Prática de Shadowing: Cinematic Color Grading in Davinci Resolve - Free Powergrade - Aprenda a falar inglês com vídeo

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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.

And to be honest, nothing I do is original.

that I do and have learned is from pro colorists

and non-pro colorists and I take bits and pieces of information

that I've learned in the past couple years and I utilize it into my workflow.

In this video I'm going to show you exactly what power grades I've used in the past

and if you don't want to spend money I'm going to show you a power grade

that you can use and download for free

and I'm going to walk you step by step on how to do it all within Dimenshi's native tools.

Let's get started starting off with the first one film vision

by sir was one of the first power grades i ever used comes with luts

and different camera log profiles

and for 60 dollars it's honestly a solid value the look it gives your footage it feels very intentional

and you can tell

that they put a lot of time into crafting it the

only downside is with all the nodes turned on it can slow your system down

but if you can handle it it's a powerful tool that delivers a beautiful stylized image.

Fun fact, this is actually where Gox got a lot of his inspiration for his color style.

Number two, CinePrint 16.

CinePrint 16 by Tom Bowles is one of the most unique power grades I've used

so far and for $47 it's a solid buy.

It nails that 16 millimeter CinePrint look, especially with its color palette and those rich stylized greens which is really hard to get sometimes.

It's also really easy to use which I love personally.

The only downside is that it can get a little noisy and for me it's not the most versatile.

I wouldn't use this for client work but for personal and creative projects it delivers a super distinctive look that stands out.

Number three film unlimited.

Film unlimited is hands down the best power grade I have ever used and the most versatile.

It's priced at just under $100 but honestly it's worth every dollar.

Unlike cine print 16 the look isn't over stylized

and makes it super versatile

and I've used it on pretty much everything what really stands

out to me is the way it handles blues there's this perfect blue tint in the shadows

that just feels so cinematic and it makes grading feel

so effortless the only catch is the price but

if you're serious about your look it definitely delivers

and that's the beauty of filmmaking it's not always about the colors it's about making something that actually connects.

But here's the thing, in order to make that vision come to life, you're gonna need the right resources.

And that's why I want to talk to you about what Artless is doing.

These guys are giving out a hundred thousand dollars to creators like you, me.

All you gotta do is just submit your crazy idea and hope to god you win.

If you got a concept that you've been dreaming about, this can be what makes it real.

I've been using Artless for years, even before I started working with them.

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.

They even got LUTs.

And if you're a creator, this is an all-in-one place that you can get everything in one platform.

If you were to click the link in the description, I can give you two months off for free.

I know it sounds crazy that they're giving out $100,000, but this is their third year actually that they're doing this

and this year that person can be you and then you can buy all the power grades you want

all right let's get back into this color grading tutorial okay

so if you want to just save money

and want to use something that's totally free that's built in all within da vinci

and you don't want to pay for anything this is how

you do it i have a link in the description so

that you can download all of the videos and the power grade

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.

Let's get started.

Okay, before we jump in, let me go through the project settings and show you my settings real quick.

This is what they are.

Just copy and paste them.

I'm working in a timeline color space of Rec.

709 Gamma 2.4 and the output Rec.

709A.

Now, if you're using Film Unlimited, you would be working in a timeline color space of DaVinci Wide Gamma Intermediate.

This is just what I've done research on and this is what works

and this is what gives me minimal color shift on my exports.

Let's go into the general options and make sure that everything looks like this on yours.

Main thing is use legacy log grading ranges and curve.

Check and then use S curve for contrast.

That's just going to give you guys more of a filmic way of changing the contrast with the color wheels.

So cancel that.

Another one we're going to go into preferences

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.

If you're not using a Mac, have this checked off.

And then if you're not using a Mac as well, this one should just be Rec.

709. Once you imported the PowerGrade, you end up with this a very simple node tree

and I'm going to show you what each node does first

one I have the noise everybody knows what the noise does

so I usually have it at like five right here

and I'll just bring this up

and down anywhere from zero to ten I don't go any higher than

that the CST in so this tells you what flavor we're working with go ahead

and put the color space that you are working with I use Canon Cinema Gamut and Canon Log 3.

This is shot on the R5C so this is what I shot that in.

So you're just going to go with the CST in right here and then now basically glow.

I have this set to soft light.

I think soft light really does some really good looks to it.

