This is the ONLY channel that explains it to you like you're an infant, so you can understand the *professional* version or word, of what you are looking for. I love this guy!
I would give 100 thumbs up if I could. I just love the way things are put and you manage to nail just the right amount of details vs being short and exact, to inform, not overburden, to reveal not bore. (I'm experienced editor) THANK YOU! Again...
This how a real professional Explains.. Talking about each small steps.. Most of the time many other misses those small steps they are explaining only bigger things.. But he knows that small steps together would make a bigger journey❤
I'm watching many of your videos and I like very much the way you explain everything. You go directly to the point of each topic. Thank you so much for your contributions. Cheers from Buenos Aires!
I switched to DaVinci Resolve 1 year ago primarily because I believed that Blackmagic was totally committed to continually improve this software and make it the best fully integrated editing platform available. Since then version 15 and now version 16 prove that I made the correct decision. FCPX and Adobe Premier have not demonstrated any similar commitment. AVID still stands out, but DaVinci Resolve continues to get better and better. I know that making the switch is very difficult, but 1 year on I am so glad I did it!
I have been using resolve for about 1 year, and believe or not, I just using primary color wheel only. And now I realize that I miss tons of resolve's features. Thanks to you 😀👍
I would give more thumbs ups if I could. What a game changer! I thought that I knew it, but I didn't. Thank you so much! You have the best videos for Color Grading on RUclips.
Thanks, Alex, your videos are always concise and informative. The graphic interaction with the Hue vs Hue histogram pixel distribution, for me, was enlightening.
Respected sir , Im a beginner and have doing my photography since 2 years and i literally dont know untill now. They way u explain about the stuff inside this particular software was speechless . I definitely do recommend this channel . With love From India :)
All the tips were amazing! But the last one that explains how to create timelines with different formats in the same project, this one deserves a special thanks! I always work by exporting the same video to different platforms, with several different formats, and I always duplicated the project, changed the format of the timeline and exported, now my work flow will be much more agile!
Before, in older versions of DaVinci Resolve - and I suppose it is still like that - , If you wanted to know what kind of green the bushes were, you just had to click on the green in the viewer. It would immediately make a dot in the curve window in which you were working. No confusion at all about where the green was in your curve window, and you could at once drag the new dot around the curve. Very easy.
Adjustment clip is so useful to make a keyframed grade or effect on portion of film including several shots. I wonder how we could do before it has been added! Great channel by the way!
Coming from a photography background, finally color grading is starting to make some sense with histogram + curves... I understand the limitations of this combination, but it is so much clearer for exposure control!
Love your video’s, but I am not seeing the histograms show up on iPhone videos taken with the new iPhone 14 pro max. Is there anything that you haven’t mentioned that will bring back the histogram?
Fantastic Tips! I can now color grade the F out of my auto repair how to videos with precision. COLOR POP! well in some places anyway. Loving DR16.. Now if they just work on stability.
In the compound mode, the histogram is not displayed in the curves tool. But still a fun program, as a free help for beginners, if you do not have money for baselight etc. By the way, will I be able to see qualifier focus one on such a histogram?
Good stuff Alex. I'd love to see you address the color workflow when you have multiple cameras that don't match. If you can get them all to match using LUTs it's easy because you can apply these to the source clips. But what if LUT is not an option? How do you apply a "base grade" to every clip that comes from "camera X" without having to add them all to a group, or apply a shared node, manually?
