0:01 Today I'm going to take you through step
0:03 by step how to color grade real estate
0:06 videos inside of Da Vinci Resolve. And
0:07 I'm going to take you through a couple
0:10 different scenarios both inside outside
0:12 with the realtor. And as well, I think
0:13 it's important I show you how I would
0:15 color grade a house that's maybe not as
0:17 nice. Obviously, there's beautiful, nice
0:19 listings with big windows and lots of
0:21 natural light coming in, but how do you
0:23 color grade those houses that have dark
0:25 basements or don't look as good on
0:26 camera? I'm going to take you through
0:28 that as well. And thank you to Audio for
0:30 sponsoring today's video. Let's get into
0:32 it. And if you guys are looking to
0:33 practice along with me today, there is
0:35 footage available inside of my films
0:37 club. You'll get access to the full log
0:39 footage. So you can do all the color
0:41 grading that we're doing inside of this
0:43 video. Again, it's just in the film club
0:44 link down below in the description. All
0:46 right. So, as you can see, obviously
0:48 this image is incredibly flat, and
0:50 that's because it was shot in Vlog. Now,
0:52 I'm going to be using auto color
0:53 management. If you don't know what color
0:55 management is inside of Da Vinci
0:57 Resolve, I recommend that you watch a
0:59 tutorial about this after watching this
1:01 video because it is super helpful. But
1:02 pretty much what that means is right if
1:04 I right click on my timeline settings
1:06 here, you can see that in my color
1:09 management tab, I'm under Da Vinci YGB
1:11 color manage. So, it's just doing some
1:13 of the color managing for me. But that's
1:15 not the only step I have to do. I have
1:17 to go to all of my clips here. I'm going
1:19 to select all of them, rightclick, and
1:20 I'm going to tell the computer what
1:23 color space they're coming in as. And in
1:25 this case, it's Lumix Vlog. So, we're
1:27 going to go to Panasonic Vlog right
1:29 here, and select that. And instantly,
1:31 you can see that our log footage is now
1:34 converted to rec 709, or at least that's
1:36 what we're seeing with our eyes. When
1:37 we're doing any of these adjustments in
1:39 a color manage color space, we're
1:41 actually making those adjustments inside
1:43 of Da Vinci wide gamut, which just gives
1:44 us a whole lot more room to work with
1:46 before the footage starts breaking.
1:48 Without further ado, let's go jump into
1:50 the color page. All right, so first
1:52 things first, I'm going to leave this
1:54 node as is. Generally, I like to leave
1:56 one node right at the start for my noise
1:58 reduction. Then I'm going to hit Alt S
2:00 on my keyboard. That's going to add
2:02 another node. This node I'm going to be
2:04 using as my exposure node. So, I'm going
2:06 to rightclick this. I'm going to hit
2:08 node label and write exposure. All
2:10 right. So, we're going to do most of the
2:12 heavy lifting actually just inside of
2:14 the exposure node. And pretty much what
2:16 I want to do is I want to preserve my
2:17 highlights. And I want to preserve my
2:19 shadows and make the image show as much
2:21 of the room while being as bright as
2:23 possible, but not clipping anywhere and
2:25 retaining all the information we can.
2:27 So, let's talk about these highlights
2:29 right here. If we are in the HDR tab
2:31 under exposure, you can turn down your
2:33 highlight wheel and that's going to
2:35 bring back some detail inside of these
2:37 windows. Now, you don't want to push
2:39 this too far because it's going to look
2:41 super unnatural and not good at all.
2:42 Obviously, if I turn it down like that,
2:44 it looks like a washed out it it doesn't
2:46 look good at all. So, there's sort of
2:48 two things that I tell my eyes to look
2:50 at when I'm turning down my highlights.
2:52 A is reflections and B is
2:54 three-dimensional shapes. Because these
2:56 chairs right now, they sort of just look
2:58 like a flat plane. Whereas, if I bring
2:59 these highlights back up, you're going
3:01 to see that that three-dimensionality
3:04 comes back up. So, I want to go down
3:07 until I lose it, which is maybe right
3:09 around there. Uh, and my highlights on
3:11 my table still look good right here. Or
3:13 sorry, my reflections still look good.
