墨尔本视频调色 2024

gzhjb

Basic Workflow of Colour Grading:

NR

IDT (None, None)

Highlight (Preserve/Recovery Highlights)

Exposure (Correct Exposure through Offset or HDR Exposure sliders, Gamma-Linear)

Contrast (Ratio)

Saturation (Adjust Saturation)

Colour Balance / Cast (Fix White Balance)

Look

Grain

ODT (Luminance Mapping, 1000, Saturation Compression)

Project Setting
Color Management:
DaVinci YRGB
DaVinci WG/Intermediate
Rec.709 Gamma 2.4



Cullen Kelly
---- EXPOSURE - RATIO - BAL - HSV ---------
---- PW-PW-PW-----------------------------------


Darren MostynIDT
EXP (OFFSET OR GLOBAL)
COL TEMP AND STAHL (POWER WINDOW + HL)
P-OFFSET FOR SKIN TONE
P-HSL
P-

ODT
DEHANCE
~~~~~~~~~~~~~~

NODE TREE WITH FPE (RUNHAAR)

IDT
EXP
BAL
CON
SAT
P-TEMP
P-TEXTURE
P-3
P-4
LOOK1 (MAJOR CHANGE)
ODT
LOOK2 (MINOR CHANGE)
FPE COMPOUND-CST (REC709/GAMMA2.4 - REC709/CINEON FILM LOG)
FPE COMPOUND-FILM LUT (REC709 KODAK 2383 D60)MINOR ADJUSTMENT (BLACK POINT, WHITE POINT, VIGNETTE)P-GRAIN
P-SHARPEN
P-GLOW
P-HALATION



DARREN MOSTYN 2023

PROJECT SETTINGS:
COLOR MANAGEMENT:
COLOR SCIENCE: DAVINCI YRGB
TIMELINE COLOR SPACE: DAVINCI WG/INTERMEDIATE
OUTPUT COLOR SPACE: REC.709 GAMMA 2.4DOLBY VISION VERSION: 4.0
MASTERING DISPLAY: 4000-NIT, P3, D65, ST.2084, FULL

CAM-DWG
BAL/EXP
CONTRAST
SAT
TEMP/HDR/WARPER/CURVES
TRIM
PW1/PW2/PW3
TEXTURE
SPARE
LUT COMPOUND
(709/2.4-709/CINEON FILM LOG, LUTS-FILM LOOKS-REC709 KODAK 2383 D65 OR OTHER LUTS)



Note: Film Print Emulation
~~~~~~~~~~~~~~
Colour Correcting + Colour Grading

Method 1 - Wheels

Balance + Grade (Look)

Balance:

1. Collapse Timeline
2. Collapse Clips
3. Collapse Gallery
4. Now more space for the viewer
5. Click Qualifier, Tick Show picker RGB value (right-click on the viewer)
6. Enable the looping player
7. Open up Waveform
8. In settings of Waveform, tick Y
9. Increase the brightness of Waveform
10. Use Colour Wheel palette (Lift, Gamma, Gain and Offset)
11. Use the dark horizontal wheel
12. To spread out the Scope of Waveform
13. Change Lift to reach close to 0 line
14. Change Gain to reach close to 896 line normally (768 line for some dark scenes)
15. Back and forth on Lift and Gain in order to normalize the Scope (0~768 or 896)
16. Change Gamma to reach 50% of Scope (512 lines)
17. Now to check the Saturation
18. Change Saturation to reach as close as a real look
19. Now to check the colour cast
20. Change to Primaries Bars
21. Show picker RGB value (right-click the reviewer)
22. Use white or black reference here to check any colour cast issue by checking RGB value
23. Or look for a reliable grey colour (RGB value should be balanced)
24. If refer to the high light area, change Gain to address colour cast
25. Double check the RGB value of the grey area, RGB value should be now balanced

Look

1. Create a new node for Look
2. Switch back to Colour Wheels (Primaries Wheels)
3. Use the Gamma wheel to push a certain colour
4. Use Lift wheel to compensate a certain colour (to make Shadow back to neutral)
5. Change Contrast
6. Change Pivot to address some over-exposed area
7. Change MD to increase the contrast of area with a high amount of details (Sharpness)


Method 2 - Curves

Balance
1. Spread the Scope of Waveform by change the positions of the Black point and White point on the curve
2. Add more points on the curve by clicking on the curve
3. Remove points by right-clicking on the points
4. Select any one of the four channels of YRGB, you can change the value of specific colour
5. Use the Parade to balance the colour
6. Change the Scope to Parade
7. Check where there is colour cast in the Parade
8. Isolate the colour channel on the Curve
9. Add points around where colour casting
10. Push away the colour casting
11. To achieve the balance of all RGB colours in Parade
12. Now start to adjust Contrast (Deepen the shadows and brighten up the middle tones)
13. Bind YRGB channels
14. Add two points on the Curve
15. Make the S curve adjustment
16. Keep an eye on the Parade to ensure no over-expose
17. Push MD a little bit to get more contrast on details


Look

Cross Process (before Contrast adjustment)
1. Isolate one of the four YRGB channels, R
2. Adjust the S curve on the R channel
3. Isolate another colour channel, B
4. Adjust the opposite S curve on the B channel

Cross Process (before Contrast adjustment)
1. Isolate YRGB channels,
2. Blue: Highlights down and Shadows up,
3. Red: Highlights up and Shadows down,
4. Green: Middle point up or down.

Vintage 11. Isolate YRGB channels,
2. Red: Highlights down and Shadows up,
3. Green: Highlights down and Shadows up, but less density,
4. Blue: Shadows down and Middle point up,
5. Y: Shadows down and Highlights up for more contrast.6. Using Splined Control to get a more organic look.

Vintage 2
1. Isolate YRGB channels,
2. Green: Middle point down,
3. Red: Shadows down and Highlights down,
4. Blue: Highlights down more than Red and Shadows up a bit.

