Your ability to teach is fantastic. Thanks for all the great information. I've used curves for a decade and never thought about them the way you described, and it made my workflow so much easier.
One thing I've been doing since this tutorial is adding a desaturated node to my timeline instead of the clip! that way I can easily go through all clips after they've been cut without having to desaturate the first nose and resaturate after. -- I seriously watch this tutorial once every couple of months thank you
This is a GREAT technique! I can't wait to try it on the next video on my channel. Thank you so much for these tutorials. My RU-vid videos look so much better since I started following your channel.
Thank you for your concise and helpful lessons grading: your visuals are great. Perhaps could offer a few audio tips in return and for anyone reading: - This video sounds to me like audio Limiter settings very high and fast (and/or compression) that reduces dynamic range and highlights noise. - Bassy voice long reverbing - squashes mid-high tone dynamic range also (where we hear most detail from speech) and can rattle most speakers plus overload amps when pushed (leading to damage): with lots of sibilance and echo - together distract listening flow and highlight edits when cut. - These issues are most often from the space and mic: larger good looking rooms often have audio trade-offs like; hard reflective surfaces (big windows), deeper longer reverb - which are difficult to get a good for editing sound out of: tight and dry. - A very near-field mic pickup-pattern (e.g. Lavalier mics and near-field Dynamic mics that news casters use) can help in rooms like that (and a few well placed mats, duvets or anything softish with large area to dampen reverb echo - thicker & heavier better at reducing lower frequency reverb like this). - Often the more pricey and more sensitive mics (e.g. large-capsule Condenser mics) do worse in these situations - picking up all the room and outdoors - Lowest noise floor in practice most important (over super high theoretical dynamic ranges, high bit depths & sample rates) in mic and recorder - for post flexibility (read audio kit user reviews over ads when choosing audio gear). Prioritise getting the space, mic choice (and position) right - over long elaborate post work. If the camera/recorder has an auto-limiter and/or any other processing - best to turn it off and record neutral (leaving at least 6dB headroom with several seconds of silence beginning every recording), then in post; - Noise sample & reduce first avoiding heavy settings: take a good long fingerprint every time (as background noise and interference can change subtly and later be raised up to audible again) - Gate any remaining unwanted background softly with slow timing - to suppress any remaining noise being next relatively increased - Compress leaving some dB headroom (don't max level yet to avoid lowering input next), it's better then Limiting (try avoiding it) and better used before - EQ (for clearer sound in this order), or: better use a Multi-pressor before a good mastering EQ (leaving a bit of headroom still) - Excite the top mids and highs (just a little) with the last remaining gain space - last little tweeks and repeat with audio referencing to other recordings you like (on more than one speaker set Regular breaks when mastering (better do, at least listen to something else - even if only for short time) - helps being more objective about results and stay going longer. Same idea mostly: shape them curves: first record then keep as much of the dynamics possible, then work to bring out as much of the signal best suited to our ears (from the speakers most people use) as possible.
insane technique for beginners, I'm a pharmacist by profession and have no idea on any video editing. I start liking video editing as a hobby after i downloaded resolve
I MUST watch your Davinci Resolve course now. Because this gem of knowledge you offered in this video kinda changes or helps everything. This workflow is ultra legit. It allows for better decisions to be made about an image. It's kinda like the secret sauce.
There's definitely some good in this method. You can save yourself a little time by disabling the first node once you've set your contrast, rather than re-entering your saturation. To do that, simply click on the number above the node.
Don't have a word how to thank you. I just started to learn Color Grading and Your Tutorial is just really helping me to hone my skill in a professional Level! Thanks
Thank you so much for this excellent tutorial. In moving from the types of colour controls I''m used to in photography world it''s been challenging to wrap my head around what types of controls in DaVinci are analogous to those. Your video was so, so helpful. The concept is the same as in photography, but the controls just work a little differently. Your explanations are very easy to follow and much appreciated.
I think he goes a little heavy handed for demonstrative purposes. In the last example I was actually pretty fond of the _before_ image. Regardless, watching this was fascinating and I learned something.
This midpoint strategy is interesting. Wouldn't you theoretically be going endlessly between midpoints? Are you supposed to stop at a certain number of points?
Great Technique! The scopes don't lie. So.... I know you're a DaVinci shop, but I'd be interested in a sister video using FCPX 10.4's tools. Each color correction in FCPX is stacked and acts like a node in DaVinci. I think you can get to the same place as this tutorial.
Congratulations! Your explanations are concrete and accurate. I have a question ... do you know why when rendering my colors come out desaturated? they don't look like the correction I make in the program.
