All language subtitles for 2. Color Tab Interface Color Tab Kolder Creative

So in this video, I'll be

going over the general interface
of the colored tab individually resolve.

I'm going to pretty much cover every area,
but I'm not going to dive in too deep

because there will be much more
in-depth videos

on all of these features
later on in this module.

So let's jump right into it.

So we're in the edit tab over here,
and with the main timeline selected,

I can head over to the color tab

by either pressing the color tab over here
or using the shortcut shift six.

This is the default layout that
we are presented with when we open up

the color tab.

Now, there's a lot to cover over here,

so I'm going to start from the top
and then I'm going to work my way down.

Now, in the top left
we have Gallery LUTS and Media pool.

So this is the same media pool
that we're seeing in every other tab

within Da Vinci.

Up until now, I actually haven't
had to use the media pool

within the colored tab at all for me
and for my workflow.

The media pool in the color
tab is not important.

So most of the time I just have
that disabled by clicking it over there.

Now, next to Media Pool,
we have two other sections here

that we're going to be using much more.
The first one is Gallery.

So in the gallery we are able to save
stills of our previous grades

so you can quickly apply them
to other clips or go back to older looks

you created and compare them
to the current look you're on.

So the way that you can save stills is by
right clicking on your image at any point

and you can just click

grab still and it's going to basically
like add a screenshot.

This is like a screenshot over here.

So just for example sake,
if we made changes to our image over here

and we like the way that this looked,
we can grab the still out of here

and we can see that those changes are kept
within that still over here.

And if we were to reset this over here,

even though we've

reset our clip that still contains
that previous grade that we created.

So it's basically
like saving versions of grades.

And this is really useful

because we can get like a thumbnail view
of our previous grades,

and this is really awesome.

We're going to be diving
really deep into the gallery here.

We're also going to be diving into power
grades.

This is a very, very amazing feature
with individually and

just one of the many, many features
within DaVinci that makes it stand out

from all the other softwares
when it comes to color grading.

Now, next to Gallery we have LUTS.

LUTS are basically look up tables.

It's not important that you understand
what that means.

Lots are essentially like presets.

So you can go through here
and check out what all these different

looks look like on your image
just by hovering over top of them.

And in the preview here,
you can get a preview

of what
that will look like on your selected clip.

Now, the cool thing about the LUTS

window is
we can actually mark our favorites

by pressing this little star
over here in the top. Right.

So if there are some lights
that you find yourself

going back to again and again,
simply hit that little star over here

and those LUTS will be
added to your favorites folder down here.

Now, DaVinci comes with a ton of LUTS
built in, but you can also upload

your own and we'll be going over
that process in its own video.

Now I'm going to hide this little window
to free up some more real estate.

Now, if we go to the top right, we can see
we have some other buttons over here.

The first one is timeline.

If we press this, we get a preview of
our entire timeline from start to finish.

It's kind of like a zoomed out view.

We can't zoom in or out here.

It just shows us where all of our clips
are laid out in our timeline.

So this can be beneficial
in some situations.

When you have two clips
on top of each other

and you want to make sure that you know
what clip it is you have selected

so that you're not making changes
to the clip below or above it.

Or, you know,

if you have an adjustment layer over

top of a lot of clips,
you'd be able to see it here

and make sure that you don't have
the adjustment layers selected

and you have the actual clip selected
and not the adjustment layer above.

Personally, I don't use the timeline
view too often within the color tab.

What I like to use more is clips.

So if we press clips next to timeline,
we can see that we have a little thumbnail

that represents each one of our clips
within our timeline.

So I'm going to close the timeline view.

Now, in our clips view,
we can also scroll left

and right to view every single clip
within our timeline.

This is a view
that we're going to be using a lot,

especially when you're trying to copy
grades from one clip to another

or you're trying to make groups.

There's a lot of reasons
why the clips view comes in really handy

for a bunch of different reasons
within the color tab.

Now, within the clips view over here,
if we double click on the text down

here, we can see some other information
about the clips.

So over here we can see it's 265.

If we click it again,
we get the actual name of it.

