Create This Deep Green Cinematic Look in DaVinci Resolve | Color Grading Tutorial

preview_player
Показать описание
Check out the new line of CineLook Premium LUTs

This color grading tutorial covers creating a variation of a warm deep green cinematic. It's longer than my previous DaVinci Resolve tutorials as I wanted to provide more detail and explanation on a few things. Leave a comment if you have any questions. Thank you to all the new subscribers for your support!

△ Hire Me To Color Grade Your Projects & Content

Use Code “GEORGE” for a 10% Discount

Starter Plan 50% Discount Code: George50
Business Plan 35% Discount Code: George35

Some of the links provided in the description above are affiliate links, which means I earn a commission at no extra cost to you if you use them to make a purchase. Your support helps me continue to create valuable content for this channel, and I truly appreciate it. Thank you.
Рекомендации по теме
Комментарии
Автор

That glow for creating contrast tip is actually amazing, thanks!

Steinthedude
Автор

Applaud the idea of trying things differently and there were lots of bits of info on your tutorial for people learning Resolve.But a few notes -you set your timeline colorspace to DWG - at that point the first CST is doing nothing and using a CST on a parallel for your display output is I guess your personal way of doing things but a color space conversion is math a Parallel node blends - so you are actually mixing the colorspace transfer with the nodes below. On a timeline that is set to Davinci Wide Gamut - the nodes are getting fed that space regardless.

The look adjustment after the LUT application, and neutralizing the whites and blacks - I think changes the look from the Fufi lut and kinds of makes it kind of unnecessary, except for getting the film look contrast.
Also not sure what the point of turning on the 2x magnification step and then using the alt/scroll to magnify the trace. It does show two ways to get to the same point, but in my workflow I just use the mouse wheel and get there a lot quicker. As I said I applaud that you showed that method but it wasn't presented with a verbal recognition that it is two ways to magnify. I can see a lot of new users doing both steps because they learned it here. The mouse zoom on the trace, it becomes habit to zoom in, have a look and then zoom back out. Thus never forgetting to turn it off - the 2x zoom is something that all of us have forgotten to switch off.
I like the matte idea for the glow - but again a soft luma qualifier would be just as easy. In Resolve there is always tons of different ways to the same results.
Good information in your tutorial - keep it up.

JimRobinson-colors
Автор

Daaamn it made a huge difference in looking clean and crisp and finally getting my blacks black and white white, I'm working in the film industry but I'm not a colorist so could see it was wrong but didnt know how to correct it, this helped a lot thanks!!

AnimationDunk
Автор

As soon as I watched this video, I tried it to my work. It really works fine in my work, too. Really helps me a lot. Thank you so much for sharing this. I will keep watching your videos from now on, too.

gochannel
Автор

This is a masterclass! Feels awesome to find tutorials for people at the intermediate stage of learning!

krishbphoto
Автор

Also you can add glow to highlights using HSL qualifer with only Luminance setting.

Автор

Need more of these kind of videos, Thanks

URZDJ
Автор

Couldn’t find the subscribe button just to find ive already subscribed to you, love your work i follow it through and through!

SilvaGoof
Автор

I never wanted to work with davinci until i saw your kodak video. now im on it. ive been editing for probably 8 years. but you were the one to make me get into Davinci. i never cared for luts as I just graded everything manually everytime via wheels etc. but after understanding powergrade NOW i actually care to learn all the nooks and crannies. because luts just feel like throwing a filter, but these power grades are baked into it. idk how to explain it but you got me brother. appreciate your vids.

ThatsOPV
Автор

i came for the look I ended up learning a lot of other things. thank you man. apprecaite the explanation.

hamzaqazzouf
Автор

Need more of these videos! I'm curious to know if you're generally using this node structure with every clip you grade, or if there are vastly different node structures you use for different shots. Would love to see a breakdown of that if you use multiple!

herokme
Автор

Finally a different approach to grades. Love the workflow and alot of new and non traditional workflow. thanks G. so so unique

factor
Автор

as someone trying to switch from adobe programs to davinci, i find your tutorial very insightful but i’d wish that i could see the keyboard shortcuts you use in order to speed up my workflow and i feel like thats would greatly improve the digestibility of this tutorial

thank you so much for the awesome video :) you did an amazing job at explaining the concepts you were using to grade for a beginner

shuutori
Автор

Great work!!! I love your way of explaining stuff. Its easy to follow and to understand why you are doing which step! :) Thanks

LaserDeniz
Автор

Amazing work! I have recently gained this interest in learning to color grade and editing in davinci resolve and was having a hard time finding a video that would suit a beginner like me who doesn't have any idea about these terminology. Really love the way you explained the parallel node tree and why you used two CST. I am looking forward to watching more of videos and learning as much as I can. Thanks for uploading this mate! 😀

ElegantHumanoid
Автор

You haven't seen the node structure because it's very unconventional. It works, so it isn't wrong. haha. Don't let any haters tell you otherwise. Good stuff, man.

SethParker
Автор

Dude the amount of software knowledge u have is insane, keep it up man i wish the best for u

AbdelhamidBoukhatemi
Автор

This work flow made my work pop I was amazed.

ghostmalone
Автор

Good tutorial. One thing I think you should try is instead of using a Cineon CST before applying the film print, try using an ACES transform into ADX. Cineon is fine, but ADX does a much better job of getting you into the approximate color space of an actual scanned film negative. Also not sure if I understand the thought process behind transforming into Rec 709 before the film print look which also works as a Rec ODT? Just seems like an unnecessary hoop to make your footage jump through.

BalloonCandyFun
Автор

This was so good man. I've been working in DR for a couple of months now and I'm looking to improve my colourgrading knowledge and this vid definitely helps! Great tutorial man

KaanSenel