Ok, so welcome to another tutorial, today we're going to be looking at DaVinci Resolve 10,
this is the light version, obviously if you've paid for the upgraded version, lucky you but
I'm just going to look at the light version today, and what we're going to look at is
our setup, so how we set it up, our preferences, how we can work with them, then we'll look
at the media, so adding media, then move on to working with EDLs or XMLs, depending on
what you're working with, and then we're going to do some very quick colour, and what options
there are for colouring, and then hopefully that's done, so I'm hoping maybe about 30
or 40 minutes hopefully, so let's just get started anyway, so DaVinci Resolve 10, let's
just open this up, obviously I'm working with a PC on this, you can work with Mac or whatever
and then it's going to load and it's going to work as quick as your computer can do,
so obviously a little slow today, maybe it's the weather, ok, so DaVinci Resolve, there
we go, ok so it's fair, whatever, doesn't matter, so what we've got is some options
to login or set up, so if you need to set up an account, just go in, set it up, it's
very easy, it's not rocket science, then just login, so I'm going to go in as my administrator,
which is just easy, so just hit login, and then we have some projects, obviously if you've
got nothing on here then you have to go to the bottom left corner where it says New Project,
and just click and add a project, so let's just call this one Tutorial 2, and then we
create and hit create, there's Tutorial 2, so there's our timecode and our size is set
up, New Folder, if you want to open or make a new folder then you can make a new folder,
but in this case we're just going to work with a project, so we just hit open, and there
it is, welcome to DaVinci, so this is the media section of DaVinci, and in here we can
see our library, we've got a video playback, an audio playback, our metadata, and then
our master media pool, so I would assume if you're new to DaVinci and you've not used
it before, all of this library is going to be empty, so what you need to do in order
to get some library is go into DaVinci preferences, and in your preferences you have a few options,
but we look at media storage, so in our media storage just hit the plus, go to your computer,
and then just select the drive and hit choose, and it will pop up on here, so for example
I'll hit the J drive, and I'll choose it, and there it is, it's there, so when I save
this it's going to tell me that my preferences have been updated, and they will work next
time Resolve has started, so I'll just hit ok, so what you need to do now is restart
DaVinci Resolve and then it will pop up here with your drive, ok, so I'm not going to restart
DaVinci because I'm just going to crack on, so once we've done that and we're happy with
that, what we need to do is find our content, so in my wonderful example that I'm going
to be using, I have a content in here where I've got several files that I'm going to
work with, ok so here's some of them in here which is good, so all you have to do to click
on it and you'll be able to see it, you can scrub through, you can playback, you can scrub
through here and see it all, there it is, this was all shot on Canon C300, this was
a blue screen interview and you can see a little bit yellow and you know it's, the white
balance is a bit off but that doesn't matter, we're not going to gray this one anyway, but
because when I was editing the project and I export my XML or my EDL, obviously this
is in that EDL, so if I don't add this to my media pool it's going to show me in my
edit section that this is an offline clip, so for the sake of showing them all online
I'm going to add as many as I believe are in my media and my EDL, so I just need to
right click on the, or if I want to control obviously on the PC to select them, it would
be I guess command on the Mac, right click, control click on the Mac and then add into
media pool, please yes change, obviously if you want to set up your frame rate to be slightly
different you can do that, that's no problem, that's easy enough and I need to find my second
batch which will be in here, my other chunk of interviews, 1, 2 and 3, so I'm going to
add into my media pool and that should be all my interviews that I did for this and
again you can see the white balance is very yellow in here, that was just because of the
lighting, don't worry we're going to gray this later anyway, there's some other stuff
in there but at the moment that's all that's in my EDL, I haven't got anything else in
my EDL, so that's how you add your media, so you just right click add, there you go,
obviously you can do all these different ones, different options in here, extracting audio,
add as a mat layer etc etc but for this we're just going to look at that, so that's our
media that's adding our media, if we click on this we can see all our information, obviously
if we imported stuff or we want to add stuff in here we can say what it is blah blah blah,
obviously if all the metadata was coming from the camera then it should automatically import
into here, see we can see there our information, when it was shot, time it was shot, channels
blah blah blah in the frames, so there's our information and the same with this, so let's
look at our edit page, let's move along here to our edit page, ok so this is where we would
