URSA CINE 12K - How To Grade Using Resolve [NO Paid Plugins] UK PRO Colorist (BBC, Amazon)

so I'm going to try and get through this episode as quick as I can but I'm effectively going to be doing a live grade so last week Blackmagic announced the brand new osini 12K camera this is really exciting 12K footage so I spoke to my friends at Team 2 films again Natalie and Leon and they very kindly provided me with an edit that they've done so I'm going to grade that in this episode and show you exactly how I would grade the brand new ursini 12K footage and also see how it stands up so let's take a look at what we've got here here is the edit so it's just a short one but I'm going to grade through it anyway and here's the footage as you can see we've got some 12K it also shoots in 8k and 4K so I've got a bit of 8K as well but I'm going to focus today just on 12K so first of all let's just play it back and you see that's playing back really smoothly on my timeline obviously there's no grade on it yet but we will test that performance as well so let's just have a look at the metadata here so we can see it's black magic raw and 24 frames a second and it's 12K so I'm going to go to my settings and show you what settings I need let's go to the color page I've got my Scopes already highlighted for you up here and I'm going to go to my settings and show you exactly what I've got set here now obviously I can't monitor in 12K there there is no 12K monitor my timeline resolution doesn't have to be 12K either until I actually export this I'm not going to export it 12K I'm going to export this in Ultra HD but when I'm working to keep the speed going especially with this being raw 12K I'm going to bring this down to 1920 x 1080 and don't forget you can change that after when you do the delivery everything upscales correctly so even if you've drawn shapes and all that sort of stuff it all gets remapped so I'm going to match my video monitoring let's make that 1920 x 1080 and I'm going to say okay but just before I do that I'm going to just show you my color management settings as well so let's go to the color management here and I'm not using the automatic color management I'm using regular Da Vinci yrgb and I'm going to apply what's called color space transforms I've got plenty of episodes on what they are but you're going to see me do it live in this episode so my timeline color space is not the default set it to D Vinci wide gamut and my output color space for this episode is going to be re 79 gamma 2.4 because that's what my monitor is set to if your monitor sets 2.2 then you set that to 2.2 and one other setting that I always change in the color management is the 3D lookup table interpolation and by default that sets a TR linear which is not as good quality in general as tetrahedral however there is a slight performance decrease in tetraedro mode so I'm going to press save and let's just take a quick look at what footage we've got so the first thing I do when I'm GR in and setting a look is get a good shot to start with so we want a nice medium shot something like something like this would be fine let's just play it through and see what happens yeah so this will be a good shot to start on it's shot number one anyway so where do we start to actually grade this footage well I'm going to use my fixed not Tre so this is available in the description of all my YouTube videos you sign up to my free email newsletter and in there is a link to this not tree or you can just build your own in a similar style it's already here but if I just delete that I'm going to show you how to actually import it so if you you download it from the link you can then right hand click in here and say import and then point to the DPX file on here you get two files and say import and it appears here so to apply the fixed notary you can middle Mouse click or simply drag and drop it on let's just clean up the node graph by right clicking and this is my fixed notary you can build this yourself if you want to but basically it starts here with the camera profile going to Da Vinci wide gamut this is our cutor space transform up to D Vinci wide gamut and this is our color space transform back down again now this you don't need to change this is always definity wide gamma down to r79 you just need to have an eye on which gamma you want to be on so whether you want to be on 2.2 2.4 P3 HDR whatever you're going to that is set fine but what we need to do here is on our first one is tell the input color space what the camera Source was so if we go to here we're going to say it is black magic design and it's wide gamut gen 45 and it is film Gen 5 I know that because Leon has told me that so we're now looking at this in the correct color space in rex7 9 I'm viewing this not in camera color space this is in display color space so just interrupting this video quickly if you're a complete newbie to this and you don't understand color space transforms or color management I've got three really good videos that are absolute beginner's guides to color management I'll put a link to those in the description and also if you don't understand this no tree bear in mind that these nodes have not got anything on them at all yet you can just do this with serial nodes as well but I've got an episode that explains exactly how this no tree works now a couple of changes I'm going to make to the end the first thing I'm going to do is get rid of this this was my Kodak 2383 film Lu which is taken from Da Vinci resolve but I'm going to delete that cuz I'm not going to use that in this episode I'm going to use film look Creator so what I'm going to do when I create the look here is only work with features that are in Da Vinci resolve I'm not going to use any third party plugins I often use mon noes I use dehancer all the time I've got discount links to those in the description by the way if you are interested in those but I'm going to do it all fairly just using D Vinci resolve features now I am going to use Studio features so what I'm going to do is get rid of that Kodak L on the end now there is something I've been experimenting with lately and it's freely available on the internet if you go to github.com and look up Juan Pablo

