe, and comment on my videos. If you want me to talk on any topic or you have questions to ask, please feel free to drop your comments in the comment section and make sure you subscribe to my YouTube channel. I'll see you all in my next class. Thank you and goodbye.