DaVinci Resolve 16 Tutorial: Color Grading Cinematic Look – JOKER

>>QAZI: What’s up guys.
This is Qazi. Welcome to probably the most
exciting video on this channel. And let me explain why
when you’re working in the real world as a colorist
you’re given inspirations. You’re going to be asked to do
a revenant look a fight club look and I’m not going to jump
right into the tutorial section. I’m going to break it down
and take you through step by step what you need
to know when you’re given an inspiration and how you can
have a dialogue with your client. You have
clear expectations. You can educate your client
on what is and isn’t possible. That being said if you want
to take your color grading game to the next next level
then you have to click on the link in the
description below. I have a one hour long
intense color grading TRAINING FOR YOU AND IT’S FREE.
Check it out. Link is in the description. Guys had the thumbs up
for enjoying the kindness subscribe to my channel for more
awesomeness and make sure to follow me on Instagram. I have a huge community
there and I would love for you to be a part of it. And on that note
let’s roll the intro I just want to take a moment
to analyze this shot and take you through a few things. That way when you’re
dealing with a client who brings you an inspiration
such as this shot you can give them a realistic expectation. You can just look at
it and break it down for them and then show them
what we have to work with and how far we can push
the image what we can and can’t do. So if I look at this image I can
see that there is this slight you know a kicker that’s coming
from the side which is this warm light. So this is obviously
on a different color temperature than that light
right there or the lights in the back.
Right. And that’s happening on set. That’s not something that we’re
creating in post. Then you look at his cue light
which is overhead and is giving him this like
racoon eyes right here which fits the profile
for this specific scene and the kind of character
we’re dealing with. So there is another source
that’s coming from that side which is this cyan light
that’s filling up this entire frame. So guys most of the time
in Hollywood they’re creating those looks on set
and then you bringing that into resolve just
to accentuate it and take it a step further. Whereas now if we go to my
image and we look at this shot that we’re working with we can
obviously see that there’s only daylight that’s coming
in and then there’s more light bounce back
into her face through probably a bounce disc
which is the circle that we see in her eye. So besides that we do not have
three different color temperatures going on to give
us this look. So we’re gonna have to cheat
it by isolating her skin and then you know create
that cyan look in the back without affecting the skin
and without affecting you know certain parts
of her dress and I’m going to pop open my
scopes so we can analyze what’s happening in this frame. So the scopes are pretty good
to kind of give you a general sense of where
everything lives if we look at our parade just look at
the Reds they’re almost gone. They’re so compressed. And then look how dominant
the green is and then blue is somewhere in the
middle right. And then you move over
to our wave form the same story will continue. Look at how much Cyan is in
there in the entire image. We see that. And then the red
is just almost gone. If we look at our vector
scope just look at this. So much Cyan is so saturated
in that channel and we know now what we need to do where
we need to get our image to look exactly like our
intention and if we look at our histogram it’s going
to be the same exact thing. Look at the green.
Look at the red. Look at the blue. And then look at the red
in the shadow area how it’s just gone. If you are not working
with a calibrated screen and you can’t really trust
what you’re seeing scopes will tell you that story scopes
will demystify that element of color grading
where you will know exactly where everything is. If you see this and even
when you’re grading your image as long as you’re
getting in this ballpark then you know that you’re
nailing it regardless of whether your monitor
is calibrated or not. So those are certain things
that you need to keep in mind. And now that we have that out
of the way we can just get to work. So the way we’re going
to attack this is that I’m going to build my node tree
structure and then take you through what’s
happening here. We’re going to label everything
and that’s going to give you a good
understanding of how I build my grades. I would say use this as
a building block and then find your own
style and then modify your node tree structure accordingly. But what you’re about to see
is really going to help you understand if you have
a proper node tree structure per shot how easy it can make
your life over time when you’re dealing with a
hundred two hundred five hundred thousand
shots whatever you got when you’re working
on a project. Another thing that’s going
to happen is that I’m gonna be using my control surface. So a lot of the times my
mouth might be sitting right here. But then things are moving
here so don’t worry I’m gonna make all my windows
bigger when I’m working on a specific window. And on top of it I’m going
to commentate what I’m doing so you guys are going
to see exactly what’s happening. I’m going to have some
annotations going on some arrows and things like that. So it’s not going
to be confusing. I’m just giving you a heads up.
So let’s get started. So my first node is always
reserve for noise reduction so I’m not going to touch it. I’m going to leave
it as is and I’m going to create another node and I’m
