Ripple Training - Advanced Color Grading in DaVinci Resolve 17/18

https://www.rippletraining.com/products/davinci-resolve/advanced-color-grading-in-davinci-resolve-17-18/

Advanced Color Grading in DaVinci Resolve 17/18

1. Introduction

2. Opening a Resolve Archive

● Opening an Archive

● Grading Workflow Steps

● Balancing Shots

● Shot Matching

● Secondary Grading

● Creating a Look

3. Setting Tonal Range & Contrast

● Picking Black & White Points

● Refining Contrast with Master Wheels

● Adjusting Contrast & Pivot

● Adjusting Contrast Controls in Settings

4. Setting Contrast with more Flexibility

● Using Curves

● Pop-out Curve Palette

● Unganging Luminance

● Adding Control Points

● Curves vs. Wheels

5. Balancing Colors

● Adjusting Tonal Range with the Custom Curve

● Balancing Color with Curves

● Adjusting Tonal Range and Balancing Color with the Primaries Wheels

● Normalizing a Shot with Color Match

6. Understanding Log & Color Wheels

● Using Primaries and Log Wheels on a Gradient

● Adjust Log Master Wheel Ranges

● Combining Primaries Wheels and Log Wheels Corrections

7. Building a Shot Matching Strategy

8. Organizing with Flags & Filters

● Changing Default Flag Color

● Flags and Clip Instances

● Filtering the Timeline with Flags

● Markers vs. Flags

9. Matching Shots with Shot Match & Color Bars

● Automatic Shot Matching

● Adding a Shot-Matching Node

● Matching Shots with Stills

● Creating a Keyboard Shortcut for Labeling Nodes

● Wiping a Still

● Resizing Shots

● Shot Matching with the Color Bars

10. Shot Matching with Curves

● How to use the RGB Parade when Matching Shots

● Wiping a Timeline Clip

● Shot Matching with Curves

● Understanding Lum Mix

● Matching the Skies

● Comparing Shots with a Split Screen

● Multiple Playhead Split Screen Mode

11. Controlling the Viewer's Eye

● Working with Power Windows

● Correcting Outside a Window

● Creating Shallow Depth of Field with Tilt-Shift Blur

● Creating a Vignette Effect with a Power Window

● Saving a Window Grade as a Preset

● Using a Depth Matte to Isolate Areas for Correction

12. Sharpening & Tracking Key Elements

● Using the Blur & Sharpen Palette

● Evaluating Sharpening

● Isolating Sharpening with a Power Window

● Tracking a Power Window

● Manually Tracking in Frame Mode

13. Fixing Overcast Skies

● Using a Qualifier

● Grading the Qualified Sky

● Replacing a Sky

● Creating and Connecting an Alpha Output

● Clip Resizing

● Using the Sky Replacement Effect

● Using a Gradient Power Window

● Combining Qualifiers and Power Windows

● Adding Atmosphere

14. Warping Colors to a Target

● The Color Warper Palette

● Working with Hue and Saturation Graph

● Refining Selections with Mesh Density

● Using Tools, Range, and Auto Lock

● Selecting Skin Tones

● Working with the Chroma-Luma Graph

15. Face Refinement

● Applying the Face Refinement Effect

● Facial Feature Analysis

● Checking and Adjusting the Matte

● Improving Skin Quality

● Face Refinement Color Grading Parameters

● Retouching Parameters

● Blending in Facial Adjustments

● Face Refinement on a Different Subject

16. Adjusting Skin Tones Manually

● Color Grading Workflow Review

● Grading Skin Tones with HSL Curves

● Using the Hue vs. Hue Curve

● Using the Hue vs. Sat Curve

● Using the Luma vs. Sat Curve

● Using the Sat vs Lum Curve

● Softening & Sharpening Skin

17. Importing an XML Timeline

● Understanding Conforming

● Creating a New Project

● Importing an XML File

● Reviewing the Imported Timeline and Media

18. Syncing an Offline Reference

● Importing a Reference Movie

