Creating a Video From Start to Finish

Lesson 32 of 37

Three-Way Color Corrector in DaVinci Resolve

 

Creating a Video From Start to Finish

Lesson 32 of 37

Three-Way Color Corrector in DaVinci Resolve

 

Lesson Info

Three-Way Color Corrector in DaVinci Resolve

Let's look over here. This is what this footage looked like prior to adding the color chart. When you add the color chart, that's what happens. So here's before, here's the after. Look at the green on the mat. And I can guarantee you, having been in that space, that is the green that that mat is. I've adjusted my color to be correct here. Now, what I'm gonna do, is I'm gonna add an adjustment on top of that to get it to be pleasing to me. So I added what we call a three-way color corrector. Three-way color corrector is essentially RGB channels on crack. That's the best way I can explain it. It's a robust way of editing RGB values in a really finite, slow and steady sort of way. So let's take a look at a piece of footage that actually needs some help in the way of color correcting. Here's what the footage looked like. This is what this guy looked like before the chart got applied. Nice and green, right? He's a Martian, nice and green. So I applied that still, and I already showed you ho...

w to apply that still. So now what I'm gonna do here, is now I'm gonna walk you through color correcting, just a touch. And I do this in a very rudimentary, very basic sort of way. And I teach it this way because I want you to just learn what to look for, and I want you to learn what adjustments to try to make first. When I got taught Photoshop, it was just in chunks. I remember, before we had RAW, there was JPEG. And then before I was taught curves, there was levels. Before I was taught levels, there was brightness. And we learned these tools and we learned when to use these tools, but essentially, when you got RAW, you learned all these other things and what they meant that informed your decisions in RAW. So in a sense here, we're trying to do the same thing. I'm trying to give you the basics so that you can slowly build your competency inside of the software. The first thing that I end up doing in this case, let's go ahead and delete these nodes. Option S will give you a new node, Option S. So I just added a new node, now anything that I do, I know that I'm doing to this node because it's now highlighted in red. So the first thing I'm gonna do here is pull up something that should be really familiar to you guys right now, my scopes. And as I scrub through this, I'm gonna get a chance to see here where I sit on my values. And if I don't wanna see all this, I can go two up and take a look at it here. Just remember, just to review. Black, mid-tone, highlight. That's the three of them together, here's the three of them separately. So just looking at this, where am I? I have a little green, I'm really under, it looks like. There's a lot of black because of here. 'Member, left to right, this is the frame. This is the left side of your frame, this is the right side of your frame. What's the left side here? Black. Where should that part of the frame be? Black, done. So now I'm gonna take a look here. What can we do to improve this image? So what I feel like, I know I need to get my mid-tone from here, right here, to that 512 line, which is 40 IRE. So I'm gonna go here. "Oh, my god, Victor, you're telling me new terms. "Lift, Gamma, Gain. "What the heck is Lift, Gamma, Gain?" If I wasn't in the room, and if I wasn't here to teach you, I have a really, really good suspicion that all of you would be able to figure this out. Because I've already taught you about waveforms. I'm not gonna say anything, and you're gonna tell me what Lift is right now. What does Lift do? Dark. You said it. It darkens. Yeah, but in what area? Shadow, mid-tone, highlight? Shadow. Mm-hmm, shadows, good call, good job. What's Gamma? Mid-tones, you guys know this, come on. (students laugh) You guys know this. What's highlight? Lift, okay? The reason this is powerful is because it allows us to increase the luminosity of specific areas of the image based upon shadow, mid-tone, highlight. Lift is shadow, Gamma is mid-tone, Gain is highlight. So let's back this off a little bit. I haven't done any adjustments at this point. I need to get this up, which wheel do I spin? Do I spin the Lift wheel, the Gamma wheel, or the Gain wheel? I need to get the mid-point up, my mid-tones up. Gamma. Gamma. More often than not, you're gonna find that moving Gamma is gonna be the choice you need to make. 