3:15 And if we just turn that off and on, you
3:17 can see that we brought back uh some of
3:20 the details in the windows, which looks
3:22 great. Now, we're going to take our
3:23 light. We're just going to play around
3:24 with this a little bit. I like to make
3:26 my rooms feel bright and airy and make
3:28 it feel like there's a lot of sunlight
3:30 coming in. So, I don't want to go so far
3:32 that again that I'm clipping inside of
3:34 the windows or anything like that, but
3:35 I'm going to push it up as much as I can
3:38 to just make the room feel a little bit
3:40 more airy. So, maybe around there. Then
3:42 I'm going to press this arrow to see my
3:44 darks and my shadows. And this is where
3:47 I sort of want to control my contrast to
3:50 an extent uh of my image. So, if I turn
3:52 down my shadows here, that's going to
3:54 increase the contrast uh from those
3:56 lighter areas. I'm just going to turn
3:58 down my shadow slightly until I see the
4:00 borders of my image starting to darken,
4:02 which I don't want. So, maybe right
4:04 there. If we turn this color grade off
4:06 and on, you can see that the room just
4:08 gets a little bit brighter, but the
4:09 windows actually stay the same. So,
4:11 we're not losing any more detail in the
4:14 windows, which is great. This is a great
4:16 place to start. Whoa. So, this is me
4:18 from like 4 minutes into the future, but
4:20 I forgot a step in exposure, and I don't
4:21 want to mess this up for you guys. I
4:22 want you guys to know exactly how to
4:24 color grade this, and it's one of the
4:26 most important steps. When you reduce
4:28 your highlights inside of the exposure
4:30 tool, what you're essentially doing in
4:32 some areas is softening the image or
4:34 flattening the image. And you want to
4:35 bring some of that detail back. And the
4:37 easiest way to do that is to increase
4:40 your mid/detail rate here, which if you
4:42 bring that up to 50, which is my number
4:44 for the sweet spot, that brings all of
4:46 that detail that you potentially just
4:48 lost inside of the exposure node back.
4:50 So, if we disable everything that you're
4:52 about to do in the future right here, uh
4:55 you can see we're just bringing a lot of
4:57 detail back when we have that mid detail
4:59 up. You can see we're losing it if it's
5:01 turned down. We're increasing it when
5:03 it's turned up. You don't want to go too
5:05 extreme. Put that guy right at 50 or a
5:07 little bit below 50 and you will be
5:09 good. All right, keep rolling. Now,
5:11 let's go into the second node which is
5:14 going to be a contrast node. So, alt s.
5:16 We can rename this contrast. And to keep
5:18 this super simple for you guys, we're
5:20 just going to go into the primary tab.
5:22 We're going to set our pivot point to
5:24 336. And now, this is up to your
5:26 personal taste, but you can add a little
5:28 bit of contrast to your image or you can
5:30 reduce the contrast. And again, I'm
5:32 going to be super minimal here. So, I'm
5:34 just going to add a little bit just to
5:36 add some more contrast and as well
5:38 saturation to the image. Now, let's add
5:40 another node. And this is going to be
5:43 our saturation node. Now, to add
5:44 saturation, I'm going to rightclick this
5:46 node. I'm going to hit color space. And
5:49 I'm going to change it to HSV. Now, I'm
5:50 going to rightclick the node again. I'm
5:53 going to disable channel one and disable
5:55 channel 3. What this pretty much does is
5:56 it just leaves the middle channel of the
5:59 HSV alive, which is saturation. And so
6:01 it's just a more filmic uh and more
6:03 accurate way to add saturation to your
6:05 image. And now to add saturation, you're
6:06 actually going to increase on this gain
6:09 wheel. So we can do it extreme just to
6:11 show you how much saturation you can add
6:12 to the image. I'm just going to do it
6:15 enough so that I bring uh some of these
6:17 warm tones back into the image. So I'm
6:20 probably going to go maybe around 1.4 or
6:21 so. I don't want to go fake. I don't
6:24 want to go too extreme. Now next we can
6:25 do some balancing to the image. So,
6:27 increasing our temperature or green or
6:29 uh magenta tint. Uh, but this image
6:32 actually looks quite good as is, but I'm
6:33 still going to set up the node because
6:34 we're going to use it on some later
6:36 clips. So, I'm adding another node. I'm
6:39 going to rename this to balance. With
6:40 this node selected, I'm going to
6:42 rightclick. I'm going to go into gamma
6:45 and change this node to linear. Now, I'm
6:47 going to go to the bottom left. I'm
6:49 going to turn down my luminance mix. And
6:51 now, I have the most accurate way inside
6:54 of Da Vinci Resolve to control the white
6:57 balance. uh or the balance of the image
6:59 in general. So, if let's say you want a
7:00 bit of a warmer look, you could pull
7:02 that off right here by just dragging
7:05 this gain into the warmer tone of this
7:08 image. Something like so. Uh and if you
7:10 want to dial back just a little bit more
7:12 precisely, you can go into the key tab
7:14 of the color page and turn down this
7:16 gain. And that's just decreasing and
7:19 increasing the intensity of that node.