need to pull in our EDL or our XML, so what we can do, if we go to file we've got import
AAF EDL, XML etc, so we click that, obviously just need to then find our EDL which is here
looking there, so we've got an EDL there, our EDL, this has come from Premiere not from
Final Cut, obviously these XMLs probably come from Final Cut but they might not match, so
I'm going to work with this EDL, so I'm just going to hit open, it's going to give me this
information, it's going to say the frame rate that's going on here, it's going to tell me
timecode, the name, source file and the timeline, obviously the timeline name, which is fine
so I'm going to hit ok and there we go, there's our EDL, so if I zoom out I can zoom in, I
can zoom out, obviously all of these sections were text, so I had a piece of text just on
my edit just to tell me what they were talking about in the interview, I'm not going to work
with the blue screen, I'm just going to work with this one initially, let's just work with
this one initially, let's get about that, ok so this is how we can work, so I've got
my EDL imported, all good, sorted, looking happy, so then next one we've come into our
color section, so DaVinci works with nodes, what the hell is a node I hear you ask, well
this is a node, it's quite useful, it allows you to separate your coloring or grading into
different sections or different areas that you want to concentrate on, so this obviously
says no color correction because I've not done anything to it, but let's have a look,
so what we've got is we can select what we want to work with on our timeline, this is
coming from our EDL, information from our EDL, let's just work with this one because
it's easy, what else do we have, we have a little camera, this tells us our camera raw
information, obviously we don't have raw, I'm not working with raw because this is ProRes,
if you have raw then you can select your different information, color wheels, lift gamma gain,
it's obviously blacks, gamma is mid tones, gain is your whites or highlights, we can
change this to our logs, so it actually says shadow mid tone highlights, if you want an
offset color we can offset a color, but we're not fussed at the moment, curves, curves like
a bit like Photoshop, we can work with curves, red, green and blue, we've got some options,
we can work in hue versus saturation, hue versus luma or luma versus saturation, I would suggest
you leave it at the custom layout, this is fine, the luminance, the red, green and blue
will deal with them later, we won't touch them for the moment, what else do we have,
we have a picker or a qualifier, whatever we want to call it, this works with HSL, RGB
I would again suggest leave it at HSL, that's the easiest thing to leave it at, if we want
to make some shapes, we'll talk about this in a minute, we can create some shapes in
here, we can track movement, we can work with blurring, we can also sharpen, we can also
mist, so add a kind of mist E type effect, not really mist but soften, I suppose softening
kind of gray effect kind of onto it, key if we want a key stuff, then we can key stuff
but we're not going to, if we want to change the size, pan, tilt, zooms, etc etc, then
we can do that in here, we don't have 3D, and then the final one on this is, if we want
to add any more information into our data or if we want to import some information,
we can do that all in here, so let's just go back to our color, obviously we can see
the color doesn't look very gray, it's a bit, it's quite yellow, a little red as well
in there, so if I right click and I look at my show scopes, obviously probably this wouldn't
come up, it would probably come up as a 4 up like this on yours, I would imagine, so
your wave form, your histogram, your vector scope and parade, so obviously this is showing
you your RGBs, red, green and blues, red, green, blue, red, green, blue, now we can
see there's some kind of white coloring going into it, white is where we're creating a perfect
black and white, or almost perfect black and white, I mean you can see it's yellow in here,
so but you can see background stuff, there's blacks in here and we can see there's blacks
going on in here, but there's no real, there's a black glasses here, so if I was to stick
my 1 up, let's go to 1 up, if I was to stick this over the top, we can almost see where
the blacks are, where the reds are, if there's any greens and yellows and all of this kind
of stuff, so what we first want to do is we want to create perfect blacks, perfect whites
and do just basic color correction, a really basic color correction, that's what we first
want to do, so let's work with that first, so 0 is black and 1, 0, 2, 3, that is white,
so if I move my lift and I move this wheel here and I move it up, alright so this is
off there, we can see it's gone grey, that's understandable because I'm moving my black,
I mean we can see what we want is we want this line to effectively be along the 0, so
let's just remove that back down by moving the wheel, slowly does it, to about there,
okay so that means we've got some blacks to work with, and alternatively if I take my
gain and I move my gain down, we can see that you know there's a lot going on here, so we're
just going to move it up, we're going to brighten the image up a little bit, that looks okay,
I mean it's a bit overshot in some of the areas, like here for example we can see this