@@ergo8039 Thanks Johnny. RCM is cool, but it solves a different problem than I'm having. Here's a simplified example. I fly small airplanes, and I can mount up to 5 GoPro cameras on the plane: 1. Inside pointed at passengers 2. Inside pointed at the instruments 3. Inside pointed out the front window 4. Outside on the top of the tail pointed forward 5. Outside on the wing pointed back at the plane All 5 cameras are exactly the same model and use exactly the same settings, but the shots from each camera will have a different look to them because the lighting is so different for the different angles. For the sake of the example, let's assume I only have one file from each camera, and the only correction I need to do is a curve to match up the brightness/contrast across cameras. In Premiere Pro I can apply this curve to the source file (it's called a master clip effect), and all the clips I take from that file will have this curve applied before any clip level adjustments. But in Resolve there is no equivalent to master clip effects. So after I go through cut/edit I have a timeline with perhaps hundreds of clips on it. I have to manually figure out which clips came from which camera. Then I can either put them in a group (and a clip can only belong to one group) or use a shared node to apply that same curve adjustment consistently. This is not only a big pain, but it's error prone and easy to break if you have to go back to edit. There has to be a better way...
I've been binging on your channel as I learn Resolve! Love your content! Is there any chance you could explain what you think a good editing/grading workflow would be. I'm finding it a bit daunting knowing when and where to place effects now that it's possible to place effects directly on clips in the edit page, on adjustment clips on the edit page, with nodes on the fusion page and nodes on the color page. I have no idea which types of effects I should put where and why! There's also the issue that effects don't seem to render to cache when placed on clips or adjustment layers on the edit page but that seems to be a bug in the R16 beta, but any input on that would be amazing!
Thanks for the enlightenment. Could you please do make a video or let me know here about the bugs that you faced so far on 16? I had to run back to 15 again as 16's qualifier has stopped working and not giving me any results when I'm on ACES
always love your tutorials...just wish I was closer to help out with the audio though...have you considered maybe using a lav mic or even a reasonably priced boom mic just out of frame? It would really up the quality. But aside from that, just excellent, excellent content. And I really love how you get to the point quickly and show everything very clearly. Keep up the great work! btw...where are you located (generally)?
As an old timer that used to edit 2" tape we used waveform monitors and vector scopes for all color correction. Never did we rely on monitors to "eyeball" colors. Our monitors were professional if course and even a 12" monitor cost $25k. You NEVER depended on it for color accuracy. The cameras were set up to a chip chart prior to any recording so all colors had a linear response. My question is: since you are using your display as your reference, how do you calibrate it to be accurate? Meaning that your choice of colors/saturation/brightness might look fine on toyr dusplay but be real crappy when viewed on another. There nust be a standard
Nowadays there are relatively cheap tools to calibrate monitors, and professionals who calibrate them for you. If you do serious color work you must have a good monitor and have it calibrated (some of the monitors have auto calibration). If you have a bad monitor or not minimally calibrated, is just a guessing game. In those scenarios I recommend watching the rendered files in different displays to have an idea of what other people would see.
@@Andresvideo as i would tell people. "You dont put your monitor on the air" meaning that you NEVER rely on rhe picture on YOUR monitor. For example your chroma is out of phase you can correct it on your monitor, however, on a vectorscope, either your in phase, or out of phase, meaning your in spec or out of spec. I will always rely on a device whos sole job is display your signal against a known standard. a vextorscope can actually show you how many degrees you are out if standard, whereas a monitor will never show you that and that's why you cant rely on it. Of course a waveform monitor is just as important. The FCC would actually fine a television station for broadcasting out of standard.
Help! I can tell that my histogram is showing information, but it's all waaaaaaay a the bottom, like it's zoomed out. It almost looks like a flat line way at the bottom of the histogram. I can't manipulate with any accuracy.. Is there a way to zoom in?
Is there a way to make the Curves window bigger? I find it so difficult to work with when I'm doing subtle adjustments. Also, is there a way to only work on one color at a time in the Curves?
What's your opinion on desaturating shadows across the timeline using the adjustment layer/clip, or using the timeline method as shown in you previous video?
What you covered in here made a whole load of pennies drop. I can't believe I didn't realise this before. Amazing, thankyou so very much. Now I can do things with less guess work and fiddling and with more precision, better results and much quicker.