Vintage 3
1. Isolate YRGB channels,
2. Blue: Highlights really down and Shadows really up,
3. Red: Highlights up and Shadows down, add a point close the Shadows, then push Shadows up,
4. Green: Highlights up a bit,
5. Y: Highlights down and Shadows up,
6. Bring Sat down a bit.

Easy Teal and Orange Look

1. Node 1: Bring Saturation to 0, then adjust Primaries to a certain exposure,
2. Add Node 2,
3. Node 2: Add some blue tint in Gain of Primaries Wheels,
4. Node 1: Bring Saturation back to a high level,
5. Add Node 3,
6. Node 3: Bring Saturation down to a level you like.

MD
Midtone Details: to adjust how harsh the image looks, can be used to smooth skins for a beautiful look.

+ / X
Colour Wheels: Adjust colour wheels at + directions first, then X directions.
Colour Wheels: Also start from right to left, Offset - Gain - Gamma.


Note:

Check your Saturation and adjust it accordingly now and then after changes are made in Primaries and Wheels.

Contrast -  Colour:
1. Node 1 (for Contrast) - Bring Sat to 0, Adjust Primaries Wheels from Right to Left: Offset - Gain - Gamma - Lift. (Only use the sliders)
2. Once happy with the contrast, bring Sat back to 50.
3. Node 2 - (for Colour) Bring Sat up quite a bit.
4. Adjust Primaries from Right to Left: Offset - Gain - Gamma. (Only adjust them horizontally in colour wheels: left or right)
5. Adjust Primaries from Right to Left: Offset - Gain - Gamma. (Only adjust them vertically in colour wheels: up or down)
6. Bring Sat down all the way to 0, then bring Sat back to what you like the most.
7. Change to Log.
8. Adjust Shadows in Log.
9. Adjust Shadows (left or right, up or down).
9. Adjust Shadows Sliders.



Auto Match Tools (Shot Match to this Clip)
1. Select the clip you want to change

2. Right-click the clip you want to match to
3. Choose the Shot Match to this Clip

Manual Match Process
1. Select the clip you want to use as a reference
2. Right-click the viewer, choose Grab Still
3. Change the name of the still to Reference
4. Select the clip you want to change
5. Double click the reference still
6. Still reference will be displayed side by side with the clip you are about to work on
7. The Image Wipe is now activated in the viewer manuals
8. You can move the wiper line to change the ratio
9. Notice that the Scope is also wiped (live readout of scope during wiping)
10. Isolate one colour channel
11. Change the colour on the curve to bring the two values to match in height
12. Do the same on other colour channels

Flag Clips: Use Flag to group clips and filter them in different ways.
Primary Grading: for entire clip or clips.
Secondary Grading: for a certain area of the clip by using qualifiers, masks, tracking tools or keyframes.

1:04:04



MY OWN KEYBOARD SHORTCUT LIST:

J, K, L

J: Fast Reverse
K: Play
L: Fast Forward


<-, ->

<-: Reverse Frame by Frame
->: Forward Frame by Frame


I, O

I: In Point
O: Out Point

G
G: Clear In and Out

, .

,: Place Clip on Nearest Cut
.: Place Clip at End of Timeline


Q, W

Q: Ripple Delete Beginning of Clip (Delete from Beginning to the Playhead of the Clip and Remove the gap)
W: Ripple Delete End of Clip (Delete from the Playhead to the End of the Clip and Remove the gap)


C
C: Razor, Cut at the Playhead
D
D: Disable / Enable a clip or a soundtrack or multiple ones.

Shift + Middle Wheel of Mouse
Increase / Decrease Height of the Clip

Ctrl + Middle Wheel of Mouse
Pan Left / Right of the Clip

Alt + Middle Wheel of Mouse
Zoom In / Out the Clip

Alt + Left Button of Mouse and Drag
Copy and Paste the Clip

Ctrl + R
Retime Control (Slow Motion Control) or Right Click then Choose Change Clip Speed, Input percentage (24/60=0.4=40%)
Remember to use Retime Curve to smooth in and out, Tick Retime Speed, Untick Retime Frame.

Fullscreen Playback
Ctrl + F: Fullscreen Playback or Cinema Viewer mode

Reset Colour Grades
Ctrl + Shift + Home: Reset Grades and Keep Nodes
Ctrl + Home: Reset All Grades and Nodes

Enable / Disable a Clip
X: Customized with X


Copy and Paste Colour Grades and Nodes to Other Clips
Shift + =

Enable / Disable All Nodes
Alt + D

Enable / Disable the Selected Node
Ctrl + D
Enable / Disable the Fusion Node
Ctrl + P

Edit Node Name
Tab

Add a Serial Node
Alt + S

Add an Outside Node
Alt + O

Add a Parallel Node
Alt + P

Create a version of Grade
Ctrl + Y

Check the Previous Version
Ctrl + B

Check the Next Version
Ctrl + N

Open Wipe Windows
Ctrl + W
Swift Wipe Windows
Alt + W

Open Split Screen
Ctrl + Alt + W

Open Highlights
Shift + H

Open Black & White Highlights
Shift + Alt + H

Enable Printer Lights
Ctrl + Alt + A

Adjust Printer Lights
Ctrl + Numpad Keys

Zoom to Fit Viewer
Shift + Z

Enable Wipe Mode
Ctrl + W

Create New Version
Ctrl + Y

Apply one clip's grade to all other ungraded clips from the same scene or any scene: Multiple select all clips including the graded one, then middle-click the graded one.

Parallel Node: good for blending
Layer Node: good for adding


Grade Version:
Add: Alt+Shift+A
Default: Alt+Shift+D
Next: Alt+Shift+N
Previous: Alt+Shift+P

Search Tools
Ctrl + 空格（SPACE）
Zoom In/Out Fusion Node Tree
Ctrl + Middle Wheel (Mouse)

Pan Fusion Node Tree
Hold Middle Wheel (Mouse) and Move
Play Again
Alt + L

Search Tools
Ctrl + Space




Colour grades from one clip to another is to just go to the next clip. And then hit the equal sign on the keyboard (or Shift + =). And that will copy and paste all of the nodes from the previous clip onto the next clip.


