@@DarrenMostyn one question please, Do I need to white balance the footage first before applying the Kodak film look. Just incase the shot wasn’t shot on proper white balancing
If someone could only watch one tutorial on colour grading, this is it! Grading isn't just about getting a single frame to look good, it's about getting the whole show matching and looking good. Perfect!
your message got featured in this video! Ive listened as i always do! Thanks for commenting!! Appreciated. I want to deliver what you want - not what I want!
These little tips (ripple node changes to current group, different modes for watching split views) while talking about your topic is really helpful! Thanks for sharing these!
an other very instructive tutorial. While you perform on balancing, I'm discovering new tips and technics from a pro-colorist, the way to organise NODES, their hierarchies, no fear for CST, all is clear now for the two CST (to DWG, to Rec 709) within the main nodes's architecture... thank you so much for efforts you've put into tutorials, very helpfull. All of a sudden you've become my main source of learning DaVinci Resolve, great teacher
The complexity towards the end was actually mind blowing.. I keep procrastinating grading my footage because I feel I need to understand more, but I think I better get on now.. this has been a big help, the most important bits are the explanations of the individual tools themselves, I come from photography LR/PS working with raw, this workflow albeit accomplishing the same things is very different and not easy to grasp in the beginning.. the qualifier referencing was some great content.
"You would expect them to match but they don't". I'm glad I'm not the only one. I shoot the same thing from 2 angles and 2 of the exact same camera, same white balance, exposure and everything set to manual to avoid spending hours grading them. When I import them there is always a difference. I think it's an optical illusion, as the background and lighting will be slighting different, and your eyes adjust to it erroneously. When I zoom in to the white background, pixel for pixel they are the same RGB value, but my eyes see them looking different. It's really annoying trying to correct for perceptual colour differences. Although it might have something to do with different lenses thinking about it
What I love about theis video is all the great info. What I hate about it is that I keep trying to click on stuff in Resolve and then realize I'm watching a video when I keep pausing it haha.
This is an incredible tutorial. The grouping feature is absolutely essential for my workflow and you explained it perfectly. Cannot wait for this series to continue!
I'm binge-watching your videos since yesterday that I found you, Darren. Paused this video to say a huge thanks! Won't write more, as I can't wait to continue watching!
Really good subject to cover. Shot matching is the thing that is left out of most tutorials - yet colorists need to have good grasp on this. I know I've given you some needling in the past on "not labeling" the nodes. I still really think that for tutorials, people who are new users, that labeling helps them follow the tutorial better. What and how people do in that matter to their own workflow is up to them. The zooming in with the side by sides - I tend to go a lot further and take out everything but the face to analyze skin or blouse/shirt hues. Just a few points in exposure and hero choices. I have been on a bit of rant lately about getting the intention of the photography. You, of course have been doing this for a long time and probably have good eye for it and do it naturally. But talking to DPs and Grips, and such I have been researching what they do and which hero shot best represents their intentions. First being exposure. Depending on the actual DP - if they expose one stop over - it's a good idea to set the exposure accordingly - so knowing what it is shot with, ( the log) and then setting the middle grey, gets you, at minimum, to what they were seeing on set. Using DWG though means that middle grey should be around .336. The other thing is the choice of the wide, mid, close takes. Almost every DP I have talked to, have said that the closer they can get the lighting, the more accurate the footage is. The long shot ( wide ) that usually comes in the edit for an establishing shot, the lighting is pulled back to accommodate not being in the frame. They tend to rely on the fact that you are at a distance, and less scrutiny is put on the frame, as compared to a close-up. There is a point also ( not so much in this particular scene ) but people should sus out the direction and strength of the light source as part of the shot match. If that girl had a bright window on one side of her face and then the matching clip was from an angle that is from the dark side - the exposure is a lot trickier and wouldn't necessarily match on the scopes. That's where your experience kicks in, and you don't completely use the scopes, but make them naturally fall into the same world through the grading. Sorry for the long comment - I love this kind of stuff, keep em coming Darren.
OK on the node labels. I forget Im a professional and get so used to which node is which and I dont care to label but you are right - I'll TRY HARDER!! As for details, this is first one of a few I'll do....not giving it all away in one episode!! Thanks as always my friend! Darren
@@DarrenMostyn Recall the line from the 1986 comedy movie The Three Amigos "We don't need no stinkin badges" could apply in this case as "Darren don't need no stinkin node labels" :)
Since getting omniacopes its been super easy to match shor exposure. I just use false colour and im able to quickly see where everything is at a glance and match it straight away.
