i'm about to show you how i take a shot
like this and
instantly correct the white balance in
davinci resolve i'll also use the
incredible motion tracking features
to do facial touch-ups with just a few
[Music]
clicks
now while color grading sounds a little
bit technical it's really just
color correction it's enhancing your
video so that it looks a little bit
nicer coming off the camera
so let's jump right into it let's jump
to the past hey past robbie
hey future me how's this look you know
it looks pretty good but i'm noticing
that you're
pretty blue like we're definitely seeing
uh
some blue clipping going on there well i
tell you what it's a good thing i
brought this white balance card with me
then
right here pause the video now and
sample that in davinci resolve
okay so i'm going to grab the tool to be
able to dopple that
wow any better yeah it looks fantastic
actually with just two mouse clicks
but you're holding up a pretty fancy
looking
white balance card what if somebody
doesn't have such a thing on hand
you know what that's no problem at all i
encounter this all the time when i'm
doing zoom interviews
all you have to do is get the person to
hold up a white piece of printer paper
next to their face it's flimsy but it'll
do in a bind go ahead and undo that last
action robbie
and sample this okay
fair not bad eh no that looks fantastic
actually
and all you're using is just a standard
piece of printer paper
wow all right well let's dig in just a
little deeper
into color correction in davinci resolve
so that doppler on a white piece of
paper
has cleaned that up really really well
so you can see the blue is no longer
clipping
it's a little bit higher than the red
which is inevitable because i'm wearing
a blue shirt and i've got a blue
background so keep that in mind
you don't want this to be level across
the board because yeah there
is more blue in that picture but what i
want to do now is i want to correct the
lighting ever so slightly it's looking
pretty
pretty good right out of the box but i
can bring up the gain
and what i want to watch is that i'm not
going to clip any of these
okay so by clipping i mean it's going to
go off of the scopes here so if i
actually bring that up too high
it's going to be see what happens to the
blue channel there
and it's it's like it's over saturated
so
i want to keep these spectrum analysis
analyses uh within this
scope here i don't want it to clip
outside of that but i want to bring it
up
so that the lighting is a little more
see if it's too dark
it's going to look like that you can see
how that affects those graphs
so i can visually see over there that
bringing up
so watch the blue there how i'm just
letting it touch the edge of the scope
i'm not going to go any further than
that because i don't want to clip it
so now if i wanted to i can see that
there is
very little green compared to blue and i
can experiment with okay if i want to
just grab the green a little bit and
just bring that up but i can see that's
skewing the color but i want to you know
see what that does
so see how the the green and i'm looking
over here at the spectrum analysis
so how that affects that
so i can line things up so that
everything is
just right there we go so that's looking
pretty good my offset is going to bring
those down a little bit into the darker
end of the spectrum so that i can
expand them a little bit further if i
need to but you don't want to
over kill it because you don't want it
to look
like it's been overly enhanced or
digitized but i can
correct certain aspects of lighting now
lighting is pretty good in our studio
but you know i get a lot of glare off my
forehead and stuff like that
so i can correct that here okay so next
step
is actually to correct some of the
details in
my flesh so and this could be not only
my actual skin like if i have blemishes
for example
pimples or something like that um you
can see there's a little bit of a red
spot on my forehead here
um so i can correct that as well
but it can also be to compensate for
some of the graininess of your camera
you can see that the actual camera
itself
is a little bit pixelated so what i'm
gonna do
observe that spot on my forehead uh in
particular
some of the some of my goatee here you
can see a
a red spot there on my chin which looks
like a blemish on my face
there's another one right on this side
here
so let's let's see what we can do to
correct that and
and we're not getting into this is not a
de facto
um how to color correct in davinci
resolve there are tons of those
on youtube so consider this more how
we at category 5 technology tv because
that's what this series is
how does category 5 whip out episode
after episode
and how do we make it look as good as we
do and sound as good as we do that's
what this series is covering
so consider this as how robbie
color corrects and enhances the video
for category five
it's not the de facto this is how you
use davinci resolve so consider that
okay so first of all i want to have a
parallel node which is going to be alt
p and this is going to allow me to now
modify things
on this node without affecting the
actual
the main video node so what i want to do
is i'm going to add a circle
window here and so i'm going to drag
this up over my face
i'm going to add some feathering on the
edge see how that works
and then i'm going to bring it in to my
face
there we are now i have a really good
advantage here at category 5 technology
tv in that i am usually very
stationary see that i'm just barely
leaving
the frame so
what i do need to do though is i do i do
leave the frame and i move over there
so i am going to have to do some
tracking so let's bring up our tracking
tool
and i'm going to hit play from the
beginning and that's actually going to
