in today's really cool color grading tutorial I'm gonna show you how to work
with the skin tones and we're gonna be creating on top of that very interesting
till an orange look it's gonna look like a blockbuster I promise and I'm gonna
show you some sneaky techniques I bet you guys didn't know about so here we
have clip from raw film and by the way if you want to get stock footage I have
25% discount link it's all in the description below make sure to check it
out so here we have a store manager clip the
guy is kind of smirking a little bit really cool shot camera goes around them
it's been shot on red and by the way I've been getting asked a lot about s
lock too and other different lock formats and I have to tell you that it
doesn't matter it's either s lock 2 or s lock 3 or
anything the v-log whatever it is the concept remains the same so wherever you
guys read that it's all different it's complete nonsense the techniques and
everything is absolutely the same ok so it doesn't matter if it's red or re
or even DSLR for that matter as long as it's shot correctly flat you can do what
I'm doing right now ok so you don't need to have hundred thousand dollar setup
all right enough chitchat let's get started so the first thing I'm gonna do
is balance ok I'm gonna label this note balance ok and what I'm gonna do I'm
gonna pop a little bit of highlights and I'm gonna bring down a little bit of
shadows now big mistake a lot of people do you is there try to bring shadow all
the way down well that's not correct because if you look at the shot we don't
really have anything pure black you know completely in the shadow somewhere pitch
black that we would bring our lift all the way down so always keep an eye on
that make sure you don't do that silly mistake because in that case you shot
gonna look a little bit silly so I'm gonna increase
a little bit of highlights of game that way we get nice overall exposure okay so
that looks pretty good in the very same note I'm gonna add saturation generally
I don't recommend adding things in the same note so for the sake of tutorial
I'm gonna do it but you should be doing separate notes that way you have the
maximum control okay I'm gonna do a new note and I'm gonna call it WB for white
balance now I'm gonna white balance this by vectorscope over here we can see that
it's a little bit on a warmer / greener site so simply what I'm gonna do I'm
gonna grab offset and I'm just going to move this thing more to a neutral
territory okay somewhere over here and if I'm
gonna toggle before and after we can see how big of a difference that makes so I
think right now the skin and everything is more neutral than before because
before it was very green a little bit so that's really good so now we have
balance and now we have the white adjustment now I want to start a little
bit with the luma and a little secret about luma whenever you bring down just
the brightness gave without affecting saturation you get in most cases very
nice rich skin tone okay so I'm gonna start bringing him down if you guys not
sure where exactly the skin is there's a couple ways you can do you can use false
color let me demonstrate okay you can use the false color monitor
or you can use the false color lot okay just like this and generally speaking
whatever false color are you using if they're calibrated correct you should
see a little bit specular highlight with a different color on the subject phase
okay so not gonna do that let's go back
and in our luma the secret is when you have a droplet let me right click oh
here and put everything to neutral when you have a droplet if you click on the
skin zone it will automatically pinpoint where the skin zone is okay on your
curve so that's a really cool perk so now that I know the skin is here I'm
gonna start dragging just this part okay and we can see right away let me toggle
before and after we can see right away how much richer image looks immediately
so let's see I'm gonna bring this one up I also gonna bring maybe just a tiny bit
well no that's okay we're gonna leave it like that maybe just in general okay so
like that looks perfect I'm gonna label this as luma and I'm gonna zoom into his
face let me demonstrate so that's before that's with the luma and this one's
before we can see how much more character this process added alright so
that looks good now let's start actually getting to business alt s new note and
I'm gonna call this one skin so what we're gonna do now we're gonna qualify
the skin and a little bit complaint here I wish DaVinci Resolve would make their
qualification a little bit better I still think it's not there yet because
it's very hard to qualify things hopefully somebody from resolve team
listening this and you guys can fix it up because it's really falling behind
its competitive anyways ok so skin I don't need his beard ok we'll we'll play
around with that the main important goal here that we don't have any kind of
dancing noise and as of right now we can see that the background is dancing this
is something that we don't want so play around it's no big deal if you take your
time selecting it because it's really important don't feel like you're not
doing good job if you take a little bit longer than
it should selecting the skin properly is very
important process and if you do it correctly you will benefit down the line
okay so let's have a little soft selection
here let's get out of the purple territory let's see here as it looks
alright kind of does let's see clean white okay highlight will grab lights
when you grab the background it's okay because it's the same color as the skin
and this why it's very important to know that when you shoot something to make
sure that you're not gonna be having background or clothing same as the skin
tones because you're gonna run into this kind of problem okay so let me blur it
out a little bit let's see can I make it cleaner bit no what about with the low
alright I guess we're gonna have to cope with this okay noise reduction alright
it looks okay for a now alright so we have his skin qualified so now I'm gonna
do alt s new note and this one we're gonna call look so this is where
everything gonna happen in this node right over here you can use primary
wheels you can use log you can use bars in my case I'm gonna use curves to dial
the look okay so I'm gonna start with the red channel now to me it's very
important to make sure that I'm gonna mess at least with his face so I'm gonna
do the same technique again I'm just gonna click away and it's gonna put a
point right over here so this is gonna be our background and I'm gonna start
bringing it a little bit down creating that teal ish look okay now with the
blue okay so the like that looks pretty good
and then with the green let's give that typical green highlight okay we can zoom
in by the way for tutorial I exaggerated a little bit considering the compression
and other variables that will come into play so let's say that we have the loop
dialed let's see before and after so that's