Zambrano he's done a fantastic dctl which is called JP 2499 so what is this doing well what it does is it takes our end node here our D Vinci wide gam to 709 and if you have a look in here you've got all this tone mapping stuff going on here and it can be quite confusing what to actually set this to and discovering this dctl I actually think the results in general so far and I'm still trying it out but seem to give me a more pleasing result than this actual color space transform here so I'm going to start playing with it I'm going to use this as a good experiment for it just to show you what it is so you can download this for free I'll put a link to it in the description as well and and what I'm going to do is reset that node and I'm going to apply a dctl now you do need D Vinci resolve studio in order to do this I'm going to move these over get to my dctl I have done episodes on how to install dctl but you basically want to throw them into your Lux folder your lookup tables here and if you open this L folder that's where you want to place them so in here I've got JP 2499 DT and the input here is set to D Vinci wide gamut and my output Rex 79 power 2.4 now you have got 2.2 and then you've got lots of other ones as well so I'm just in the early stages of trying this out but the minute I really like its results it gives a slightly different look than the regular CST but I'm liking what I'm seeing so far so let's just change the label on that and we'll call that JP 2499 so all that's effectively doing is taking us from D Vinci wide gamma down to re 79 gamma 2.4 but in a slightly

different way with different tone mapping all right so we need to start grading this shut up so let's find a better St in point somewhere around about there and I'm going to go to my first item here which is balance and exposure now I do this generally in the HDR tool here and let's have a look at our exposure settings we need to lift this up a fair bit I could do this because it's Blackmagic raw I could actually do it in the Raw settings here so you got exposure but I'm going to do it in the HDR tool I'm just keeping an eye on my grading Monitor and let's just get that exposure set somewhere good and the white balance we've got very mixed lighting going on here so the white balance needs some adjustment here so I'm going to use my global balance here again there's several different ways you can do this there's lots of different ways you can do this but let's just have a look what we can do here something like that I'm just switch that on and off that is clearly in a better starting point and let's just leave that there for now cuz what I want to do now is start playing with our look development I want this on at an early stage so we can grade underneath it and get our shots looking really good so I'm going to use film look Creator i' normally use dehancer here and if we go to this last node here or the second to last node I'm just going to relabel this look so it was called spare I'm just going to call it look just so you know what's going on here by the way these first three is where I set my balance and exposure and contrast and get everything looking in a great place it should be looking really good by then then it branches off into this little string of parallels and this is where I do either secondary work color warper curves but even things like color temperature and I might mess around with the HDR settings adjusting whites and darks and things like that I like this to be branched off from this good starting point so this is how my fix no tree works I've then got a trim pass here this is to allow me to make little changes after that I might just want to add a little bit more contrast or a little bit more balance that would be done on this node here then I've got my power windows which going to look at shortly then I've got this one called texture which we're going to look at so that's things like adding contrast pop texture pop that sort of thing uh just little bits that just give it a little bit of dynamism and then we've got our look so I'm going to go to my effects I'm not going to use dehancer I'm going to use film look Creator so let's go and find that and it's there so I'm going to drag and drop this on first thing you need to do is get rid of the default look that it puts on there CU I'm not going to use that so I go to this thing called Clean Slate I've done two episodes on film look Creator so I'll put a link to those in the description as well and then what you need to do is just dial in a bit of film look and then these menus become active so I'm going to go straight for Rochester cuz I've already played