is quite white, it's very bright, sorry there's a lot of highlight in here, and here as well
there's a lot of highlight, so if we wanted to pull it down then we can pull it down,
alright I'm quite happy with it about there anyway so it's all good, so we've got perfect
kind of blacks, perfect kind of whites, but it still looks yellow, so we can change the
gamma and the gain, and what we work with with this is opposites effectively, so it's
a lot of yellow in his skin tone, the piano is kind of yellow, his shirts yellow, everything's
yellow, and a little red as well, we can see a little reddy yellow, so like reddy yellow
is about here on our gamma, so if I start to pull this into towards the blue, we can
see it's starting to look a bit more natural, and his skin tone is starting to look a bit
more natural, we can see here that maybe it's a bit too much green, so if we move it up,
okay it's a bit red, a bit too green, let's pull it out, let's work as well with the
gain, okay well that's looking okay, so now we've pulled it out and it's gone already
blue, which we can see has affected all of this, but according to the color correction
this is not too bad, personally my eyesight, I can see, I mean it looks a bit blue anyway,
however don't worry about it, we're going to work with this as a first kind of cut,
so I'm going to move it back a little bit, and I'm happy there's a lot of white going
through this now, we can see a lot of white here, that means we've got some good blacks
and some good whites and they're kind of matching, which is ideally what we want, let's close
our waveform, okay so there's our node one done, excellent, if I hit or go to nodes,
add serial nodes, so alt S is add serial node if you want a shortcut key, alt S, okay there's
our serial node number one, okay so this is moved to the next node, what I want to do
is work out how many nodes that I'm going to work with before I start doing anything,
this I found is a bit easier than doing a color correction, add another node, if I just
do it all the nodes first then I'll just come back and figure it out, so I want to deal
with his face, this is going to be my face, so I'm going to call this face, I also want
to create an outside node, so this is face but I want to create an outside node, I'm
going to do that later, so I'm not going to do that first, so the way nodes work is node
one, node two, we need to create a third node, so excuse me, so we're going to work with
a parallel node which is all P, so we can see that it's created a parallel node, you
can see what's happened there, so it's dropped these two together and it's created this,
so this parallel node could for example I could work on his shirt, which is probably
what I'm going to do, and then this would be my final node, so then this node is going
to be my contrast, so then I need to create one more node which will become my final node,
so Alt and S, oops sorry I was in the wrong node, so this one Alt and S, now this has
become my very last node, so let's call this, oh sorry I pressed the wrong button, so these
two are coming together, so this is a kind of like in between node, this one I'm going
to call my contrast, and this one I'm going to rename and call my shirt, this is an in-between
node, I don't really want to touch this node and do much with it, this is my contrast,
and then after that this is my final, let's just call this final, so if I want any final
grading I'm going to go in there and do some final gradings, so we've got our nodes, obviously
I do need to create one more node in here which will be my outside node which I will
get to in a minute, because I don't want to do that at the moment yet, so I've done a
first basic color correction which we can obviously put in here, just call this basic,
I'm going to go into my face, so now I'm going to work with my face, so what we can do which
is really great in DaVinci is we can work with our qualifier, now there's a couple of
ways we can work with our qualifier, we can do it manually with these three, so our hue,
our saturation and our luma, or we can do it a little bit automatically I suppose is the
easiest way of setting it, so we can see here the highlight it says highlight, so if we
select the highlight, this is going to show us what we're selecting, see we've got a little
color picker, now I'm working with this skin tone, so we've got this much space, now the
skin tone is kind of a similar sort of color as well to this, so don't be afraid when you
click some skin tone and if there's other colors that are kind of similar, it will probably
highlight them, so if I click it, yeah, I mean at the moment it's good, but if I was
to click for example here, we can see this is starting to peel off, which is fine because
it's not a big problem, now what we can do is we can either manually select all of this,
so by moving our center points and our width, so for example like this, yeah, so we can move
our left and right and we can select however we want it to be selected to cover his face,
we can then move up our saturation, so if we want to include more saturation and again
if we want to include more highlight like this with our manual, we can also do it like
a little bit non-manually, automatically by using these color ranges and softness, but
I think it's probably easier if you do it yourself because you could just use your eye
rather than just randomly kind of click click click click click, it might look a bit funny.