very radical change what I'm gonna do now I'm gonna convert it into layer note
alt L okay and nothing happened so with that skin note before grab that little
square and it's gonna pass on the mask to our look okay so now we have his face
being fed from the previous node so we have that nice clean selection but it
looks really weird as of right now and to counter that there's couple things
number one you can in your over here in the note key you can dial down the grain
a little bit to make sure that the look is not that drastic which I highly
recommend doing by the way number two we can do the same thing with
your skin to make sure that your skin tone is not being overly crazy so let's
bring it down a little bit and basically play between them
to see whatever works the best okay so now we kind of have this look going on
let me show you what we've done so we can see we converted this into that
chilling orange look now there's one little problem we can either fix it in
our look note or we can create and you know so I'm gonna go back in the look
and we can see based on RGB balance that we don't have clean black and this is a
very important rule when you're doing this kind of look black must be black
and white mask mean white in most cases but it's
important that black stays black so let's select blue right over here the
dot and I'm just gonna start bringing it down okay so something like that we can
see right away big difference so before over here in his jacket we can see sort
of little blue haze and once we start bringing it down we can see more neutral
color so this is the goal so like that everything looks more or less fine so
this is our look now I'm gonna grab this and I'm gonna create a compound the way
it's not on our way and I'm gonna do a new node and here's a sneaky little way
so before let me hide all this so before we pretty much had everything on the
neutral and we could really do much with the background and generally in terms of
color but now since we introducing the blue we're gonna trick computer thinking
that the wall is actually blue now and what it gives us now we can go for
example in huber Sluman ins and again this is not the perfect technique you're
supposed to do this in camera ok but you can now select this kind of blue in the
back and you can make it either darker or brighter and when you color great
that gives you a little cheat that you can create split between the contrast
ratio when you do a certain look for example I can also do hue versus hue
select this and start playing around with the different hues because before
the color was neutral and I wasn't able to grab on to that also you can correct
now a little tint sort of of your blue if you want to call it like that for
example we can see that the neutral shirt in the back is white and once we
move it we're introducing different tonality to that so that's another
little cheat for you guys if you want to affect how environment looks
this is a way of doing it so again before and after you see how by doing
the slight little thing we're not really affecting the image but we're making
automatically mo for more focus on our character without really introducing any
kind of artifacts so if I'm gonna toggle the whole grade before and after we can
see a huge difference that we made basically by doing so alright so that's
pretty cool so this one I'm gonna call wall of course you can do more dramatic
difference if you want and now we can color great on top of that if we want so
for example what I mean by that now we let's say wanna give a slightly
warmer / greener variation of that all we have to do simply go to the
temperature and just crank it up a little bit and we can see it becomes a
little bit on a warmer side if we want our image to be more drastic blue we can
crank it up in the other way and as you can see it's becoming a little bit more
blue from our neutral so this is another really cool perk that you can manipulate
also you can manipulate with a little tint to see exactly where you want to be
so if I toggle before and after we can see the whole shenanigan that we're
doing here so that's really cool now I'm gonna turn it on and again with the node
key let's say I think it's too much I just want to give it a little bit and
this is how it's done now again let's do a new node and I can also play again
with the luminosity so now with luminosity I can give a little pop or I
can bring it a little bit more down again to give it more dramatic sort of
blockbuster looking image because normally this kind of grading usually
being done too relatively darker movies because
technically it's really impossible to do it on a bright movies so when you have
something dark like that this is where this look in particular shines so let's
do before and after and with that again we can create contrast if we want look
at his forehead or we can do opposite decrease contrast so you have ultimately
all the power in the world that you can do to create certain look that you want
so for example like that we have nice contrasting image okay
and to put cherry on top of all this let me organize this a little bit okay you
note I'm gonna call this one grain okay and I'm gonna add a little bit of film
grain let's see where it's at and because this look is so stylized I don't
have to be shy adding film grain I actually wanted two people to see that
there is a film grain and the way I like doing that is I like to have the string
that I can see it on the subject face and on the background equally so in this
case I can probably do a little bit more okay just like that again I'm doing a
little bit extra because a youtube compression so I hope you guys can see
that there is a grain in there okay so we'll play it back that looks cool now
we're gonna do fake 2:40 screen ratio so let's say my project is just to be a
quick with the math so let's say my project is 2k 1920 by 1080 I'm gonna go
to image scaling match time like setting let's uncheck that okay and over here a
scale full frame would crop and I'm gonna change resolution to 800 and we're
gonna have nice white screen now that looks really good right there so what we
can do now if we want let's go to input sizing again with a tilt we can
adjust our picture how we want to be sure the framing is correct and you turn
from this you go all the way here and we have fantastic blockbuster image so
let's verify that with a false color to make sure that everything looks cool we
have a slight specular on his above his eye and to me that's a good indicator
that exposure is still really good if we would have gone too dark we would have a
little bit blue around but when it's a little bit I know the exposure is
perfect so this is our look and we're all done
so thank you guys for watching be sure to subscribe just specifically for this
video I'm gonna make this false color guys if you're interested for one buck
just for 24 hours if you guys want to grab it just to support my creation so
I'll see you in the next video take care