[Ripple Training, Jason Bowdach] Problem Solving in DaVinci Resolve [2016, ENG]

1. Color Correction Vs Grading
Introduction
Differentiating Color Grading & Color Correction
Setting a Basic Order of Operations
Setting Black Levels
Setting Highlights
Setting Midtones
Balancing the Image
Applying Saturation to the Image
Secondary Color Correction
Focusing the Eyes
Reviewing the Order of Operations
2. Improving Contrast
Defining Contrast
The Rubber Band Analogy
Increasing Contrast
Creating an S-Curve
Creating an Inverse S-Curve
Unganging Your Curves
Improving Contrast with the Color Wheels
Using Contrast & Pivot
Creating a Y Only S-Curve
Understanding when to Change the Order of Operations
Understanding Ganged Curves
Using Lift, Gamma, & Gain
Creating a Raised Shadows Look
3. Dealing with Poorly Exposed Video
Correcting Exposure
Setting the Scopes to Luminance
Setting the Black Point First
Adjusting the Highlights
Adjusting the Midtones
Correcting Exposure with Your Curves
Bringing Back Detail in Overexposed Footage
Using the Highlight & Shadow Controls
Re-saturating the Sky with Hue Vs Sat
Correcting for Underexposure
Using the Offset Color Wheel
Re-Expanding the Contrast
Expanding the Shadows
Evaluating the Waveform
4. Improving Color Balance Part 1
What is Color Balancing
Reading the RGB Parade Scope
Reading a Vectorscope
Removing an Orange Color Cast
Reading the Color Cast in the Parade Scope
Correcting the Color Balance with the Primary Bars
Correcting the Midtones
5. Improving Color Balance Part 2
Using the Temp & Tint Controls
Understanding Color Temperature
Understanding the Effect of the Temp Control
Understanding the Effect of the Tint Control
Using Temp and Tint as a Starting Point
Finishing the Correction with Lift, Gamma, & Gain
Cheating by Desaturating
Increasing a Color Cast by Saturating the Midtones
6. Dealing with Mixed Lighting
Isolating a Color Cast with a Qualification
Correcting the Isolated Color Cast
Correcting the Second Color Cast
Using Clean Black and Clean White
Correcting with Highlight Mode Enabled
Adding to the Qualification
Smoothing out the Qualification
Isolating the Qualification with a Window
Tracking the Window
Adding Softness to the Window
Desaturating the Color Cast
7. Using Resolve Color Management
Working Log Footage
What is Log Footage
Analyzing Log Footage
Log vs Raw
Using DaVinci Resolve's Color Management
Enabling Resolve Color Management
Selecting an Input Color Space
Color Grading an Image after Selecting Color Space
Working with BMD 4K
Working with S-Log
Correcting Clipped Data
Using Color Space Transform
Benefits of Using Color Space Transform
Disabling Resolve Color Management
8. Normalizing with LUTs
What is a LUT
Working with a 3 Node Graph
Applying a LUT
Correcting in the Node Before the LUT
Applying an Incorrect LUT
Using the Correct LUT
Locating Canon's LUTs
Clipping with LUTs
Correcting after the LUT
9. Normalizing Manually
Adding Contrast & Saturation to Log Footage
Grading Log Footage with the Color Wheels
10. Using Resolve's Noise Reduction
Defining the Different Types of Video Noise
Compression Noise
Sensor Noise
Adding a Splitter Combiner Node
Viewing Noise in Individual Channels
Accessing the Noise Reduction Tools
Using Temporal Noise Reduction First
Choosing the Frame Amount
Choosing Faster or Better
Choosing a Motion Range Option
Adjusting the Temporal Threshold
Viewing the Image Noise in the Scopes
Using the Blend Option
Moving on to Spatial Noise Reduction
How Noise Reduction Effects Playback
Enabling Smart Render Cache
Understanding Spatial Noise Reduction
Adding Sharpening after Noise Reduction
11. Working with Neat Video
Applying Neat Video
Choosing Auto Profile
Changing the View Mode
Comparing Before & After
Adding a Variant
Using the Sharpening Parameters
Reviewing Your General Settings
Comparing Variants
Applying a Variant
Making Changes to the Noise Reduction
Increasing the Radius
12. Focusing the Eye Part 1
Different Methods for Focusing the Eye
Adding a Window to the Image
Tracking the Window
Sharpening the Subject & Blurring the Background
Creating a Vignette
When to use Blurring
Desaturating the Background
Combining Methods
13. Focusing the Eye Part 2
Creating a Base Grade
Creating an Off Center Node
Viewing your Window in the Node Tree
Saturating a Subject or Prop
Adding Blur to the Background
Increasing Softness
Re-Adjusting Saturation
Adding a Window to Limit Saturation
14. Correcting Skin Tone Part 1
Reading Skin Tone on a Vectorscope
Using the Vectorscope as a Guide
Diagnosing the Problem
Isolating the Skin
Using Hue Vs Hue
Using a Qualification to Isolate Skin
Separating Models with Windows
Correcting Skin with the Primary Color Wheels
Adding a Second Window
Correcting Skin Tone with the Hue Control
15. Correcting Skin Tone Part 2
Using Windows to Isolate the Problem
Increasing Saturation to Judge Skin Tone
Using Offset to Correct Skin Tone
Adding Color Back into the Skin Tone
Correcting the Hue Vs Hue Curve
16. Removing Flicker
What Causes Flicker
Using Flicker Free
Enabling Render Cache
Flicker Free Presets
Adjusting Presets
Changing Sensitivity
Time Radius
Enabling Detect Motion
Adjusting Threshold
Enabling All Channels
BCC Flicker Fixer
Choosing a Preset
Choosing a Method
Limiting the Flicker Removal with a Window
17. Removing Lens Barreling
Analyzing the Clip
Adjusting the Distortion Level
Using OpenFX Plugins for Lens Correction
Adding BCC Lens Correction
Scaling Down to See the Effect
18. Cloning in Resolve
Performing Paint Out
Applying a Window to the Unwanted Object
Enabling Node Sizing & Key Lock
Panning & Tilting out the Unwanted Object
Cloning out a Larger Object
Adding & Tracking a Window to the Object
Removing the Object with the Sizing Tab
Color Correcting to Hide the Clone
19. Creating a Bleach Bypass Look
Creating a Bleach Bypass Look
Applying a Composite Mode with a Layer Mixer Node
Creating Bleach Bypass Look with Curves
Adding Sharpening to the Bleach Bypass
20. Performing Cross Processing
Creating Offsets
Reducing the Curve Values
Soft Clipping Individual Channels
21. Creating a Day for Night Look
Desaturating the Image
Adding a Blue Tint
Retaining Detail in the Shadows
Adding Windows for Pools of Light
Desaturating the Subject
22. Creating Duotone & Tritone Looks
Creating a Duotone Look
Applying Opposing Colors with the Color Wheels
Using the Qualifier for Duotone
Creating a Tritone