![What BEGINNERS Get WRONG About Scopes [DaVinci Resolve 17]](http://i.ytimg.com/vi/QJumee5_SZM/mqdefault.jpg)
![What BEGINNERS Get WRONG About Scopes [DaVinci Resolve 17]](/img/tr.png)
![Log Explained [for beginners]](http://i.ytimg.com/vi/Wa-fjIAJVsg/mqdefault.jpg)
![Yeat & Quavo - 5BRAZY [Official Music Video]](http://i.ytimg.com/vi/4XxnTAwyxus/mqdefault.jpg)
Join our FREE crash course...the FASTEST & EASIEST way to learn Resolve:
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Instablaster...
This is the ONLY channel that explains it to you like you're an infant, so you can understand the *professional* version or word, of what you are looking for. I love this guy!
I would give 100 thumbs up if I could.
I just love the way things are put and you manage to nail just the right amount of details vs being short and exact, to inform, not overburden, to reveal not bore. (I'm experienced editor) THANK YOU! Again...
This how a real professional Explains..
Talking about each small steps.. Most of the time many other misses those small steps they are explaining only bigger things.. But he knows that small steps together would make a bigger journey❤
Big fucking W. 4 years later and this is still one of the quickest and most useful tutorials on the topic. I love it, thank you!
Thank you very much!!! all the other videos on youtube don't explain how this works! you explain it very clearly!!
What a great feature that new Histogram is. It's much clearer now what each of the curve options are really 'seeing' in an image.
thats AMAZING! loved the hue vs sat part, thanks!
Have been trying to wrap my head around curves and histogram for 2 weeks......you made me understand it better in 10 minutes! THANK YOU :)
I'm watching many of your videos and I like very much the way you explain everything. You go directly to the point of each topic.
Thank you so much for your contributions.
Cheers from Buenos Aires!
I switched to DaVinci Resolve 1 year ago primarily because I believed that Blackmagic was totally committed to continually improve this software and make it the best fully integrated editing platform available. Since then version 15 and now version 16 prove that I made the correct decision. FCPX and Adobe Premier have not demonstrated any similar commitment. AVID still stands out, but DaVinci Resolve continues to get better and better. I know that making the switch is very difficult, but 1 year on I am so glad I did it!
I have been using resolve for about 1 year, and believe or not, I just using primary color wheel only. And now I realize that I miss tons of resolve's features. Thanks to you 😀👍
Excellent tutorial. Cleared many things. Thanks a ton
I am a beginner and finally I found the curves explanation that I needed, thank you sooooo much!
I purchased your full Davinci course and always refer back to it to improve my skills. Great stuff!
really awesome , nobody can explain better than this
Simply the best way to learn Color Grading for Davinci Resolve.
The way how to explain shortly and easy to understand is great.
Thanx.
Comeing from a stills photography this is something I learned before video. It's such a helpful thing to know and see while shooting
Thanks for giving a comprehensive tutorial on histograms sections, i was always lost on that subject
Adjustment layers - or Adjustment Clips as they call it - are definitely a very welcome feature addition.
I would give more thumbs ups if I could. What a game changer! I thought that I knew it, but I didn't. Thank you so much! You have the best videos for Color Grading on RUclips.
Thanks, Alex, your videos are always concise and informative. The graphic interaction with the Hue vs Hue histogram pixel distribution, for me, was enlightening.
Perfectly clear demonstration 😉👍
Respected sir ,
Im a beginner and have doing my photography since 2 years and i literally dont know untill now. They way u explain about the stuff inside this particular software was speechless . I definitely do recommend this channel .
With love
From India :)
Another clear and quick tutorial!
All the tips were amazing! But the last one that explains how to create timelines with different formats in the same project, this one deserves a special thanks! I always work by exporting the same video to different platforms, with several different formats, and I always duplicated the project, changed the format of the timeline and exported, now my work flow will be much more agile!
Before, in older versions of DaVinci Resolve - and I suppose it is still like that - , If you wanted to know what kind of green the bushes were, you just had to click on the green in the viewer. It would immediately make a dot in the curve window in which you were working. No confusion at all about where the green was in your curve window, and you could at once drag the new dot around the curve. Very easy.