track my face
there we go so it's following my face
now
i'm not happy with the way that it's
the way that it's tracking there you see
what it's what it actually did is it
kind of
went askew so i'm going to change so
that it it does not rotate
it does not enter 3d space and it does
not zoom because the camera is
stationary
all i want it to do is uh and let's turn
off
tilt let's just go with pan
and let's try that so i've undone now
i'm going to hit trace
and see now it's just moving left and
right did you see that
so ignore the fact that it changes to
the computer shot so now
that my tracking is done and i'm just
moving back and forth here and you can
see that it's
following my face so when i go
far to the side there that tracks my
so uh now that the tracking is done so
if i go back to my circle tool here
and i want to just make sure that it is
my face that is selected so if i bring
down the gain you can see yes it is
only impacting my face because we don't
want to make any changes to the
background right now because what i'm
actually doing is just
improving blemishes and only on my face
so again observe that red spot on my
forehead
and if i just bring down if you look
here mid
slash detail i'm just going to bring
that down a little bit and watch what
happens to my head
look at that it's just like a nice
subtle air brushing you don't want to go
too far and yet i have
let's bring that up just a little bit
and you can see
that the detail is just a little bit
softened
but it looks natural so now with that
tracking happening
if i press play
it's actually going to do that
feathering um
and it's going to follow my face i can
still see the forehead thing that's
not not too bad of a thing if i wanted
to
because that's a red spot and this is
going to be different for every single
video that i produce but
here yeah i do have a red spot on my
head for some reason
so i could actually create another
parallel node and i could create another
circle
and i could place that circle on that
red spot
keep the feather and just place it like
right there
and let's actually track that red spot
so let's put it right there and
follow
okay so now i've tracked that red spot
so it's following it
and let's see if we can very gently
bring down the red just a little bit so
i'm going to grab here
and pull down the red so if i pull down
too far
watch what happens see that so it's
so now if i play that see it's following
and it's
turning it green so you don't want to go
down that far but if you can do it just
subtly enough
and yet strong enough that it makes an
impact it's not going to be perfect i'm
not going all out here and spending
hours and hours
retouching a video no i'm doing really
simple touch-ups
really really quickly so now if we look
at that video
and let's select our main node that's a
little bit too pronounced i don't like
that so i'm going to bring up the red
just a bit
let's see if i can find kind of a happy
medium that looks pretty clean
so now if i press play you can see it's
actually following
the the spot and it's following my face
that whole track is looking a heck of a
lot better
right out the gate so again if i so
let's turn off
both of those so this is the original
video
and i've only spent a couple of seconds
here so now turn back on both of these
and look at the difference fantastic
okay so
next up here's something that we're
going to do for the sake of today's
demonstration but i want you to hold off
on this if you want to do multicam
shots from a single camera that's a
feature that we're going to be doing
next time
so hold on the vignettes if you're going
to be doing that because i've got a
trick for you but because this is a
single camera shot
i'm actually going to create a serial
node which is alt
s and that serial node is going to now
have a vignette so i'm going to click
into my window mode
and click on a circle once again we love
circles
i got a big round melon of the head so
it works really really well
so pretend this is a camera lens so see
i'm doing this proportionally
and i want to bring it out like that and
feather the edge
and by grabbing the corner it's going to
be proportional
so remember the camera lens being
perfectly circular we want to
do that without skewing it too much so
now if i bring down the gain quite a bit
look at what it does it turns down the
brightness but now
invert that circle and now we've got
this nice vignette around the edge
so if i turn that off that's what it
looks like without
and that's what it looks like with and
that vignette is now applied
as a serial node so it's going to stay
there through the whole video so now if
i press play
it now looks like that
so that is very basic color grading it
gives you a couple of
tips as far as how to use things like
the windows
the um the doppler in order to get the
white balance i always start with white
balance so have a white balance card
handy
have something that is pure white handy
that you can dopple from
and then you can kind of take it one
step further you saw the red spot on my
head
so i was able to touch that up because
that was something that i wanted to do
you might have a pimple
that you want to remove and you can just
kind of brush that up
nice and clean as well so that's really
really easy you can apply
as many parallel nodes as you want so if
you wanted to kind of feather the face a
little bit
to remove blemishes in general
and then if you had one very pronounced
spot you could create another serial
node uh a parallel node pardon me and
remove that spot so
by increasing the feathering on that
it's all
very very simple it's just a nice little
trick to make our youtube videos look
better than they would if they were just
coming right off of your editor
you