🎥 Thanks for watching our tutorial on Contrast & Balance in DaVinci Resolve! If you found these tips helpful, please consider subscribing for more in-depth guides. Have any specific questions or need further clarification on something covered in the video? Drop your questions below, and I’ll get back to you! 🔍👍
Thank you so much for your kind words! I’m glad you found the video helpful and to the point. Your support means a lot, and it motivates me to keep creating content that can be of value. Don’t hesitate to let me know if there are any specific topics you’d like to see covered in future videos. 😊
You're welcome. You deserve them. Thank you for willing to cover topics that we ask you. I don't have any requests in mind at the moment, however, I'm going to let you know when I come across something that I would like you to cover in a future video. But for now, keep sharing whatever you like and think it's helpful for the community. I follow your work here and on IG, and it's admirable the amount of valuable and informative content that you share with the colour grading community. Thanks a lot! ☺️
@@wilfredo.urenajr Thank you so much for your kind words and support! It means a lot to know my content is helpful to you and the community. Feel free to reach out anytime with suggestions-I’m always happy to hear them. Thanks again for following my work!
Thank you for always providing high quality content. I'm always having trouble with color matching between videos shot at different times, weather, or locations. Please let me know if you have any hints.
Thank you so much for your kind words and support-I really appreciate it! Color matching between videos shot at different times, weather, or locations can be challenging, but there are some helpful techniques. Start by matching the basics like contrast and exposure levels; using the waveform and parade scopes can ensure consistency in black and white points. If you’re using DaVinci Resolve, the Color Match tool is excellent, especially if you have a color chart in your footage. You can also use a reference frame from one clip and adjust the others to match it. For fine-tuning, try the Hue vs Hue and Hue vs Saturation curves to align specific colors.
Great question! To get the Bezier handles to appear on Curves - Custom in DaVinci Resolve, go to the curves window and click on the three dots in the top right corner. From the dropdown menu, select Editable Splines. This will enable Bezier handles for precise adjustments. Let me know if you have any other questions! 😊
Thank you so much, my friend! I'm really glad to hear that you've learned a lot from my content. Your support means the world to me! Keep practicing, and feel free to reach out if you have any questions. 🙌🎥
@@MediabeeColorLab Claro que si de verdad eres un pro y si quiero aprender 1. sobre corregir slog 3 cine de sony a 7iv, y también quiero algo de clasificación de color cuando se graban dos cámaras de diferentes marcas y perfiles como hacer en la lineal de tiempo o color o color space corregir las dos diferentes cámaras desde la configuración del proyecto, gracias.
@@DAVIDRUBIANOFILMMAKER Thank you so much for your kind words! For S-Log3 Cine from the Sony A7IV, start by applying a CST (Color Space Transform) node to convert it to your timeline color space, like Davinci WG Intermediate or Rec.709. For matching footage from different cameras, use a CST for each camera to bring them into the same color space, ensuring consistent starting points. Then, focus on matching contrast and color using scopes like the waveform and vectorscope. Let me know if you'd like more guidance on these topics! 😊
Hi, thanks. Here is the monitor I am currently using: www.bhphotovideo.com/c/product/1724184-REG/asus_proart_display_pa32dc_32.html/?ap=y&ap=y&smp=y&smp=y&store=420&lsft=BI%3A5451&gad_source=4&gclid=Cj0KCQiAs5i8BhDmARIsAGE4xHwbcI6RExnU8-EO5F3d2krUDYnfasJXXa11PUSDBMqTtLD4Req8HV0aAkTpEALw_wcB
Hello! You’re very welcome-happy to help! To lower the exposure of your videos, you can use the primary wheels in DaVinci Resolve. Adjust the offset to lower the overall exposure, or fine-tune specific areas using the lift, gamma, and gain controls to balance shadows, midtones, and highlights. Whether or not to lower exposure depends on the footage and the look you’re going for. If the footage is overexposed or you want to create a darker, moodier vibe, lowering the exposure can be a great option. Just keep an eye on your waveform to ensure you’re not losing important details in the highlights or shadows. Let me know if you’d like more tips! 😊
@@SeanHuangRealEstate Thank you! I’m glad you enjoyed the video. Great question! Here’s a quick breakdown: • Amount: Controls the intensity of the overall film look applied to your footage. • Hue Angle: Adjusts the color tone by shifting hues, giving you flexibility in tweaking the overall color palette. • Pivot: Affects the balance between highlights and shadows when applying contrast, letting you fine-tune the tonal separation in the image. I hope this helps! Thanks for watching!
