Pratica di Shadowing: Cinematic Color Grading in Davinci Resolve - Free Powergrade - Impara a parlare inglese con i video
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The End
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The End
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Over the past couple months since I've been posting here on YouTube, I've been getting a ton of requests on how I color grade.
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And to be honest, nothing I do is original.
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that I do and have learned is from pro colorists
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and non-pro colorists and I take bits and pieces of information
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that I've learned in the past couple years and I utilize it into my workflow.
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In this video I'm going to show you exactly what power grades I've used in the past
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and if you don't want to spend money I'm going to show you a power grade
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that you can use and download for free
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and I'm going to walk you step by step on how to do it all within Dimenshi's native tools.
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Let's get started starting off with the first one film vision
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by sir was one of the first power grades i ever used comes with luts
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and different camera log profiles
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and for 60 dollars it's honestly a solid value the look it gives your footage it feels very intentional
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and you can tell
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that they put a lot of time into crafting it the
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only downside is with all the nodes turned on it can slow your system down
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but if you can handle it it's a powerful tool that delivers a beautiful stylized image.
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Fun fact, this is actually where Gox got a lot of his inspiration for his color style.
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Number two, CinePrint 16.
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CinePrint 16 by Tom Bowles is one of the most unique power grades I've used
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so far and for $47 it's a solid buy.
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It nails that 16 millimeter CinePrint look, especially with its color palette and those rich stylized greens which is really hard to get sometimes.
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It's also really easy to use which I love personally.
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The only downside is that it can get a little noisy and for me it's not the most versatile.
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I wouldn't use this for client work but for personal and creative projects it delivers a super distinctive look that stands out.
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Number three film unlimited.
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Film unlimited is hands down the best power grade I have ever used and the most versatile.
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It's priced at just under $100 but honestly it's worth every dollar.
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Unlike cine print 16 the look isn't over stylized
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and makes it super versatile
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and I've used it on pretty much everything what really stands
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out to me is the way it handles blues there's this perfect blue tint in the shadows
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that just feels so cinematic and it makes grading feel
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so effortless the only catch is the price but
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if you're serious about your look it definitely delivers
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and that's the beauty of filmmaking it's not always about the colors it's about making something that actually connects.
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But here's the thing, in order to make that vision come to life, you're gonna need the right resources.
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And that's why I want to talk to you about what Artless is doing.
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These guys are giving out a hundred thousand dollars to creators like you, me.
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All you gotta do is just submit your crazy idea and hope to god you win.
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If you got a concept that you've been dreaming about, this can be what makes it real.
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I've been using Artless for years, even before I started working with them.
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And it's a place where I get all of my sound effects, stock footage, all of my soundtracks, and even their new AI tools.
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They even got LUTs.
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And if you're a creator, this is an all-in-one place that you can get everything in one platform.
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If you were to click the link in the description, I can give you two months off for free.
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I know it sounds crazy that they're giving out $100,000, but this is their third year actually that they're doing this
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and this year that person can be you and then you can buy all the power grades you want
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all right let's get back into this color grading tutorial okay
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so if you want to just save money
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and want to use something that's totally free that's built in all within da vinci
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and you don't want to pay for anything this is how
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you do it i have a link in the description so
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that you can download all of the videos and the power grade
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so you can follow along with me and also if you don't know how to import a power grid, I'm not covering that, but I will link a tutorial in the description.
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Let's get started.
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Okay, before we jump in, let me go through the project settings and show you my settings real quick.
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This is what they are.
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Just copy and paste them.
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I'm working in a timeline color space of Rec.
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709 Gamma 2.4 and the output Rec.
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709A.
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Now, if you're using Film Unlimited, you would be working in a timeline color space of DaVinci Wide Gamma Intermediate.
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This is just what I've done research on and this is what works
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and this is what gives me minimal color shift on my exports.
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Let's go into the general options and make sure that everything looks like this on yours.
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Main thing is use legacy log grading ranges and curve.
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Check and then use S curve for contrast.
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That's just going to give you guys more of a filmic way of changing the contrast with the color wheels.