● Linking the Reference Movie

● Displaying the Reference Movie

● Addressing Media Offline Warnings

● Changing Reference Movie Starting Timecode

● Matching Color Spaces

19. Conforming a Timeline

● Replacing a Missing Clip with Conform Lock

● Comparing Shots

● Using Wipe Modes to Compare Clips

● Viewer Wipe Modes

● Transforming a Clip with a Difference Wipe

● Stepping Through Clips

20. Reconforming to HQ Footage

● Proxy vs. Full Quality media

● Disabling File Media Path Lock

● Reconforming from Media Storage

21. Generating Proxy Media

● Settings for Creating Proxy Media

● Generating & Confirming Proxies

● Linking to Proxies Generated Elsewhere

● Playing Proxy Media

● Creating a Proxy-Only Archive for Remote Editing

● Using the Blackmagic Proxy Generator

22. Color Managed Workflow

● Rec. 709 and Log Gamma Curves

● Using a LUT with Log-encoded Clips

● Using the Color Space Transform OFX Node

● Color Space Transforms vs. LUTs

● Setting up Resolve Color Management

● Setting the Input Color Space Manually

● RCM Preset Detailed Settings

● Working with the DaVinci Wide Gamut Preset

● RCM & Color-space aware grading tools

● Summarizing Color Management

23. Working with Local Versions

● Reading Stills Numbering

● Applying a Grade from a Still

● Creating a Cross Process Look

● Renaming Local Versions

● Creating Multiple Local Versions

● Resetting Nodes and Grades

● Applying a Bleach Bypass Look

● Selecting Local Versions

● Using a Split Screen to compare Versions

● Local vs. Remote Versions

24. Appending Grades & Nodes

● Shot Matching before Applying Looks

● Appending a Node Graph

● Copying Individual Nodes from a Still

● Copy/Pasting Individual Nodes

● Copy/Pasting Specific Attributes

25. Using Shared Nodes

● Shared Nodes Explained

● Saving a Shared Node

● Applying Shared Nodes

● Modifying the Grade on a Shared Node

● Adding a Vignette via a Shared Node

● An Alternate Method for Applying Shared Nodes

● Using Split Screen to Adjust Multiple Shared Nodes

26. Saving Grades for Other Projects

● Using the PowerGrade Album

● Creating Project Memories

● Using Unmix

● Applying PowerGrade Album Stills

● Exporting Stills

● Importing a Still

● Exporting with a Display LUT

● Workflow Options for Working with Stills

27. Rippling Grades from Shot to Shot

● Understanding Node Numbering

● Rippling Node Changes

● Rippling Node Changes to Groups

28. Copying Grades Using ColorTrace

● Comparing Starting Timelines

● Starting Color Trace

● Setting the Source Timeline

● Effects and Definitions

● Automatic and Manual Modes

● Color Trace Color Coding

● Copying the Grades

● Manually Matching Clips

● Verifying the Grade

29. Copying Grades Using the Timelines Album

● Setting the Target

● Using the Timelines Album

30. Using Remote Versions

● Remote vs. Local Versions

● Loading the Remote Version

● Creating a Remote Grade

● Setting All Clips to use Remote Versions

● Clip-based Undo

● Grading Remote Versions

● Excluding a Clip from a Remote Grade

● Renaming a Remote Version

31. Applying Remote Grades to a New Cut

● Reviewing the Ungraded Stringout

● Fast Review

● Setting the Timeline to use Remote Grades

● Apply a Grade with PowerGrade Album Presets

● Importing an Edited Timeline

● Auto-grading Imported Timelines with Remote Grades

32. Understanding Node-Based Corrections

● The Anatomy of a Node

● Understanding Node Order

● Color, Luminance and Saturation Across Nodes

33. Adjusting Contrast & Luminance on Nodes

● Crushing the Shadows

● Attempting to Recover Lost Shadow Detail

● Is Color Information Really Lost?