This can come in handy
in certain situations if you want to know

what format a clip is that you're grading.

So maybe if it's raw or if it's a26, four
or prores, you can just double click it

to get some more information
about that clip underneath.

Now, within the clips view, we can also
see these numbers above our clips as well.

Now, when they're grayed out,

it means that no color correction
or grading has been done to the clip.

But we can see that if we make any changes
to the grade of our clip,

that number is no longer grayed out
and it's colored.

So this is just a quick way
for us to know what clips have had

color adjustments done to them
and which ones haven't.

So I'm just going to reset that.

So one thing

I want to let you guys know right now
is we're going to be using this clips area

over here all the time in order to copy
and paste grades from one clip to another.

So, for example, if I was to make any kind
of color changes to this clip right here

and I wanted to quickly
apply them to other clips, I can hold

command and select the other clips
that I want to apply this grade to.

And all I have to do is simply middle
mouse click this clip

and we can see that the grade from this
one was applied to all these other ones.

Now, if you're not using a mouse, you can
right click and select apply grade.

And this will also apply the same graded
to all the other selected clips.

Now there's a bunch of different ways
that we can apply a look from one clip

to a bunch of other ones.

We can use things like shared nodes
or we can create groups.

But those are things
we're going to be learning about later on.

For now, I just wanted to let you know

that you can use this method
when you have the clips view enabled.

Now if you go next to the clips, button up
top here we can see we have nodes

and this just enables and disables
the nodes window over here.

Now, in my personal workflow,
I pretty much always have the nodes

window enabled because this is where
we're going to be doing most of our work.

And next to nodes, we have open effects,
which is already enabled.

This is all the effects that are available
for us to use within the color tab.

At the top of this window,
we can search for specific effects,

for example, blur,

and of course, to the right of every
single effect, we have that little star.

And if we hit it, it's going to add
that effects to our favorites folder.

Now, where can you access the Favorites
folder?

Well,
you have to go up here to the top, right?

Hit these three dots and select favorites.

And that way you can see
all of your favorites in one folder.

Personally, I like to leave my open
effects window on the Favorites folder

because most of the time
I always just return to the same thing.

I don't really find myself exploring
new effects within the open effects

window here in fusion as often,
so I usually just keep it on the favorites

so I can quickly access my favorites
right away.

And to the right of open effects,
we have LightBox.

Now, LightBox is basically just like a
zoomed out

preview of your entire timeline.

It shows you

all the thumbnails of your entire timeline
so that you can compare them and kind of

get a better idea of the overall
theme of the color of your video.

So in this case, I can use LightBox to
compare different scenes within my video,

so I can very quickly see maybe the Greens
in this clip don't match with this clip.

Like, I can get a better zoomed out
perspective of my entire project

and kind of compare
the colors in this way.

It's actually a very handy tool.

It's something that I use quite often.

Now, on the top right,
we have the ability to zoom our thumbnails

to make them bigger and smaller.

And if we want

to leave LightBox view,
we can simply just press lightbox again.

And of course, we have our viewing window,
which is over here.

Here we're able to view the actual media
and we can also do some other really cool

things in here, like split screen viewing,
which is a game changer

for scene
matching and replicating other looks.

You can access split screen
by pressing this button over here.

With split screen selected, we can choose
what we want to compare our image to.

So if we choose selected lets
and we open up, let's over here

we can select a bunch of lets

and right away

it's going to show us our original image
and compare it to what it would look like

with all of these
different lights selected.

And there's a bunch of different options
that we can choose from over here.

It's honestly really, really awesome
that we have this feature over here.

It allows us to very quickly compare
different looks.

And it's something
that I use all the time,

and I bet it's something that you're going
to start using all the time as well.

Now, next to split screen,
we have image wipe.

If we press this, we're able
to get a side by side comparison

and we're able to drag this line
over left and right.

So we could choose how much of each image
we're comparing, but we're basically

just comparing the still
that we have selected within our gallery.

So over here
we are comparing this clip over here

to the still that we saved
within our gallery over here.

And this is also a really great feature,
something that we're going to be

using a lot of in the future.

And over here to the right,

we have a bunch of different options
as to how we want to view this image wipe.