7:21 But we're going to leave that as is
7:22 because I think this image is quite
7:24 balanced. Now, we're going to add
7:26 another node. We'll press Alt S. I'm
7:28 going to drag this down below just to
7:30 stay a little bit more tidy. And we will
7:33 rename this to curves. Now, this is my
7:35 personal taste, but this is what I do in
7:37 my curves node. So, I'll go to the
7:39 curves panel here. I'll go into hue
7:42 versus hue. I'll grab my blues and I'll
7:44 push them into the teal. And generally,
7:47 if you put the hue rotate around 10, uh,
7:49 you get a pretty nice teal look. At
7:51 least with Lumix Vlog, you do. Now, I'm
7:53 also going to take my yellows or my
7:55 oranges and I'm going to just push them
7:57 a little bit more red cuz then you sort
7:59 of get that yellow pushed into orange
8:00 look because we're going for a little
8:02 bit of a teal and orange look here. So,
8:04 if we increase this, we're not going to
8:06 go as extreme because uh we don't want
8:09 to break our footage obviously. We're
8:12 going to go maybe just up by around
8:13 five. And I'm just going to show you
8:15 what that's doing there. It's not a huge
8:17 difference, but you can see that this
8:20 wood tone just went from a yellow to a
8:23 more orang-ish red, which to me I think
8:25 looks a lot more pleasing. And let's
8:27 just see the progress we've made so far.
8:29 If I turn this off and on, we've
8:32 obviously enhanced the image by a whole
8:34 lot, but we haven't lost any detail
8:36 anywhere, which is awesome. And next,
8:38 I'm going to add one more node that I
8:40 haven't seen any other creator do so
8:42 far. And this is just another way to
8:44 enhance that teal and orange look even
8:45 further. And it's going to be a little
8:47 bit untraditional. Usually with a teal
8:49 and orange look, people put their warm
8:51 tones in the highlights, their and their
8:54 cold tones in the shadows. But I like to
8:56 do it reverse because I find that that
8:58 look feels a little bit moody where I
9:00 want this to not feel moody. I want it
9:02 to feel inviting and warm and saturated
9:04 because people want to see themselves
9:06 living in this house. So I want it to
9:08 look as happy as possible if that makes
9:10 sense. So anyways, moving on. Let's add
9:11 another node here. And I'm going to
9:14 label this as look. So on the look node,
9:17 let's go into HDR and let's go into our
9:19 highlights here and let's add some blue
9:21 to the highlights. And the reason in my
9:22 mind that this makes sense, when you
9:24 look out the window, generally the sky
9:26 is blue. So that's what your brain
9:28 registers the outdoors with. Uh whereas
9:30 right now these windows are blown out to
9:33 an extent. Um and they are just showing
9:34 white which which looks a little bit
9:37 less realistic in my opinion. So we're
9:39 going to push that slightly over to the
9:40 blue tone. So we're going to take our
9:42 highlight tab. You can see here. And
9:44 we're going to just drag that to the
9:47 blue ever so slightly. And we're going
9:48 to go over one tab here and change our
9:51 specular to blue as well. And you don't
9:53 want to do this extreme. And I know what
9:55 you guys are thinking of like Joel this
9:57 looks terrible. But that's where we're
9:59 going to go back to that key node. And
10:01 now we can dial this in exactly how we
10:03 want. So we're going to start with zero.