Called out! Haha. I totally agree though. Getting looks is fun and not too hard as long as you have the time to play. But man, getting every shot to have the same look and charm, especially with different cameras and lighting setups, is where the real experience and knowledge come into play. Thanks so much for this info! Can't wait to try some of these techniques out. I've been practicing for years, but still feel like I'm just starting out.
I want to say - I learn framing stills, and how to view shots for shot matching all this tricks I learned from you, i know resolve tool’s because of your videos thank you for that
Another great video, thank you for taking the time to make these, always great explanations on how things work or are done. I find it very interesting the way you grade and how Cullen Kelly seems to prefer working in a colour managed workflow. I look forward to your next video. 👍
Darren, Your “how to…” approach to every day challenges for colorists is a great way to teach grading in Resolve. I can grab it and put it to use right away. Thanks man!
Josh, was a pleasure for you to invite me to grade this video! Loved your channel for years as you know.. I Love Beard Meets Food and Sister Beard! Thank you for agreeing for me to use your footage to make this tutorial to share my knowledge! Wishing you and Adam and all the crew a fantastic 2023!
I will literally be first in line for your masterclass. Your perspective on Dehancer gave me the confidence to utilize it for upcoming projects. Keep up the solid work! Too much is left up to interpretation these days(I still have yet to see someone outside you & Qazi have a proper CST for R3D or like Footage). Feedback on color from the right source is everything. Y'all are super-heros for color on YT. We appreciate you leading sheep to greater pastures. All the respect. /salute
Darren, Thank you very much! I appreciate that you take your time for such highly valuable content. I hope you keep it up, cause I can learn a lot from you 🙂
You're a great teacher! I started using DaVinci a few days ago and your videos really helped me understand Color Management and the basics when it comes to grading. Thanks for your videos!
Nice job explaining the process of matching different clips, Darren. It is a subject of great interest to me because I am currently working with older footage from an earlier camera and I want to use that footage with the clips from my newer camera. I am really looking forward to Part 2 and beyond.
Thanks for this Darren! I've been doing this for a few years but I'm embarrassed to say that I wasn't aware of what node reference sizing did so that’s going to be a great help.
Hi Darren, thanks for the fantastic tutorial as usual! Will you ever do an in-depth tutorial on how to best use the other aspects of Dehancer? (film, print, grain, gate weave, etc.) Thanks! :)
@@Bordsteinpflaster In my experience so far yes, but Ive not upgraded fpr a while and i believe newer version is better. I couldn't upgarde as I have a big broadcast job on here for months that is only just signed off and was worried may change any dehancer settings I had.
Great video. You talked about other videos showing "fixed node tree" but you've got so many videos in channel I couldn't find it. Could drop a link to point me in the right direction please. Cheers
Hello Darren Mostyn, could you make a video about balance? How do you balance images, with offset, gain wheel ? or Global HDR ? Or it depends and if it depends why and how do you know which to use ? Thanks
Hi Darren! I'm subscribed but I can't find your node tree. It's always amazing to watch your videos and how you work! You make it so easy, I'm just a newbie trying to learn from people like you. What you do in minutes it takes me hours... so thanks for sharing all your experience!
13:15 This is an awesome tip when working with groups and the fixed node tree makes perfect sense. I have a question when working with groups: I usually group clips according to scene, then apply my fixed node tree to the "Group Pre-Clip", do a general balance (which then work across all the clips such as getting the shirt to look the correct blue) and then fix all the small things related to specific clips on "Clip" level. Here's the question (finally🙈): What's your reasoning behind working in groups and grading on clip level and then rippling the change to the group? Won't it be quicker and more efficient, for instance when the client wants the blue to be even more blue, to grade in "Group Pre-Clip", and just correct the blue on one node and it automatically updates on all the other clips as well, instead of fixing it in one clip and rippling again? Thanx for this tutorial, you teach me something every time!
For me to ripple grade is one button press on my advanced panel so it is really easy. 'shirt' level work as in this example is really clip level stuff IMO. Group level would be. a 'look' or you can put your CST's and halation etc FPE in the groups PRE and POST. Hope that makes sense.