I'm glad you're interested in working with the video file! However, due to copyright restrictions, I can't share the original source file directly. But here’s a good alternative: you can access the same footage by visiting Artgrid, where you can also find a wide range of licensed video content that you can use freely in your projects. I’ll share the Artgrid link with you: artgrid.io/clip/277945/cactus-model-woman-redhead
You’re absolutely right-high-end cameras and lenses play a big role in achieving a certain look, as they capture more detail, dynamic range, and depth. However, color grading is just as crucial in shaping the final image. It’s what brings out the potential of the footage, refines the mood, and creates a consistent visual style that ties everything together.
Hello! Thank you for your interest in following along. Unfortunately, I can’t share the exact footage due to licensing restrictions. However, I encourage you to use similar footage from your projects or stock footage to practice. The techniques shown in the tutorial will work on a wide range of clips. Let me know if you need help finding resources or have any other questions!
First of all I introduce myself in the name of Hermann, I am originally from Ivory Coast West Africa. frankly I thank you for this beautiful tutorial, and I tell you that it is the most astonishing tutorial that I have just seen since I started wandering around UA-cam in terms of calibration research. I use a gh5 MII within my means and I would like you to do a tutorial like this because I cannot obtain image quality like yours. Please do it to edify me, I am a beginner in the industry and I am passionate about cinema.
Hi Hermann, thank you so much for your kind words and for sharing your story! It means a lot to me that you found the tutorial helpful and inspiring-it’s feedback like yours that keeps me motivated to create more content. The Panasonic GH5 MII is a great camera, and it’s fantastic to hear that you’re passionate about cinema. While I may not be able to create a tutorial specific to this right away, I recommend starting with mastering the basics of color grading, such as contrast, balance, and understanding your camera’s color science. These fundamentals will help you get closer to achieving the look you want. In the meantime, keep practicing and experimenting with your footage. If you have any specific questions or need guidance, feel free to ask. I’ll do my best to support you on your journey! Best regards,
Hey! Thanks for bringing that up! The Osmo Pocket 3 is definitely an interesting tool, and I’d love to explore grading footage from it at some point. No promises on timing, but stay tuned-there’s always more exciting content on the way!
very good tutorial love it!!! Please do the wedding color grading, one natural and the other delicate teal oragne. please!!! BTW i can send you a video from lumix (-vlog) Regards!
Thank you so much for your kind words! I’m really glad you enjoyed the tutorial. Wedding color grading is a great idea-natural and delicate teal-orange looks can truly elevate those moments. At the moment, I’m focusing on tutorials with broader applications, but I’ll definitely keep this idea in mind for future content. I appreciate your offer to send a video from Lumix (V-Log)-that’s very thoughtful! Stay tuned, and thank you again for your support and suggestions!
Hi there Mr. Bee, quick question for you as a guiding principle regarding the waveform is the a specific value I which you should let you highlights rest?…. From this video I understand that your blacks can go as close to zero without crushing them, but do you have a recommendation for highlights?
Hi there! ! Great question! You’re absolutely right about the blacks-you want them to get close to zero without crushing, ensuring you retain detail. For highlights, it really depends on the look you’re going for and the scene, but as a general guiding principle: For natural, balanced images, highlights typically rest between 90-95 on the waveform, especially in Rec 709. This keeps them bright without clipping. If you’re working with bright elements like light sources or reflections, they can push closer to 100, but you want to avoid hard clipping unless it’s stylistic. Of course, there are exceptions based on creative intent, but keeping highlights under control is key to preserving detail and achieving a cinematic look. I hope this helps! Let me know if you have more questions!
