 What's up everyone it's Yvall here and I'm usually behind the camera but for this video I just want to show you guys how to color grade in the vintage resolve and how to bring your entire timeline from Premiere Pro into the Vingy so you can keep editing in Premiere like you're used to but do the color grading itself in the Vingy but before we jump in I just want to let you guys know that there is an amazing giveaway waiting for you at the end of the video so make sure you stick around but now let's jump in. Okay so we're in Premiere Pro and now what I want to do is take this timeline and bring it into resolve color grade it there and then bring it back into Premiere so what we need to do is simplify our timeline so we are going to delete any graphics and we're just gonna put all of our footage on one video track always duplicate your original timeline so you always have a backup and on the duplicate timeline this is where I'm going to delete everything so I'm gonna start doing that just delete everything that I don't need and actually we're gonna bring everything into the V1 video track so the first video track so after deleting all the unnecessary layers you should end up with something that looks like this you can see I have all of my footage here on one track on the first video track and if I scroll through you can see it's only the footage there are no graphics and no additional layers that I don't really need we can even go ahead and delete the audio if you want but I'm just gonna keep it that way so the thing about working in Premiere and then coloring in resolve is that a lot of the effects in Premiere Pro actually won't translate well into resolve and they can cause some problems so if you have a lot of effects on your footage one thing you can do is just render the clip with the effects and then replace it in the timeline so essentially the effects are baked in on the footage another solution you can do is just render out your entire timeline as one really high quality video file and then you could bring that into resolve and just make all of the cuts there but for this tutorial I'm just going to show you the simple way which is exporting an XML so what I'm gonna do now is go into file and we're gonna go into export and export final cut pro xml I know it says final cut but it will work in resolve don't worry so I'm gonna click on that it's gonna load and I'm gonna tell you where to save so I've opened a new folder called color and a new folder called form premiere just to keep everything organized because we're gonna have the same thing from resolve going back into premiere so just to keep things organized and nice so I'm gonna hit save and it's gonna render out our xml file and click okay and now we're gonna open the venture resolve and open our timeline over so I'm in the venture resolve and what I'm gonna do is go into file I'm gonna go into import timeline import xml and I'm gonna navigate to where I save the xml file it's gonna open up this dialog box we're pretty much gonna keep it the same so we're gonna click okay and now you can see we have our exact timeline from premiere in the vinci which is pretty amazing we have all of our cuts and we even have the audio here so it's pretty great and by the way you can download the venture resolve for free it's not the full version but it can pretty much do like 80 percent of what you need so especially when you're starting out this is perfectly fine and you can download it just from the official black magic site so everything I'm gonna do here today works perfectly with the free version so we're currently on the edit panel you can see it down here and we want to go into color and start doing some color grading so you can see we have all of our clips down here and I'm gonna start with this clip so the way you color grade in the venture resolve is by using nodes and you can see here we have this node and the way it works is it's kind of similar to layers in photoshop only it's going horizontal and not vertical so if I create a new node by pressing alt s on windows then essentially this node would kind of be like a layer above our first layer so on the first node usually what you would do is some noise reduction now on the free version of resolve there is no noise selection option that's only in the studio version so I'm just gonna pretend we did some noise reduction and I'm gonna keep that as the first node because that's what you would usually do and now I'm going to create a new node and that node I'm gonna keep for white balance and exposure you always want to do that quite in the beginning that's when you'll have the most control so what I want to do now is take my log footage and transform it into a rec 709 color space now you can see everything is pretty flat on here there's not a lot of color and not a lot of contrast and that's because it's shot on a log profile picture so a lot of the times people would just think you can just take the curves and you know start bring things down bring the highlights up you know pump in some saturation and that would be their rec 709 transformation and sometimes that maybe could work but that's not a really accurate way of doing things it might create some problems for you like artifacts and when you create a few more nodes you'll see it starts piling up and the image starts breaking down so it all starts here with the transformation into rec 709 you want to do it right so I'm going to show you two methods in which you can transform into rec 709 and do it the right way so the first one is just by using rec 709 LUT now every camera shoots a different type of log and some cameras even have a few log options there's s log 2 and s log 3 if you're shooting on sony there's black magic film on black magic there's c log for canon so essentially we have a bunch of different log profile pictures and they're not all the same so you want to make sure you're using the right LUT for your camera so there's luckily a lot of LUTs built into Resolve so if you go up here into the LUTs panel you can see we have a bunch of options we have Ari dji black magic design so our footage was shot on the Ari Alexa so I'm going to go into Ari and you can