How to Get Marvel's LOKI Look | DaVinci Resolve 17 Tutorial

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In this video, Jake shares his approach to achieving the LOKI look!! Grab a notepad. 💪🏽
0:00 Look Teaser
0:09 Intro
0:45 ACES Training
1:11 Look Analysis
4:06 Analyzing our Footage
5:09 Color Management Settings
5:46 Node Tree
8:04 ACES Transform
9:00 Highlight Compression
9:40 Look Development
16:00 Skin Qualifier Hack!
20:41 Shaping the Light
26:56 Recap
29:10 Final Look
29:23 Outro
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My name is Qazi and I am a professional colorist based out of LA.
Available for Remote Grading Globally
Bookings: waqasqazi.com/book
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I upload twice a week, subscribe so you don't miss anything!
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Got Instagram?
Follow me for daily 🔥 content: / theqazman
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Equipment used:
Canon C500 mkii
Sigma 50mm 1.4
Rode NTG3
Nanlite Pavotubes
Resolve Advanced Panel
Apple XDR Display
Eizo CG279x
#davinciresolve #colorgrading #resolve17

[@theqazman]

ACES for Beginners [FREE Training]: bit.ly/2UAJwVm

[@jomaari]

Bro, I truly appreciate the knowledge you’ve given me for FREE. I’ve been following you for a couple of years. I’m a director but I edit my own footage and your grading lessons have been a big help.

[@leebrandt8597]

Could you do a tutorial for a node tree under Wide Gamut? That would be such a good tool to learn. Cheers

[@jdavidmusic]

Excellent job Jake... I've enjoyed Qazi's vids, but your style of description is more muted and meaningful to my understanding than Qazi's heavy superlatives. Great first "looks" video. Looking forward to more!

[@joshuamyers5694]

I really like the reminder that these are not to make us copycats, but keep us inspired. Such a great video man. Thanks for investing in the community....and for getting in bed with Qazi. You 2 are changing things round here. Keep it right up.

[@tiagoraptor]

I actually was hoping for you guys bringing that Loki look and you nailed it! Great job👏🏻👏🏻

[@theqazman]

🙏🏾

[@cupofjoen]

Thank God Qazi can finally chill a bit, thanks Jake!

[@ectoproductions]

This video is FIRE!! Thanks, Jake!

[@Photogabi]

Bliss! Nice to see jake wielding the ACES saber! Loved the final look!

[@jvke.p]

Now that we’ve addressed the basics of ACES, expect to see it implemented in a lot more tutorials 🤟🏼😀

[@samyehya]

We love Jake :)

[@sam.oates_]

Smashed it Jake! Great look!

[@theqazman]

He did

[@MaikSchott]

Wow - very inspiring. Trying to follow you on the Multitude of Nodes technique. Thanks a lot for this

[@shadowgold1]

first recreation video love it ! ! thanks qazy and jake ! :D

[@theqazman]

You're welcome

[@koushikbhattacharya832]

awesome job bro♥️

[@diamondlabelfilms]

One of the best videos so far

[@theqazman]

💯

[@fabiangiraldomd]

Amazing! Great work specially with the oranges.

[@theqazman]

💯

[@meranism673]

Great job!

[@Artfulscience1]

Thanks so much for saying that. I see sooo many "orange-teal" tutorials or other popular cinematic grading recreations, but people rarely talk about how that all starts with lighting and production design. Its amazing how when all that is setup from the get go, it doesn't talk much finessing from a good LUT to get a solid grade. But I think people try to force things like orange-teal onto shots that are totally not meant for that

[@WqqqkO]

Great video, thanks!

[@theqazman]

🙏🏾

[@tclin2938]

absolutely love this tutorial

[@theqazman]

🙏🏾

[@selecol101]

Amazing men, thanks a lot!!

[@AllThingsFilm1]

Excellent tutorial. I loved learning about the "Add Source" technique to control the skin. Very powerful/useful technique. Thanks so much.

[@jvke.p]

Super powerful! I usually don’t qualify the skin at all, but sometimes it’s worth it if you can do it correctly.

[@theqazman]

Great tip

[@stu9000]

came here to say this

[@pubfixture]

It's just the node version of a feathered layer mask, is it not?

[@jvke.p]

@@pubfixture no

[@artsvanberg]

Interesting approach to get the look and the result looks amazing! 😍

[@jvke.p]

Thank you!!

[@renatorosati6575]

One of the best video! Thank you

[@jvke.p]

🙏🏼🙏🏼

[@rasmushedinvisuals5959]

Really good tutorial brother!

