How to create a low contrast look in DaVinci Resolve
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- Опубликовано: 15 сен 2024
- It can be challenging to create a low contrast aesthetic that looks sleek and captivating to the eye. In this video, I'll be sharing my strategies for achieving a polished and refined low contrast look. Join me as I take on a new project and walk you through the process of building an overall look for the timeline, drawing a creative contrast curve that reduces contrast without moving middle gray, and more.
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It's Christmas! This is the first time I saw Cullen to use Gamma. Great video, as always 🙂
Cullen, so sorry to hear about your mentor. But also so grateful for the message you shared in your latest email in all of the lessons you learned from him in being a person of integrity who no matter the circumstance supported others. Excited to apply that level of humility and compassion in my practice.
Thanks for another great video as always. Just wrapped production on a short film that the director wants a low con look for. This is perfect timing.
You are the reason I continue to learn this stuff. Thank you thank you thank you!
Absolute GENIUS! 👍 Very pleasing to the eye and mind 😍
I just discovered your channel and it's been amazing, I've been a resolve user for years but honestly your videos opened my eyes in the past week, I'm getting grades I'm much happier with straight away
One of the best videos on your channel :D Love it !
the workflow is so awesome. simple yet powerful.🔥
Hi Cullen, great video as always! You are such an enrichment to the Grading Community.
Could you make a video about Color Management Settings for Delivery? It´s a daunting subject to me and I`m sure for others as well. Very little info how the actual resolve pipeline looks like out there.
For example, how should I set up the end of my pipeline when using an FPE LUT? In one of your older Grade School episodes, I think you said the Resolve FPEs turn the clip to Rec709 Gamma 2.4 - is another CST Out to Gamma 2.4 even necessary?
And how often should one actually use 2.4 as a deliverable if most of the time (for me at least) my films are either shown on a web player like Vimeo or in a Cinema during a Film Festival or screening at my film school? Shouldnt grading be done in Gamma 2.2 if you are using a regular (windows) PC screen?
I know I am mixing subjects here, maybe you have already explained it somewhere - but the topic of how to set up my pipeline for proper exporting different deliverables from the same grade is still uneasy with me.
Very insightful as always my man. Got a chuckle when you pulled out the power window to “guide focus to draw attention” when it was straight up an ass shot of 4 woman jogging down a road. Contrast is obviously key, but sometimes booty > contrast, grayscale, you name it. It draws the eye.
Another great video. Thank you.
14:48 nah, the viewer know really well where to look at 😂
❤ Thank you so much for teaching us
AWESOME TECHNIC
Amazing tutorial! thanks a lot
Great tutorial as usual mate. Thx.
Would you make a tutorial specifically on BMPCC4K and Braw color Grading workflow? Cheers
I'm glad to find this master colourist. Which link is it for downloading DWG gray?
Low contrast when not exaggerated is violently cinematic
Also funny to see how when you mention "quite subtle" changes, my eyes catch them very quickly now xD But I'm sure at the beginning of my grading practice I wouldn't catch those subtle changes at all.
Hello cullen, do you do your grades using ravengrade as well? any plan on doing videos using the whole ravengrade grading tool?
I guess your decision to use the gamma wheel for exposure adjustment is because, in the low-con pallette you have already set the shadows and highlights near the mid gray areas. So the only way to adjust exposure is to deal with the middle values of tobe data with the gamma wheel, isn't it?
I love this subject! How much the scene's light rendering determines the contrast possible? How much is Sat also a perceptual contrast to consider?
I found your channel yesterday, and I have 3 videos after this one until I've literally watched them all. (And then onto your lives. :) ). Incredibly helpful, and as a newbie colorist, I feel like you've also helped me avoid falling into bad habits and set me up to be way better and more productive going forward. Can't thank you enough!
Real quick question though if I may?
When you are grading a series of “fashion” shots like these (rather than a project where the edit implies that it was all captured at the same time), do you still tend to make each individual shot match, or do you allow each individual shot to “stand on its own” even if that means some get more contrast than others, or a different color balance? (And if you go the second route, would you ever re-grade the other shots if you want to use them in your reel?).
Thanks again for this training.
WOW now you talking MASTER
Hi friend you are amazing ! I have a question for you !! I color grade on my MacBook Pro m1 max ! Everything looks fine but when I upload the video to RUclips the color shift can you help me with this please 🙏
Great video as always! Kinda off topic but what would be the best way to colour grade a long shot scene? Or lets say the music video is one long shot and you have to deal with lots of different lighting scenarios? I don’t know why but I was thinking maybe breaking it dont into small portions? 😅
Keyframes?
I coloured a shorter long take going through a number of rooms with different lighting situations and this worked for me.
Took a bit of work, but the results were satisfying.
A gamma adjustment???? Hell has frozen over.
Well said, Cullen. I share the love-hate relationship with a lot of low-con grades.
Hey Cullen. Great vid as usual. Question: how do I use your DCTL tool with HLG-3 footage? It's not in the drop down list.
Thank u sir♥
Thank you for sharing this! The exp DCTL still v1.2, will you update it to v1.3 in your shop?
Hi Cullen after a long time:) Is it possible that this technique only works because the shots are very saturated and sunny?
Because the contrast itself replaces the colour contrast and as you said the spatial contrast.
Yes!!!!
Question for anyone who know for the DWG gray thing do you need to buy davinci resolve studio version to be able to use it or can i use it on the free version of davinci?
With all things les is always more.
nice. thank you for this. recently one of the dop asked me to give me the low contrast look, but the footage was very high in cntrst + it was low light in door shot, so reducing the cntrst & lifting the lift when helped me to get the look I wanted, but still that look left me with thught that - what I just worked on was really a low cntrst look or it was just soft cntrst which I saw as low cntrst, it was confusing because it was shot in very low light & nature of the shot was very high in cntrst, so wold you mind covering this in your 50min live session, how to deal with low light, high cntrst footage to get the low cntrst look. practically or theoretically both works ? thank you 🙂
Just when I feel like I'm getting a good hang of grading I watcha another video and feel like I know nothing at all.
More than just contrast here to compel my eye
Are you changing your secondary nodes to linear too?
Hey Brian! Typically the nodes reserved for secondary adjustments are not in linear. They are there to serve as the locations for any secondary operations we might need to make to an image, such as sat, hue, or power windows.
Was the balance node set to linear ?
I had a doc to grade , wanting a low contradt vibe , but also low sat ,
How would you convince the director that i have to conpensate the loss of contrast with adding a bit more of sat ,
Or how to do my job hhh, how would you tackle that?
why would you have to add saturation?
I'm personally not a big fan of the low contrast look either. It is kind of funny that you have a video of young beautiful women in extremely tight clothing and you are worried about controlling the viewer's eye as to where to look.
The DCTL ( your exposure one ) - I now use it to set middle grey as well. I just add the DCTL to the node where the curve is going to be and then mark the curve by clicking on the source monitor on the grey bar, then I either turn it off or right click the node and remove the OFX. Most of the time I just leave it there and click the red switch on the effect inspector. I leave it there just in case I switch color spaces and want to quickly change it.
For me the low contrast look needs to tame the saturation in some colors effectively making a swatch of a cool and warm colors, then pick a different color to be the highlight color that pops - Kind of like an old religious painting where you can spot Jesus because he is usually draped in shawl of a blood red tone. Helps with the eye attraction. ( Just in case you don't happen to have young pretty girls in the video )
Note to self: Young pretty girls is a must.
can't locate DCTL