10:05 We're going to increase. And you can see
10:06 that we're getting some clipping right
10:08 here. So that means that I actually did
10:11 it too much with my highlight and my
10:12 specular. We don't want to go too
10:16 extreme. Just ever so slightly, maybe a
10:18 little less even. Now, as you can see,
10:20 as we're increasing the key output,
10:22 that's increasing sort of that teal look
10:24 coming from the windows. And generally I
10:26 only like to put this around like 0.1
10:28 just to give it a very minimal look, but
10:30 it's enough to sort of signal that
10:31 there's more blue in the image and
10:33 orange on the other side. All right, so
10:34 now you've caught up to the time when I
10:36 went back in time to show you that step
10:37 that I missed when it comes to the
10:39 exposure. So now you're finally looking
10:41 at the final result of what I would do
10:44 to color grade this room. So if we turn
10:46 it off, we obviously have a pretty flat
10:48 image, even though it is rec 709. We
10:50 turn it back on and we've got a very
10:52 pretty color grade. And that's one grade
10:53 complete. Now, let's go to the second
10:56 clip. We can copy and paste most of this
10:58 and reuse it for our second grade. So,
11:00 color grading is obviously a super
11:02 important part of making a real estate
11:05 video. A bad color grade can completely
11:08 ruin a video, but also bad music can
11:10 completely ruin a video. And that's why
11:11 I want to talk about today's video
11:14 sponsor, Audio. So, Audio is a music
11:16 licensing platform and I use their music
11:18 for all of my long- form real estate
11:20 videos on YouTube because obviously
11:22 YouTube is pretty strict on copyright,
11:24 but audio has all the proper licensing
11:26 needed for that. And they actually just
11:28 came out with two major updates. So, a
11:30 little while ago, they released Stems
11:32 2.0, which pretty much just lets you
11:34 separate each individual track of the
11:35 song. So, you can isolate the vocals,
11:38 you could isolate the bass or the drums
11:40 and completely mix the song to exactly
11:42 how you like. And I use that feature all
11:44 the time to reduce the vocals in the
11:46 song when the realtor is talking and
11:48 increase them again when it's the actual
11:50 B-roll of the house. And the next update
11:52 that they just released is link match
11:54 version two. So pretty much how it works
11:56 is let's say your realtor wants to use a
11:58 specific song, but you can't afford to
12:00 get the licensing to put a Drake song in
12:02 your real estate video. So rather you
12:04 take the link from Spotify or from
12:06 YouTube. You drag it into link match and
12:08 then the AI will sort through the music
12:11 and find a song that fits the vibe and
12:12 sounds most similar to that song from
12:15 Drake. But now it's licensed and you can
12:16 use it however you'd like. With version
12:18 two, however, you can isolate specific
12:20 parts of the song and find specific
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12:58 at the very least, I would recommend at
13:00 least you go and check out their music
13:02 and see if you like it. But anyways,
13:04 let's get back to the video. Now, let's
13:05 go color grade our second clip, but we
13:07 don't have to start from scratch because
13:08 we have done most of the work in our
13:11 first clip. So, let's grab a still, go
13:14 to our second clip, and apply the grade.