---------------------------------------------------------------

Base Node Tree

nr: noise reduction
pri: primaries
pop: pop
look: look
hsl curves: hue, saturation and luminance curves
red / green / magenta / yellow / blue / cyan: paralle nodes
look adjustment:
skin / eyes: parallel nodes
sky / hero / left / right / bottom: parallel nodes
glow / sharpening / grain: parallel nodes
director / dp / globe adjustment / trim: parallel nodes


Create a "base" still in PowerGrade
Gallery - PowerGrade
Right Click - Grab Still
Name it as "base"

Apply "base" still to new clips
Gallery - PowerGrade
Right-Click the "base" still - Apply Grade


nr: noise reduction

Temporal Threshold:
Luma: 4.8
Chroma: 4.8

Spatial Threshold:
Luma: 0.0
Chroma: 6.8
Simple Node Trees

nr:
primaries:
globe adjustments:
-------------------------------------------

Colour Correcting



--------------------------------


White Balance


Open Scopes in four windows:


Parade, Waveform
Vectorscope, Histogram


Method 1 - Temperature and Tint:

1. Temperature: To concentrate colours in your highlights (White is white or grey is grey) and shadows (Black is black).
2. Tint: go left to add Green, go right to add Magenta.


Method 2 - Offset and Primaries:

1. Colour Wheels: Lift, Gamma, Gain and Offset
2. Offset first
3. Then Gain
4. Focus on concentrating colours in highlights

Method 3 - Printer Lights

1. Activate Printer Lights from the Colour drop-down menu
2. Use Printer Lights to adjust individual colours (= Offset)
3. Ctrl + Number Keys in Number Pad

Method 4 - Primaries

Lift - Dark
Gamma - Midtones
Gain - Highlights
Offset - Tints
-----------------------------------------------------------

Recommended Audio Levels for Dialogue

• Generally, the dialogue level is within -15 db to -10 db.
• Strong booming voice around -10 db.
• Softer natured voice around -15 db.
• Average voice level at around -12 db.
• Whispering sound around -20 db.
• Yelling sound around -3 db.
  

Recommended Audio Level for Music / Sound Effects

• Background music track audio level around -20 db.
• Shooting/explosion audio around -3 db.
• Musical video around -10 db to -5 db.
  

Layer Mixer Node: Generally used to isolate selected parts of the frame using qualifiers, or add composite mode to create effects such as Bleach Bypass etc. For example, use a qualifier to select a certain colour (green for grass) in order to make the grass greener, or use a number of Layer Mixer Nodes to select a variety of parts of the frame, by doing so, you can isolate the selected parts, colourful subjects, and then de-saturate the white subject in order to make white subject real white. Remember, the nodes on the button are actually on top, work as masks.


Parallel Mixer Node: Generally used to blend in multiple corrections by using windows or qualifiers. For example, use a window to select a subject in order to brighten it up, make it pop, or use a window to select a subject and reverse it in order to dim down for vignette effects.


Always max out the parameters and then dial it back. This will help you determine how far you can push the image before it breaks apart.


3 Ways To Copy Color Grades FAST In Resolve

Method 1 – Creating Stills

• Right-click in the program viewer and go to Grab Still. If you open up the gallery, you’ll see the new still that was created. When you hover over a still in the gallery viewer, it gives a preview of what that grade is going to look like when it gets applied to your new clip.
• Right-click on the still and choose Apply Grade from the dropdown menu. Now you’ll see that the grade from the still has been applied to the new clip (or multi clips if you have chosen them) in the timeline.
  

Note: After the grade has been copied, you have the ability to modify the grade further on an individual basis. It’s a one-way process and not linked to any other grade or still.

Method 2 – The Mouse

• Select the clip that you want to apply the copied grade TO.
• Find the clip that you want to copy the grade FROM in the timeline. Click on it with your center mouse button, that’s the wheel.
• Hover over that clip in your timeline and push down firmly with the wheel on your mouse.
• And just like that, Resolve will copy the color grade from one clip to another.
  

Note: Using your mouse to copy a grade is much easier than going through the process of creating stills. Stills are useful if you’re going to be copying that grade to a large number of clips, almost as if you want to save that grade as a favorite so you can reapply it throughout your timeline to various clips.

Method 3 – Hotkeys

Here’s one last example of how to copy a grade from one clip to another – using hotkeys. In Resolve, there are hotkeys for copying the color grade from the previous clip in your timeline and for copying the grade from the clip BEFORE the previous clip in your timeline. Those are the minus (-) and the plus (+) keys.

• If you hold down on shift and hit the minus (-) key, Resolve will copy the color grade from the previous clip in your timeline. You will see that it’s copied the grade because you will have a new icon appear in your node.
• If you want to copy the grade of the clip BEFORE the previous clip, you’ll hold down shift and use the plus (+) hotkey.
  

Note: It doesn’t matter if you have existing color corrections on a clip because when you copy the grade it will overwrite everything that you’ve had there previously.

Skin Tones
https://www.youtube.com/watch?v=akPGqs7daYs&ab_channel=WaqasQazi

Fly In Text Animation
https://www.youtube.com/watch?v= ... hannel=MotionEpicFX


Sony RAW
Color Space Transform
Input Color Space: Sony S-Gamut3.Cine
Input Gamma: Sony S-Log3
Output Color Space: Rec.709
Output Gamma: Gamma 2.4

Correction
CST
Look
Skin Tone | Eye Left (Sharpen) | Eye Right (Sharpen)


Skin Tone
Keep the highlights of skin tone at around 512~640 in Waveform.

gzhjb

Teal and Orange Look

All skin tones are kind of orange. Its complementary colour is teal. Using teal and orange look will make the both (most of the time, the orange subject - skin tone - human being) pop out.

First off, you would want to get your contrast levels right, and then you would add teal to the shadows. Then next, you would go to the mid-tones and drag it to the opposite orange area, and then you would take the highlights towards the teal area or if you want a more warm look, you could also take it towards the orange area. I would usually bring it more towards the teal, just to cancel out some of that correction in the mid-tones.

