welcome my friends to another awesome color grading video and
as i promised you today we're going to be taking a look
at gen 5 color space by black magic now those of you who watching for the
first time or haven't been following my channel
this is relatively a new color science that blackmagic just announced a few
weeks ago in this video we're going to be taking a look
at pros and cons comparing to the gen 4 and i'm going to show you the example
color grading a little clip with the gen five and basically we're
gonna talk about it as we go what's the benefits and what's the
difference with the gen five for this video i'm providing the clip be
sure to check it out link in the description below so let's
jump in davinci resolve and get started
for those of you who follow my channel you guys know that i am
absolutely in love with this new color science it's much better than gen 4.
for those of you guys who don't know how to access you need to download
davinci resolve 16 beta version 16.3.2 on their website
it's available for both platforms for mac
and pc this will allow you to use gen 5 color science in order to access
gen 5 color signs go to the camera raw when
decode using instead of the project change it to clip
and that will allow you to change gen 4 to gen
5. rest of the stuff do not change i always prefer working in the black
magic color space and as gamma black magic design film
in my opinion if you're filming with black magic cameras
those settings giving you absolutely best possible color now optionally you
want to turn on the highlight recovery i notice in the new gen 5 it looks much
better it doesn't give you that little pink
kind of highlight like in gen 4 so they're doing really
great job controlling okay now the first thing you
probably notice between gen 4 and gen 5 that right away
gen 5 look much flatter as a matter of fact it kind of looks like
s log from sony camera so it gives you a little bit extra
flexibility from the beginning so let's get started and
as we color grading let's take a look and discuss certain things and by the
way this clip available for download link in the
description below from my website as always and first thing we're gonna do
we're gonna do a new note alt s and we're gonna call this one
exposure okay xp and in exposure you can do multiple things right now
because it's so flat you can use contrast curve and kind of dial in
contrast when you do contrast be sure not to clip
and not to crush anything because a lot of people they
crushing the blacks and your blocks become too compressed
make sure not to do that mistake you can also use the pivot
in order to offset the pivot point however in this case we're simply going
to use offset wheel a little bit like this
then with the gain a little bit like that and
with the lift we're gonna compress blacks
just a little bit another very common mistake
i see people doing all the times they compressing blacks too much
that black pretty much becomes pure black and it's not
correct because there's no such thing as a pure black in real life
if you're gonna look at the let's say car tires they're not
purely black even though they kind of are they still have a little bit
light in them so be sure not to do that mistake this is what a lot of people do
they kind of go like that and i think it looks pretty
ridiculous okay so we're done with exposure next one next
one going to be saturation okay so always need to start with a
properly color corrected footage before we
actually gonna start grading it so in the saturation tab we can crank up
saturation a little bit here also what we can do if it's not enough
we can go to individual rgb channel and add a little
bit extra however when you do this way
when you have saturation as a slider and this way
it gives a little bit extra artifacts let me
zoom in so you guys can see so be careful when you use this method
it works in some cases but if you need absolutely clean footage
i do not recommend going that route okay so let's check it out
before and after i think like that looks absolutely fantastic
to begin with okay next one and the next one we're gonna start
basically doing local contrast and on local contrast i'm
going to start dialing the contrast that i pretty much want for my final
image okay so we can do a little bit like that okay i'm liking
it just make sure it's okay to crash or compress blacks a
little bit make sure you're not doing it too much
and with the pivot we can sort of dial it
to our likeness okay let's go again before and after look at that
huge difference so the next one going to be green
or trees trees bushes you name it so what we're going to do
now let's see uh let's go to the qualifier
let's select this one click over here and it doesn't need to be 100
accurate because we have a lot going on okay like that should be good and what
we can do now go to the primaries drop mid tones a
little bit so that way the shot looks a little bit
more rich more expensive now when you do this kind of stuff
always pay attention to actual reflection
and we can see we screwed up with our selection over here
and we need to fix that so let's go again
and let's make sure that we're not really
affecting the actual car okay let's see okay i think like that looks
all right okay let's see before and after again so
now now it looks pretty flat we don't want that so that's not all
right we need to find a different way okay let's do it like
this okay perfect
and then let's do a little bit noise reduction see how
it sort of dancing in the background no matter
what you do make sure that you always take care of this dancing noise because
this thing is absolutely disaster for your shot
never have that dancing noise okay so we can move slider probably a
little bit like that make sure we have it at minimum
now we cannot we cannot have that okay let's see like this
okay let's toggle again on and off
okay so perfect now we can start building a little look okay let's go
like that okay so i'm gonna call this one look
um because the colors are very muted i can have a very
interesting look to it kind of like organic um
very earthy colors so what we're gonna do