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So cancel that.
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Another one we're going to go into preferences
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and then we're going to go into general and just make sure that if you are working on a Mac, this is what it's looking like.
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If you're not using a Mac, have this checked off.
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And then if you're not using a Mac as well, this one should just be Rec.
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709. Once you imported the PowerGrade, you end up with this a very simple node tree
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and I'm going to show you what each node does first
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one I have the noise everybody knows what the noise does
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so I usually have it at like five right here
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and I'll just bring this up
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and down anywhere from zero to ten I don't go any higher than
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that the CST in so this tells you what flavor we're working with go ahead
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and put the color space that you are working with I use Canon Cinema Gamut and Canon Log 3.
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This is shot on the R5C so this is what I shot that in.
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So you're just going to go with the CST in right here and then now basically glow.
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I have this set to soft light.
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I think soft light really does some really good looks to it.
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I usually take the saturation down because usually glow adds some saturation
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but you always add it later after your process so this white balance node is in a gamma and linear profile
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and it just works so much wonders been using this for
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so long and every time i show people this a lot of people don't know about this
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and a lot of people have used uh the temperature wheels
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to kind of like white balance stuff don't use the log wheels use the primary
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and use only in the game channel right here
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and you're going to see it once you play around with stuff you're gonna be able to
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really see like where your white balance is um because
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if you were to use a different node and like let's just say
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if you were to use something like this
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and then you were to use this like look at the difference to
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that like you're not really getting anywhere with that and then
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if you just take this guy off turn it back on command d
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that joint and then you start seeing like look it is just
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so much softer and you're moving it just as much as i was on the other one
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and if you want to find to it just go into the channels right here
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and if you want to make it warmer you want to put like you know some magenta
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or some green in there you know just go to each channel
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and then you could also put the brightness down with this
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and it does it in such a beautiful way
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that a non-gamma linear way would do
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and then the exposure go into the hdr panel
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and i'll go into my color space and then i'll tell this guy
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that the flavor is canon c log 3 cinema gamut and then i will just look at my
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parade and i'll go into my you know my blacks look pretty good right now
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and i'll lift the shadows bring those highlights down
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because there's a little bit of uh i feel like almost clipping right here i mean it's sitting
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if we're looking at it right now it's probably sitting at the almost 900 part yeah
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so we're actually really good that's you never want your highlights above $8.96.
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So that's pretty darn good right there.
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Lift my blacks, my darks a little bit like that.
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And yeah, I mean, I think that's pretty solid right there.
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This is my other favorite tool that I just, when I found this out, I was blown away because it's just such an easy tool.
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I only focus on the richness and the density of colors.
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I don't ever add colors, especially when you're working with like greens and reds those colors are
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so hard to like work with and I learned a little
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while ago that if you just focus more on the density of it then it looks more saturated
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and it just doesn't look overpowering
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so this guy is in the color space of HSV
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and all you do in this node right here is you go down to the primary color wheels
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and in the green channel you're just going to lift it
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up okay I usually bring it up to like 120
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and like look at that I mean you could crank it
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and it like looks pretty cool but I'm not gonna go all
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that way I'll probably lift it up like that
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and then I mean if you before and after it brings it to life
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and like the skin tones aren't like getting washed out it's just giving
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that richness towards that red and it looks so just natural.
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The radials, this I don't ever use as much unless I'm going to put like some more emphasis on this.
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I will probably invert this and probably just create a vignette.
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I don't know how to say that.
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And, you know, do something like that.
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But in most cases, I'm not going to use that.
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It all depends on the clip.
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If I want to put more emphasis on something, if I want to add a linear gradient, The saturation, I won't ever use this saturation tool.
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Never.
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I never use that.
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Stay away from it.
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I'm so glad they came out with this because these tools just work in a way different color environment for me.
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And they react different than other methods.
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And I think like when you add the saturation, when you take the saturation out just really softly and you just add more density to that.
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Like, look at that.
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That I'm loving that already.
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That type of stuff gets me excited already.