And then notices once you change the highlights, the mid-tones change a little bit so you have to kind of go back and forth and finesse the look so that it looks pleasing to the eye and you're happy with it.

And the further away from the middle you drag the colour wheels, the more intense the look is gonna be.




Top DaVinci Resolve Keyboard Shortcuts to Help You Edit Faster

                               
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Shortcuts are a great way of saving time when you are editing. Using these “hotkeys” can help change up how you edit, making you faster and more efficient in the process, which is why we put together this handy cheat sheet of DaVinci Resolve keyboard shortcuts.

That said, shortcuts only really save you time when they become a habit, and you automatically use the keys rather than the mouse. If you already have certain editing habits, these can be difficult to break or relearn.

The most effective way to get your head around shortcuts is to start with your most frequent actions. It can take some time and be frustrating, but if you pick one or two to start with, you’ll soon have those as a part of the workflow, and can start integrating other hotkeys into your work.

Part 1: DaVinci Resolve Shortcuts

We’ve split this guide into different sections to help you navigate the range of keys you can use. While you might use some of these already, there is a wealth of shortcuts to master.

File

Firstly, let’s take a look at the shortcuts associated with the File Menu, where you can create new timelines, import and export media, and save your projects.

Action	Mac	PC
New Bin	Shift + Command + N	Shift + Control + N
New Timeline	Command + N	Control + N
Save Project	Command + S	Control + S
Save Project As…	Shift + Command + S	Shift + Control + S
Import Project	Command + I	Control + I
Export Project	Command + E	Control + E

Timeline Navigation

The Timeline shortcuts are super helpful in navigating your timeline and playback options.

Action	Mac	PC
Go to First Frame	;	;
Go to Last Frame	′	′
Play Around Current Frame	/	/
Go to Timeline Start	Function + Left Arrow	Home
Go to Timeline End	Function + Right Arrow	End
Previous Clip / Edit	Arrow Up	Arrow Up
Next Clip / Edit	Arrow Down	Arrow Down
Step One Frame Reverse	Arrow Left	Arrow Left
Step One Frame Forward	Arrow Right	Arrow Right

Marking

Marking your timeline is an efficient way of adding reference points to a clip without needing a keyframe or a cut. Use markers for anything that you want to remind yourself of later, but don’t overuse them, or your timeline will become cluttered and confusing.

Action	Mac	PC
Mark In	I	I
Mark Out	O	O
Clear In	Option + I	Alt + I
Clear Out	Option + O	Alt + O
Mark Clip	X	X
Add Marker	M	M
Add & Modify Marker	Command + M	Control + M
Modify Marker	Shift + M	Shift + M
Delete Marker	Option + M	Alt + M

Playback

Playback Shortcuts help you watch your edit through in a variety of different ways. Learning these shortcuts will help you quickly watch through, reverse, and loop your clips for review.

Action	Mac	PC
Pause/Start Playback	Space	Space
Play Reverse	J	J
Stop	K	K
Play Forward	L	L
Fast Forward	Shift + L	Shift + L
Fast Reverse	Shift + J	Shift + J
Loop/Unloop	Command + /	Control + /
Play In To Out	Option + /	Alt + /
Play To Out	Option +  Command + /	Alt + Control + /

Editing

With these hotkeys, you can quickly jump between editing tools, which can save a ton of time and mouse action.

Action	Mac	PC
Normal Edit Mode	A	A
Trim	T	T
Blade	B	B
Razor	Command + B	Control + B
Insert Edit	F9	F9
Overwrite Edit	F10	F10
Replace Edit	F11	F11
Place On Top Edit	F12	F12
Delete Selected	Backspace	Backspace
Fit To Fill	Shift + F11	Shift + F11
Append At End	Shift + F12	Shift + F12
Dynamic Trim Mode	W	W
Trim Mode	T	T
Select Clips Forward On This Track	Y	Y
Select Clips Backward on This Track	Command + Y	Control + Y
Edit Point Type	U	U
Select Nearest Edit Point	V	V
Snapping On / Off	N	N
Nudge One Frame Left	,	,
Nudge One Frame Right	.	.
Select Nearest Clip/Gap	Shift + V	Shift + V
Linked Selection	Shift + Command + L	Shift + Control + L
Clip Link	Option + Command + L	Alt + Control + L
Enable Clip	D	D
Split Clip	Command + \	Control + \
Join Clips	Option + \	Alt + \
Select Nearest Edit Point	V	V
Edit point type	U	U

Effects

Shortcuts can also help you with your effects, such as retiming clips, adding transitions, and working with keyframes.

Action	Mac	PC
Add Transition	Command + T	Control + T
Retime Controls	Command + R	Control + R
Reset Retime	Option + Command + R	Alt + Control + R
Paste Attribute	Option + V	Alt + V
Add Keyframe	Command + [	Control + [
Add Static Keyframe
Delete Keyframe
Go to Previous Keyframe	[	[
Go to Next Keyframe

General

Some general shortcuts you can use include copy and paste, as we’ve already mentioned, but you can also use a similar method for a variety of other general actions.

Action	Mac	PC
Undo	Command + Z	Control + Z
Redo	Shift + Command + Z	Shift + Control + Z
Copy	Command + C	Control + C
Paste	Command + V	Control + V
Select All	Command  + A	Control + A
Deselect All	Shift + Command + A	Shift + Control + A
Delete with Ripple	Shift + Delete	Shift + Delete

Part 2: How to Customize Keyboard Shortcuts

You can make the most of your editing workflow by customizing your keyboard to your preferred set up. Within DaVinci Resolve, you can create as many unique keyboard setups as you like, creating shortcodes specific to your workflow.

Customizing Your Keyboard

It might sound daunting, but don’t worry, customizing your keyboard for Blackmagic Design’s DaVinci is very easy, and needn’t take long. You can also change to other preset keyboards such as Final Cut Pro and Adobe Premiere Pro, which can help if you are working between applications or migrating entirely to Resolve.