with this quite a bit and I like what it does and I'm going to dial in so this is full and this is less I'm just looking at my grading Monitor and I think full amount is too strong so I'm going to bring that back somewhere around about there and skin bi I'm just going to nudge it up a little bit so we take a bit of that effect out of her skin let's just see what that's doing and it is giving it a really nice look but I don't want it to be too strong at this point uh the other thing I do here is I put a little bit of subtractive saturation in there just a little bit I don't want to add too much of this extra stuff at this point because this is going to be a global look across the whole edit I can fine-tune it if I want to but I like to have that set and just leave it then I grade everything Underneath It All My balancing my contrast my exposure all the things that are here would be done at clip level but let's just add a little bit of subtractive saturation because it gives it a nice look and the other thing I'm going to add here is heli and Bloom normally I would run this on separate nodes but I'm just going to apply it here just for Speed really and you need to take it right back if you look at her hair here if I just zoom into that a little bit so you can see what's going on you can see that halation if I take it on and off is really quite strong by default the film look Creator halation is strong so I'm going to knock that right back down to here and let's bring the radius down a little bit and let's put a little bit of Bloom on as well I like a little bit of Bloom again I'm going to bring it back and let's just put that on and off and that's looking really good as a starting point so what we're going to do now is finish off our initial balance and just check that this look and our initial balance complimenting each other so let's go back to the balance node now because we need to just adjust this now we've put a look on it we need to just compensate a little bit with our balance and so what I'm going to do is go to my primary wheel here and I'm going to just just gammer a little bit I just want to cool it off a little bit and that's looking much better like that I'm going to pull a little bit of green out in my offset and oh there's no point doing that it's such a big change but that is looking much better than it was a second ago so the next thing we need to look at now is contrast and looking at my waveform here we can bring the blacks down a little bit here so I'm my primary let's just bring that down I'm using the panel by the way sorry if you keep an eye on here on lift and gain or we could use gain and offset something like that so it's starting to look really good now we did a little bit of subtractive saturation in the look development in the film look Creator so my next node saturation may not actually need anything and looking at my Vector scope we've got really nice spread of saturation going on there we've got really nice color contrast going on but let's just see what happens if I add a little bit any anyway so I'm going to go to my HDR wheel let's just add a little bit of saturation here I don't think this actually needs anything so I'm actually going to just reset that I'm just going to leave it as it is I think there's plenty of saturation going on in there so if you do enjoy this sort of content think about subscribing I don't ask very often hit the notification Bell as well I've also got my 4-day live master class going to be announced very soon so if you hit the notification Bell you'll find out where my live stream is when I tell you all about it there's also a link in the description at the bottom to my email list you'll get notified there and you can access this not if you haven't got it already and that's all I want to say already so moving forward now we've got a really good starting point here so I can move into this row of parallel so I'm going to have a look at temperature I don't know if it actually needs anything but let's just tweak it anyway and see what happens I'm kind of doing this live so let's just see what happens just play around with it I that it's looking pretty good round about there let me just switch that node on and off yeah that is actually looking better so that's good these are labeled HDR warper curves there don't have to be that these are just ideas it's just label to remind me what I might want to consider HDR I'll be looking at doing things like uh adjusting white balance in highlights and things like that shadow work uh the warper I use a fair bit I like the warper curves here we could use curves here to actually have a look at those lights so these green lights up here are a little bit annoying for me so what I'm going to do is I'm going to go to Hue versus Hue which I'm already on I'm just going to move my Scopes out the way slightly and I'm just going to take a sample of this here and first thing to do let's just get that spread nice and wide so we don't cause any breaking in the image I'm just going to pull it down and just see what happens and actually taking the green out of those lights they were naturally green is giving us a much more pleasing image that's got a really nice look to it let me just switch that off yeah I'm really pleased with that so the next thing we could look at is I don't need to do any trimming here but I might want to look at putting a power window in so let's take here and let's just draw