13:15 Now, right out of the box, it might not
13:17 look good, but that's okay. We're just
13:19 going to do some adjustments here. I'm
13:20 going to turn off the other nodes so
13:22 it's easier for you guys to see exactly
13:24 what I'm doing. But, let's start again
13:27 with this exposure tool. Now, this shot
13:28 is a little bit different because we've
13:31 got huge windows and most of the image
13:33 is really, really bright, but then we
13:35 have some dark areas that we obviously
13:37 need to brighten up because you can
13:39 barely see that door handle. So, to
13:40 start, just looking at this waveform
13:42 here, you can see that we're favoring
13:44 the lower half of the waveform. So, I
13:46 want to bring that up right into the
13:48 middle uh just to brighten up the entire
13:50 image. So, I'm going to take my
13:52 exposure, bring it up to maybe right
13:54 around there. And now the exposure of
13:56 the entire room uh is sitting in a
13:58 healthier place. Let's start with our
14:00 shadows and bring it to a realistic
14:02 spot. And I'm sort of referencing this
14:04 door as well as this TV console. Now the
14:06 door is still a little bit dark. The TV
14:09 console is still a little bit bright. So
14:11 we're going to take our darks and we're
14:13 just going to inch them up just ever so
14:15 slightly. Maybe right around there. And
14:17 we're going to take our shadows, which
14:18 this bench is sort of living in the
14:20 shadow range. And we're going to turn
14:23 that down to maybe right there. Now,
14:25 let's take our light slider and just
14:27 play with the overall room brightness,
14:29 which I think is going to live right
14:32 around there. And then lastly, let's
14:34 deal with our highlights. And I want to
14:37 reduce them as much as possible, but it
14:39 still has to be realistic because this
14:42 light spot on the floor in reality is
14:44 also super bright. So, I can't turn this
14:46 down that low because that's not
14:48 realistic. I need to keep it somewhere
14:49 pretty high, but to the point where I'm
14:51 not clipping anywhere. So, as you can
14:53 see, I'm getting pretty close to
14:54 clipping there. So, I'm probably going
14:57 to go around maybegative
15:01 70 80 or so. And that puts us in a
15:04 healthy spot. Now, this room looks a lot
15:05 more realistic. Looks happy. Looks
15:07 bright. Let's go into our contrast node,
15:08 add a little bit of contrast. We're
15:09 going to leave the contrast that we
15:11 applied to the last clip. Let's bring in
15:13 some saturation on this clip, which that
15:16 looks pretty good overall. I might just
15:18 adjust it ever so slightly. So again on
15:20 the gain wheel turning it up and turning
15:22 it down. I want it to be realistic. So
15:24 maybe around 1.45.
15:27 Perfect. Then the balance node. Now this
15:30 image I would say is slightly warm and
15:33 it's giving me a slightly green tint. So
15:34 we're going to fix that. Let's go into
15:37 the balance wheel and let's cool it down
15:39 ever so slightly and pull it away from
15:41 green. So it's giving me a tint that's
15:43 living right between teal and green. So,
15:45 we're going to push it up to the right
15:48 just like so. Not too much red. Maybe
15:50 something like that. You don't want to
15:52 go overboard on balancing. So, I'm just
15:53 looking at the ceiling because that
15:56 should be pretty close to white, which
15:59 if I put my gain around
16:02 7 on that balance node, that's giving me
16:04 a pretty white ceiling, which looks
16:06 pretty balanced. Now, let's go into our
16:08 curves and enable that. We can keep the
16:10 same curves that we had on the last
16:12 color grade. But the other thing that
16:14 I'm going to add is I'm still getting
16:16 some greens coming through in this
16:17 corner here. So, I'm just going to
16:19 reduce those greens by going into my
16:21 curves, going into hue versus
16:23 saturation. Clicking on that. You can
16:26 see it's this yellow uh greenish look.
16:28 And I'm just going to drag that down
16:30 ever so slightly. I'm going to bring my
16:31 selection a little bit wider so that
16:33 we're getting a smoother roll off. You
16:35 can see we're exactly affecting that
16:37 yellow green right there. And we're
16:39 going to just bring that down. Making
16:40 sure that we're not affecting these
16:43 green plants too much, which it looks
16:44 like we're not. So maybe we'll bring
16:47 that right about there. And now lastly,
16:49 again, we're going with that look. So
16:51 that teal and orange. In this case, the
16:54 sky is already quite blue because I shot
16:56 this clip quite underexposed. So I
16:58 retain the entire sky. I'm actually not
17:00 going to enable this look because that
17:02 just makes the sky too blue and it
17:04 doesn't look good anymore. So, we're
17:05 going to leave that disabled because
17:07 this looks more realistic to me. And
17:10 now, let's go to the exterior shot. So,
17:12 again, we can just apply the same grade
17:13 that we've been using, but we're going
17:15 to have to make some pretty massive
17:17 adjustments because obviously this is a
17:20 whole lot different than interior. So,
17:22 let's reset our exposure node just like
17:24 so. And let's see what we're looking at.