• Go to the DaVinci Resolve menu, and select Keyboard Customization (Alt/Option + Command/Control + K)
• In the top right corner, you can browse the present keyboard options from the drop-down.
• To create your own, select the keyboard most like the one you want to use.
• Scroll through the window displaying all of the functions, and find the one you’d like to customize.
• Click in the box alongside it and type your new shortcode. If the key is already used, a notification will appear giving you the option to overwrite it or try again.
• Once you have edited the shortcode, click save and give your keyboard a new name. If you want to edit the keyboard at a later date, just select it from the drop-down menu, make your changes and save again.
  

---

So, that’s a whole heap of hotkeys to save you time and repetitive strain injury. Our top tip for integrating DaVinci Resolve shortcuts into your work is don’t try and learn them all at once. You don’t need to master this entire list to see the positive effects they can have on your work. Concentrate on your most used actions and learn those, as you grow as a video editor, shortcuts will feel more familiar, and you’ll begin to have fun with them.

Skin Tones

I like to break it into three components, the shadows, the mid-tones and the highlights.

The mid-tones are where we add our base orange colour and this is actually going to be the same orange hue regardless of your actors' ethnicity or the rest of the colour grade.

For the shadows, we're going to add a little bit of red colour and this will give the appearance of blood flow in the skin. This is a great way to control how lifelike or how dull your skin tones look depending on how much of this red colour you add. It's important to note here that the shadows and mid-tones are going to remain pretty much the same colour regardless of what you're doing with the colour grade and that's where the highlights come in.

The highlights of the skin should take on the ambient light colour in the scene. So in this example, I'm working with a teal orange colour grade and I have lots of blue ambient light in this shot so I'm gonna add blue into my highlights and you can see right away how it makes the skin look like it's part of that actual shot but at the same time it keeps our mid-tones and our shadows looking very lifelike and natural. What's so powerful about this technique is that all we have to do is change the colour of our highlights to fit in whatever colour grade we're using for that specific shot.

                               
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First, colour correct the footage before we start working with our skin tones. I'll take my saturation down to zero and I'll balance my luminance first so I'll use the curves here set my black point on the scopes and get a little bit of contrast going in this image. I'll bring my saturation back up to 50 and then go to the RGB mixer page and turn up the red, green and blue output, and that just saturates our image nicely.

So now I'll add a second node and take care of some of the colour cast issues. It seems like we have some red in the shadows so I'll go to the primaries bars, turn the luminance mix down to zero and I'll start to bring some red out of the lift. I can also bring some green out of the mid-tones there.

Now we're ready to start working with the skin. I'll add a new node and we're gonna go ahead and qualify our skin tones. I'll grab the eyedropper tool and select our skin. You can hit Shift H to highlight / show your selection, just gonna select those mid tone colours right there and then grab the feather tool and drag across the skin to blend our selection and chances are you'll probably have to refine this a little bit by hand so I'll go ahead and do that now. I want to point out that it's okay if you select other things in the scene because chances are they will benefit from this skin tone process so let's start working on our skin tones. I'm gonna come over here to the log wheels and as you can tell we have a shadow, midtone and highlight wheel which correspond perfectly to the technique that we'll be using to control our skin tones. I'm also going to switch over from the parade to the vectorscope and one thing I want to point out is that if you click this button here, you want to make sure that the show skin tone indicator is checked. That will give you this line and that's what we're going to be aligning our midtones to, to make sure that our skin is the right colour. I'll grab a power window, circular power window in this case and I'll just go ahead and kind of select my skin like that and now if we look on the vectorscope we can see where our skin is and in this case it's right directly on that line. Now if it's not on the line you can use the offset wheel to just make some subtle adjustments and get your skin either right on this line or just touching the right side of the line. Maybe I'll make a very subtle correction there. What I can do is take our midtones and I can push that orange colour into the mids. I'll keep a close eye on the vectorscope to make sure I'm pushing the right colour right about there. At this point, I can shut off the power window.

If you look underneath the colour wheels here we have a low range and a high range parameter right here. I'll show you how that works visually right now.

First I'll going to do is set my low range and I'm gonna do this by pulling it all the way down to zero.

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Colour Grading Step by Step

Colour grading is how you enhance or alter the colour of a motion picture, video image or still image. It is how videographers adjust the colours of their footage to achieve a visual mood or tone.

While the term colour grading refers to the whole process of adjusting the colour from the source file to the final output, the process is split into two parts: Colour correction and Colour grading.

Colour correction: the process of adjusting the basic colour and white balance, exposure and contrast to be consistent from shot to shot.

Colour grading: Once the colour has been corrected, the footage can be colour graded to fine-tune the colours and create a specific look.

If your camera doesn't offer a log profile and you plan to colour grade your video, use either a neutral profile or set up a custom profile with the sharpness and contrast set as low as possible. It can also help to slightly decrease the saturation setting.

The colour-grading process will vary somewhat from editor to editor, but here is a general workflow you can follow:

1. Normalize Your Video Clips
2. Perform Video Colour Correction
3. Colour Grade Your Footage
4. Perform Final Colour Adjustment
5. Consider Vectorscope and Skin Tones

Normalize Your Video Clips

The first step should be to normalize your video clips. You need to fix the contrast and saturation in order to take advantage of all of the information recorded. It's possible to do this process manually, or you can use a technical LUT to simplify your workflow.

Perform Video Colour Correction

Once your clips have been normalized, you need to colour correct the video. Try to get the video clip as "correct" as possilbe. If your exposure is bad, contrast is missing, or white balance is off, the actual colour grading will be far more difficult.

Colour Grade Your Footage

Once your colour correction is completed, you can then colour grade your footage. Again, this step can be done either manually or with a LUT. Doing it manually will provide you the most control but could take longer. Using a creative LUT can save time and add consistency, but only if all of your clips are colour corrected well.