Let's take that down a little bit as well, so I'm not fussed about his eyeballs, I'm
not interested in this, his eyebrows as well, I don't really care and obviously his teeth
area, not fussed, I'm looking at his skin tone, so I'm quite happy with the skin tone,
I know this is covering as well, but we're going to move on and we're going to make some
shapes next, so once you've got your skin tone happily selected and you're happy with
it, we can move on to our third window called Window, it's very original name, we've got
some presets, but we're not going to work with presets, we're just going to make our
own, so we can see on shape invert mask, if we hit on we can see what's come up, we've
got transform, we've got softness, so what we can do is just go into here and start
clicking around our face, so we'll just click click click click click click, clickity click
and the last click on there to join them up, now we've got that, see all of this background
now has gone, which is very nice, we want to create an inside, so this is just a manual
looking dot, so if we create an inside and I moved it, see what happens, we create a
pink inside, we'll create an outside, about sort of a little less, maybe 2.3, 2.5, looks
pretty good, let's just take this down to 7, 7 looks good, okay looking very nice, let's
soften it, maybe a little, if we soften it, you can see what happens, it kind of softens
either side of the inside or outside, so maybe we'll soften to about 7.5, we can manually
put that in, okay looks fine, looks good, we've got no problems with this, we can zoom in,
yeah looks alright, looks pretty good, quite happy with that face, now obviously if I now
scrub through this, we can see that he's moving a bit, so for example you know here he's completely
out of the shot, half his face is kind of out of the shot, so what's really great in
Da Vinci is if we move on to our next one that's called Tracker, it's very simple,
we can analyse how much he moves, because we've got this dot in the middle that is saying
this is kind of the centre point of what we're looking at, now we know that the camera is
not really doing much, doesn't zoom so let's just kill the zoom so we don't need that,
but leave the pan till it rotates, and then just hit the forward and it will start tracking
his face, and you can see it moving as it tracks, and Da Vinci actually does a really
really nice job usually of tracking these objects or faces or whatever you're using
to track, and there we go that's all done, very good, I always like Da Vinci when it
tracks, it seems to do a really good job, much better than Final Cut colour does, I mean
it's not been updated, anyway, if you want to add keyframes yourself you can go in and
add some keyframes, I don't need to, it's fine, if you want to then do the betweens,
you can add those as well, they call between, so it's just keyframes, so if you want to
add your own keyframes, if you want to set points, delete points, if you want to insert
anything and make it a bit, like start working with it a little more than what's been tracked,
you can, it's an option for you to look at, I'm happy with this track, I don't need it
to do anything else, it's fine, so now I can go back into my colour corrector, and maybe
I want his face to be a little bit warmer because we know the background's a little
culled, so maybe I want his skin tones, mid tones, to be a bit more yellow, so I will
just pull in a bit more yellow, not too much, else he's going to start looking like an
oompa-loompa, okay that looks better, he looks nice and warm, a little warmer skin tone,
maybe I can do the same on my game, so my whites just add a little bit, tiny bit of
yellow in there, okay, so his skin tones look pretty good, quite happy with that, so what
I can then do is because I work with the inside of this, is I can right click and I can make
an outside node, so this will work with everything outside of this shape that I've made, so if
I click that and we can see he comes up looking all strange, because this is my inside, everything
on the outside obviously is outside of my face that I've just worked with, so maybe on my
outside perhaps I want to make my contrast, add a little contrast perhaps, maybe I want
to add a bit of blue into this, maybe, so maybe we'll pull a bit of lift into the blue,
make it a touch bluer, so it just brings out his skin tones a little more, and maybe we'll
just add a tiny bit of contrast, looks pretty good, and check this so he's looking good
in there, so then if we look at our next one and go to here, this would be our final kind
of shot, looks quite nice, I'm quite happy with that, looks pretty good, there's our
final one, so we can go in here and if we want to see it before and after we can do
control D, so we can see what it looks like, so there it's quite warm, and they're kind
of a bluey tint to it, so it's got quite a bluey tint to it going on in there, which
is cool, but I still want this shirt to be black, I mean his hair looks pretty good,
