 What's going on guys, it's Ival here and welcome back to our channel I hope you're having a wonderful day and in this video I'm going to show you guys how to create cool cinematic look in the venture resolve is going to be very simple Very easy to follow along But at the same time I'm going to show you some very powerful techniques that you can apply on almost any Grade that you're working on and hopefully you'll learn a lot from it And it can really help you step up your color grading game and create stunning beautiful grades That will make your clients happy that will make you happy Yeah, so let's get going and also I almost forgot as always We have a pretty cool giveaway at the end of this video So make sure you stick around but now let's get on with the color grade okay, so we're in the venture resolve and this is the footage that we're going to work on and Keep in mind. It's always very important to have some kind of a reference When you're working on something personally, I feel that it really helps me Shape the direction that I want to take footage in and it just helps give inspiration And just gives you more clarity into what you actually want to achieve So for this one, I have some references from a hockey commercial. It's a really beautiful one So I'm going to name this first layer base and then I'm going to create a new node and For this one, I'm going to call FBE which stands for film print emulation And this is how I want to start the workflow on this footage. I'm going to go into my LUTs and I'm going to go into film looks and Let's choose one of these film emulation LUTs. They come free in the Minchi So you should have them as well and I'm just going to go for the 60 We can maybe change it later, but I think this one would work so I'll double-click it then it's applied and You can see right off the bat. It looks cool, but Something is off. It's a little bit dark. It's desaturated So we have some work to do so going back to the base layer. We're just going to maybe raise up overall exposure a little bit I'm just looking at the scopes over here You can bring down the blacks And then I want to go back into the film print emulation node and just crank up the saturation That's looking pretty nice But now there are some colors that have too much saturation And also I just want to take everything into this more dark blue Cinematic look so going back to the base node again. I'm just going to mess with the temperature I'm going to cool things off quite a bit And then maybe even give it like a little bit of a green tint all right Then I'm going to create a new node and this one is going to be Scolic primaries and now let's take down the exposure And a lot of the gain and then I want to go on into controlling individual use So I'm going to use the ages cell functions We're going to start with you versus you and you can see we don't have too many colors now We have mostly blues and there's also this red on his outfit So I'm going to start with that. I'm going to select it using the qualifier And you can see it's automatically creating a point for me on this curve and Let's play with that You can want it somewhere on here And then going into luminance Just want to take it down. So that looks pretty good. I Think maybe we went a little bit too far and I want to bring back some of the exposure And I also want to bring in some contrasts, so I'm going to go into my curves And I'm just going to create this s-curve So that looks pretty nice. And what I also really want to do is Concentrate the light and our focus on the character on this guy So I'm going to create a new node and then I'm going to go into the windows And I'm going to create a power window fellow it out Then I'm going to in the curves Kind of pull it down and you can see that it's darkening our guy instead of the background so we just need to go back into the window section and just invert and Then I want to track the window so it stays with our guy as the clip Kind of goes on. So I'm going to go into the tracker press play and Now we have the window tracked Let's call this one vignette and Let's see a quick for an after into everything we've done so far that was the log version and This is the grade and We've come a long way in just a few minutes So sometimes you don't need a lot to get in the ballpark and of course you can I'm really massage everything and Work on this for hours essentially. I'm just working little things But you can get results pretty quickly as you can see. So I think maybe this is looking a bit too Saturated and I want to change some of the blue colors as well. So going back into the primaries I'm going to go into you versus you again. I'm going to select the blue tones and Let's see what we want to take them Something like that maybe not a huge difference But just it's the little details and then going into you versus saturation I think I'm gonna take all of these blues down Maybe somewhere on there and then on a new node. We can just add some grain Just to give the footage a little bit more texture and some more life and details Well, that's going to film grain. I'm going to go for 16 millimeter 500 T and I'm not going to go to overboard with the grain I'm not sure if you can see this on YouTube. So I'm just going to exaggerate this just a bit So that's without the grain there we go The grain just it's pretty subtle, but just adds a little bit of details it gives some texture and a little bit more of Character to the image essentially so I pretty much almost always add grain Sometimes it's very little and sometimes I go more extreme if I want a stronger look what we could also do now is try to separate the skin and maybe Separate our character just a bit. So on