Perform Final Colour Adjustment

As with any anotmated method, LUTs are likely to not be perfect. For example, they might give everything too much of a certain colour tint. After adding your LUT, go back through, correct any problems, and ensure consistency across all of your clips.

Vectorscopes and Skin Tones

One of the chanllenges with colour grading vido is that you can't always completely trust what you see on your monitor. Bad (or the lack of) monitor calibration and ambient lighting can alter the way you see the video being displayed.

How can you make sure that your colour corrections are accurate?

Editing programs that offer video colour correction tools, such as Adobe Premiere Pro, DaVinci Resolve, and Final Cut Pro offer solutions for this problem. Within these programs, there are panels called scopes that give a range of information about your video footage.

When it's time to colour correct or colour grade, the vectorscope is extremely helpful. A vectorscope shows what colour tones you have and how saturated they are. Because the vectorscope directly reads the digital signal, it's not affected by anything that might skew your perception. Once you learn to read them they give you colour information that you can trust to be accurate.

One of the most helpful features of a vectorscope is a line that passes between the yellow and red point. If it was clock face, the line would go from roughly 11:00 to 5:00. This is called the skin line, because virtually every person's skin tone will fall on or extremely close to this line.

When colour correcting, ensure that your colour are balanced so that the skin tones match up with the skin line.

For any videographer who wants to produce high quality content, there are many elements to pay attention to. Framing, focus, exposure, capturing clear audio, and telling an engaging story are crucial. With all of this in place, colour correction and colour grading play an important, final role in taking your video to a professional level.

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Isolating and stylizing highlights.

The advanced way to colour grading is to treat highlights in a separate node from the rest of the image. So one node will control highlights only and other nodes will control the rest of the image.

Colour correct the image first in the first node. This is a very basic colour correcting to find the pure black and pure white in the image. Remember to bring Gain down a little bit after colour correction as most of the time, the white point balancing will bring the image too bright.

How to isolate the highlights.
After the basic colour correcting in the first node.
Add a new serial node.
In Qualifier Tab, switch to the LUM Qualifier.
Add some L.Soft.
Activate the Highlight Mode.
Cutting out the Shadows by increasing the Low, until only the highlights are selected.
Increase the Blur Radius a bit.
Add an outside node.

Start with the Outside node.
Bring the Offset down and then reducing the Saturation.
Also can change the Contrast a little bit.

Change to the Highlights node.
Pull the Gain away towards to Orange for example. (If the Highlights are face or skin mainly).
And reducing some Saturation a bit.

Another way to get the same look.

Still start with the Outside node.
Reset all colour grading applied on this node by clicking the icon next to the text "Primaries Wheels".
Simply reduce the Saturation and reduce the Contrast of the image and bring the offset up a little bit.

Back to the Highlights node.
Reduce the Saturation and increase the Gain a bit further.
Also can increase the Contrast a little bit to bring more details in Highlights. Reduce the Saturation a bit further.

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Bleach Bypass Look (More contrasty and less saturation effect)

This is a combination of Black and White imagine and Colour image.

Apply basic correction on the shot first. (Primary Black Balance, Primary Offset, setup the blackest point of the image)
Add a new serial node, then add a new layer node on it.
Start with the bottom layer node first. The bottom layer is actually the layer on top of other images.
On Primaries Wheels.
Reduce Saturation to zero.
Go to the Layer Mixer (the layers combination output).
Right-click.
Choose the Composite Mode.
And select Overlay.
From the Black and White layer, using Gamma to control Lum value of the image.
From the Colour layer, using Saturation or Gain to adjust the colours.

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Colour Grading, always start from the Gain, then Gamma, then Lift.

The slightest change in Gains has a profound effect on how the images look.

In natural light, whenever there is a colour cast, usually the colour cast starts from the Highlights or Gains.

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常用的一些快捷键：


Alt+Tab: to toggle among  all opened programs

Alt+S: to add a serial node

Alt+P: to add a parallel node

Ctrl+S: to save the project

Win+Tab: to show history

Win+D: to close the main windows

Ctrl+Shift+Drag: to swap two clips

Ctrl+C: to copy

Ctrl+V: to paste to where playhead

Alt+Drag: to duplicate clip

Win+E: to open file explorer

WB-Contrast-Sharpness-LUT Prep-LUT

Click Node Serial Number: to deactivate a Node

Click Node Serial Number again: to activate a Node

LUTs/3DLUT/Film Looks/Rec709Kodak2383D55

The next clip or major movement shall start after beat change

GPU Setting for smooth replay
DaVinci Resolve-Preferences-Memory and GPU-System Tab-GPU Configuration- GPU processing mode-CUDA-GPU selection mode-Manual-Use GPU Scopes ticked.


White Balance Method 1
Colour Tab,
Looking for area with netural gray in your scene,
Go to window tools,
Choose custom polygon (pen tip),
Draw outlines around the netural gray area,
Then go to highlights to highlight the grey area selected in the window,  
Go to scopes,
Choose parade,
There are blue, green and red channels at different level,
To bring the three channels to the same level,
Go to curves,
Make sure in custom curves,
Makes sure all curves are linked,
Go to colour picker tool (qualifier),
Click in the area of selected grey area,
Will see four points on the curve,
One for red, one for green, one for blue and one for  luma,
Usually leave green and luma alone,
To bring the red and blue back to balance,
Select the blue from the custom curve box,
Move the blue point on the curve vertically to overlap or reach the same level of green channel,
Do the same to red point on the curve,
The selcted grey window should look well balanced now,
Click the highlight once happy with the grey balancing,
Go back to window tools,
Click the custom polygon again,
Now it applys the effect to the entire frame.

Appending a Node to Multiple Clips Method 1
Finish colour grading to one clip via node(s) first,
Then click the clip which colour graded as a source clip,
Then Shift + Click to select the rest of clips you want to append effects,
Go to colour menu,
Click append node to selected clips,

Appending a Node to Multiple Clips Method 2
Select the node you want to append to other clips,
Select the target clips using Ctrl + Click or Shift + Click,
Go to Clour Menu,
Click append node to selected clips.