'Cause that moves the mid-tone. So there's a little wheel right here. There's a color wheel up here, and a little spinny thing right here. I'm gonna click on that, but before I click on it, I'm gonna hold my Option key. If I hold my Option key and I dial that to the right, it's gonna increase the luminosity of my mid-tone values without lifting the color as well. Why is that important? I only want the brightness to go up. I don't want it to affect my colors. So if I hold that Option key, and then I spin that dial, it's gonna bring up the luminosity, but leave my colors alone. So now, hey, because I lifted the mid-tones, what ended up happening? My shadows, I don't have any shadows anymore. So, hold that Option key, what's shadows? Lift. So go to Lift, pull that to the right. Ooh, that's too much. Okay, cool, watch that meter, watch that waveform. Now I've got my blacks. Here's your before, here's your after. Before, here's your after. And you can keep looking, you keep trying. "Okay, maybe I'm still too high, "maybe I'm still too high." So I'll come back down and I'm just gonna start to work this image in a little bit. And then now, let's play it. And that, I believe, is- Okay, so let's look at it before, let's look at it before. And that, I believe, is passion. So now, we're gonna go back, and here's your before. Oops, here's your before, here's your after. Here's your before. Here's your after. So now, I'm still a little bit dead, right? I gotta add some other contrasts. I need to do some other stuff. So what I can do here is, let's move this image back over to something here. Let me grab this node and let me just actually do some more adjustment here really quickly. Now I gotta work on that skin tone. I gotta deal with something like that. So what I'm gonna do is Option S, gives me another node. So I've just added another layer in Photoshop, right? Just added another layer. So target, brightness, now I'm gonna work on saturation. Now I'm gonna work on color. So here, looks like I don't have a lot of red. Respective to the other two, I've got some green, some blue, but my red level's slightly lower than my green and blue. So how do I fix that? What do I do? So, I have a couple choices here. In my three wheel color corrector, I can choose to use this little dial and either increase or decrease the amount of red or green that I see, just by moving the center of that little wheel. You see that, see what I'm doing there? The way that I think about it is this, I do it this way. Give me a second. The way I think about it's this way. What color do I see? I see green. Do you see green? I see green. Where's green here? So my first choice I'm gonna make is I'm gonna go to the side opposite green. I'm gonna go away from green. So I'm gonna click that, and I'm gonna away from green. And then, I'm gonna look and I'm gonna slightly divert and add a touch more red to get that skin tone back. Can you see, if you move too far, how it affects the black? It's really, really sensitive, guys, so you gotta be careful how much you move it. But, if you move it just the right amount, you're gonna get a much better color than where you started. Here's your before, it's green. Here's your after. So this little edit, this little thing here, we do each clip, to each clip. And again, this is where we do the work. Now, caveat, had I not shot CineStyle, I would not have needed to do all of this because I would have had a profile baked in. And it would have been the profile. There's no moving after that. I would say in the way of color grading, this is next level. If you haven't ever color graded, you can shoot in camera, neutral, zero sharpness, negative two saturation, negative two contrast, still get a beautiful image. All your footage is gonna look great. You can make some slight tweaks inside of Premiere. The reason I'm showing this to you is because I wanted to make sure that I give you guys room to grow. Need to give you room to grow, need to give you room to go, "Hey, I'm not so scared of this software." And I really wanted to show you how that target would be able to help you balance your footage. Did I use Da Vinci on my first projects? No, no. When did I start using Da Vinci? I think I started using Da Vinci two or three years ago. Someone sat down with me and taught me how to use it. So therefore, I started using it. And I still don't know it nearly as well as I should. But I know it well enough to get in and out. So let's pretend we're here, and we just finished our edit and we're good to go with the color, and we've checked here, all the things look good. Everything looks great. I'm gonna go for it and hit, oops, not US utility, but I wanna hit deliver. Did you shoot the color chart for the B-roll, or did you just shoot that at the top of day with Ivan? I shot the B-roll, too. So there was one time I didn't shoot it for the B-roll, and it was with the 5D, at one point. So in the beginning of the B-roll, I didn't shoot it. And then for some reason, the color values changed in the room, 'cause as the sun went down, the lights in the room picked up a different color tone. So typically, you should shoot it every time your lighting situation changes. So you shoot the color target before the B-roll, midway through