They heard you and brought it back
Fantastic your videos. So easy to learn... Thank you very much
simply fantastic tutorial!
Crazy feature :O Im more and more leaning to change to Davinci
Alex, I just apdated my Davinci version and this video is very useful, thanks.
Very nice! No more guessing.
Really really well explained!
Great artist and best video ever
excellent, now i have to learn with the vectorscope
thank u so much you're making it really clear
simple and friendly. I do follow, thx
Just wanted to show my appreciation
Adjustment clip is so useful to make a keyframed grade or effect on portion of film including several shots. I wonder how we could do before it has been added! Great channel by the way!
Coming from a photography background, finally color grading is starting to make some sense with histogram + curves... I understand the limitations of this combination, but it is so much clearer for exposure control!
Excellent as always!
I have a project coming up and this actually answered a question I have been pondering for a little bit. Thanks brother cheers
this tutorial is just crazy tha ks for the video
Gracias mister, simple y claro
Fantastic information!
This video is a GEM
Thank you. Very informative!
Thank you, Alex, it's super best explanation!
Thank you, all your videos are immensly helpful.
Great Content as always, Thnx
Love your video’s, but I am not seeing the histograms show up on iPhone videos taken with the new iPhone 14 pro max. Is there anything that you haven’t mentioned that will bring back the histogram?
Thanks for this great explanation!
Excellent and easy to understand thank you. But why did you start talking about framerates and clips.
Thank you so much for sharing this knowledge
THANX A LOT VERY INFORMATIVE YOU ARE THE BEST
I love your videos
I thought I knew these but turns out to be I’ve learned a lot. Thanks a lot.
Excellent!!!!
Superb as usual!!!!! Thanks again for a such helpful video!!!
very informative, but aneed to watch this several times. (good for your watch time ;-) )
ALEX the best Resolve trainer
great explanation!
thanks a lot
DaVinci Resolve 16 Public Beta 2 released today!
Great stuff..
Fantastic Tips! I can now color grade the F out of my auto repair how to videos with precision. COLOR POP! well in some places anyway. Loving DR16.. Now if they just work on stability.
Color spectrum analyser. smart and useful (c:
Great tutorial sir
Amazing feature! Thanks for uploading a video about it
Great video! How do you have the wheels and the curves visible at the same time?
Love this! Bloody helpful!
In the compound mode, the histogram is not displayed in the curves tool.
But still a fun program, as a free help for beginners, if you do not have money for baselight etc.
By the way, will I be able to see qualifier focus one on such a histogram?
great tutorial. Thank a lot.
Good stuff Alex. I'd love to see you address the color workflow when you have multiple cameras that don't match. If you can get them all to match using LUTs it's easy because you can apply these to the source clips. But what if LUT is not an option? How do you apply a "base grade" to every clip that comes from "camera X" without having to add them all to a group, or apply a shared node, manually?
@@ergo8039 Thanks Johnny. RCM is cool, but it solves a different problem than I'm having. Here's a simplified example. I fly small airplanes, and I can mount up to 5 GoPro cameras on the plane:
1. Inside pointed at passengers
2. Inside pointed at the instruments
3. Inside pointed out the front window
4. Outside on the top of the tail pointed forward
5. Outside on the wing pointed back at the plane
All 5 cameras are exactly the same model and use exactly the same settings, but the shots from each camera will have a different look to them because the lighting is so different for the different angles. For the sake of the example, let's assume I only have one file from each camera, and the only correction I need to do is a curve to match up the brightness/contrast across cameras. In Premiere Pro I can apply this curve to the source file (it's called a master clip effect), and all the clips I take from that file will have this curve applied before any clip level adjustments.
But in Resolve there is no equivalent to master clip effects. So after I go through cut/edit I have a timeline with perhaps hundreds of clips on it. I have to manually figure out which clips came from which camera. Then I can either put them in a group (and a clip can only belong to one group) or use a shared node to apply that same curve adjustment consistently. This is not only a big pain, but it's error prone and easy to break if you have to go back to edit.