34. Dominant Color Grades & Surrounding Nodes

● Creating a Cold Look

● Exempting Skin Tones from a Look Grade

● Impact of a Look Grade on Qualifying

● Refining the Qualification

● Limiting Qualifier with a Power Window

● Node Order Impact on a Qualified Grade Before a Look Grade

35. The Parallel Mixer Node

● Working with the Parallel Mixer Node

● Morphing into a Layer Mixer Node

● Adjusting a Grade for the Layer Mixer Node

● Mixer Nodes Summary

36. Visualizing Mixer Nodes

● Adding a Generator and Making it Gradable

● Creating 3 Layer Mixer Nodes

● Mixing Colors with Power Windows

● Understanding Layer Mixer Nodes

● Changing Layer Mixer Composite Modes

● Reordering Layer Mixer Nodes

● Understanding Parallel Mixer Nodes

37. The Layer Mixer Node

● Creating a Stylized Look

● Grading the Water

● Isolating the Water

● Grading the Foliage

● Grading the Foreground Elements

● Sharing a Matte Between Nodes

● Isolating and Grading the Towel

● Creating and Working With Compound Nodes

38. Applying Transparency to Video Tracks

● Stacked Clips in the Edit Page

● Adding an Alpha Output

● Keying a Shot with the 3D Qualifier

● Finessing the Matte

● Eliminating Spill

● Eliminating the Boom Mic

● Grading the Foreground

39. Importing & Using an External Matte

● Importing and Associating an External Matte

● Adding the External Matte Node

● Passing Transparency to the Output Node

● Tracking to a Background Plate

● Creating a Compound Clip for Grading

40. Making Corrections with the Magic Mask

● Isolating a Person

● Tracking & Refining the Mask

● Isolating Skin with Magic Mask and a Qualifier

● Isolating Clothing

● Isolating Multiple Elements

● Isolating Objects

41. DaVinci Resolve Processing Pipeline

42. Using Scene Cut Detection

● About Scene Cut Detection

● Creating a New Project and Running Scene Cut Detection

● The Scene Detect Window

● Analyzing the Video Clip

● Checking and Adjusting Cut Points

● Removing Dissolve Cut Points

● Working with the Cutoff Line

● Adding Cuts to the Media Pool

● Adding Cut Clips to a New Timeline in Correct Order

43. Timeline Resolution & Aspect Ratios

● Flagging and Filtering Key Clips

● Adding a Saved Vignette Window

● Changing Timeline Resolution

● Ways to Leverage Resolution Changes

● Upscaling with Super Scale

● Down-scaling for Playback Performance when Editing

● Applying Blanking

44. Reframing Individual Clips

● Sizing Clips with Input Sizing

● Output Sizing

● Other Sizing Options

● Compositing with Node Sizing and a Mixer Node

45. Removing Objects with Patch Replacer or Node Sizing

● Using the Patch Replacer Effect

● Tracking the Patch Replacer

● Replacing Objects with Node Sizing

● Tracking the Power Window

● Blending the Patch by Softening and Grading

46. Using Object Removal

● Tracking the Object

● Applying the Object Removal Effect

● Scene Analysis

● Improving the Result

● Adding Localized Blur

47. Keyframing

● Animating Sizing with Keyframes

● Activating Animation

● Adjusting Keyframes

● Adjusting Dynamic Attributes

● Animating Color Corrections

● Emphasizing Time of Day with a Grade

● Static Keyframes

● Keyframing Resolve FX

48. Applying Noise Reduction

● Where in the Node Tree to Apply Noise Reduction

● Working in the Motion Effects Palette

● Working with Temporal Noise Reduction

● Setting Temporal Threshold

● Working with Spatial Noise Reduction

● Changing Noise Reduction Node Order

● Noise Reduction and Playback Performance

● NR available as ResolveFX on Edit page

49. Using Render Cache

● Source and Sequence Caching with Smart Cache

● Node Caching

● Understanding the User Cache Mode

● Manually Caching Node Trees

● Configuring Cache Quality

● Clearing a Cache

● Render Cache Order Changes

50. Creating a Group

● Grouping Clips

● Changing the Thumbnail Image

● Filtering Clips by Group

● Grading Grouped Clips Individually

● Groups and the Classic Grading Workflow

51. Apply Base Grades to Pre-Clip Group

● Understanding the Current Group

● Identifying a Representative Group Clip for Grading

● Normalizing a Group in Pre-Clip Mode

52. Adjustments at the Clip Group Level

● Setting Clip Mode

● Balancing and Secondary Corrections in Clip Mode

● Comparing Clips with a Wipe

53. Creating a Look at the Post-Clip Group Level

● Setting up for a Post-Clip Group Grade

● Importing and Analyzing a Reference Shot

● Grading to Match a Reference

● Returning to Clip Mode to Adjust a Grade

● Using the Sat vs. Luma Curve

54. Applying Timeline Level Grades

● Adding Film Grain

● Adding Blanking in Timeline Mode

● Adding a Data Burn-in

55. Adjusting RAW Settings at the Project Level

● Identifying RAW Clips

● Debayering RAW Files

● Debayering at the Project Level

● Grading Log-encoded Clips to Rec. 709

● Grading Rec. 709-encoded Clips

● Recovering Clipped Luminance Data

● Changing RAW Settings at the Clip Level

● Copying Custom RAW Settings

● Using Color Management with RAW Footage

56. Working with BlackMagic RAW

● What is BlackMagic RAW?

● Importing a .braw Clip

● Setting RAW Project Settings

● Working in the Camera RAW Palette

● Understanding Gamma Options

57. Using the HDR Palette

● HDR Palette vs. Wheels and Log Panels

● HDR Palette and Zone Graph Overview

● Setting up RCM for Log and RAW clips

● Zone-based Corrections

● Adjusting Zone Range and Falloff

58. Using Lightbox for Quality Control

● Using the Lightbox to Review Grading Status

● Filtering the Lightbox

● Reordering Clips

● Creating Custom Filters

● All-project Smart Filters

59. Render Workflow & Presets

● Setting the Video Output Format

● Understanding Render Presets

● Customizing a Video Preset

● Setting the Timeline Render Range

● Adding a Job to the Render Queue and Rendering

60. Custom Renders & Saving Presets

● Modifying the Custom Preset for Dailies Delivery

● Saving Customized Render Settings as a New Preset

61. Configuring a Timeline for Digital Cinema

● What is a DCP?

● EasyDCP Plugin

● DCP-compliant Aspect Ratios, Frame Sizes & Rates

● Changing Timeline Resolution to be DCP-compliant

62. Rendering a DCP

● Render Settings for DCP Delivery

● Setting the Composition Name

● Output Destination Requirements

63. Using Commercial Workflow to Export Versions

● Version Rendering Options

● Setting the Render Range

● Render Settings for Versions

● Enabling Flat Pass

● Rendering Versions

64. Advanced Render Settings

● Setting Quality

● Setting Keyframes

● Cinemascope

● Setting Data Levels

● Data burn-in

● Enable Flat Pass

● Showing All Jobs in the Render Queue