the B-roll, as the sun comes down, another target. And then you use that to balance this footage. So for this clip right here, I didn't have a target. So I had to go in and hand balance it. And so you're doing that for each camera, every time your lighting situation changes? Exactly, exactly. Great, thank you. That extra step of just taking a photograph of the target, I mean capturing footage of the target, is gonna be so helpful. Can you talk a little bit about monitor calibration and do you do that before each- Glad you asked, yeah, yeah. It was like it was scripted, and I even have the tool. (students laugh) Thank you. So before you guys jump into colorating, color grading, it's best to calibrate your monitor. So this is the tool I use, it's called an i1Display Pro. It's from X-Rite. It's basically designed to be able to read the colors that are coming off of your screen, and through software, adjust the colors that it's showing you so that it's accurate with what should be shown. So that's why I can look at my screen and do the color movements necessary and be confident that what I'm doing to the image, both in brightness and in color, is going to be accurate and responsive with what I think it's going to be. The way it works is, you open up a piece of software that they provide you, you plug this in, and then what you end up doing, is you lay it on your monitor and it just flashes color. And it reads it and then reads it and gives you a profile, an ICC profile, inside of the machine that it can then reference as to what your actual color balance of the monitor is. I know I probably really minced up a lot of that explanation, but I think I got it mostly right. When we talk about delivery, there is one thing here I need to stress. When you get to the deliver module, this little button here, everything you've done now will be baked into a separate file. You're never touching your old footage, you're not touching that stuff. But everything you touch here will be exported out into its own file. And you'll get an XML with it. So here is where you make that toast. Once you make the toast here, you can't unbrown it and make it more or less dark. Here is where you have to make that decision if you're done. Because if you make it here, 'cause right now, this is gonna take 20 minutes to export. I'm not gonna do it now, you'd be bored to tears. But the minute you hit export here, if you decide you wanna make another change, you've gotta go back into Da Vinci, make the change, hit the export, and then when you open your project back up in Premiere, then you'll see the change. So it could be very tedious here. So make sure you get it right. Now, if I went and I hit export, what I'm gonna do here is I'm gonna click, hey, Premiere XML, it's right here. Premiere XML. And typically, all this stuff is just easy. Export video, you wanna render at source resolution, guys. Do not render at 1920x1080 here, don't do it. Don't do it, render at source resolution. Which means render these files at the 4K resolution that they were shot at. Render these files at the resolution that they were shot at. Not at the resolution of the sequence. See the difference? And because I want you guys to be able to do things, make sure that it's individual clips and not single clip. So you queue it, you go, "Okay, add to render queue." You start to render it, and then, slowly but surely, you will get a folder of images that you dictate with all of the images and all of the XML. And you can see here, I did it four times. To get my grade right. You follow me? There is something cool, though. So, let's talk about getting this into Premiere first once you've exported. So to make sure that we talk about the same thing, once you get here, you hit start render. If I hit now, it's gonna lock up machine, so I don't wanna do it, but you hit this button right here, start render. Dialog box is gonna pop up right here. It says you've got 35 minutes. So if you hit that, a dialog box will pop up. The minute it's done, you can close Da Vinci. You're out of it, you're done. So I can close it now. Now, I'm gonna go back into Premiere. Quick question? Sorry, when you're rendering, and you know the likelihood is that you're probably gonna come back and do a few more iterations, wouldn't it make sense to do maybe a lower resolution, just to speed up the process? Yeah, you could, you could. But for me, it's just, I know that it's better for me to look at it in full res, and then just make a decision if I need to keep going. I was running against the clock on this shoot. And I could have kept grading, kept grading. And then I decided, "You know what? "I could totally do that, I could render "at a lower resolution, watch it." But, at the end of the day, if I ended up liking what I liked, what I did, I'd just have to do it again anyway. So, for me, it was a time thing. But that's actually a great idea.