a shape of around her and see what that gives us so I'm going to go to my windows here I need to move my Scopes again sorry click on here and what I do now is I just need to reduce the size of this so I can go outside a little bit so I'm going to bring that down to 75% I've got a little thing on my desk that allows me to do that with a little wheel something like that plenty of softness always plenty of softness and then we're going to invert that and have several tools I can do this with I tend to use the offset tool here or gamma just bring that down slightly I'm going to switch that on and off I'm looking at my grading monitors because I don't have these outlines showing on there so I can see it really easily it's a little bit heavy so I'm going to bring that back up a little bit something like that so what else might we put on here well I've got one here called texture this is where I'm going to experiment maybe I think something like contrast Pop might be nice here let's pull these Scopes back down down and let's go to our effects and take this one contrast pop is one that I really like using I'm going to apply it on here sometimes I'll put a glow on here or something like that some some light flares or something but I'm going to add a little bit of contrast pop so really you need to be subtle with this I'll show you just moving it to 0.113 gives us that it's too strong let me just put this back to full size so you can see it so that is way too strong so let me just reset that and just dial it in very carefully enable and disable you need to be careful of on her jumper here she's got a pattern so something like that so I think we're in a really good place here what I'm going to do is just take off that I'm going to highlight all of the middle items including the film look I'm just leaving on here the CST up to D Vinci wide gamut and the JP 2499 which is taking us D Vinci wide gamut back to Rick 79 and I'm going to enable and disable so we can see before and after and I think that is a massive Improvement so that is option D on your keyboard so before we move on too far let's have a look at how this looks on some of the other shots I'm going to take this shot here and just apply bear in mind we've got a power window going on here and also our temperature and balance might need adjusting on a shot byshop basis so let me take off the extra contrast let's take off the curves here and I'm just really having a look that this look that we built here is working I really like what it's doing to the Reds there I really like this color contrast going on here other thing I want to see now is how this plays back so we've got got the ursini 12K I just want to play this back and see how well it plays and we're actually getting Real Time Performance so what I'm going to do is copy that across here to this shot let's see how that looks that actually looks great straight away uh the thing I need to check here is my power window so we can get rid of that in this one I don't need it on this shot but actually that's looking great so let's go to this shot here and again this is looking really good again I've got the shape on here that is actually pretty well placed actually let me just tweak that a little bit I might as well borrow that and what I need to check in here is these curves are probably not actually doing anything because they were affecting the green uh so I'm going to take those off and if I get to my balance and exposure this does need adjusting a little bit so I'm going to to my HDR tool here let's just pull up that a slight amount there and probably in my contrast Just Adjust that a little bit as well I could reset these and start from scratch but for this episode I'm just going to adjust them slightly here and let's just see if this color temperature thing is actually doing anything yeah that's fine as it is and the texture that's great so that's what that texture is doing is actually adjusting that light a little bit as well which is great so that red light that we've got going on there I would love to just bring that down with some density so I'm going to go onto one of these tools here so let's just go to the warper I'm going to rename it because I'm not going to call it a warper and what I would normally do is I would go to my effects I would bring a dctl in like this normally I would use mon noes for this so let's just see what that does look like so I'm going to go to this one and I'm going to put some density in there yeah it looks great and uh some saturation and density like so but to be good for my word I'm not going to use any third party plugin so let's reset that and we can do this using Color slice for example so I can go into here there's my red density and we can add density in there and a little bit of saturation but as you can see that's slight slightly breaking up so it's not giving me quite as good look as the mon noes did so I'm going to reset that and another way we could do that is with a curve so we go into here and do our Hue versus Loom like so let's take a sample of that again make it nice and fat there I'm doing this quite quickly and then we can just pull that down and that gives us a kind of similar look now that should match this shot here that looks great this shot here let's just take our starting point see how it looks and we need to look at her skin tone here yes it's completely different so I'm going to go back here I'm going to take my