going to pull this down and I’m going to explain
everything as I go so my no treat the way I set it up
is in rows and the top row is you know just one
node which is noise reduction. Then the second row is for my
primaries usually and then this is where I’m
going to have all my primary adjustments and we’re
not going to be using any let’s so we’re
going to be just doing everything using our primaries
wheels right here. And then the next node
is going to be where we’re going to start creating a look. So for this one I’m going
to bring this down right here. And for this particular one
since this wasn’t left to where we want to be I’m
going to be using layer nodes. And when we get into it I’m
going to explain to you how to properly use them. But right now I’m just
going to create a few. So this is gonna be for skin. This is going to be
our background. And then this is gonna
be our dress. So right now I’m going
to leave it at three and if we need to add more
we will add more and then I’m going to click
right here and create another node. This note is gonna
be my look adjustment. So the looks that we’re going
to create here this is gonna get us a little bit closer
to where we want to be sort of like a global
adjustment for our look. So we’re going to create
that here and then what I’m going to do is I’m gonna make
this a little bit smaller so you guys can see what’s
going on. I’m going to create another node
and then this one I’m going to pull it down.
So this is gonna be my vignette. So this is where we’re going
to pull her out and then I’m going to create an outside node
so the outside node is going to be what ever
I do to her here. It’s gonna be it’s gonna
select everything outside of that. And then after that we’re
going to create another node and then this is where
we’re going to do sharpening. So I’m going to show
you how to do that. So that’s where we’re
gonna be doing all our sharpening done here. And then we’re going to create
one more where I’m going to drop in our film grain
just to give it that film look. And then the last one is gonna
be our global adjustment and that’s where we’re going
to make our final micro adjustments just
to bring everything home. So this is the node structure. Now I’m going to go
ahead and name it. So you guys can
just follow along. And then when you create your
own military structure is going to help you with that as well. So I went into my keyboard
and customize that key for naming my layers. You can set to whatever
but minus that to tab. So now I’m going to call
this an hour which is noise reduction and then the second
one is gonna be primaries and I’m just going to type
in primaries and then this is gonna be our
background and I’m going to give it some gap and then
this is gonna be our skin and I’m going to pull
this down and then this is gonna be
our dress and right here is gonna be our look
adjustment and I’m going to leave it like that and then
this is our vignette and this guy is gonna
be our outside of the vignette. This one is sharpen
and then this right here is our grain.
That’s our film grain. And then this right here
is gonna be our global adjustment. So this
is the no tree. If we have to add nodes
to it no big deal we will Adam but this is just
basically the foundation. This is what we’re going to use
to as a starting off point. The best thing about
this is that once you get used to this. And then when you’re making
some adjustments and the client comes in and says hey I don’t
like this green can you try this can you try that you will
know exactly where to go and what to do
to make those changes if you are just somebody
who just keeps hitting new node new node and make all
these changes then it could be really
difficult when you have to go back and trace it back
like it might be impossible. So that’s why I have my
structure set up this way. So let’s get going. So the first thing I’m
going to do is we’re going to start off of the contrast. So what I usually do is instead
of using an image WIP to get my colors in I use split screen. And then in the split screen
you’re going to click right here. You’re going to select selected
still images and basically Dennis it’s gonna go
ahead and pick whatever image you have selected here
is going to pop it open. First thing I wanna do is all
this start with the contrast. And in this case I’m gonna use
contrast and pivot to do that. So I’m gonna go ahead
and start dialing that in and that’s what’s
happening right. So like I told you I’m
going to be using my panel but just kind of keep an eye
on what’s happening there. So my contrast somewhere
around here something like that and that’s
fine for now. And now what I want to do
is grab my log wheels and I’m going to come in to my long
range and I’m gonna bring that down. I’m going to bring that down
to around two ish because I want to just
select the bottom of my shadows to be affected right
now and then I’m going to go ahead and grab my shadows right
here and just bring that down. So I’m trying to bring
that down to kind of match the black point
that we have over here. Okay. So that is looking fine
and now don’t freak out with the color temperature
because this is so red and let’s just pull up our
scopes right now and I’m going to leave my scopes
right here so you guys can see what’s going on so obviously
our reds are really lifted as you can see right here
compared to where the Reds are there. And that’s OK because this
is our primary adjustment that I’m going to go
ahead and give it some saturation. So let’s go ahead give us
some saturation and the reason why we want
to give it saturation is so it can help us when we’re
pulling keys. OK. So that’s going to help
out quite a bit. And now I’m looking at