see we have Ari Alexa to rec 709 so I'm going to just drag that I'm going to put it over a node or you could just double click it and straight away you can see this looks pretty good so that's the first way of doing things so now let's take a look at the second method you can do this so I'm going to delete this node and I'm going to create a new node and I'm going to call it cst which is color space transform so we want to go into our effects open effects over here and we're going to search for color space transform I'm going to take that um onto my node and now you can see we have a bunch of options over here so for the input color space I'm going to choose Ari Alexa for the input gamma I'm going to go for Ari log c and of course you need to make the same for whichever camera you're using so if it's Canon you're going to go Canon and then C log so it depends on your camera and for the output color space I'm going to go into rec 709 and also rec 709 for output gamma and now in the tone mapping I'm going to go into luminance mapping and that's essentially it transformed our color space from Ari log c into rec 709 which is pretty much exactly what we did with the lot so it's essentially the same thing these are just the two methods to do it so that right there is a really good start and a lot of people get this wrong when you're just starting out so this is really important to get right and if you do this then the rest is going to be so much easier and you're already off to a great start so let's go back to the white balance node for just a second and the white balance here looks pretty good but let's say um by the way this is where you change the temperature and the white balance you go into here and you go into the two over here and then you got temp and tint so let's say our footage was for some reason shot really bad and it looked like this and really had to fix the white balance so a quick way to fix it would be to click on this icon down here on the left and then it would want to look for something you know should be white so let's say this air conditioning unit over there on the background i'm going to click on that and then you can see it just automatically fixed our white balance and you can go ahead and just change it a little bit if you want it to look maybe more warm or whatever but essentially this is just a really quick way of fixing the white balance so just wanted to show you guys that we don't really need it here for this footage because it was already shot really well and the white balance was on point so i'm not going to use that so just make sure you fix it if you didn't get it right on camera so let's move on to the next shot and i'm going to show you a few other things we can do here so i'm going to go and select this clip and basically we already did the transformation into rex 709 and it's going to be the same for this footage so instead of doing it all over again we're just going to go and search for that initial grade we did so i'm going to click on this clip by pressing on the skull button and it's just going to paste the exact same node tree over to our new clip so now we already have a rex 709 footage and now we can start playing around with the colors a little bit so i'm going to create a new node and i'm going to call it primaries and you can see we have these color wheels over here and i'm just going to push the gain which is essentially the highlights a little bit into the yellow kind of wall so maybe something like that and i'm going to push the lift which is the shadows into the opposite direction so i'm going to add some blues into the shadows to balance it out and we get something like this so it just gives the image a little bit more of a look and i think it's a little bit warm so i'm actually going to go into the mid tones and kind of offset that so maybe something out there that looks pretty good to me and on this grade i'm going to keep things pretty simple and clean i'm not going to go too crazy but the primary wheels are a really powerful tool so if you wanted to you could really go crazy and push this a lot but again i'm just going to keep it pretty nice and simple for this grade so now what we can also do is control individual colors so i'm going to create a new node and i'm going to go into my curves and here we have a few options which is u versus u u versus saturation u versus luminance so i'm just going to go into u versus u and i'm going to pick the yellow over here and if i drag up and down you can see how it really changes all of the yellow tones so i just want to go for something like this maybe and then i'll go into u versus saturation i'm going to pick the yellows again and this would change the u that we selected which is yellows and we're going to control this saturation for that color so if i pull this up you can see the yellow is really starting to become more dominant and if i pull it down we're taking yellow out so because yellow is the artist's brand color and this is an artist's commercial i really want to give that yellow pop so i'm gonna bring it up quite a bit maybe somewhere around here looks pretty good so if i do before and after you can see we really pushed it and we also affected the skin a lot which in this instance i pretty much like but let's say we wanted to change it what we could do is create a new parallel node using alt l and now what we want to do is actually just separate the skin so we're gonna go into our qualifier over here and over here and we're just gonna start clicking around on his skin and also make sure you click on this icon so we can see what we're selecting so i'm just gonna see what works best and then we're gonna have to start messing around with all of the settings down here so i'm just trying to get only his skin and for some shots this could take quite a while so i'm just gonna do this really quick now and the more time spent on this obviously the more accurate those all will be and you could also mess around with the noise and give it some blur that always helps so this is not the most perfect selection but just for the sake of this tutorial and the sake of time i'm gonna say that this is going to be our selection and another