[@theqazman]

Thanks

[@leandrolehart8847]

Amazing .thanks for the video

[@sashazephiria3869]

Thank you so much for the 2nd imput tip in the node tree, I'll try that ! Makes sense to pull the key from a Rec709 image without having to change the node's place in the actual node tree :)

[@theqazman]

Great tip

[@sashazephiria3869]

I'm amazed by the final look !

[@theqazman]

Agreed

[@JakeGleim]

I would love to see a color grading guide for the Mysterious Benedict Society. The colors are natural yet vintage and whimsical. Seeing a Master break down the steps to achieve a similar grade would be amazing.

[@farhans.b5030]

Your first recreation in this channel and it’s a trendy one 🔥🔥

[@jvke.p]

Thanks bro

[@theqazman]

💯

[@rodricfrancis2281]

Love the tutorials! Very insightful. Can you do a series on different Log footage e.g. F-Log, C.log, S-log etc. will be more practical for people like myself who don't have cinema cameras!

[@jvke.p]

Hey Rodric. As someone who has shot with and handles footage from every camera you could imagine on a daily basis, I can confidently say, the camera DOES NOT MATTER. the principles are always the same.

[@rasmushedinvisuals5959]

ohhhh man!! that qualifier hack is insane!!!

[@jvke.p]

Excellent approach to qualifiers in an aces workflow. Or anytime you need to isolate post-look modifiers.

[@theqazman]

💯

[@misperlasfilming]

Si dudar, eres el mejor. Gracias por darnos tanto maestro.

[@karliemorris7318]

thanks for this jake , I'm Really Tryna Get The HAng Of Aces

[@theqazman]

Watch the free training

[@foxrideryun4407]

amazing

[@aaphotofilm]

This is brilliant Jake, im so glad you did one on our marvel movies, im hoping you would do one on avengers end game because i really loved the colours on that, you are amazing.

[@jvke.p]

Appreciate you tuning in👍🏼

[@aaphotofilm]

@@jvke.p anytime 😊

[@tejasvisuals379]

come on jake you r crazyyy💞✨

[@jvke.p]

Thanks dude!

[@cattasuhas]

Let's go 🔥🔥🔥

[@jvke.p]

🤟🏼🤟🏼

[@CarlBergsdorf]

Lokin good!

[@cheatofficial3842]

cool 😍😍

[@GratuityMedia]

Thanks

[@suatsekil]

thank you very much

[@theqazman]

🙏🏾

[@wakkowarner8810]

I would like to see the Hero by Zhang Yimou look. I love how that movie makes super-saturated colors look so good.

[@theqazman]

We'll look into it

[@koushikbhattacharya832]

awesome

[@paularubioatanes6913]

Amazing tutorial, love this channel

[@alghufrankhan9093]

I loved what you did with the windows to avoid effecting the lights. It brought a question to mind for car commercial grading, when we do window for car and don’t want our subject that comes in front of to be effected, that same technique will work? That’ll be huge game changer, glad I’m watching your tutorials.

[@jvke.p]

That’s correct. At that point, you’re kind of rotoscoping with the custom shape window, but the principle would still apply.

[@mynonsequitur7116]

Jake: It's not going to be a one-to-one match. *proceeds to make a perfect one-to-one match*

[@jvke.p]

😂idk about a 1:1 but I certainly do like the end result

[@theqazman]

I felt the same. 🔥

[@Kta8548i]

Pls do one for Zack Snyder's BVS look, or just the "Zack Snyder look" 🙏

[@JJsICT]

Hi Waqas, your vids really pump me up. I’m a Food Videographer, and shoot my videos with Sony A6400 and Canon 200Dii. Which video lessons of yours would you recommend me to watch to know about colour grading. Feel myself a bit away from Amateur and near to intermediate but not fully intermediate. Kindly help.

[@HispanicAt7heDisco]

This was a great tutorial! Can you explain why you added the Tint adjustments in your Primaries node and not in the Look node? I've always thought of Primaries as more of a color-correction than a look-builder. Any insight would be helpful. Thank you!

[@jvke.p]

color correction before grading

[@igobyzak]

Great tutorial! Quick question, why do the highlight compression before the ACEScct transform? Wouldn't you get more dynamic range latitude after converting to ACES? Thanks!

[@jvke.p]

applying the curve prior to the aces transform feels more natural, as if it were done in camera (prior to the aces transform)

[@Rohan.Shingade]

When using Aces workflow, can we check box of use mac display profiles for viewers in Mac Display

[@DL-lt5ly]

Guys, should be the Noise Reduction tab be before the Aces In or after?