I'm happy with the black, I could always go in here and look at my scopes, so there's
a lot of actual black, but here we can see kind of missing some black going on in there,
so it's not really really black, it's kind of gone blue this shirt, it's kind of gone
a bluey kind of color in there, so what I can then do obviously is I can go in here
and I can make a shape, and I can do what I've just done with his face, but I can make
the shirt, and I can work with his shirt when it lets me click, and we'll do basically the
same as what we've done, so there's my shape, very nice, we'll do the same here, maybe we'll
do a five inside, do a five outside, oh that's probably too much, maybe a 2.5, maybe even
a 1, let's go with 2, looks okay, looks pretty good, I'm alright with that, and let's soften
maybe a 2, soften that looks pretty good, and again we need to work with our color,
so we're going to just pick the black, which looks fine, that's what we're working with,
looks pretty good, there we go, something like that, we want to leave a little bit of this
edge out really, maybe we can blur a little bit, see if we blur it a little bit, we kind
of lose the edging as well here, so we're going to shrink the blur down a bit, maybe
a radius blur in there, okay looks pretty good, let's pull our radius up again, and
maybe offset, we can offset a little bit as well you see, something like that, I mean
we could probably trim this edge bit if we go back to our shape, trim that in, and the
same here, and then let's go back, check that, maybe this bit could be trimmed in a little
bit tighter, but for this we're going to not see fussed about it, so let's go to our mid
tone, maybe let's just make it darker, okay nice, our little yellow, okay that looks a
bit more like a natural, that's a bit possibly a bit too yellow, I quite like that, maybe
make it a little darker as well in the lift, okay it looks quite nice, it's got a nice
black shirt, looks good, so that's our shirt done, we don't need to worry about the outside
of that because we've dealt with that in here, in this one, there's our outside, so
we could maybe let's change the label and call this outside face, so we know exactly
what it is, obviously this is our original, and then we're coming into here, so it looks
pretty good, I'm happy with the shirt now, I like this blue, I might even push that a
bit more blue, potentially I could put a bit more blue into that, maybe a bit less blue,
maybe we can make the background a little bit darker, okay and then let's have a look
at that, okay not bad, looking good, looks pretty good, maybe we could also blur it a
little bit, so if I go into here I can blur perhaps a little bit more, and the ratio
a tiny bit, okay looks quite nice, sorry don't want to be doing that, don't want the key
so let's go there and let's check this, okay that looks a lot stronger, looks quite nice,
this shirt is a little bit blue now, so let's go in here and probably add a bit more yellow,
so we know that this is yellow, but when we're going into here, that looks a bit better doesn't
it, I mean it's a bit warmer shirt colour, the piano is kind of cold, so he's standing
out a lot more than the background is, which is kind of what we want in interviews, so
I quite like that, skin tone is looking good, let's go back to our original first grade,
this is our first colour correction grade, this is what the original looked like, very
yellow, not very interesting, then we graded first just to colour correct, then we moved
to the face, we yellowed a bit more warm, then we pulled a lot of blue around the face,
so to give it a bit more depth, made the shirt a bit more yellow because we wanted it to
be a stronger black, came into here and we obviously added a little bit of contrast,
so what we could do in here that I've said contrast, so let's add some contrast, maybe
we'll just make it a tad darker and do a kind of S, whoa not that much because he's starting
to look a bit funny looking, maybe just a fraction contrast in there and that looks,
let's play it out and see what it looks like, so what we noticed there as well is this is
kind of looking a bit funny here isn't it, so let's go back to our shirt because what
we didn't do is we didn't put a tracker on, so let's analyse and track the movement which
is very useful and we could probably pull out this edge as well, let's move that once
the track is finished, so it kills this bit here as well, okay that looks good, so we'll
just pull that in to right on the corner sections and that should do nicely maybe a little bit
more because we've got the inside outside kind of softness going off for us, so by just
moving these a fraction we can deal with and obviously this isn't C-log so raw you'd have
a lot more to play with, this is just ProRes so we don't have the same amount to work with
that we would in this, so let's take a look at that again, let's play that out, see we