Thanks you so much for that. I am still a bit confused though. Because the waveform values range from 0-1023 not seeing a 90. Unless I’m misunderstanding what you meant. I’m fairly new to this color grading thing so forgive me if that seems like a basic question that everyone should know
@@rojaecrosby1554 I got you! Click on the three dots on the top right corner of the waveform scope window. Go to Waveform Scale Style. And then choose "Percentage" instead of "10 bit." That will give you the percentage numbers instead ot 0-1023. All the best,
Wieder mal vielen Dank für das interesante Video. Kann man dieses grading auch für HDR anwenden ? oder muss mann da doch anders vorgehen ? Thank you again for the interesting video. Can this grading also be used for HDR? or do you have to proceed differently?
Thank you so much for your kind feedback! The grading techniques shown in the video can serve as a good starting point for HDR workflows, but there are some key differences. For HDR, you’ll need to work in an HDR-capable color space like Rec. 2020 or Rec. 2100 and ensure your grading monitor supports HDR to see the full range of colors and brightness. You may also need to adjust the node structure to accommodate the greater dynamic range, focusing on highlight control and proper tone mapping.
@@MediabeeColorLab vielen Dank für Ihre Nachricht. Mir steht zum Glück beim Graden ein HDR-Monitor zur Verfügung und kann damit die Bandbreite von Farbe und Helligkeit gut beurteilen. Ich könnte mir gut vorstellen, dass es beim HDR-Grading eine sinnvolle anordnet bestimmter Nodes effizienter sein könnte. Das Interesse an HDR ist stark gestiegen, da wäre es eine große Freude in dem Bereich ein hochwertigen Workflow zur Unterstützung zu haben. Vielleicht haben wir Amateure dabei mal Glück.
Thank you for your message. Fortunately, I have an HDR monitor available for grading and can thus assess the range of color and brightness well. I could well imagine that it could be more efficient with HDR grading a meaningful arranging of certain nodes. The interest in HDR has increased sharply, so it would be a great pleasure to have a high-quality workflow in this area to support. Maybe we amateurs are lucky.
@@Andy1960 Thank you for your response, Andy! It's fantastic that you have an HDR monitor, as that is essential for accurately assessing color and brightness in HDR grading. Efficient node arrangement is indeed key for handling the expanded dynamic range effectively in HDR projects. I will try to include HDR grading in future content; however, for now, my focus remains primarily on SDR due to its broader applicability and my current setup. I appreciate your enthusiasm for HDR, and I hope to bring more insights into that area in the future. Stay tuned!
@ vielen Dank für Ihr ermutigende Nachricht. Ich werde in Zukunft noch genauer ihre tollen Vorträge verfolgen um dann für mich den HDR- Anteil effektiv für meinen Workflow einzusetzen. Dankeschön Andreas Thank you for your encouraging message. I will follow their great presentations even more closely in the future in order to then use the HDR share effectively for my workflow. Thank you Andreas
The skin looks strange, with too much red in my opinion....of course, is just a personal opinion. Also another fact: DO NOT use the Contrast from normal wheels, but the one from HDR wheels, as the HDR contrast does not influence the colors and will not burn the image.
🎥 Thanks for watching our tutorial on Contrast & Balance in DaVinci Resolve! If you found these tips helpful, please consider subscribing for more in-depth guides. Have any specific questions or need further clarification on something covered in the video? Drop your questions below, and I’ll get back to you! 🔍👍
I love it.. i think thats whats we need… simple easy.. guided tutorial 🎉🎉
This is a great video, Doctor. Concise and direct. Thank you for taking the time to record, edit and upload it. 😊
Thank you so much for your kind words! I’m glad you found the video helpful and to the point. Your support means a lot, and it motivates me to keep creating content that can be of value. Don’t hesitate to let me know if there are any specific topics you’d like to see covered in future videos. 😊
You're welcome. You deserve them. Thank you for willing to cover topics that we ask you. I don't have any requests in mind at the moment, however, I'm going to let you know when I come across something that I would like you to cover in a future video. But for now, keep sharing whatever you like and think it's helpful for the community. I follow your work here and on IG, and it's admirable the amount of valuable and informative content that you share with the colour grading community. Thanks a lot! ☺️
@@wilfredo.urenajr Thank you so much for your kind words and support! It means a lot to know my content is helpful to you and the community. Feel free to reach out anytime with suggestions-I’m always happy to hear them. Thanks again for following my work!
