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