17:26 We're looking like we're living right in
17:28 the middle of the waveform. So, we're
17:30 exposed properly, but I want to bring
17:32 down these shadows and these dark areas
17:34 a little bit. So, I'm just going to
17:36 bring down the dark and bring down the
17:38 shadow, but I don't want to lose the
17:40 detail in the garage door there because
17:42 I want people to notice that. And let's
17:44 leave our light rate as it is because
17:46 the brightness of this image is quite
17:48 good already. And these highlights, I
17:50 can't push too far because I don't want
17:52 it to look like these uh parts of the
17:54 house are clipping, even though they're
17:56 not even close to clipping yet, unless I
17:57 push them up to there. But if they're
17:59 too bright, they they signal the same
18:01 effect to the viewer. All right, and
18:03 that's done. And now it is important
18:05 because we didn't reduce the highlights,
18:07 you don't want to go up and turn these
18:09 mid and detail nodes up because that's
18:12 just giving you a crunchy uh it's not a
18:13 good look. Uh so make sure you just
18:16 leave that as is. If you want a little
18:17 bit more detail, you can just increase
18:19 it slightly, but I would just leave that
18:22 off for the exterior shots. Now, let's
18:24 enable our contrast node. Again, I'm
18:26 just going to leave it as is. We don't
18:28 need a whole bunch more contrast in this
18:29 image. Now, let's enable our saturation
18:31 node. And this is where we're going to
18:33 have to make some changes. So, what I
18:35 like to do is I do like to push the
18:38 saturation quite high, but I find if the
18:40 sky is oversaturated, that's when your
18:42 image starts looking really fake. So,
18:44 right now, I'm just looking at the grass
18:47 in the image, and I think that that
18:48 looks pretty good. It looks like really
18:50 healthy, saturated grass. But, in my
18:53 opinion, the sky is oversaturated. So,
18:55 we're going to fix that in the curves
18:57 panel. The balance of the image
18:59 currently is okay. So, we can just leave
19:01 that off. We don't need it. Let's go
19:03 into our curves. We can leave that as
19:05 is. So, we're still enabling this curve
19:08 that is bringing up the blues into the
19:10 teal area, uh, and the yellows into the
19:12 orange area. And I think that looks
19:13 good. We can leave that. But what we're
19:15 going to do is we're going to go into
19:17 the hue versus saturation, grab our
19:19 blues, and desaturate the sky. Now, you
19:21 will have to move this slightly over.
19:23 So, let's bring that rotate over this.
19:26 Rotate over a bit. And then let's drag
19:28 this just until we're happy with the
19:30 look. So, again, this is where it was. I
19:32 think something like that looks a little
19:34 bit more natural to what you'd see in
19:36 real life. And it also looks more
19:39 cinematic. So, let's take a look at this
19:42 entire color grade uh off and on. You
19:44 can see that there is a huge difference
19:46 in that color grade. And again, we don't
19:48 need to deal with the look node on this
19:50 one because we're already dealing with a
19:52 blue sky. All right. Now, we're color
19:55 grading a clip with the subject in the
19:57 frame. Now, there's not a whole lot that
19:58 changes. So, we can apply the grade that
20:01 we did before. Uh it looks like the
20:03 exposure on this clip is a little bit
20:05 low. Uh but when you're color grading a
20:07 video with a subject or a realtor in it,
20:10 I'm always exposing for the subject. So,
20:12 for the realtor. So, in this case, I
20:13 care a little bit less if the windows
20:16 are blown out. I'm more focused on
20:17 making sure that his face looks good.
20:20 So, a really quick tip is that his skin
20:23 should be landing around the 50 to 80
20:26 range on the uh waveform right here. And
20:27 right now, as you can see, it's
20:29 stretching well below that. So, that
20:30 signals that we're quite a bit
20:32 underexposed here. So, let's go into our
20:34 exposure. We can grab that. We can go
20:36 into the HDR tab and let's just bring up
20:39 our global exposure. And I'm looking at
20:41 the darker side of his head. And now you
20:43 can see that right in between the
20:45 brightest spot and the darkest spot. So
20:47 right in the middle, we're sitting sort
20:51 of between 50 to 90. Uh, and if you
20:52 average out those three values, you're
20:54 sitting sort of between 60 and 70, which
20:56 is a good spot to be in. So that's
20:58 pretty good exposure for his face. Some
21:00 of the rest of the image looks a little
21:02 bit bright to me. So we can still uh fix
21:04 that. So we can bring down these
21:06 highlights uh ever so slightly. Not too
21:08 much because again we don't want to lose
21:11 that three-dimensionality uh of even his
21:14 head. So maybe right around there. Uh
21:16 and let's take our specular and actually
21:18 turn that down a little bit because I
21:20 find that this pure white is a little
21:22 bit distracting over there. So let's
21:24 bring it down to maybe -40. And if we
21:27 turn off and on this color grade, that
21:30 looks quite good. But I still find the
21:31 left half of his face is still a little
21:34 bit dark. So, let's actually go into the
21:36 HDR and let's bring up the shadows a
21:38 little bit to just give a little bit
21:40 more life to the shadow side of his
21:41 face. And now, we do want to add one
21:43 more node to the end of our node tree
21:46 here. So, alt s and we're going to label
21:48 this as skin. Now, just a quick method
21:49 to make sure that his skin is in the
21:51 right zone for color. We're going to
21:53 look at our scopes here. We're going to
21:55 change from waveform to vector scope.