That's true 🙏🏼 thank you
This is one of the best classes I've ever had 😍😍😍😍🙏🔥
Thank you so much, I just achieved the look I have been all about for a long time. Now I know how it's done!
Thank you for always providing high quality content. I'm always having trouble with color matching between videos shot at different times, weather, or locations.
Please let me know if you have any hints.
Thank you so much for your kind words and support-I really appreciate it! Color matching between videos shot at different times, weather, or locations can be challenging, but there are some helpful techniques. Start by matching the basics like contrast and exposure levels; using the waveform and parade scopes can ensure consistency in black and white points. If you’re using DaVinci Resolve, the Color Match tool is excellent, especially if you have a color chart in your footage. You can also use a reference frame from one clip and adjust the others to match it. For fine-tuning, try the Hue vs Hue and Hue vs Saturation curves to align specific colors.
@@MediabeeColorLab Thank you! I will keep your hints in mind and give it a try. I would be happy if you could create such content someday.
4:06 How do you get the Bezier handles to appear on Curves - Custom?!
Great question! To get the Bezier handles to appear on Curves - Custom in DaVinci Resolve, go to the curves window and click on the three dots in the top right corner. From the dropdown menu, select Editable Splines. This will enable Bezier handles for precise adjustments. Let me know if you have any other questions! 😊
@ awesome thanks!
I had the same doubt at first until I found this answer, thank you very much, now I see the world in a different way hahaha
@@jorgearaya6324 ❤☺
FANTASTICO BRO E APRENDIDO MUCHO CON USTED.
Thank you so much, my friend! I'm really glad to hear that you've learned a lot from my content. Your support means the world to me! Keep practicing, and feel free to reach out if you have any questions. 🙌🎥
@@MediabeeColorLab Claro que si de verdad eres un pro y si quiero aprender 1. sobre corregir slog 3 cine de sony a 7iv, y también quiero algo de clasificación de color cuando se graban dos cámaras de diferentes marcas y perfiles como hacer en la lineal de tiempo o color o color space corregir las dos diferentes cámaras desde la configuración del proyecto, gracias.
@@DAVIDRUBIANOFILMMAKER Thank you so much for your kind words! For S-Log3 Cine from the Sony A7IV, start by applying a CST (Color Space Transform) node to convert it to your timeline color space, like Davinci WG Intermediate or Rec.709. For matching footage from different cameras, use a CST for each camera to bring them into the same color space, ensuring consistent starting points. Then, focus on matching contrast and color using scopes like the waveform and vectorscope. Let me know if you'd like more guidance on these topics! 😊
Thanks for the video. Can you tell me which monitor you are using as a reference monitor?
Hi, thanks. Here is the monitor I am currently using:
www.bhphotovideo.com/c/product/1724184-REG/asus_proart_display_pa32dc_32.html/?ap=y&ap=y&smp=y&smp=y&store=420&lsft=BI%3A5451&gad_source=4&gclid=Cj0KCQiAs5i8BhDmARIsAGE4xHwbcI6RExnU8-EO5F3d2krUDYnfasJXXa11PUSDBMqTtLD4Req8HV0aAkTpEALw_wcB
Hello, thank you for your help!
How do I low the exposure of videos? And do you recommend it so? :)
Hello! You’re very welcome-happy to help! To lower the exposure of your videos, you can use the primary wheels in DaVinci Resolve. Adjust the offset to lower the overall exposure, or fine-tune specific areas using the lift, gamma, and gain controls to balance shadows, midtones, and highlights.
Whether or not to lower exposure depends on the footage and the look you’re going for. If the footage is overexposed or you want to create a darker, moodier vibe, lowering the exposure can be a great option. Just keep an eye on your waveform to ensure you’re not losing important details in the highlights or shadows.