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Confidently make a movie from start to finish
  • Expand your photography skills to motion pictures
  • Tackle pre-production and post-production essentials
  • Capture video and audio expertly
  • Edit in Adobe Premiere Pro and Audition

ABOUT VICTOR’S CLASS:

Photography and videography have several things in common -- but what about factors like audio and telling a story using video editing? In this filmmaking class designed for photographers, learn how to use the DSLR or mirrorless camera that you already have to capture high-end videos. In this start-to-finish course, you'll master everything from planning to post-production. The goal of the class is to teach anyone how to create a video from start to finish.

Dive into video production from the planning and pre-production phase, where you'll learn how to choose an idea, scope out locations, research the client, and more. Jump into video gear -- and what's really necessary on a low-budget -- and learn the essential filmmaking tips for recording. Discover how to capture excellent audio and tackle those B-Roll shots.

But this filmmaking course doesn't just teach you how to use editing software -- you'll learn the editing process, start to finish, from storyboarding to exporting. Work in Adobe Premiere Pro to perfect your footage and Adobe Audition to fine-tune that audio. Tweak color in DaVinci Resolve. Add soundtracks, titles, and keyframes. Then, finalize and export your project.

WHO THIS CLASS IS FOR:

  • Photographers eager to add motion pictures to their repertoire
  • Beginner filmmakers
  • Self-taught filmmakers ready for additional insight

SOFTWARE USED: Adobe Audition, Adobe Premiere Pro, DaVinci Resolve

ABOUT YOUR INSTRUCTOR:

Previously a photographer, Victor Ha is now a filmmaker. His experience working with both stills and motion pictures helps him guide other photographers through the same process, from photo to video. He's known for his straightforward, practical teaching style that's easy to follow along with.

Lessons

  1. Class Introduction

    In the first lesson, meet your instructor and learn what to expect during the class. Know what's up ahead by pinpointing the goals for this class at each production stage.

  2. Putting Ideas Into Motion

    Start the filmmaking process with an idea. Learn how to flesh out ideas and turn them into successful projects.

  3. Client Profiles

    Video projects come in many different forms, from cinemagraphs and short films to commercials and features. A client profile is a type of video telling a story about a person or business. Learn what's involved in this simple video type as an easy format to get started with.

  4. Choosing Your Subject

    Video projects start with a subject -- but just how do you choose? In this lesson, Victor discusses how to narrow down your ideas to choose the best one.

  5. Scouting Locations

    Part of the planning process is scouting out different locations, an essential part of pre-production. Learn what to look for when scouting out different locations and how to spot good camera angles. Then, work with that information as you prep for shooting.

  6. Researching the Client

    Understanding the client -- and what they are looking for in a video -- sets the stage for a successful video project. Learn how to research your client and the essential pre-production questions to ask.

  7. Choosing Equipment

    You don't need an elaborate amount of gear to shoot video -- Victor goes through the essentials for video, and how that list may change for different products.

  8. Waveforms and Scopes

    Waveform monitors show a visual of the video's exposure. Using waveforms along with vectorscopes can help you get the best results in camera as you shoot. While confusing at first, these tools offer big advantages on set.

  9. Shooting Strategy

    Build a strategy to organize those thoughts from pre-production and create a shooting schedule for the project. Incorporate these factors into a shooting strategy for success.

  10. Interview: Setting Up for Success

    The interview is an essential style for filmmaking. In this lesson, learn how to set up an interview for the best results, including audio suggestions and pitfalls to avoid.

  11. Prepping for the Interview

    Before you head into the interview, have a list of questions -- and practice asking them. Master the essentials for interview prep, including research.

  12. Capturing Audio

    Video and audio go hand-in-hand. Gain tips for capturing the best audio for your video, from dual system sound and setting levels to working with audio gear.

  13. Capturing Room Tone

    By recording the ambient noise in the room, unwanted background noise is easier to edit out. Learn how to capture the room tone and tricks to create better audio by adjusting the room.

  14. Audio Q&A

    Audio is scary stuff -- learn from the most frequently asked questions from students like you.

  15. B-Roll: 3 to 1 ratio

    B-Roll is supporting footage for your video, helping to add interest and fill gaps. In this lesson, learn why B-Roll is important -- and how much you need to shoot.

  16. Planning for B-Roll

    B-Roll should help tell your story -- so what should you capture, especially when the scene doesn't seem so interesting? Find out how to plan for B-Roll and ideas for the most interesting shots.