Deliver Best Quality Video
Video:
Format: QuickTime
Codec: Uncompressed
Type: YUV 422 10-bit
Resolution: 4K or 1920 x 1080 HD
Frame rate: 24
Quality: Medium or High
Audio:
Codec: Linear PCM
Bit Depth: upgrade from 16 to 24

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Desaturate Different Colour Ranges

Keep this colour grading node at the end so to compensate the output of all the previous colour grading nodes.

Sometimes the shadows are not pure black as it is saturated or the saturation in shadows.
Desaturate the shadows will make it a film look.
Add a new serial node.
Scopes, Parade, check the lower end of RGB parade if they are balanced.
Curves tab, Lum Vs Sat.
Bring Saturation down in Shadows by lowering the left end of the curves on Lum Vs Sat, so to bring the RGB parade in balance.
Increase Saturation in Midtones.

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High Key vs Low key Look

High Key and Low Key are different from each other mainly at Gamma.
High Key look: increase Gamma, put Midtone upwards.
Low Key look: Decrease Gamma, put Midtone downwards.

Low Key Look:
Decreasing Gamma, decreasing Saturation, increase Lift a little bit.
Add a serial node.
Give the Shadows a cooler look by pulling Lift towards blue and pull Gain towards Yellow.
May need to bring any other background highlights down a little bit in order to pop the main subject out.
Add a new serial node.
Add a new power window and place it on top of the background highlights.
Reduce Gamma even further and also reduce Saturation.
Always remember, the amount of light in the image and saturation should be balanced.
Generally speaking, the brighter the image it is, the more saturated it is; the darker the image, the less saturated it is.
May need to bring the main subject popping out a little bit more.
Add a new serial node.
Add a new power window and place it on top of the main subject (like the Face).
Then add a new Outside Node in order to control the outside of the main subject.
Then bring the Gamma even further down on the Outside Node.
Again reduce the Saturation.
Then select the power window of the main subject.
Hide the window in order to see the image better.
Increase the Gain a little bit while bring the Gamma down a little bit.
Bring the Saturation down.
Finally, we need to Track the inside Power Window.


High Key Look:
High Key Look usually has more saturated image.
Starting increasing the Saturation, also increase a bit Gamma to balance the image a bit more.
Then need to bring the Shadows down without affecting the Midtones.
Can't do this in Primaries Wheels.
Switch to Log.
Bring the Shadows down a bit.
If the image is bit green, change the Tint. The Tint balance the Green with Magenta.
Pull Tint to the right, reducing Green and increasing Magenta a bit.
Can also use the Offset to do the change.
To do that, pull the offset away from Green.
Increase the Saturation a bit again.
It is better to decrease the Saturation of the background (mainly Green for example).
Go to Curves and select Hue Vs Sat.
Use the Qualifier to pick up the Green from the background.
Reduce the Saturation by pulling down the centre dot on the Hue Vs Sat curves.
Add a new serial node.
Switch Colour Wheels to Primaries Wheels.
Increase the Gamma a bit.
Then switch Curves to Lum Vs Saturation.
Click the middle of the curves and then bring the left end (Shawdows) down a bit, and bring the Saturation up at the middle.

In order to reduce some blenishes on the Face.
Add a new serial node.
Switch to Qualifier.
Activiate the Hightlight Mode.
Click on the Face skin area.
On the Qualifiter tab, Hue, adjust the width in order to select most of the area of the Face.
On the Matte Finesse, increase the Denoise a bit and add a bit of Blur Rdius.
If some outside of the Face also be selected, simply add a power window to narrow down the selection to the Face area only.
Activate the Hightlight Mode.
Go to #2 tab, reduce the MD (Midtone) to remove the midtone details (blenishes), so to smooth the skin of the Face.
Go to Tracker, tracker forwards and backwards under Clip mode.
Switch to Frame mode if some detail tracking required.

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Cross Precess Look

What it is...


Cross-processing (also known as 'x-pro') is the procedure of deliberately processing one type of film in a chemical solution intended for another type of film. As particular chemical solutions are optimized for specific kinds of film, you will get unpredictable and interesting results when they are combined differently.


Why do it...


The best thing about cross processing is THE ELEMENT OF SURPRISE. Try as you may, it is nearly impossible to predict exactly what effect cross processing will have on your images. But this is where the fun lies. Every roll of film you develop is like a box of rabid hamsters. You never know what you're gonna get!




Method 1: Primaries Wheels
Apply basic correction on the shot first. (Primary Balance, Primary Offset)
Add a new serial node.
Switch to Primaries Wheels.
Start by reducing blue on Highlights (Gain).
Do this by dragging Gain away a bit from blue towards yellow.
Then drag Lift (Shadows) in the other direction.
So increasing blue on Shadows.
Then add a new serial node.
Reduce Shadows a bit.
Increase Gamma a bit.
Reduce Saturation a bit.
Then add a new serial node.
Switch from Primaries Wheels to Log.
Then repeat the same process again.
To balance the Highlights and Shadows by pulling it to different directions.
Then reducing blue in Highlights and increasing blue in Shadows in Log mode.
Then reduce Saturation in Shadows.
Add a new serial node.
Go to Curves and select Lum Vs Saturation.
Reduce Saturation on Shadows a little bit.
Balance back again the Midtone.

Method 2: Curves

Method 3: Primaries Bars
Apply basic correction on the shot first. (Primary Balance, Primary Offset)
Add a new serial node.
Switch to Primaries Bars.
Reducing blue on Highlights (Gain).
Increaing blue on Shadows (Lift).
Reducing red on Shadows (Lift).
Then to add some contrast.
Bringing down Lum controller (Y) a little bit on Shadows (Lift).
Then increasing Gamma a little bit again.
Go to Curves and select Lum Vs Saturation.
Reduce Saturation on Shadows.
Balance back again the Midtone.

