hello my friends and welcome to another really cool color grading tutorial
today we're going to be doing a look from blade runner 2049
i decided to make this tutorial before my black magic video
i know i promised to talk more about gen 5 and the camera
but i figured since there's you know california fires and everything up in
smoke the blade runner look would be kind of
appropriate for this kind of conditions special thanks to artlist and
art grit for providing this footage and making
this tutorial possible check out links in the description and
if you're signed up using those links you can get two extra
months on your subscription let's jump in
davinci resolve and get started on our tutorial
alright my friends welcome to another amazing color grading tutorial
we are inside davinci resolve and today we're going to be doing really
cool blade runner intro color grading so
here's the file we're going to be working with
so here's the footage what we're going to be matching
it's going to be very straightforward and it's actually
very easy that's why i decided to do a little bit less complex stuff that i
usually do so it's gonna be pretty straightforward
and very simple okay so before we start really quick
let's compare our couple shots in their nature they're very similar
here's the thing when you color grading be sure that your footage
somewhat looks similar to what are you trying to
achieve color grading because for example if this would be
in the broad daylight with the sunlight and all kinds of stuff
matching this footage would be a little bit more difficult
so always keep that in mind anyways enough of chatter
so here we have our parade basically that's the only thing we're gonna
use and i'm gonna show you really cool tricks
all right so the first note what i'm gonna do it's gonna be
saturation okay very quick saturation and what i'm gonna do now actually
we're going to convert everything into parallel okay
and in the saturation we're going to start dialing
everything down i want to match let me show you
vector scope i want to match basically levels of saturation so
they're the same okay that looks good let's go back to our parade
and in the parade we can see that technically they kind of similar
but we can probably yeah they're similar so we really don't
need to do anything i'm just gonna call this one contrast
and one thing i'm gonna do i'm just gonna
remove contrast tiny a little bit more the way
they matching a little bit better okay all right new note and this one is where
we're gonna start matching our look and i promise you it's
gonna be very simple so if we're going to go again on our
vector scope we can see that it's between a blue and cyan so
it's kind of have that little teal look and matching this going to be
extremely easy all we have to do just start cranking it down in the way of
a little bit cyan now i want to see both shots simultaneously so i'm going to
select this shot and we're going to do selected clips
from this list over here so we can see basically
side by side on exactly what's going on okay
so something like that all right let's go
back into parade and here in the parade we can see exactly
two shots side by side now ignore this little highlight
because we have skies over here and in this shot there is no skies
so we kind of can get an idea of what really is going on and we can see
that our source material which is where we're
taking this grading from is much flatter than what we have so
again let's start making it a little bit
less contrasty let's bring offset down a little bit so we can
kinda match him a little bit more okay so i think like that is all right
and now over here i'm gonna call this one
color so now in color i'm gonna try to basically match exactly how
they are with the mid tones so let's go blue and let's go red okay
something like that let's see let's shine a little bit more and here
we have it very nice and simple and we pretty much
have identical footage right now so
if you were to paste this in a movie other than
maybe slightly i'm gonna do a new note i'm going to call this one heist
okay again let's do the whole thing maybe slightly we can do a little bit
more green in the highlights just a very tiny bit
there we go and nobody would be able to tell that we just
color grade and basically turn this into that look how awesome it is
and now of course we can make it a little bit more dramatic and what i
mean by that you know you don't always need to be
taking things in cgi you can actually achieve a lot in color
software whatever you're using premiere or
resolve it doesn't matter the concept remains the same
for example we have the fog over here what we can do we can actually amplify
the fog and it's a very simple technique all we
got to do just use the pen tool okay very sloppy
we're kind of gonna select the fog something like that okay
and with the contrast just cranking it more down just like this okay
so keep in mind that whenever you crank the contrast down you
um your footage becomes a little bit more
black and white so you have to either compensate for that or not to crank
contrast too much so what we can do to compensate for that
we can dial down again a little bit more color into it however it depends on
your situation also very important make sure to soften
the edges do not leave edges without softening otherwise you're going to have
this weird nasty little line going on and
you're going to give away your tricks the softer the edges the least likely
people will be able to tell look at this nobody can tell what's going on
so that's one thing another thing that this is shot with the
you know roger deakins actually shoot everything
or this particular 16x9 and he likes to do artificially
white screen so what we're going to do we're going to create our own widescreed
version of that which is very simple as of right now i'm working in 1920 by
1080 you do your own math um there's a lot of
simple ways to do it but we're going to go into
image scaling and i'm gonna uncheck match timeline settings okay and i'm
gonna do 1920 by 800 and
over here i'm gonna do stretch frames to all corners
okay and here we have it so once we created the white screen
now i want to add a little bit grain i love adding grain
to my footage because i think without film grain it looks
very flat it doesn't have that cinematic feel to it
okay 16 is too much let's do a little bit more finesse grain
okay and let me show you what we turn this
into that and here we have it thank you very much for watching guys be
sure to subscribe like it share it and i'm gonna see you
in the next video take care
do
you