  17. 5 Rules to Capturing B-roll

    Use these guidelines to capture better B-Roll for your project, from gear tips to determining what's important.

  18. Using B-Roll to Shape an Edit

    B-Roll is secondary footage -- learn how to tackle video editing with B-Roll in mind. Then, jump into editing with Adobe Premiere Pro editing software.

  19. Introduction to Footage Review

    After recording, you may have hours of footage -- how do you decide what goes in and what stays out? Make footage review less daunting by tackling your fears first.

  20. Asset Management

    Organizing footage saves time and helps you get a jump start on that edit -- but the organization doesn't have to be elaborate. Learn how to manage the assets for your film project.

  21. Edit Setup

    Before you edit, preparing helps get the film project off on the right foot. Learn how to prep for editing, from working on audio first to identifying mistakes.

  22. Edit Audio in Adobe Audition

    Victor suggests photographers edit audio first to get the aspect that we're least familiar with out of the way. Build an understanding of audio editing and skills for using Adobe Audition, including eliminating that room noise.

  23. Syncing Your Footage

    Set up for a successful edit by creating "goal posts" and allowing enough time to reach each one. Start working on the edit by laying out the timeline and syncing footage.

  24. Conceptual Storyboarding

    Building a storyboard guides the edit and helps you tell a story, without meandering away from what's important. Create a successful story -- and learn why Victor creates his later in the process -- by working with a storyboard.

  25. Editing Choices

    Video editing is full of choices -- but you can always change your mind. Learn how to get over hurdles and make the best choices for your filmmaking project.

  26. Selecting a Soundtrack

    Soundtracks give your edits a tempo -- but what song should you choose? Victor talks about choosing neutral soundtracks, avoiding songs you already know, understanding copyright, and everything you need to know about soundtracks.

  27. Building the Rough Cut

    Start turning that storyboard into an actual edit by building the rough cut. Learn how to shrink down long footage, decide what to cut and what to trim, and start organizing footage.

  28. Refining the Story

    Take that rough cut and turn it into something less rough. Start moving footage around to match that storyboard. Victor explains the "meat and potatoes of editing" -- going through footage, listening, cutting, and repeating that same process again.

  29. Adding B-Roll

    With the shape of the video in place, work in footage from the second camera and B-Roll footage to fix continuity issues or simply add more interest. Develop not just an understanding of the editing software, but a workflow for editing your film project.

  30. Rough Cut to Final Cut

    Move from that rough cut to the final cut with an overview of the last stretch of the editing process, including mastering transitions, color edits, and polishing that timeline.

  31. Color Grading in DaVinci Resolve

    Create color-graded videos inside DaVinci Resolve. Learn how to use the software, import and export, and color grade your project.

  32. Three-Way Color Corrector in DaVinci Resolve

    A three-way color corrector allows you to fine-tune RGB values. Walk through the basic color correcting process to correct issues like color cast.

  33. Export from DaVinci Resolve to Adobe Premiere Pro

    With the color correction finished, be sure to export your file properly for a seamless transition back into Premiere Pro.

  34. Add a Title in Adobe Premiere Pro

    Adding text and titles in Premiere Pro is simple. Learn how to add text frames to your video project without leaving Premiere Pro.

  35. Export Project from Adobe Premiere Pro

    Once your edit is finished, it's time to deliver. Learn how to export your project from Premiere Pro.

  36. Adding a Keyframe

    Keyframes are simply markers in the video that signify the start and the end of a change. In this lesson, Victor uses keyframes to adjust the audio of only a small portion of the video.

  37. Creating Multiple Projects from Your Edit

    With the main project done, what else can you build from your material? In this lesson, Victor discusses additional options to add to smaller supplemental projects to your main work.

Reviews

Beatriz Stollnitz
 

Victor is an incredible instructor, clearly passionate about teaching videography to photographers. His teaching style is engaging and energetic, and the content is interesting and useful. I was very fortunate to be part of the audience for this course.

Lynne Harty
 

Victor is a wonderful, knowledgeable and enthusiastic teacher - I learned so much. Thank you.