But every time I try to go through it, it refused I don't why but am really interested Coz now I can take a job of color grading because of your knowledge. THANK YOU QAZI.
Very good job done here, but there's not many takeaways for most color grading occasions, since you picked a shot with a very specific lighting and FIRE in the background. I think analysing the color grade of a shot in a CITY scene, or maybe some interior would be more useful. Thank you for your content
It's easy for you cuz I got their with a few steps but trust me for the 99.9% beginners it'll be near impossible to achieve this look without spending hours.
Agreed. It would be much more beneficial to reference the overall look which was generally desaturated with cool milky highlights. There were some nice soft shadows as well.
@@theqazman Indeed, i'm a long time fan of your channel and im not saying you didnt make amazing job here, the point is that i dont think this shot represents the overall look of the film as @Connor Bailey said
The trouble I have is knowing the process to do something. For example my first thought to change the yellow to more of a red would be to use HSL. I assume that would've looked patchy. Would've never thought to add red but subtract it from the black points!
I don't know if you have noticed it, but your grade also has affected the black "cinemascope" bars. That means the black bars aren't black anymore, they look more teal now :D Please activate "Output Blanking" the next time when you work with footage that already has black bars ;) Great tutorial btw!
wow this is amazing Qazi Bhai, thanks for showing us this, im actually planning a trip to LA sometime this year or next, hope to meet you as your so inspiring, it will be the best moment of my holiday to meet you, like a dream come true, your a true inspiration
I always learn something new each time I watch a new tutorial. Well done! Would you be open to doing a tutorial on the workflow to grade a TV Series? Just looked it up and didn’t find anything on how to grade a TV series in Davinci Resolve. Thanks.
Can you also take a look at some other scenes that have more of a dynamic color palette? I feel like the majority of the conversations had this crazy focus on Orange Highlights and lots of blue/teal in the shadows which unfortunately is not really present in the example scene here. Would be awesome :)
Greig Fraser used a film interpositive for Batman and for Dune. They wanted to capture the grain of a print stock but didn't necessarily want all the qualities of film. In the case of Batman, they also did a bleach bypass treatment in the intermediate.
Can you do a tutorial on how to do the effect where the video plays within the batman text/logo as it zooms into view and fades into color like it did at the end of the trailer? Sorry if that seemed confusing but that was the only way I could put it 😄
Sar Ji video bahut dhaansu hai aur bahut lajawab maja a Gaya course aapka bahut hi badhiya hai sar ji thank you aise hi aap video banati rahana love you aapko ❤️
As always another great video from you ! I enjoyed it very much :D Don't hate me but I was thinking it would be interesting/fun to see you try creating a pro look in Final Cut Pro or Premiere XD or in general how much can someone push the grading abilities in those NLEs ( I know they are not even close to resolve but still it would be fun :D )
Can u do like a Davinci resolve tips and tricks video. I find myself not knowing how to do simple actions like setting a reference frame or creating a before/after effect for my grade
Awesome! Can't wait for the cool tone look. I wonder if this could have benefited from some more texture (midtone detail or sum) the Batman image seemed to have some grit.
Saw the film yesterday (french release 😉) and it looks awesome ! (The cast is absolutely brilliant too, as is the director... The only things I didn't like are : the pace is a bit sluggish at times and there are a few optimistic/heroic moment that feel odd from the Batman character, at least to me anyways).
I've watched almost all of your videos and most of the time the tools you use are available in free version of resolve, except for noise reduction and film grain and you recreat all these awesome film looks from it. If all of this is possible within resolve's free version then why do you need third party plugins like dehancer n all?
Resolve's built in tools are amazing, but it's a good idea to explore different options to see if you like the feel of other tools better. I use Resolve's built in noise reduction for most of my denoising, but sometimes NeatVideo does the job better. When you get into the higher end of things, there are tools like Live Grain that apply grain based off of the light distribution of each shot. This is just something that the built in grain will never do. It's really about what feels best to you. There are colorists at the highest level using fancy plugins and there are also colorists at the same level using the built in plugins.
Different cameras work differently. Some work better with luts and so on. Also colour management won't work until camera information is embedded in video file. That's all I know.
CST's are similar to color management in that it is managing the color space. The advantage to using node level color management (CST) vs. project level color management is that you have a little more flexibility with how the color management is applied. Certain things like composite modes will also act differently in project level color management.
Hello ! I am learning a lot watching your videos and I just started this venture of learning how to color grade. I shoot videos from an iPhone 11 so what input gamma and input color space should I use to start with the color grading ?
No LUTs! Thank you! I learned materials about LUTs and I will never use them cause they were designed for set or editing but not for master version - transforma and plugins mathematically correct and have no handing
This is super misleading. LUTs aren't bad. Don't go buying random LUT packs online, but the log2r709 LUTs that are made by the camera manufacturers are great to use. The 2383 and 3510 print LUTs that come with Resolve are also great. If you really know what you're doing , you can completely craft a custom look without any LUTs or you can build looks around LUTs. Just don't rely on LUTs for your entire look and always run the LUTs you're using through stress tests.
I have the same problem. Qazi uses multiple monitors for that. I reduce the brightness of the monitor and switch between the settings to get a balance. Additionally you can cast your screen to your phone (TeamViewer or something) and check.
Whatever you do, don't adjust your monitor until you can properly calibrate it. Generally the iPhone is a little dark, partly because of the screen size and partly because it's just not the highest quality screen. I have however been able to get very close to my calibrated A250 OLED by turning off true tone and setting my iPohne 13 to ~70% brightness. I would try to calibrate your monitor first, whether it's hiring someone to do it for you or buying a probe and doing it yourself. Then you can do a rough eye match of your phone, to your monitor.
I just adjust brightness to check if it's too dark in those settings then revert back and grade. It's Technicolor calibrated but yeah i need to get it calibrated once