So instead of left to
right, we can do up and down.

We can also do

this like sideways or on an incline.

And we have a bunch of different options
over here as well

as to
how we want to compare our two images.

We can also use split screen viewer
to replicate the colors of other films

or movies that we like simply by comparing
the different styles in this way.

So I'm just going to close that
and I'm just going to hide the gallery

now at the top of our viewer,
just like the previous tabs,

we're able to choose
what timeline we want to be working on.

So if you want to quickly change
and start working on a different timeline,

we can filter through them
right over here.

Now, in the top right,
we have the ability to bypass clear

grades, infusion effects.

So if you have any color grades
on your image or any fusion effects,

you can click that to bypass them
and view the original image.

Something that I use all the time.

This is the same option that we're seeing
in the edit tab previously in the viewer

over here as well.

And to the right of that, Biden

We have the ability to expand our viewer
so we can open it up like that

just to get it to fill
more of the screen over here.

And then we can click it again
to make it smaller.

Now, we also have this button over here
called Highlight, and if we press it,

it doesn't really make sense
what it's doing right now.

But this is something
that we're going to be using a lot,

especially with the qualifier
tool in the future,

to show us what parts of our image
we have selected.

Now, I don't really click on this button
over here the shortcut that I use to shift

H but that's something that will be
learning about later on in this module.

Now, just like the previous tabs
in the bottom left corner of our viewer,

we have some different options as to how
we want to interact with our viewer.

So if we click on this little arrow down
here,

we can see that
we have an open effects overlay.

So if we're going to be using things
like the Luma key or any kind of care,

we're going to have to switch
to the open effects overlay

so that we can interact with our viewers
specifically for those tools.

Now, again,
that's something that's not too important

for you to know about right now.

We'll be diving deeper into this later on.

Now, next to our viewer,
we have our node area.

This is where we record all of our changes
we are making to our image with nodes.

Now, you can add as many nodes
as you want to each clip,

and you can also make as many individual
changes to each node as you want.

Now, we're not going

to be diving into the nodes
within the color tab in this video.

That's going to be a video later on.

All I can say now

is, trust me, nodes are the way to go
when it comes to grading 100%.

I'm never going back to layer

based color grading like what
we had in Premiere Pro or Final Cut.

Now know how we can jump between
two different node windows in here.

Clip and Timeline.

Now, if you've watched every single video
up until now, then you'll know

that this timeline area is where I applied
a lot to my entire timeline.

So any changes

that I'm making here are reflected
on every single clip within your timeline.

Now, I like to think of this

as like a sheet of glass
that sits on top of everything else

or like an adjustment layer where you're
not really adjusting the clips themselves.

You're kind of adding a layer of
adjustments on top of all the other clips.

If you want to make clip level
adjustments,

you're going to have to navigate back
to clip over here.

And in here we can make any adjustments
that we want to each individual clip.

So if at any time I wanted to quickly
add a lot

to my entire timeline,
I could do that in here.

And that is something I do all the time
when I'm making my selects.

It's so much better to view your footage

with a bit of color and style in it
while you're making selects.

It's not fun to spend tons of time
looking at boring flat footage,

so feel free to do this yourself

when you're going through the process
of making selects.

As you can see,
that's something that I did over here.

If I disable this slide,
we can see how all of the clips

in the timeline
change back to their original colors.

Now, if we navigate to the bottom
left over here,

we can see that
we have a bunch of different tools.

Now, this is where we access all of our
color grading tools, plus a lot more.

These are all very powerful tools
and these are the tools

that are going to be using

not only to make colored changes
to our images, but also to help us refine

what parts of our image
that we actually want to make changes to.

Now, I'm not going to go over all of these
right now.

I'm just going to go over the ones
that are the most important in my opinion.

So over here to the left,
we have camera raw and this basically

allows us to make adjustments
if our clips are shot in raw.

So things like black magic or red in here,
we're able to change things like ISO

and just play
with the raw data of our image.

Next, we have color wheels
and this is where I do most of my base

level correction.

I pretty much always make changes
to every clip within this area right here.