Let me know if you’d like more tips! 😊
Great video! I hope you can explain what does each of amount, hue angle, and pivot control in the film look creator do.
@@SeanHuangRealEstate Thank you! I’m glad you enjoyed the video. Great question! Here’s a quick breakdown:
• Amount: Controls the intensity of the overall film look applied to your footage.
• Hue Angle: Adjusts the color tone by shifting hues, giving you flexibility in tweaking the overall color palette.
• Pivot: Affects the balance between highlights and shadows when applying contrast, letting you fine-tune the tonal separation in the image.
I hope this helps! Thanks for watching!
@@MediabeeColorLab Thank you very much for the help!
@@SeanHuangRealEstate You are welcome!
Is there a way we could get the source video file to play with?
I'm glad you're interested in working with the video file! However, due to copyright restrictions, I can't share the original source file directly. But here’s a good alternative: you can access the same footage by visiting Artgrid, where you can also find a wide range of licensed video content that you can use freely in your projects. I’ll share the Artgrid link with you:
artgrid.io/clip/277945/cactus-model-woman-redhead
What makes footage look like is that the camera and lens which are high end or
You’re absolutely right-high-end cameras and lenses play a big role in achieving a certain look, as they capture more detail, dynamic range, and depth. However, color grading is just as crucial in shaping the final image. It’s what brings out the potential of the footage, refines the mood, and creates a consistent visual style that ties everything together.
sir if you don’t mind can you share the footage also so that we can follow up
with you
Hello! Thank you for your interest in following along. Unfortunately, I can’t share the exact footage due to licensing restrictions. However, I encourage you to use similar footage from your projects or stock footage to practice. The techniques shown in the tutorial will work on a wide range of clips. Let me know if you need help finding resources or have any other questions!
Fantastic!
Thank you! Cheers!
First of all I introduce myself in the name of Hermann, I am originally from Ivory Coast West Africa. frankly I thank you for this beautiful tutorial, and I tell you that it is the most astonishing tutorial that I have just seen since I started wandering around UA-cam in terms of calibration research. I use a gh5 MII within my means and I would like you to do a tutorial like this because I cannot obtain image quality like yours. Please do it to edify me, I am a beginner in the industry and I am passionate about cinema.
Hi Hermann, thank you so much for your kind words and for sharing your story! It means a lot to me that you found the tutorial helpful and inspiring-it’s feedback like yours that keeps me motivated to create more content. The Panasonic GH5 MII is a great camera, and it’s fantastic to hear that you’re passionate about cinema. While I may not be able to create a tutorial specific to this right away, I recommend starting with mastering the basics of color grading, such as contrast, balance, and understanding your camera’s color science. These fundamentals will help you get closer to achieving the look you want. In the meantime, keep practicing and experimenting with your footage. If you have any specific questions or need guidance, feel free to ask. I’ll do my best to support you on your journey! Best regards,
Great job man ❤👏🏻, u promised me for Osmo Pocket 3 grading 😢
Hey! Thanks for bringing that up! The Osmo Pocket 3 is definitely an interesting tool, and I’d love to explore grading footage from it at some point. No promises on timing, but stay tuned-there’s always more exciting content on the way!
Thank you
@@Adrian.13.72 thabks for your support
very good tutorial love it!!! Please do the wedding color grading, one natural and the other delicate teal oragne. please!!! BTW i can send you a video from lumix (-vlog)
Regards!
Thank you so much for your kind words! I’m really glad you enjoyed the tutorial. Wedding color grading is a great idea-natural and delicate teal-orange looks can truly elevate those moments. At the moment, I’m focusing on tutorials with broader applications, but I’ll definitely keep this idea in mind for future content. I appreciate your offer to send a video from Lumix (V-Log)-that’s very thoughtful! Stay tuned, and thank you again for your support and suggestions!
@@MediabeeColorLab thank you for your reply. Great, I'll definitely be watching!
Hi there Mr. Bee, quick question for you as a guiding principle regarding the waveform is the a specific value I which you should let you highlights rest?…. From this video I understand that your blacks can go as close to zero without crushing them, but do you have a recommendation for highlights?