in this case we actually gonna do color boost and we're gonna bring it
down and what happens for the color boost
color boost basically works like a vibrance it's affecting
the least saturated colors and it's increasing them when you
increase it and vice versa the other way around so let me toggle
we can see we took off the little color edge
from this whole thing and what this thing allows us to do
if we're going to do a new node now we can actually start dialing
the global look so for example we can have
any temperature right now dialed and generally speaking it's gonna look
pretty good and because i want to do a little bit earthy okay we can do
something like this okay and for the highlights because it's
relatively sunset time we can do either a little
bit green or a little bit orange
so let's see which one works better okay i think like that looks good let's
toggle before and after okay
before and after let's toggle the whole thing now
before and after okay so we start getting into that cool little look now
let's go into parade and let's make sure that our
shadows still uh black which is they are
gonna do a new note and i want to give a little bit
contrast to the blacks so i'm gonna call this one blacks
okay don't report me please
and what we're gonna do with this one we're gonna do highlight
we're gonna disconnect this one and this one we're only gonna be working with
luminosity and i'm gonna leave a little bit like
that we're gonna soften it let's shrink it a
little bit more let's see so that looks cool and what
we're simply gonna do we're just gonna drop them okay like this
or we can even do mid-tones doesn't matter in this case
and now with the feathering we can manipulate
how much of that deep black we want think of it kind of
like a light occlusion in the 3d software
so it's definitely giving a lot more dimension
okay and as we can see i'm crushing a little bit
the way we can fight this let's go to the log
okay let's drop this low selection and let's just bring
a little bit information back okay so again before and after and again with
the selection we have complete control of that
ambient occlusion so that looks really cool
so right away it looks nice and rich okay so now let's start talking about
the highlights okay i'm gonna do highs
okay and with the highlights we can do a little bit
of specular highlights so again in a qualifier i'm gonna disconnect all of
this and i'm gonna do exactly the same thing
just opposite way okay like this is okay because i'm doing
specular highlights make sure it's soft enough that way we
don't have any kind of dancing noise so like that is all right also i don't
want to affect the highest the brightest point of this
whole thing so now we're gonna start
going down a little bit and we're gonna be kind of in this zone a
little bit so again let's soften it okay
so this is our selection so that looks pretty cool now with the
gain we can give it a nice little pop
you can see okay also you can control the whole thing
over here obviously see what i'm doing and depending on how much you want it
you can use different tools also what we can do use a contrast
contrast slider and with the pivot because we have
selection we can manipulate the anchor point okay
so before and after before and after
okay all right so that's cool now we can start doing the car shape
okay car very simple um this is relatively easy i'm gonna do
a very garbage mask for the sake of tutorial
okay so like this
okay something like that okay and now i'm simply going to pop the
contrast okay and with the pivot
something like that but we have a very strong and rough selection so we're
going to fix that with a little bit of feathering inside
outside first and then inside okay just like this now let's check it out
before and after before and after and let's see
the whole thing before and after so that looks really
cool and now we can start doing basically
aesthetics to the shot because it's a car
commercial we can do obviously in a real car
commercial you would do way more things to it it's very meticulous
process um so we're gonna do mask we're gonna
invert it we're gonna kind of bring down
a little bit so we're doing a very nice vignette okay so let's see
this is what we're doing and again before and after even though the
difference is very little believe me it makes huge difference in
the end so this one is vignette now this one's gonna be ground and with
the ground what we're gonna do is
basically we're gonna have this little thing we're gonna orient basically on
the on the lines on the ground okay and we're gonna darken it just a
little bit so automatically our focus gets right
on the car again it's a very small adjustment but in the end it makes
really huge difference now if you again
depending what you do okay let me organize this a little bit
more okay back back back all right
we're gonna do heist number two and again i'm gonna do very opposite
so something like that i'm gonna do a nice little kick
okay that way we adding more dimension to the car by the way some adjustments
i'm doing a little bit too much so you guys can see
can never rely on youtube compression okay again look at the difference
nice and cool all right and finally this is my personally my favorite
touch if we're gonna zoom in we're gonna do
film grain okay because we wanted refined we'll do 35
millimeters and this is how we color grade
black magic design gen 5 color science it's amazing color science i highly
recommend you guys start using it it offers a lot of cool benefits very
nice small roll offs and as a matter of fact now that i'm
looking at the scopes i can see that we clipped a little bit
and the way we fix that look at that we're gonna do
another note we're gonna call it clip and
basically with this one with the secondaries with a qualifier i'm just
gonna do without even looking something like that
where is it low soft and with the highlights
we're gonna start bringing it back that's it and let's toggle before and
after it was a little window over here okay and you can see how easy
and amazing everything looks if you guys enjoyed this video please be sure to
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you