And usually it's
just for like color corrections.

So if the clip is too warm,
I can make it colder.

If it's too cold, I can make it warmer.

I could change the tint.
I can add contrast.

I can play with the gain gamma lift.

These are just different words
for the highlights, mid tones and shadows

and an offset is just like overall
adjustments.

This is all stuff we're going to be diving
much deeper into later on.

Next to that we have HDR grade,
we have our

G B mixture, and then we also have
motion effects within motion.

In fact, this is where I do my noise
reduction devices.

Noise reduction has been so good.

I've always been super
impressed by its performance.

Normally noise
reduction slows on your computer

a ton, but DaVinci has figured out a way
to make it a lot more efficient.

So I found it to be very good
and also very fast, which I love.

Now next to noise reduction,
we have our curves over here.

Now in here
we can access our general curve,

but we can also access things like hue
versus hue, hue versus saturation.

And in these windows,

we can make some pretty specific changes
to pretty much any color within our image.

This is an awesome tool and something
that going to be using a lot of.

Next to that we have color wallpaper
and then qualifier.

Qualifier is something
that we're also going to be using a ton of

and it's going to help us
make very specific selections

to any part of our image.

Now next to that, we have masks
or windows, a lot of color graters

referred to masks as windows,
and I find that a bit confusing.

I still find myself calling them masks,
but I just know that some people call them

windows
just so that you don't get confused.

So in here
we can create new masks or windows.

We can change the properties of them
like the feather and things like that.

And then in the tab next to it,
we can actually track those masks

to anything that we want within our image.

And the tracker
that DaVinci has here within

the color tab is actually really,
really good.

This thing has blown me away many times
and it gives us a lot of options

as to how we want things to be tracked.

We can also do things manually as well
over here in the frame option.

Now next to the tracker, we have magic
mask and it is quite literally magic.

This thing is so good.

I can basically take this

little eyedropper over here
and just draw a line on my clip anywhere.

So if I want to select this long border

over here,
I could just draw that line over here.

And we can see that it's made
a pretty rough selection around him.

But for things like color grading,
this can be enough to, you know, just

isolate this region and just make changes
to that one specific part of my image.

We can also change it to better over here
so that it refines the edge,

cleans it up even more.

It's just going to use
a bit more processing power.

But yeah, this is quite literally magic

and I'm so stoked that we are

now living in a time
where we have access to such amazing tools

as artists to be able to isolate parts
of our image like this, this vast.

It's honestly amazing.

So I'm going to hit Command Z.

That was just to show
you guys a bit of an example.

Now, next to that, we have Blur,
and then next to that we have key.

So key is where we could change
the opacity of each one

of our individual nodes.

This is something that I'm going
to be doing a lot of.

And next to that we have sizing, which is
something that I don't use too much of.

If I want to make

any kind of resize changes,
I usually just do that in the edit tab.

And now to the right over here
we have our keyframes scopes and info.

Now of course, the keyframes area
over here is where we create keyframes

for any of the adjustments that we've made
to our clips if we choose to do so.

Now, next to keyframes,
we have scopes and in here

we are able to get information
about our image.

So in this case, we can see that the
highlights over here are about to clip.

And once these values start to go
above this top area over here,

that means that we're losing information.

Same thing goes with this bottom
area over here.

Now, of course, we're going to dive
much deeper into scopes

and how we can use them to analyze
our image later on in this video.

But just know that
this is where we can access them.

And if we ever want to pop this out,
we can click this button

over here and it will make it its own
little pop out here.

So if you're using multiple displays,
you can take this,

put it on a different display,
and always have it there visible.

So it's not taking up precious real estate
within your workspace.

Over here,

you can move this to another monitor
and always have that scope information

available to you

and if you ever want

to put it back in its original place,
you can just click this X over here

and it will bring it back
to this little area here.

And finally next to Scopes,
we have information

which just tells us information
about our selected clip in our timeline.

So if I click through and select
different clips,

we can get information
about each one of these clips.

All right.

So now that we understand
the general layout

of the colored tab within DaVinci, it's
time to start talking about notes.

I'll see you guys in that video.