Professional Color Grading Techniques in DaVinci Resolve

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This course provides colorists with an in-depth overview of professional color grading techniques and look creation in DaVinci Resolve.

The main concepts discussed in the course are advanced contrast management, balancing techniques and look development. The focus is primarily on higher end color grading, color theory and teaching techniques that took professional colorists years of experience to master.

The course is presented by Kevin P. McAuliffe but is created together with professional colorists that have contributed with insight about their work methods. Kevin uses DaVinci Resolve, but it is taught with the goal of showing techniques that can be used in any color corrector.

The footage used in this course is available for download so that you can easily follow along. In addition, we have included power grades so that you can deeply study the node structures and color grading techniques demonstrated in the course, and a free sample of 35mm film grain from our friends over at Cinegrain.

 

COURSE OVERVIEW

 

LESSON 01: S-CURVE MANIPULATION

The curve is the key component of contrast creation, and in the first lesson we look at the basics of the curve and curve shaping.

LESSON 02: CORRECTIONS IN LOG SPACE AND GAMMA SPACE

We continue to explore how brightness affects the curve in log- and gamma space, and how to manipulate the curve in a log workflow.

LESSON 03: COMPRESSION TECHNIQUES

In this lesson we look at how to disturb the luma vs. distance ratio of the curve with compression techniques to challenge the contrast and create a printed look. This technique is often used as a base to create a painterly feeling with limited dynamic range.

LESSON 04: LOW LUMA COMPRESSION TECHNIQUES 

We dive deeper into compression techniques and how to compress low luminance levels, add speculars and  details with gamma stretching and the log controls.

LESSON 05: PRINTER LIGHTS FUNDAMENTALS

Now that we have a better understanding of contrast management, we look at the fundamentals of printer lights that we will use to balance and create looks later in the course.

LESSON 06: PRINTER LIGHTS WORKFLOW

In this lesson we look at using printer lights in a log workflow and watching the results through our curves.

LESSON 07: BALANCING TECHNIQUES

Now it's time to analyze and match shots with the help of what we have learned about printer lights. We also take a closer look into using the RGB-parade and the vectorscope. We will also discuss some thesis questions related to balancing in general.

LESSON 08: BOUNCING TO CREATE LOOKS

We are ready to create our first desaturated and moody look by bouncing in colors though a defined node structure.

LESSON 09: UNDERSTANDING COLOR HARMONY

Colorists need to understand what makes an image look pleasant to the eye and in this lesson we discuss the important of color harmony. We are building on the look from the previous lesson to create color separation and tweek the colors into an analogous color scheme.

LESSON 10: COLOR CHANNEL MIXING TO CREATE UNIQUE LOOKS

In this lesson we look at how to create a modern and cold look with the help of channel mixing and opacity control.

LESSON 11: GRIT AND TEXTURE

We will go though techniques to bouncing luma controls agains each other to bring out texture, create silver tints to add rawness, clip the blacks and advanced sharpen techniques to bring out grit.

LESSON 12: NODE COLOR MIXING

Node color mixing is a very important skill to master for every colorist, and by combining colors and strengths we will get access to unlimited color combinations that can be used in look development. We will see how our color combinations blends onto the tonal range we have established.

LESSON 13: PIPING A KEY DOWNSTREAM

In this lesson we work with separate streams and color transforms to pipe super clean keys.

LESSON 14: LOCAL EDGE SOFTENING

This lesson is about isolating the local edges in the images and working with them to create a softer image without loosing the overall sharpness.

LESSON 15: CREATING VOLUME IN THE WHITES

We will look at another important compression method for creating volume in the highlights and reduce the sharp thin feeling of digital images. 

LESSON 16: EVENING OUT SKIN TONES

Going through a very popular technique to even out skin tones and take care of imperfections.

LESSON 17: SOFT SATURATED LOOKS

In this lesson we will dial in a soft contrast and create color contrast with varying hue strenghts.

LESSON 18: FILM EMULATIONS AND GRAIN TECHNIQUES

In our final lesson we will create a new look with a Film Emulation LUT, the log controls and add texture with a 35mm fine grain sample (that you will get for free sponsored by Cinegrain). We will look at different techniques to enhance the structure of the grain.

 

 

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Can't get printer light hot keys to work from Lesson 6. The printer lights hot keys are activated, but when I press the numbers nothing happens. Any help would be greatly appreciated. Thanks. 

Mark 

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Hi 

 

Am am new to grading, and lowest. So far I think the courses are amazing.  Not sure if this is on purpose or not but the project file for lesson sixteen on skin tones is missing.  

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On 8/5/2020 at 1:21 AM, Kevin McCormack said:

Hi 

 

Am am new to grading, and lowest. So far I think the courses are amazing.  Not sure if this is on purpose or not but the project file for lesson sixteen on skin tones is missing.  

Thanks for your kind words! Sorry about that missing clip, we have updated the folder now. Thanks for letting us know!

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Hi,

I am new to this and pardon me if this is a dumb question. But in Lesson 3, you do a color offset after your contrast curve. I experimented with different placement of adjustments relative to the contrast curve, and indeed, colors do affect the image differently down the chain after the contrast curve. It is best practice to create your contrast along with your LUT or pre your LUT (meaning that node sits before your LUT in the chain, and then make your other adjustments working backward sort to speak, your LUT and contrast nodes sits to the right and other adjustments on the left?  It just seems to me that the contrast curve has a profound effect on what you get, that one would want to set contrast early and then work backward from that point, or am I completely misinterpreting the lesson? 

 

 

Edited by Kevin McCormack
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This is really awesome, thank you for this!

Maybe I missed it, but I am just a little bit confused, if you do the luma compression and the desaturation techniques shown in this tutorial, where would you put your balance node? Before or after the mentioned techniques?

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9 hours ago, Kevin McCormack said:

In Lesson 3, you do a color offset after your contrast curve.

The offset corrections are done prior to the the contrast curve in the node chain.
 

9 hours ago, Kevin McCormack said:

Is it best practice to create your contrast along with your LUT or pre your LUT

The way things are set up in this lesson, all the corrections are done prior to the curve and watched through the curve. In other words, the corrections are piped through the curve and if you re-draw the curve (or change the LUT) the results of your color corrections will change.

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4 hours ago, Alexander Isaksson said:

If you do the luma compression and the desaturation techniques shown in this tutorial, where would you put your balance node? Before or after the mentioned techniques?

Normally, you would want to balance in one of the first nodes in the chain, then secondary techniques and run everything through the curve.
 

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