balance and exposure and I'm going to go to my HDR tool and I'm just going to warm this up a little bit something like that I'm keeping an eye on the skin line now what I normally use here to check my skin tone is I've got my omnis Scopes or I go to my timeline node and apply another dctl from mon noes this is the utility one I've done an episode on this as well it's called balance and that shows you what skin tone looks like and the beauty of this is I can go to my light box and I can update all my thumbnails and I can see exactly what her skin tone is doing so these are all nice and ni when it's yellow it means it's sitting on the vector line when it's slightly green it means you're towards green and towards magenta so we're clearly a little bit too magenta on this one but what I'm going to do is take that off because I did promise I wouldn't use it I'm only going to use things that available in studio so what I'm relying on is my Vector line here on the vector scope so I'm going to go back to my balance here and we just need to warm it up very slightly something like that and let's see how that looks in fact let's just play that through again we're playing about 12K so this is the urin 12K that's all playing in real time and that's looking great okay again I just need to update my thumbnails you sometimes get this I don't know why they're not updating very well it's been since about Version 9 I find that these don't update that well so that's the first five shots done let's just finish it off we've got an exterior here this I would imagine is going to need some separate balance work but I'm going to copy the first look because that has got our JP 249 JP 2499 on it it's also got our look going on the texture pop the contrast pop I'm going to keep on there hoping it's kind of all right I'm going to take off the power window and I'm going to reset the balance and exposure so I'm first thing I'm going to check check is my exposure that need to come right down looking at my waveform and we need to warm that up a little bit I still want that nice sort of cold look that we've got going on I really like the colors that are going on in the scarf here let's just check my contrast in fact this could probably do with a little bit saturation so I'm going to go in I'm going to change my color space to HS V sorry I'm really I'm thinking kind of out loud here I'm going to go to my channels so I'm going to take off channel one I'm going to take off channel three so we're only left with s and I'm going to use my primary gain so if you look down here I'm doing it on my panel and then just see if that's better or worse that is really subtle but it looks great something like that let's just check if this temperature that I've bought in from clip number one is working and what else does it need this curve is probably not needed NOP we can get rid of that and I'm going to put a little power window on here as well let's go to here let's draw a quick shape I'm doing this really quick now because I'm aware of how long this episode is going to be otherwise let's invert that let's go to here and adjust our offset something like that again I'm looking at this on my output monitor so I don't get those lines again that's too strong let's just put it back up a little bit something like that let's just play that shot through that looks great now this hopefully matches this one let's just see it going from one to the other a it's looking great that probably needs a bit of exposure Works let's just bring the exposure down a little bit in here but you get the idea of how I'm working here something like that I'm looking at my Scopes let's just compare that to the shop before probably this shop it's a little bit magenta still but you get the general idea let me just pull that down a little bit something like that and then our final shot is at night so let's see how that looks I'm going to grab straight from our interior wow okay that's quite a look going on there I really like that but let's just adjust our Exposure My HDR tool SP up that looks great but we probably again don't need the curve nope and the temperature let me just check that's helping the power window again let's just make it a little bit smaller easy way of doing that just go to sizing like so and if you press shift you can actually access multiple points and just pull them down like so it's a really nice trick I think that's about it so let's play it back from the beginning [Music] so I think just this shot here needs some work let me press that this just needs warming up a little bit and probably needs a little bit more exposure bringing down something like that but you get the general idea so I'm really pleased with what I'm seeing out of the Blackmagic Ura C 12K this is the first time I've graded with it we had some quite testing footage there so this shot particularly was very mixed lighting quite difficult to deal with but it's behaving really well I've got Interiors exteriors and night shots going on I'm getting really good response on my playback so we've got quite a few nodes going on there and it's looking great so I'm really pleased with it I just like to say thanks again to team2 films go and check out their video that talks all about the camera itself and how it works it's a fantastic video I'll put a link to that in the description look after yourselves and I'll see you in the next episode [Music]

2025-02-11 14:32

Other news