I usually take the saturation down because usually glow adds some saturation

but you always add it later after your process so this white balance node is in a gamma and linear profile

and it just works so much wonders been using this for

so long and every time i show people this a lot of people don't know about this

and a lot of people have used uh the temperature wheels

to kind of like white balance stuff don't use the log wheels use the primary

and use only in the game channel right here

and you're going to see it once you play around with stuff you're gonna be able to

really see like where your white balance is um because

if you were to use a different node and like let's just say

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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205 frases

Vocabulário e dicas de fala para esta lição

Esta aula de conversação de nível C1 usa o vídeo “Cinematic Color Grading in Davinci Resolve - Free Powergrade”. Este vídeo tem 314 frases e 3859 palavras para praticar shadowing. A fala dura 23:28. O falante fala em ritmo natural, cerca de 164 palavras por minuto, próximo de uma conversa do dia a dia. 84% das palavras estão entre as 3.000 mais comuns do inglês; vale a pena estudar o restante antes de começar.

Vocabulário principal deste vídeo

As 15 palavras mais avançadas do vídeo, com pronúncia e significado:

Palavra	Pronúncia	Significado
saturation substantivo		saturação
gamma substantivo	/ˈɡæ.mə/	gama
gamut substantivo	/ˈɡæm.ət/	gama
tutorial substantivo	/ˌtjuːˈtɔːɹɪəl/	tutorial
glow verbo	/ɡloʊ/	brilhar
blend verbo	/blɛnd/	misturar
drone substantivo	/dɹoʊn/	zangão, zângão
luminance substantivo	/ˈluːmɪnəns/	luminância
radial adjetivo	/ˈɹeɪdi.əl/	radial
richness substantivo	/ˈɹɪt͡ʃnəs/	riqueza
stylize verbo	/ˈstaɪlaɪz/	estilizar
versatile adjetivo	/ˈvɜː.səˌtaɪl/	versátil
annoy verbo	/əˈnoɪ̯/	aborrecer, irritar
clipping substantivo	/ˈklɪpɪŋ/	clipagem, recorte
invert verbo	/ɪnˈvɜɹt/	inverter

Phrasal verbs que você vai ouvir

Palavra	Pronúncia	Significado
go ahead verbo	/ˌɡoʊ əˈhɛd/	vai em frente
bring up verbo		criar
end up verbo		terminar, acabar
hands down advérbio		com uma mão nas costas, com uma perna às costas

Frases que vale a pena repetir

Frases curtas e completas do vídeo que você pode usar na conversa do dia a dia:

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.

Gramática neste vídeo

As estruturas que o falante mais usa, com as palavras exatas do vídeo:

Estrutura	No vídeo
Present perfect continuous have/has been + -ing — uma ação que começou antes e continua	I've been posting · you've been dreaming · I've been using
Frases condicionais if + oração, will/would + verbo — uma condição e seu resultado	if you're using Film Unlimited, you would be · if you want to this would be
Present perfect have/has + particípio passado — uma ação passada que ainda importa agora	have learned · I've learned · I've done
Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz	is shot · was blown · are built

Pronúncia para ficar de olho

O falante usa 119 contrações e formas reduzidas, como don't, I'll, I'm. Diga-as na forma curta, do jeito que você ouve.

Os sons de “sh” e “zh”: intentional /ɪnˈtɛnʃənəl/, compression /kəmˈpɹɛʃ.ən/
Palavras longas — acerte a sílaba tônica: kinematic /kɪn.əˈmæt.ɪk/, intermediate /ɪn.tə(ɹ)ˈmi.di.ət/, opacity /oʊˈpæsɪti/, overpower /oʊ.vɚˈpaʊ̯.ɚ/, manipulate /məˈnɪp.jʊ.leɪt/

Sons difíceis para falantes de português:

Consoante final — sem acrescentar um “i” depois: node /noʊd/, filmic /ˈfɪlmɪk/, gamut /ˈɡæm.ət/, blend /blɛnd/, invert /ɪnˈvɜɹt/
/l/ final — a língua toca o céu da boca, não vira “u”: tutorial /ˌtjuːˈtɔːɹɪəl/, radial /ˈɹeɪdi.əl/, versatile /ˈvɜː.səˌtaɪl/, subtle /ˈsʌtəl/, intentional /ɪnˈtɛnʃənəl/
s + consoante no início — sem um “i” antes: stylize /ˈstaɪlaɪz/, slider /ˈslaɪdɚ/

Como praticar com este vídeo

Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
Comece na velocidade 0,75×, faça shadowing frase por frase e volte à velocidade normal quando ficar fácil.
Grave a sua voz e compare com o original, prestando atenção a palavras como saturation, gamma, gamut.

O que é a Técnica de Shadowing?

Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.

Técnica de shadowing: leia o guia completo passo a passo →

Prática de Shadowing: Cinematic Color Grading in Davinci Resolve - Free Powergrade - Aprenda a falar inglês com vídeo

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Vocabulário e dicas de fala para esta lição

Vocabulário principal deste vídeo

Phrasal verbs que você vai ouvir

Frases que vale a pena repetir

Gramática neste vídeo

Pronúncia para ficar de olho

Como praticar com este vídeo

O que é a Técnica de Shadowing?