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So this is all built in DaVinci, and it's crazy that you can just use all of these tools for free.
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The contrast right here, I'll just kind of just work with this contrast and pivot.
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And this kind of just I'll really just look at it at the end of my my color grade
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and I'll just kind of see like where I need to do it.
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The tone curve this one I just you know always keep
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it checked on it just gives it a very just filmic look and like kills like the highlights off a little bit.
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That's it nothing very fancy and then the greens too
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which will go into a green color after this clip to show you what this would do and the grain.
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So here we go.
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This is the film look creator.
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You can go ahead and take the color blend off or you can leave the color blend on.
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It's up to you and then you can kind of just mess with these.
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Basically all what we're doing right here is in here just kind of times two
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and it's not a bad look but this is just the grain
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and you can just really customize it it gives it a
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little bit of sauce to it um i sometimes just don't
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use grain anymore i i don't know why
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but sometimes you just want to put some grain
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so that's there for you to put
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so the cst out obviously we're going into davinci wide gamut
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davinci intermediate to a rec 709 now here's the cool part
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basically this whole look is kind of made out of the
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2383 look these luts right here are built into da vinci so i mean if you go into reveal selected lut
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like this is all built into da vinci okay
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and basically we're going to convert this rec 709 to a
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cineon log profile we're going to make a compound node
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and there's three things
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that you you want to just check off okay I usually
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keep it at 2383 D55 that's a warmer white point or
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if you want to go cooler you know D60 or D65
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which will go a lot cooler you can go I mean all of these look really good
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and basically what the 2383 but is and what it's emulating basically all the movies that you've seen in the 90s.
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A lot of cinema movies have used this film stock for their movies.
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It's cool that DaVinci has that LUT in there and you can use it for free.
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I think it just has that very cinematic filmic look if you can make the richness look really good on the colors.
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So one of these you can just kind of you know pop on and then here is another thing.
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I know I said this is all for free but this is something that I actually do on my own.
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My buddy Sam Newton just dropped some LUTs and I use this little finishing.
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I use a finishing LUT after a LUT.
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I know it's a very non-traditional way to do it
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but that's just the way I do it and you don't have to do this by any means.
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I use this very subtly and then I'll go right here
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and I'll throw the gain down to like 0.300
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and it's a very subtle look look at that very subtle
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but like you don't I mean it looks fine without it
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boom boom boom I mean it looks fine without it that's
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pretty much how I do this uh it's a very simple
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way I know other people have showed color grading tutorials on stuff like this
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but the one thing that kind of bugs me is
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that they they'll show a hero clip but they won't show different scenarios
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so let's go and grade some really harder clips like a drone shot
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and some other scenarios
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so this one is actually a perfect one to demonstrate the
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greens this is shot on the coast of Oregon with an Air 2S
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and let's drop this grade up in here okay so
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if you guys do know drones are probably the hardest things
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to freaking edit for some reason I always have trouble editing them
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and they're just so annoying so let's go into here the luminance mapping
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and the saturation compression in
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and out always helps with drone footage I asked chat I've asked other colorists
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and they've confirmed this so make sure that these guys are checked on
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because what drones do is they end up having like these unwanted look of like really punchy colors
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and it's kind of annoying.
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We have this really green image and a very misty image.
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It's obviously a high dynamic range image.
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So what we'll do is we'll go in here and we'll bring the exposure down a little bit like right here.
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Okay from the gain wheel.
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Remember from the gain wheel because this guy is in a linear color profile
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and we're just going to simply just color balance it any way we go you know um
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and i kind of just move it around and then
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if moving it around is not working then i'll go in to each channel
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and then i'll just kind of like configure it right you know
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when wherever i want it
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so um kind of we could even go like right there you could even bring up the exposure right now
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and then um now let's go into the exposure go through the hdr and then let's go dgi
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d log and then let's bring up the shadows a little bit
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and let's bring down the lights see how that works works so good right there we're not even clipping Okay, cool.
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Now my favorite tool, density.
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Pop this guy in there.
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You see that?