this and you know the red is even farther apart now
than where it was before. So let’s balance this image
out and the best way to do that in this particular
situation would be what I’m going to do is I’m going to go
in here and I’m going to go into my offset and I just
want to grab my red and I want to pull it down
because look at this right. Like so the green and the blue
is down here and then the red is just lifted
all of it is just lifted. So in order to adjust that I’m
just gonna go in here I’m going to grab my red. I’m going to pull
it down a little bit. I’m gonna keep it somewhere
on here and you can already see how much of a difference
it made so I’m going to do before and after before
and after so it’s making a pretty big difference.
This is looking pretty good. The saturation is looking
pretty good. Now we’re at a point where
we can pull a pretty good key. The contrast is looking
pretty decent compared to what we got going on over
here and we can attest to that by looking at
the image right here. So everything in our image right
here is sitting around here somewhere. And that’s exactly what’s
going on in our image as well. But we have to pull it down
even more eventually. But for our primary adjustment
I think we’ve come a long way. This is looking pretty good. Now what I want to do is I want
to go into my skin. One thing that you need
to understand about layers the way the layers work
and resolve is the opposite of how layers work
in aftereffects or Premiere Pro or final 10 whatever have you. What I mean by that is any node
that comes later is going to take precedent
to the prior one. So this node is gonna have
a priority over three and then six is going
to have priority over five and it will make a lot
more sense in one second. So now I’m going to get
rid of my split screen view. I’m going to go into right here. My qualifier and then we’re
gonna go ahead and pick her skin right here. Now it’s done a pretty
good job but you can see there’s a lot of noise
and this gun key stuff is happening because there
is actually a lot of noise in the image. OK. And what I can do first of all
is try to minimize it as much as possible so we can do some
of this and then we’ll see what else we can
do to control it. And then we can blurt out quite
a bit. Don’t ever be shy with blurring
of the keys like go ham. And now what we can see is that
there is a lot of noise right here. So in order to reduce
that first of all let’s uncheck that and then let’s go
into our noise reduction and do this and this is the source
right here and then uncheck this break
the link right here and just effect the chroma in right here. Now if I take you Up Close
and show you what’s happening here compared to before
and after you can see how much of her skin and the entire
image we’re cleaning up without really
sacrificing the detail resolves noise reduction
is insane is so good. So now if I go back right
here and pop this guy open you’re going to see
that it’s a lot cleaner the way to get better at
qualifier is to practice. You really have to get
in there understand all the parameters and then
play around with them until you have
a deeper understanding of how each tool reacts
this looks pretty good. All right so let’s go ahead
and see how good our key is. So I’m going to go back
to our inspiration and start dialing in the colors. So this is where
we want to get to. And I’m going to get there
by using my primaries. OK. Some going to go back in here
and I’m going to use my primaries to get right
there and just watch what’s happening right here so as we can see that the key
is pretty freaking good. Let’s play it back. I mean just look at
this without the key would be like this with the key
it’s like this. So it’s holding pretty
freaking well but obviously we’re not
going to leave it like that. We have to blend it in and find
the right balance. Now I’m not the biggest
fan of this green there’s way too much green. So in order to address
that I’m going to go into my curves and I’m
going to go into my hue versus saturation right here
and I’m going to select my green. I’m going to pull it down
so that’s taking care of it a little bit.
I’m looking at this right. So this is my green point
my Green is going to be around here not more than that.
So this is not bad. Now what I want to do is go
under hue versus hue grab my green raise it up a little bit
raise it down to turn it into a little bit of a cyan
situation like that’s going on over here. OK. So now my greens are not
looking too bad. One thing that I’m noticing
is that there’s a little bit more saturation over here
in the background than we have here. So let’s go ahead and add
some saturation just global saturation right here and now
I’m looking at the colors like right here right
here like we’re bringing a lot of those in. Now in this case even our
highlights we don’t have to make these white
points white purely because look at
what’s happening. These points are not
necessarily white. And another thing that I’m
noticing is that you might say hey there’s some science
seeping into her eyes. But the thing is look at how
much Cyan is in his eyes right here. So that’s what’s helping blend
the entire thing together. So we don’t have to really
worry about that too much. I’m actually pretty happy
with where the colors are right now. Now I want to go into my skin
and I want to blend it in. And the best way to do
that is right here. So this is where think
of it as like opacity if you’re coming from like
the adobe ecosystem. So right here in your key
output we’re going to control how much we want
to blend the sensor right now it’s that 100 percent. That’s the strength I’m going
to bring it down to kind of like blend the two together a little
