For over a decade, DaVinci Resolve has been the go-to tool for colorists working on Hollywood films, commercials, and professional corporate video.
Now it's available to anyone on a Mac or PC.
The latest version, DaVinci Resolve 15, combines its high-end color grading tools with a full-featured nonlinear video-editing environment.
You can edit, color correct, color grade, and render a video project without ever leaving the program.
In this advanced color Grading course here at Proline Film Academy, professional colorist Henry ( A.K.A - Kiwasonic) guides you through the advanced workflow of using DaVinci Resolve 15.
Get a look over Henry's shoulder as he touches on key features in Resolve, while introducing the lingo every colorist needs to understand the program and the workflow.
He shows how to import footage, keep it all organized, edit clips in the timeline, and start color grading your project, applying primary and secondary corrections, vignettes, looks, and Power Windows.
He also shows how to target corrections with shapes and keys, match shots, and create "hero shots" to jump-start discussions with directors, clients, and colleagues.
DaVinci Resolve is a high end color grading application that is used to correct and enhance the color of film and video.
It has been used to color grade more feature films and TV spots than any other system and is considered to be the benchmark or gold standard upon which all systems are measured.
This course is the fastest and easiest way to fully understand Davinci Resolve (constantly updated to latest version) and also it's compatible with our Advanced Compositing Courses all round.
By the time you have completed this course, you will have a comprehensive understanding of the most important color grading theories and concepts along with the advanced tools available in Davinci Resolve, including coloring DSLR footage.
This course is designed with the absolute beginner in mind No prior knowledge of Davinci Resolve or color grading is required.
The course will guide you from basic subjects, like what is saturation and reading the scopes, all the way to advanced subjects such as selective tracking and keying.
Along with monitoring tools and techniques.
[A] - All Independent filmmakers
[B] - Wedding filmmakers
[C] - Commercial filmmakers
[D] - Film editors
[E] - Anyone who's interested in color grading
• Intro to Resolve user interface and Project Manager
• Importing and managing footage in the Media Page
• Edit page tools and Resolve editing fundamentals
• Performance optimization walk-through
• Editing and trimming footage
• Advanced work-flow with multi-channel audio clips
• Preparing timelines for color correction
• Analyzing color, contrast, and exposure with scopes
• Understanding nodes
• Performing secondary color corrections
• Matching shots
• Building looks
• Bleach bypass
• Cross processing
• key framing
• Increasing playback performance in DaVinci Resolve
• Understanding Resolve's database structure and options
• Advanced Compositing in DaVinci Resolve
• How to evaluate your images for problems
• Improve poorly exposed footage using curves & color wheels
• Fix shots with mixed lighting or white balance issues
• Normalize your footage with Resolve Color Management & LUTs
• Applying Resolve's tools to real-world projects
• Focus attention using windows, qualifiers, and blurs
• Clean up compression and/or sensor noise in your shots
• Remove or reduce flicker, dead pixels, and lens distortion
• Applying different color washes to specific regions of image tonality
• Introduction to creative variations on undertone and bleach bypass looks
• Emulating and customizing cross-processing effects
• Preserving skin tones within extreme stylizations
• Understanding the round-tripping process
• Understanding XML
• The differences between round-trip workflows
• Rendering out individual clips vs. rendering out single clips
• How to enhance your look with subtle glow and bloom effects
• Different methods of constructing monochrome looks suited to specific color channel combinations, and more
What are they responsible for? Let’s take a look at the ever-changing duties of colorists in film and video production.
The role of a colorist has changed dramatically over the past two decades. Much like the evolving role of a Digital Imaging Technician, the job has transcended from a role with fixed responsibilities to one with constantly changing duties.
Not only has the colorists job changed, the role has also fallen upon video editors to learn the basics of color correction and color grading for their own edits.
What Does a Colorist Do?
Colorists, specifically digital colorists, are those who color correct and color grade footage in post-production.
That said, the job is evolving.
A lot of colorists are now finding themselves in pre-production – working with cinematographers to create LUTs to capture the look the director wants.
There may also be colorists who work with the DIT on set to create color-graded dailies.
Primarily, the colorist’s main responsibilities are color correction and color grading.
The two terms are often used interchangeably, yet there are differences between correcting and grading. Historically, color correction was the term used in video production and broadcast, while color grading was used in reference to film production.
Once the color industries started using many of the same programs, the terms shifted in meaning.
Color correction deals with technical aspects and adjustments made to exposure, white balance, ISO, and contrast.
Color grading often refers to the overall look and style that sets the tone of the project.
Here’s an easy way to remember it all: Color correction is one individual adjustment. Color grading is the sum of all the adjustments made.
Colorists create the final look of a film or video by correcting any errors in color or exposure, matching shots captured on various days or different cameras, and creating style and depth.
What is the Colorist's Job Descrption?
Colorists are post-production technicians who adjust the color, tint, and hue of the final product.
They work alongside the director and the cinematographer to ensure the film or show looks exactly how the director wants it to.
In the old razor and tape days, this was done by changing the exposure time when developing film.
Thanks to computers and software like DaVinci Resolve, our methods have grown somewhat more sophisticated, and the definition of the colorist’s job has gotten broader.