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Just in the green channel.
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Bam.
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And then the greens too.
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We'll turn that guy on.
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And what basically this green does is it really just works with greens and just brings them more on the cooler side,
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brings the saturation down and the luminance to give you more of like that filmic look.
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Honestly, green is the hardest color for me to edit.
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Over the years, I've just learned how to work with them a little bit.
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This is what I do.
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And if you guys really want to know, it's just
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really just kind of pulling these guys down
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and then just kind of manipulating the greens on the more cooler side
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and then the luminance and the saturation down that's it
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so you turn on and off that whenever you want and
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so basically I mean like you could even go as far
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as doing something like this in the radial in most cases you know like
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if you really want to get down with a clip then you could do it you know
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so um you just come in right here but i kind of like
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that like that look of just i don't know it's just really bright right here
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so like it kind of gives it like that nice contrast of like
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that light and glow coming in
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and i think the greens look really nice obviously i'm going really fast right now
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so like i would probably do a little bit more here
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you go with the grain too like i said you could turn on the color the color blend
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but look the color blend looks actually really good you could even just throw like the subtractive
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saturation um and just really just do whatever you want with it
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and then you could go into the 2383 and check this on
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and off and then see
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which one works best for you i mean these are all built into da vinci uh oh
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that was double lut and i think the warmer is gonna always just do it for me
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yeah I don't know I think the middle ground is gonna gonna do really well for me yeah let's do
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that okay let me show you what I do sometimes on the arctic sun I will bring the opacity down
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bam and then now I see like it's a little too blue right now
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so then what I'll do is I'll just kind of like warm it up.
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Yeah and now it gives you that little punch of contrast but you don't really need to put this on.
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You could do this with or without it.
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Okay so this is shot on the FX3 Instacotra
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and this is going to be a great representation of the white balance node.
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Let's go ahead and tell DaVinci what we shot this in.
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Sony S Gamut 3 Cine and then S Log 3
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and right off the back I mean look at the white balance like this was probably shot at like 6000 Kelvin.
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This white balance node gamma linear all you're gonna do bring it down right here.
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Bam.
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Like if you were going to use the white balance node
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or the white balance slider then look at
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that I mean it kind of looks decent
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but there's still a little bit of washed out colors in there
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and that looks just very nice no unwanted looks right here
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so bam you guys know what these things do already
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and I'm just going to show you how fast I would grade something like this
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so I'll go right here kind of mess with white balance
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a little bit to bring it a little bit warmer right there probably bring the density down a little bit
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and mess with the glow bam probably look at one
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of these see what the cool looks like warm I kind of love the warm bam
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and bring this down add some green greens probably don't do anything mess with the yellows a little bit
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and honestly I mean
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if you want to this would be the time to do
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a radial filter shift h to see where you're selecting bring this guy lower and we'll just invert it real quick.
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You could or you could not.
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You could even lift it up to kind of even things out.
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It's all up to you.
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I would be done right there.
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And in the Socotra video that I just posted, I used everything like this.
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This is kind of how the whole node tree was looking like.
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And I used Arctic Sunrise.
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and I brought it down to like right here and that looks decent.
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Bam.
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So that's that.
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I think a lot of people make color grading a super complicated process and it really shouldn't be.
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It's very simple as long as you have a work base and a workflow that you're comfortable and familiar with.
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You just got to know how some of these programs work
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and sometimes they're a little bit confusing but that's why I'm making this tutorial
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because I just really want to show what I've learned in the past
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and it took me a couple years to learn so
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that you don't have to put in that time
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and effort this is all free but
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if you want to buy those other power grades they're actually really good
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and I'm not shitting on them I'm not talking shit about them they're actually worth their money
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and when you plug in those power grades you obviously see the difference
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if you don't want to spend money here it is take it and uh i hope you guys like this video
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let me know what you guys think comment subscribe thank you
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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione di livello C1 si basa sul video “Cinematic Color Grading in Davinci Resolve - Free Powergrade”. Questo video contiene 314 frasi e 3859 parole da ripetere con lo shadowing. Il parlato dura 23:28. Chi parla ha un ritmo naturale di circa 164 parole al minuto, vicino a una conversazione quotidiana. Il 84% delle parole rientra nelle 3.000 più comuni dell’inglese; conviene studiare le altre prima di iniziare.