21:56 Then, you're going to open the menu
21:59 here. And my settings, I have the two
22:01 time zoom. just makes it a little bit
22:03 easier to see. Uh, show the skin tone
22:05 line. That is most important. So, as
22:07 long as you can see that skin tone line,
22:09 you are set to start color grading his
22:11 skin. So, if we hover our mouse over top
22:12 of his skin, you can see that he's
22:14 actually quite close to being perfectly
22:17 on the skin line, whereas his nose
22:19 pushes a little bit more right. So, this
22:21 sort of red here, I want to push to the
22:23 yellow to just even out his skin tone a
22:24 little bit. So, to do that, we're just
22:26 going to use curves to keep it simple.
22:29 Let's go hue versus hue. grab this red
22:31 right here and we're just going to bring
22:34 that down ever so slightly. And as you
22:36 can see on my vector scope, we're
22:38 completely controlling that color. And
22:40 we just want to bring that towards the
22:43 line, which is right around there. We're
22:45 not making a huge adjustment, but it's
22:47 just enough to make his face look a
22:49 little bit less red and a little bit
22:51 more humanlike. And if we take a look at
22:54 this off and on, we have a color grade
22:56 that still shows the room really, really
22:57 well. There might be some more
22:59 highlights that are blown out, but the
23:02 subject is obviously very well exposed
23:03 right in the center of the frame. All
23:05 right, and now let's jump into maybe the
23:07 most boring clip of the video, but also
23:09 maybe the most important because I know
23:11 for myself, I don't only shoot luxury
23:13 homes, I shoot a lot of average homes,
23:15 and I'm sure a lot of you guys do as
23:17 well. So, I want to show you how I'd
23:19 color grade this room. There's not a
23:21 whole lot that changes, but you are just
23:22 going to have to give up some highlights
23:24 because if the rooms are really dark,
23:26 let's say you're filming in a basement
23:28 and the windows are bringing as much
23:30 light in as they can, that contrast,
23:32 there's unfortunately no camera that has
23:35 the dynamic range to retain both of
23:36 those differences. So, let's just apply
23:38 the grade that we've been doing all
23:40 along. And it doesn't look very good.
23:43 So, we're going to take a step back and
23:45 adjust a whole bunch of stuff. So
23:47 enabling just our exposure node from our
23:49 previous grade actually does a whole lot
23:51 of good work. There's not a whole lot
23:54 that we need to change. Let's change the
23:55 scopes back to waveform so we can see
23:57 what we're doing. Uh we're maybe sitting
24:00 a little bit low. So I do want to bring
24:02 up the exposure on the shot because it's
24:04 not a super bright house. So maybe
24:06 somewhere around there. But then I'm
24:08 pushing my highlights into this white
24:10 zone. So again to retain as much as
24:12 possible I will turn that down ever so
24:14 slightly. making sure that I don't get
24:17 any weird artifacting. And the shadows
24:19 look pretty good, but maybe let's just
24:21 bring the darks down just so that we
24:22 have a bit more contrast in the image.