bit right. And then what I want to do
is just like how there is more magenta and his skin
right here on add some more magenta and the highlights
of her skin. So I’m going to do that by going
into my log wheels right here by my log
wheels right here and then I’m going to grab my
mid tone right here and I’m going to raise
it up to magenta and that should add
a little bit of it. And then I’m also
going to take my highlights and do
the same thing. So that’s definitely adding some
of that and that’s looking pretty good. I mean look
at guys before. If we would have just let our
image you know if we wouldn’t have selected the skin
would have been like this by selecting our
skin were right here which is pretty freaking good. Another thing that we can try
is try our saturation bring it down a little bit
and that will also help kind of blended in and that’s
not bad at all. I’m also gonna go in my
primaries wheels and I’m going to grab my gain and I’m
going to take it toward that magenta just a little bit
not too much. So this is looking
pretty freakin good. I’m happy with that. Now let’s
go into our dress. And like I said whatever comes
later takes precedent over the no prior. So what I’m gonna do is I’m
going to turn off my split screen again and now I want
to go back into my qualifier and what I’m looking
for is I’m going to select my picker
and then what I’m looking for is my red. So I’m going to go in here
select qualifier and then I’m going to go ahead
and just pick all of this red and let’s go in here and see
how good good of a job it did. It did a really good job. I’m going to widen it up
a little bit just to grab everything and then I’m going
to pluck it out quite a bit. And what that’s gonna do
is it’s going to preserve my red. So now my red is kept pristine
how I want it and again if the eyes are too much
for you guys first of all the eyes are not too much
because look at so much science seeping
through his eyes. So I’m leaving my eyes as is. But for those who want
to critique and say it like you know this is too
much for us. You guys can easily go
in here create a window around her face and then mask
it out basically inverted. So then the eyes are going
to be pure white. But because I’m going
for this and that’s my inspiration I’m going to stay
true to that and I’m going to leave it as is for this one. Let’s go back to our split
screen mode and see how close we are. This is looking really freaking
good guys. Come on. Mike look at
this right here. These highlights too like how
our highlights are looking like look at all the other
colors. We are there. This is already we have come
a long freaking way if I just take my look nodes and if I just
turn them off and then turn them on we’re
looking really good. Some in my look adjustment node. I’m going to play around
with this and what I do is I just rotated around
and see if there is something that I can do to get
in the ballpark even faster and get even closer
to where I want to be. So I feel like this might
be doing it. Let me just let me just
sit on it for one second. I think I like what it does
to her skin. I also like how it takes
out the green bias that’s in the image before the look
adjustment and I think the skin gets closer
to what I wanted the skin to look like. And then the background
and the shadows get deeper on that bluer side.
I don’t know though. I mean it might be a bit much. Let’s just keep moving
it around. Hold on. Let me make it a little bit
bigger and then look at it all right. I personally think
it’s definitely a welcome change. So I’m going to leave
it in and that’s what I mean that’s what the look
adjustment is for. You know really quickly
can put you in the ballpark. So I love it for that reason. Now for a vignette let’s get
rid of this split screen again. Let’s go back to our shot. I’m going to make it smaller
and for vignette. Basically this is
what we’re going for so let’s analyze
this real quick and just look at what’s happening. Look at how harsh the vignette
is like how we get to see him and then everything kind
of fades away and fades to black almost. So it’s pretty heavy
like the vignette that’s happening here is pretty heavy
so that’s what we’re going to go for. And it’s pretty simple so I’m
going to go in here. I’m going to create
a circle and I’m going to make it kind of big oval
and then give it a shape you mean not
that much something like that. And then I’m going to soften
it up quite a bit and then what I want to do
is I want to go in here and I’m going to click
on editable spines and I’m going to click right here
up top and just raise it just a tiny bit not too much. OK.
Just like something like that. That’s it. Just pops it a
little bit. Nothing too crazy. And now the outside is gonna
be opposite of that. And now I want to go
click on these three dots and uncheck editable spines. And this one I’m going
to do I’m going to go ahead and bring back my image. Make it full screen so you guys
can see better. And now I’m going to just
grab it from the middle and I’m going to pull it down No I’m going for this
extreme thing because that’s what’s happening
here. OK. And if that’s the inspiration
then you got to go all in. That’s the thing. Like you can’t half heartedly go
in to it like you just have to go all the way in.
And this is selling it to me. I don’t think we need to track
anything because she’s in the center
so she’s not really moving. So this works. OK. I’m going to go into my
sharpening and I’m going to go right in here on this guy
and I’m going to pull it down to forty seven. That’s the source that just
gives it enough sharpness without making it look tacky.
OK. If I turn it on and off
you can just see what’s happening with her eyes