Hi there! ! Great question! You’re absolutely right about the blacks-you want them to get close to zero without crushing, ensuring you retain detail. For highlights, it really depends on the look you’re going for and the scene, but as a general guiding principle:
For natural, balanced images, highlights typically rest between 90-95 on the waveform, especially in Rec 709. This keeps them bright without clipping. If you’re working with bright elements like light sources or reflections, they can push closer to 100, but you want to avoid hard clipping unless it’s stylistic.
Of course, there are exceptions based on creative intent, but keeping highlights under control is key to preserving detail and achieving a cinematic look. I hope this helps! Let me know if you have more questions!
Thanks you so much for that. I am still a bit confused though. Because the waveform values range from 0-1023 not seeing a 90. Unless I’m misunderstanding what you meant. I’m fairly new to this color grading thing so forgive me if that seems like a basic question that everyone should know
@@rojaecrosby1554 I got you! Click on the three dots on the top right corner of the waveform scope window. Go to Waveform Scale Style. And then choose "Percentage" instead of "10 bit." That will give you the percentage numbers instead ot 0-1023. All the best,
Thanks a million.. I see it now… so much to learn. Thanks for taking the time to make your videos 🫡
@@rojaecrosby1554 you are very welcome! Thanks for your support
Wieder mal vielen Dank für das interesante Video. Kann man dieses grading auch für HDR anwenden ? oder muss mann da doch anders vorgehen ? Thank you again for the interesting video. Can this grading also be used for HDR? or do you have to proceed differently?
Thank you so much for your kind feedback! The grading techniques shown in the video can serve as a good starting point for HDR workflows, but there are some key differences. For HDR, you’ll need to work in an HDR-capable color space like Rec. 2020 or Rec. 2100 and ensure your grading monitor supports HDR to see the full range of colors and brightness. You may also need to adjust the node structure to accommodate the greater dynamic range, focusing on highlight control and proper tone mapping.
@@MediabeeColorLab vielen Dank für Ihre Nachricht. Mir steht zum Glück beim Graden ein HDR-Monitor zur Verfügung und kann damit die Bandbreite von Farbe und Helligkeit gut beurteilen.
Ich könnte mir gut vorstellen, dass es beim HDR-Grading eine sinnvolle anordnet bestimmter Nodes effizienter sein könnte.
Das Interesse an HDR ist stark gestiegen, da wäre es eine große Freude in dem Bereich ein hochwertigen Workflow zur Unterstützung zu haben. Vielleicht haben wir Amateure dabei mal Glück.
Thank you for your message. Fortunately, I have an HDR monitor available for grading and can thus assess the range of color and brightness well.
I could well imagine that it could be more efficient with HDR grading a meaningful arranging of certain nodes.
The interest in HDR has increased sharply, so it would be a great pleasure to have a high-quality workflow in this area to support. Maybe we amateurs are lucky.
@@Andy1960 Thank you for your response, Andy! It's fantastic that you have an HDR monitor, as that is essential for accurately assessing color and brightness in HDR grading. Efficient node arrangement is indeed key for handling the expanded dynamic range effectively in HDR projects. I will try to include HDR grading in future content; however, for now, my focus remains primarily on SDR due to its broader applicability and my current setup. I appreciate your enthusiasm for HDR, and I hope to bring more insights into that area in the future. Stay tuned!
@ vielen Dank für Ihr ermutigende Nachricht. Ich werde in Zukunft noch genauer ihre tollen Vorträge verfolgen um dann für mich den HDR- Anteil effektiv für meinen Workflow einzusetzen.
Dankeschön
Andreas
Thank you for your encouraging message. I will follow their great presentations even more closely in the future in order to then use the HDR share effectively for my workflow.
Thank you
Andreas
Its really that simple
@@Oreocycllo ☺️👍
The skin looks strange, with too much red in my opinion....of course, is just a personal opinion.
Also another fact: DO NOT use the Contrast from normal wheels, but the one from HDR wheels, as the HDR contrast does not influence the colors and will not burn the image.
Thanks for watching and for your comment.