24:24 In this case, I'm just going to keep the
24:26 contrast node disabled because I don't
24:29 want to add more contrast to a room
24:31 that's already very contrasty. Now,
24:33 let's get into the saturation node. So,
24:35 if we enable that, you can see that it
24:37 looks quite oversaturated. And that in
24:39 part has to do with the older sort of
24:41 oak flooring here. Um, as well as the
24:43 yellow walls. they just don't look great
24:45 when you increase the saturation. So,
24:47 we're going to go ahead go back to our
24:49 gain wheel and turn that down, just so
24:51 that it's still realistic. So, we can
24:54 probably just leave it actually at one,
24:56 which is just what the note is without
24:58 it on. Um, because we don't need to
24:59 bring in a whole bunch of extra
25:01 saturation. Well, let's maybe add just a
25:03 smidge just to make that floor look a
25:04 little bit warmer. And now,
25:06 surprisingly, this shot is actually
25:08 quite well balanced. Now, the walls are
25:10 yellow, but if we take a look at these
25:11 cabinets here, we're getting a pretty
25:13 white cabinet. Maybe there's a smidge of
25:16 warmth in there. Uh, so we could maybe
25:18 push the shot a little bit more blue.
25:21 So, let's take our gain and just push it
25:24 blue to somewhere over there. I'm just
25:25 sort of guessing a little bit. Maybe
25:27 there. Uh, and obviously that's too
25:29 much. So, we're going to take our gain
25:31 and we're just going to go until this
25:33 looks like pure white. And you can sort
25:36 of see that in the waveform. This is a
25:38 an easy way to see if your image is
25:40 balanced or if it's not. But if we take
25:43 a look at our cabinet, you can see that
25:44 there's a whole lot more red coming
25:46 through than green and blue, which gives
25:49 me a sign that there is some warm tones
25:51 coming through because if we increase
25:53 the gain on that and we bring that blue,
25:56 that line gets closer together. So,
25:59 right about there, uh, now when the line
26:01 starts turning white, that's when we
26:03 have a balanced image. So, we have a
26:05 whole lot more whites in the image
26:07 rather than those warm tones. So, let's
26:09 turn that off and let's turn that on.
26:11 Wow, that is a beautiful difference.
26:14 This room looks a whole lot more open, a
26:16 whole lot more clean. Uh, that's a great
26:18 color grade so far. Let's go into our
26:20 curves and turn that on. Leaving the
26:22 same setting as before. So, blues going
26:24 into teals, yellows going to into into
26:26 oranges. You guys know the drill. But in
26:28 this specific case, we have some yellows
26:30 which are a part of the house and we
26:31 can't completely hide, but we can
26:34 minimize a little bit for the video. Uh
26:35 because again, we want it to be
26:37 realistic as possible. So, let's take
26:38 our yellows by just pressing the yellow
26:40 right there. And let's take the
26:42 saturation down. If you take it
26:43 completely out, the image obviously
26:45 looks super washed and it does it
26:47 doesn't look good. So, we are going to
26:49 bring that up. And we don't want to fake
26:51 the house completely. We still want to
26:53 show the house in its true colors. So,
26:55 we're just going to bring it down a bit,
26:57 but still show that they are yellow
27:00 walls. So, if I were color grading this,
27:02 I would maybe bring it just before we
27:04 use lose the yellow, which is maybe
27:06 right there. And now it's just a little
27:08 bit less distracting. Right? If you look
27:09 at it, you can still see that there's
27:11 some yellow in it. Maybe we can bring a
27:13 little bit back. Uh, but it's less
27:15 distracting than before. So, again, no
27:17 color grade and color graded. That's
27:19 honestly probably the biggest difference
27:20 in the clips that we color graded here
27:22 because we're starting from a worse
27:24 place and ending in a whole lot better
27:26 of a place in my opinion. All right, and
27:28 there you have it. That is how I color
27:29 grade my real estate videos inside of
27:31 Dainci Resolve. Now, I kept this
27:33 tutorial hopefully a little bit more
27:34 simple. I actually sometimes do some
27:36 extra steps beyond this, but for the
27:38 sake of just like the basics of color
27:40 grading real estate videos, I think this
27:42 gets you a really long ways. And the
27:44 nice thing is if you don't want to do
27:45 this from scratch every single time, you
27:47 can grab a still, put it in your power
27:49 bins, and you can use it across all of
27:51 your projects and just tweak some of the
27:53 settings as needed. Now, I really hope
27:54 you guys enjoyed the video. If you have
27:56 any questions about my process or have
27:58 any future recommendations for videos,
28:00 make sure you drop them down below in
28:02 the comments. Thank you guys so much for
28:03 watching and thank you to Audio for
28:05 sponsoring this video. And as always,