my primaries node. I'm going to create a parallel node and I'm going to try and select the skin. So let's go for qualifier And also select this highlight feature and let's select the skin That looks pretty good. Let's try and play with the sliders So you can see now that we've selected the skin, but we also have Some things in the background that are also selected. That's fine We're just going to create a window on the face And then we're going to quickly track it and now we have the face selected This is not a perfect selection. If you spend some more time depending on your Situation you could get this more accurate, but this is fine for this tutorial. So I'm just going to Move on. So let's have a look at what we can do here. So first of all Let's see what we get if we just add a little bit of red tint That kind of brings him alive, but it's a little bit too much They do want to keep the skin quite desaturated. That's a little bit better We got rid of all of this blue looking tint But then this is maybe a little bit Saturated for me. So let's see what happens if we Kind of bring it down So I do like it, but it's maybe a bit much Like it's not blending too well so what I'm going to do is go into My key and I'm just going to get the key output down and kind of See where I want this to sit. So that's like too pale. He's looking very Blue-ish, and I'm really like that Then full power It's a bit much. It's not blending well. So I'm going to bring this down until it looks good It's called this layer skin And this technique you can do on pretty much Any footage essentially In this case, we didn't need much Because it already looked quite okay But this can be applied to almost any other footage that you have and it can really make a big difference in some other Scenarios and just as a last touch. This is something that could really separate your grays from looking like an amateur Made them into More of a professional look and that is basically keeping the blacks clean And on this grade I do want to have Some blue tint in the shadows because it works here quite well But I just want to get the darkest darks clean. That's the key point here So let's create a new parallel node here using alt p and let's call it blacks And we can see it with our eyes, but also of course when you look at the scopes You can see that the reds are really down here in the shadows And that means we have a lot of blues in the So let's zoom in. It's mostly in here on his outfit. So I'm going to go into the lug wheels And I'm going to push in the opposite direction. So I'm going to go into the orange Um red magenta kind of place So you could see how that really cleaned up the shadows, but it's affecting Them too much. I don't want it to be applied on the whole spectrum of the shadows I just wanted to be Um on the darkest darks. So the way I'm going to do that is I'm going to go essentially into my low range And you can see if it's down to zero It's not affecting any of the shadows And when I pull it back up, it's slowly starting to affect The darkest shadows and as I pull this up As the numbers go bigger, it's affecting more of the shadows So I just wanted to be on the very very darkest of shadows Um, and I also can see that my shadows are a little bit lifted And just want them to sit right on that zero point on the vectorscope So I'm going to bring that down Maybe something like that. So before and after you can see how that really made the blacks deeper And now they also look cleaner. They don't have that blue tint And um, they're a little bit crushed now. So I think I'm going to take off this back Using the key. Yeah, maybe something like that and you can really see if you look at the shirt here Look how it brought back all of this detail over here That's looking much better And this is a step that is uh, very crucial. Again, it can really separate your grade And from looking amateurish to looking great Um, it's just a small step But just always make sure that your blacks are clean and that they're sitting on the right spot Um on the vectorscope and that can really transform your grade and really take it to that next Step the next level. Um, but that is all for this grade. I think I'm really happy with how it turned out And we could make a quick recap. So we started essentially With the slog version then we applied the film print emulation And that instantly gave us some kind of a look to the image And then with the base layer, we kind of balanced things out and we also injected a lot of blues into the shot just to give it that Ice cinematic look then we used some primaries So that made quite a difference Then we separated the skin And we added some grain and the vignette And then we also controlled the blacks So all in all not a very complicated grade. We don't have that many nodes. It's pretty simple. It didn't take us That long and I think that's a sign of a good grade if it looks good and it was simple to make That's really the best and uh, yeah, I think it's looking great and we're pretty much done So that is all for this video I really hope you guys enjoyed it and learned some new techniques that could hopefully help you improve your color grading and really Take it to the next level and if you like this video, please give it a like it really helps out a lot And also consider subscribing to never miss another one of these videos and as for the giveaway Three of you guys could win three out list t-shirts Or hats You can choose all you have to do is let us know down in the comments below What video would you like for us to make next? Here is the winner from our last video's giveaway Congratulations to you my friend and until the next time Stay creative and have a wonderful week