Vocaboli chiave di questo video
Le 15 parole più avanzate del video, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| saturation sostantivo | saturazione | |
| gamma sostantivo | /ˈɡæ.mə/ | gamma |
| tutorial sostantivo | /ˌtjuːˈtɔːɹɪəl/ | esercitazione |
| glow verbo | /ɡloʊ/ | brillare |
| blend verbo | /blɛnd/ | mescolare, amalgamare |
| drone sostantivo | /dɹoʊn/ | fuco |
| richness sostantivo | /ˈɹɪt͡ʃnəs/ | ricchezza |
| versatile aggettivo | /ˈvɜː.səˌtaɪl/ | versatile |
| annoy verbo | /əˈnoɪ̯/ | irritare, seccare |
| invert verbo | /ɪnˈvɜɹt/ | invertire |
| kinematic aggettivo | /kɪn.əˈmæt.ɪk/ | cinematico |
| workflow sostantivo | /ˈwɝkfloʊ/ | flusso di lavoro, procedura |
| downside sostantivo | /ˈdaʊnˌsaɪd/ | il rovescio della medaglia, lato negativo |
| unwanted aggettivo | /ʌnˈwɒntɪd/ | indesiderato |
| intermediate aggettivo | /ɪn.tə(ɹ)ˈmi.di.ət/ | intermedio |
I phrasal verb che sentirai
| Parola | Pronuncia | Significato |
|---|---|---|
| go ahead verbo | /ˌɡoʊ əˈhɛd/ | procedere, andare avanti |
| bring up verbo | menzionare, nominare | |
| go through verbo | attraversare | |
| blow away verbo | spazzare via | |
| end up verbo | andare a finire, finire | |
| hands down avverbio | ad occhi chiusi |
Frasi da ripetere
Frasi brevi e complete del video che puoi riutilizzare nella conversazione di tutti i giorni:
- I don't know how to say that.
- That I'm loving that already.
- We'll turn that guy on.
- It's all up to you.
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Present perfect continuous have/has been + -ing — un’azione iniziata prima e ancora in corso | I've been posting · you've been dreaming · I've been using |
| Frasi condizionali if + frase, will/would + verbo — una condizione e il suo risultato | if you're using Film Unlimited, you would be · if you want to this would be |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | have learned · I've learned · I've done |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | is shot · was blown · are built |
Pronuncia a cui fare attenzione
Chi parla usa 119 contrazioni e forme ridotte, come don't, I'll, I'm. Pronunciale nella forma breve, così come le senti.
- I suoni “sh” e “zh”: intentional /ɪnˈtɛnʃənəl/, compression /kəmˈpɹɛʃ.ən/
- Parole lunghe — attenzione all’accento: kinematic /kɪn.əˈmæt.ɪk/, intermediate /ɪn.tə(ɹ)ˈmi.di.ət/, opacity /oʊˈpæsɪti/, overpower /oʊ.vɚˈpaʊ̯.ɚ/, manipulate /məˈnɪp.jʊ.leɪt/
I suoni difficili per chi parla italiano:
- Consonante finale — senza aggiungere una vocale dopo: node /noʊd/, filmic /ˈfɪlmɪk/, gamut /ˈɡæm.ət/, blend /blɛnd/, luminance /ˈluːmɪnəns/
- /æ/ — più aperta della “e”: gamma /ˈɡæ.mə/, gamut /ˈɡæm.ət/, cannon /ˈkæn.ən/, kinematic /kɪn.əˈmæt.ɪk/, opacity /oʊˈpæsɪti/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Inizia a velocità 0,75×, fai shadowing frase per frase e torna alla velocità normale quando diventa facile.
- Registrati e confronta con l’originale, facendo attenzione a parole come saturation, gamma, tutorial.
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.