and it’s a very intelligent system that does
a wonderful job. And I’m gonna go into my phone
grand I’m going to come up here and this is one
of resolves on effects and I’m going to use that. I’m going to go to 35 millimeter
of 400T and then going to raise the grain strength quite a bit. And if you look at it it just
basically like look at right here it’s just adding
enough to give it that film texture that’s just highly
appreciated and I absolutely love it. Now the global adjustment
is always there if we want to mess with it. We don’t ever have to mess
with it if we don’t want to. But that’s basically
a node sitting there. If a producer goes OK I
like it but can we try this can we try that. Then you don’t have to go
in here and make adjustments you can just do
it in your global adjustment. One thing that we can do to be
honest with you in our global adjustment is bring
the saturation down and let’s just say if we just
think that OK it’s a bit much we can do couple of things. I want to show you the SAT
versus sat. So most of the meat
sits right here right. And I want to pull saturation
from that but I want to leave the saturation in my
shadows and my highlights. I can just come up here
in the middle and I can pull this down and just look what’s
happening I can pull it back up I can leave it somewhere
around here and let’s look at it we were right here.
Now we’re right here. I can also go to my
highlights too and say let’s bring that down a little
bit to and then let’s keep bringing this down so that’s going to come
down to your preference. I actually do not mind
pulling some saturation because I feel like it just
makes everything deeper and adds a bit more film quality to it. So I’m going to leave it there
and that’s what my point was with the global
adjustment it’s such a great tool that’s sitting right there
that you can use to like dial it and a few
things really quickly. So one last thing that I think
I want to change is how much saturated her skin
is compared to our inspiration so I’m going to go
under my skin and then I’m going to go
into my global saturation. I’m going to pull it down
and then I’m going to bring it up somewhere around here. And another thing I want
to do is I’m going to go into my primary’s wheels
and I’m going to just add some warmth like I’m going
to take it toward like yellow just add some of that and then pull some
more saturation out so somewhere around here. Now what I want to do is just
get rid of our split screen and then make this bigger
and see how that looks. And I think I am more
comfortable with that than where it was before. So let’s just turn all of these
off and then go one by one and see how far
we’ve come. So this is our
primary adjustment. Then we went into our skin
selected that then we created our background after
that we pulled out our dress and then look
adjustment is something that I feel like just did
a tremendous amount of job bringing everything close
to this ballpark. And then we created a vignette
just paper out a little bit and then we just brought
everything else down around her added sharpening
and foam grain to really give
it that character. And then in our global
adjustment we just brought the overall situation down
a little bit just to kind of make all the colors
deeper and I feel like that looks
absolutely fantastic. Let’s check out the final
look in full screen. I hope you guys had a blast
made sure to drop a comment below. Let me know which look
you want me to do next. I have some ideas
and this inspiration series is going to continue. But I would love to hear
from you guys. And for this particular
tutorial I would highly recommend going back a couple
of times and just re watching it and letting it come
to you and just really absorb the content that’s here. And guys on that note if you
want to take your color grading game to the next level
which I highly recommend you should make sure to check
the link in the description below. It’s a one hour long training
that’s going to take you from not knowing anything
about resolved all the way the grading your first
professional project head the thumbs up. If you’re enjoying
the content subscribe to my channel for more
awesomeness and I will see you guys in the next video.

16 thoughts on “DaVinci Resolve 16 Tutorial: Color Grading Cinematic Look – JOKER

  1. Color Grading Cinematic Look, at its best! especially considering that the look was not created on set as in the joker!

  2. I wish davinci would have more options to organize the node tree. Like moving the distance betwen the input node and the output. Dots/pucks to make the nodles between the nodes more clear. Its not like its horrible now. But having some options to organise it just a little would be great. Not a biggie..

  3. Nice! It was realy helpful!Thank you for your video! For next time i glad to see the Watchmes or Bat vs sup, fight scen. Or T2 rem scen in the bar. Or more joker. Sorry for bad english.

  4. Hey Waqas, so I prophesied earlier this year that you would have 40k subscribers on this channel by the end of the year. Oh well, I came up a bit short. Might have to extend that by another couple of months, seeing you again a few thousand everytime you drop a video tutorial 😉

  5. Dropping ?content! love it! Qazi – for pro-hobbyists like myself, can you provide guidance around using a reference monitor for color work? How should we use Rec.709 with LOG footage? How should we calibrate our displays? What are some display recommendations? Please advise with a detailed video. <3

  6. This has to be one of the best color grading tutorials I’ve watched to date, the balancing tip was pretty huge for me! Thanks brother

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