There has to be a better way...
Thank you very thank you
Nice Alex. Thanks
My waves in histogram looks very tiny, how can I make them big?
game changer...thank you
You are the man!!!
Hi there. Whats the hotkey for those 3 place holder point at 6:14? Thanks in advance.
I've been binging on your channel as I learn Resolve! Love your content! Is there any chance you could explain what you think a good editing/grading workflow would be. I'm finding it a bit daunting knowing when and where to place effects now that it's possible to place effects directly on clips in the edit page, on adjustment clips on the edit page, with nodes on the fusion page and nodes on the color page. I have no idea which types of effects I should put where and why!
There's also the issue that effects don't seem to render to cache when placed on clips or adjustment layers on the edit page but that seems to be a bug in the R16 beta, but any input on that would be amazing!
Thank you.
Thanks for the video, found it very helpful.
You're amazing
Thanks for the enlightenment. Could you please do make a video or let me know here about the bugs that you faced so far on 16? I had to run back to 15 again as 16's qualifier has stopped working and not giving me any results when I'm on ACES
Awesome. 💙
Awesome
always love your tutorials...just wish I was closer to help out with the audio though...have you considered maybe using a lav mic or even a reasonably priced boom mic just out of frame? It would really up the quality. But aside from that, just excellent, excellent content. And I really love how you get to the point quickly and show everything very clearly. Keep up the great work! btw...where are you located (generally)?
u are really good at explaining u feed ,e like a baby and thats what i need 0_0
does the adjustment layer work with the stabilization feature? i'll try this later, thanks for the amazing video!
As an old timer that used to edit 2" tape we used waveform monitors and vector scopes for all color correction. Never did we rely on monitors to "eyeball" colors. Our monitors were professional if course and even a 12" monitor cost $25k. You NEVER depended on it for color accuracy. The cameras were set up to a chip chart prior to any recording so all colors had a linear response.
My question is: since you are using your display as your reference, how do you calibrate it to be accurate? Meaning that your choice of colors/saturation/brightness might look fine on toyr dusplay but be real crappy when viewed on another. There nust be a standard
Nowadays there are relatively cheap tools to calibrate monitors, and professionals who calibrate them for you. If you do serious color work you must have a good monitor and have it calibrated (some of the monitors have auto calibration). If you have a bad monitor or not minimally calibrated, is just a guessing game. In those scenarios I recommend watching the rendered files in different displays to have an idea of what other people would see.
@@Andresvideo as i would tell people. "You dont put your monitor on the air" meaning that you NEVER rely on rhe picture on YOUR monitor. For example your chroma is out of phase you can correct it on your monitor, however, on a vectorscope, either your in phase, or out of phase, meaning your in spec or out of spec. I will always rely on a device whos sole job is display your signal against a known standard. a vextorscope can actually show you how many degrees you are out if standard, whereas a monitor will never show you that and that's why you cant rely on it. Of course a waveform monitor is just as important.
The FCC would actually fine a television station for broadcasting out of standard.
best free lut ever 6:15
Thanks !
Help! I can tell that my histogram is showing information, but it's all waaaaaaay a the bottom, like it's zoomed out. It almost looks like a flat line way at the bottom of the histogram. I can't manipulate with any accuracy.. Is there a way to zoom in?
Is there a way to make the Curves window bigger? I find it so difficult to work with when I'm doing subtle adjustments. Also, is there a way to only work on one color at a time in the Curves?
What's your opinion on desaturating shadows across the timeline using the adjustment layer/clip, or using the timeline method as shown in you previous video?
Very powerful
What you covered in here made a whole load of pennies drop. I can't believe I didn't realise this before. Amazing, thankyou so very much. Now I can do things with less guess work and fiddling and with more precision, better results and much quicker.
Thank You, I loved it
Thanks a lot ...
Hi sir, 4 years ago I bought the BMCC along withe Dongle Davinci 11, But I dont know how to upgrade to Davinci 16, pls help