thing we can do is you can see we selected the skin but we're also getting a lot of the background and i don't want to mess with the background so what we could do is just go into the power windows over here and we're gonna select that and just center it on his face and body feather it out and what we could do is actually also track this window so the vinci resolve has a pretty amazing tracker so i'm gonna go into the tracker over here and i'm gonna press to talk forward and you can see it will pretty much perfectly talk our face within seconds so that's pretty amazing and now we have a selection of our skin you can see it here on the node and what that means is we can now actually affect his skin separately from all of the other colors in the image so whatever we do on this node is only going to affect his skin tones so i'm going to go into the log wheels this time and the log wheels are more gentle if you will when you push things it's not going to push it as much as the primaries so i'm going to push some leads into the mid tones because that will make the skin really pop and bring it to life and maybe give it some till highlights now if you're not sure you have the right color on the skin tones what we could do is just pull up the scopes over here and i'm going to go into vector scope and i'm just going to click here so we can see our selection and let's just open up the menu and we're going to enable show skin tone indicator so this line that you see right here is essentially where the skin tone should be so you can see we have some color over here and it's right on that skin tone line so that way we know we're pretty much good in that sense so if i just for a second mess on with the colors you can see how now we moved the color away from the skin tone line and of course we can also just see with our eyes that this is not the right color for skin but this skin tone line can really help you out sometimes if you're unsure so i'm just a quick tip so this is also a very powerful technique you can do which is just separating skin and you could also do this for anything else you would want to separate so that could be really useful in tons of other situations so i'm just gonna label it skin and this one was u verses so again before and after so there's a lot more that we could do with this image but i want to keep things pretty simple with this story also we're just gonna end things up with a vignette so i'm creating a new node i'm gonna call it vignette and i'm gonna go ahead and create a power window again i'm going to feather this out and i'm gonna click here to basically reverse my selection so now i'm only affecting what's outside the circle so i'm gonna go into my curves into the custom curves and i'm gonna bring my shadows down not too much maybe something like that and if i do it before and after you can see we now have a vignette on our actor and it's really drawing our eyes to him and it's looking really great and what we can also do is just create the reverse of that and brighten it up so i'm gonna create a new node so i'm just going to drag this little blue square from the previous node and take it to this node and it's basically just going to copy the same mask and now what i want to do is go into the key and i'm just going to press this thing it's going to reverse our selection so now i'm going to go into the curves and i'm just going to raise it up just a touch and now you can see it just brightened up the center so that's before and this is after and if i take the two vignettes together you can see how it's really powerfully centering our eyes on our actor which is exactly what we wanted to do so this is our final look let's do again and before and after this is the before and this is the after so we did quite a lot but we still kept it looking pretty natural we didn't go too crazy but we did use some of the most powerful tools on resolve so you could basically take those tools and really push it far just experiment and see where it gets you with your footage but that's it for the grading part and now let's see how we can take our graded clips back into Premiere so now that we have all of our clips graded what we need to do is go into the deliver page over here and we're going to scroll through and go into premiere xml and i'm going to choose the location so i'm navigating into my color folder again and i'm going to call it arm resolve i'm going to click select and over here i'm going to go for um dnx hd i'm going to go into audio and i don't need any audio so i'm going to uncheck this and then we're pretty much good to go so i'm going to go into add to render queue it's gonna pop up um right here on the render queue and i'm going to click on start render so i'm in Premiere Pro again and i've opened a folder called color and i'm just going to go into file import so i'm going to choose the xml file i'm going to click open and now what happened is that all of the graded clips have imported into this folder and now what we need to do is find the sequence file so i'm going to go for sequence and once we open the sequence it should have all of our graded footage right here so sometimes you might run into some problems when exporting the xml back into premiere so if you can't figure it out you can always just export one file from the vinci and then cut it up yourself it's not the most ideal workflow going from premiere into resolve but if you're like me and you're already used to premiere pro and maybe you're walking with after effects then you're just gonna have to find a way to make this work just try it out for yourself and see which method works best for you it's definitely not ideal but um that's currently the options so that is all for this video i really hope it helped you guys out if it did give this video a like and consider subscribing to never miss another one of our videos and now let's talk about that giveaway one of you guys could win a one-year music subscription to our list all you have to do to enter is tell us down in the comments below what do you want us to talk about next here are the lucky winners from our last video's giveaway congratulations to you guys until the next time stay creative