can still see a game like this kind of shadow, so I mean what we could do in that case, let's
go back to this one, let's go to our shirt and maybe we just don't want to do anything
with our shirt, maybe we just removed the whole thing, let's reset that, let's reset
these guys, so maybe we don't want to actually touch the shirt, let's take a look at that
but now he's got a blue shirt, so I mean it depends on what you're looking for I guess
for your grave but you know you don't want this kind of fuzziness going on here and
that's also to do with the ProRes file you know we all would have a lot more detail going
on into it, so if we do want to go back into our shirt and we want to create in here maybe
we just want to add a tiny bit of yellow and we're not losing the detail, still let's add
a bit more maybe yellow in the blacks, okay and let's see what it looks like, now you
see we're starting to get this kind of curve that you're going on there which we definitely
don't want, so maybe a little bit more in the mid-tone just a fraction, okay that looks
alright, looks good, I'm not too bad you know it looks pretty good it's a little bit cold
but it looks okay and there we go, so then we can go into our final and have a look
at that and we can see what we've done, so I think what's really important with DaVinci
is once you get into the colouring you know it's very subjective for what you want to
create, you know what kind of style you're going for, what are you trying to make, how
do you want to use DaVinci to create a look that's your own kind of look for it, obviously
you know this was the original so we can see it was very yellow and not looking very good,
we did a basic correction which looks flat but the colouring looks fine like in terms
of a basic colour correction, then we moved on to the face, outside the face did a little
work on the shirt and then a little bit of the contrast pulled a little bit more contrast
into it and kind of gave it this kind of bluey tinge that's going on in this one here so
this is a bit of a bluey tinge going on, pulled the contrast, the shirt looks pretty black,
his hair is obviously very black, I mean I remember his shirt wasn't pure black but it
doesn't matter because his glasses and his hair look good and there we have it and there's
our final grade so hopefully that has given you an idea of what you can do in DaVinci,
I would really recommend trying to work with raw files because it's just going to give
you way more depth when you come to your grading, you can also do kind of this in other colour
grading colour correction suites but I think I've been using DaVinci for a little while
now, still kind of getting to grips with it and everything that it can do but it's really
nice, it's quite simple once you actually get to understand what there is you can do
with it and it does way more than other grading software that I've worked with in the past
so I'm quite happy with what I've come to get with this grade in particular, looks quite
nice, maybe can add some more contrast if I wanted to add some more contrast, maybe make
it a little bit darker but no I quite like it as it was and there we go, there we have
it, so that is a kind of quick ish tutorial on DaVinci, I will try and do some more tutorials
on DaVinci, this is kind of just an overall here it is, check it out, try and use it,
see what you want to do and obviously you can create these looks, you can add in here,
you can grab a still which is very cool and then I can go into this one and I can add
the correction and it does it straight away, I don't even need to think about playing with
anything, it just copies the grade straight away into it which is really cool but obviously
the lighting in this one was different to this one and the face is different to this,
it is a bit brighter in the face so maybe I would pull down the highlights and play around
and obviously here this is not the right shape so I would have to go in here and change the
shape and again the shirt is not correct so I would have to then go in and change a few
things but overall basically overall it does copy and paste everything to your clips which
is really great you know it makes it quicker for you to grade if you want to be speed grading
but personally I prefer to take my time and also monitors you know try and find a broadcasty
color monitor, very useful, this is not, what I am using is not proper but you know I can
always look at my scopes in here and see what I am working with and it looks pretty good
I mean there is a bit of red, quite a lot of red in there but you know that is kind of
what I am looking at anyway, I want that kind of feel to my work you know that is personal
choice.
So there hopefully you have enjoyed the tutorial and it was not too long or too boring there
is some other great tutorials on DaVinci out there as well at the moment that I have looked
at as myself this is obviously hopefully quite useful for you and enjoy playing with DaVinci
ok see you next time.