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9 Cuts Every Video Editor Should Know

1 - 0:32 Standard Cut - putting two clips together, no fuss, no flare
2 - 0:42 Jump Cut - jump around scene to speed up time, one long cut, cut out spaces and putting it all together into one piece
3 - 1:06 J-Cut - Leading into the next scene with the audio.. allows audience know what's going to happen next. Drag audio clip of next clip onto tail of current clip
4 - 1:40 L-Cut - Audio from current clip overlaps into next clip - Good for conversational themes
5 - 2:10 Cutting on action -  cut when a character moves a certain way, allows audiences eyes to  stay on the action
6 - 2:30 Crosscutting / Parallel Editing - Have two narratives playing out at the same time
7 - 3:00 Cutaways - Cut to show viewer where you are in the scene
8 - 3:28 Montage - Sequences, light jumpcuts over an extended period of time over different locations
9 - 4:17 Matchcut  - Matching characters actions into the next scene


https://youtu.be/Wv3Hmf2Dxlo

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How to Make Screen Pump Bass Effect

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How to Add White Flash Transition

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Can't Add Transitions Fix

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How to Resize Video Clips and Images

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How to Add Film Grain Effect

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Smooth Zoom Blur Transition

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Quick Green Screen Tutorial

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How to Shoot an Interview

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Ansel Adams Zone System

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Basic Workflow of Colour Grading:

WB

Contrast

Colour Balance

Saturation

Sharpness

Lut

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- Genre 类型、流派
acoustic 原声乐器
ambient 背景音乐
cinematic 电影的
classical 古典音乐
electronic 电子音乐
faith 信仰
folk 民族
hip hop 嘻哈
indie 独立、非主流
pop 流行音乐
rock 摇滚
r&b 蓝调音乐（Rhythm and Blues）
singer-songwriter 创作型歌手

- mood 气氛、情绪
aggressive 进取的
anthemic 欢快激情的
bold 大胆的
burdened 负重的
carefree 无忧无虑的
chill 寒冷的
cold 冷淡的
cheerful 快乐的
earthy 朴实的
empowering 充电赋能的
epic 史诗般宏大的
exciting 令人兴奋的
gritty 坚韧不拔的
hopeful 充满希望的
happy 幸福的
loving 钟情的
minimal 简洁的
peaceful 平和的
rebellious 桀骜不驯的
romantic 浪漫的
sinister 阴险灾难的
whimsical 怪诞的
youthful 充满朝气的
upbeat 乐观积极向上的
tense 紧张的
vintage 古老的
quirky 古怪离奇的

- element 成分元素
claps 拍手
ooo's & ahh's
drumsticks 鼓槌
guitar 吉它
bass 贝斯
snare 响弦
snaps 叩击
piano 钢琴
acoustic 声乐
strings 弦乐

- energy 能量
low 低沉
medium 平和
high 高亢

- vocals 声乐
female 女声
harmony 合声
male 男声

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29个常用的快捷键或者常用操作汇总：

1. Optimized Media
2. Consistent Folder Structure: Footage, Music, SoundFX, Stills.
3. Smart Bin
4. Use Metadata
5. Live Media Preview
6. Set Poster Frame
7. Source Tape
8. Cope and Paste Attributes
9. Disable a Clip: D=Disable
10. Duplicate a Clip: Shift & Alt, Drag
11. Cut a Clip at Playhead: Ctrl & B
12. Zooming: Ctrl & - / +
13. Cropping Clip vs. Output Blanking: Cropping Clip: clip, inspector, cropping. Output Blanking: Colour page, sizing, output sizing, blanking.
14. Copy from Another Project
15. Play from IN point: Alt & /, or loop
16. Tool Shortcuts
17. Markers / Note: double click on Markers to get a window option. Click M for adding a marker on a clip at the play head.
18. Copy & Paste Colour Grades
19. Save Grade Preset: View, Stills, Grab Still
20. Groups
21. Working with LUTs
22. Key your LUTs: Key, Key Output
23. View Only Certain Clips: Clips, Graded Clips or Ungraded Clips
24. Super Clean Blacks: Lum vs Sat, drag the left end to bottom in order to get super clean black.
25. Slightly Bigger Viewer: Ctrl & F
26. Name Your Tracks
27. CAUTION about Mono vs. Stereo Tracks
28. Create Templates
29. Create & Use Delivery Presets

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Snapping - N, toggle it by holding N key when moving a clip.

Ctrl - / +, zoom in or out.

Shift Z, zoom all the way out to fit the entire timeline or all the way in to where I was.

Shift & Ctrl with a click and hold one clip, drag it to anywhere to swap the position with another clip.

Ripple Overwrite, overwrite the existing clip with the new drag-in clip, no matter the length difference between the two.

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Ctrl + F: Fullscreen Playback or Cinema Viewer mode.

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Lift, Gamma, Gain

are responsible for:

Shadows, Midtones, Highlights.

Double click the centre of Colour Wheels will reset all adjustments.

The dark horizontal sliders under each Colour Wheels are the Master Wheels for Luminous control.

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My Favourite Fonts

Artifakt Element

Bahnschrift

Century Gothic

Eras Light ITC

Era Medium ITC

Georgia

ISOCPEUR

Lucida Bright

Lucida Calligraphy - Italic

Lucida Fax

Lucida Sans

Magneto

Malgun Gothic = 1

Microsoft JhengHei UI

Microsoft Yi Baiti

Mongolian Baiti

Monotype Corsiva

MS Reference Sans Serif

Old English Text MT

Papyrus

Perpetua Titling MT

RomanS

Segoe UI Historic

Segoe UI Symbol

Showcard Gothic

Simplex

Stencil

STLiti

Swis721 Lt BT

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When on the tab of Colour page.

Right-click on the clip playback screen, in the pop window, you can choose:

Grab Still,
.
.
.
.
Show picker RGB value.

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Middle-click on the clip playback viewer (when zoomed in already), you can move around the screen in order to focus on the area you are working on.

Shift + Z can zoom the viewer to fit.

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Ctrl + Z: undo
Shift + Ctrl + Z: redo