[@theworldcinema2000]

How u guys got high quality video footage

[@DIWINGSTON]

You are the best man would love to do a colab with you one day qasi my time will come then I’ll tell you man you are awesome

[@theqazman]

Appreciate the love

[@DIWINGSTON]

@@theqazman ❤️❤️

[@jamesmoriarty3018]

Why my Acescct in ACES transform has changed to CSC-Acescct, I can’t figure it out, and it doesn’t work well. HELP😭

[@gigrant9194]

That's just the update, csc means color space conversion, don't worry it's the same just named different.

[@kblamo]

Low key Loki

[@user-ko6hw6bq2o]

What is the first node plugin？

[@deokuset2827]

Am from Uganda Africa am always here fire always

[@theqazman]

Hell yeah 💪🏾

[@jamesmorris6933]

When I do ACES transform I have ACES 1.2 and when I’m trying to select ACEScct it’s not in the drop down window for output transform only ACES? Timeline is set to ACEScct I’m running DR 17.3

[@JoelPurnell]

Scroll right to the bottom on the list, it’s moved since 17.2.

[@mrsmith6699]

ANOTHER ONE

[@jvke.p]

You know it

[@thomasthedanktrain]

I should be paying for this

[@jvke.p]

While I certainly would agree, we happily accept likes and subscribes.

[@christiansantiagophotography]

This might be a dumb question but how did you prevent the CST from the skin qualifier sequence from affecting the final image once you went back to working on your primary node tree?

[@jvke.p]

No it’s a great question! The node tree is built of inputs and outputs. While we added a second input to the node tree, we did not use the second inputs IMAGE data. Only the key. So the two nodes for the skin qualifier stop dead in their tracks because they aren’t attached to any output. Same thing would happen if you had a floating node. Add a node and make a crazy change inside it, then press ‘E’. You’ll notice the change no longer applies and the node has no input or output. Same principles apply here

[@christiansantiagophotography]

@@jvke.p Thank you for that thorough response. I really appreciate you clearing that up for me!

[@alex_lionspaw]

Im just sitting here like 😲davinci can do that?! :D

[@jvke.p]

Yes it can! Haha

[@satarmansourdehghan570]

your result in better of refrence.....

[@saimirshad6184]

look like of peaky blinders tutorial

[@CortesFantásticosOficial]

How to get James Gunn's The Suicide Squad Look, please.

[@jvke.p]

psh. easy. just be james gunn

[@editdan]

Jake is great but what happened to Waqas? Did I miss something?

[@jvke.p]

Who’s Jake?

[@editdan]

@@jvke.p no idea

[@orion-viikhmernight2748]

Can you do one on an iPhone?

[@jvke.p]

same principles.

[@orion-viikhmernight2748]

Can you do a tutorial on the quiet 2 look like someone like me who's hobby shoot on iPhone on filmic pro.

[@TechThrilled]

Where is qazi?😊

[@theqazman]

Here. 😀

[@TechThrilled]

@@theqazman haha

[@TheDubiousFilms]

Hi Jake, just curious as to why I see you guys working on your finer Blacks, Shadows, Mids and Highlights controls in a log gamma curve ie before your transform into Rec 709. I might be totally off the mark here, I'm a commercial DoP and not a colourist - but - wouldn't working in Rec 709 give you more control over your specific values? I think we really see this when you're working on your curves and looking to only impact a certain range of your image like at 21 minute mark, but because you're working in log, you're actually not able to target more specific ranges of luminosity.

[@jvke.p]

At first glance yes it would seem that way. But by working in aces, you already have access to working in a larger color space than rec709, and you also have more dynamic range available in aces. So there’s actually more tonal ranges you’re able to manipulate. Especially using the HDR wheels which are color space aware. Another reason to work underneath the contrast curve is the result is often more pleasing and gives a less digital feel to the adjustments you make.

[@TheDubiousFilms]

​@@jvke.p Thanks so much for the reply Jake, this video was actually so great, but sorry perhaps some confusion here. The regular primaries wheels and curves - the ones you use here and most people use - aren't colour aware and are designed to work based on a video gamma curve, ie a rec709 or similar gamma curve, correct? My suggestion is implementing a colour space transform earlier in the node tree and working on top of that so any primaries controls will mean they respond as they are designed to, and you are able to have a much finer and more granular control over your gamma curve. Obviously, you can absolutely still work under the gamma transform too - for broader corrections and pushes, but when it comes to finer control of your gamma curve, working after the transform still seems like the way right?

[@jvke.p]

@@TheDubiousFilms for the most part yes. Which is why I do work before, between, and after the transforms.

[@rp_photo_films]

Sir Plz Hindi me video karo

[@user-pj3sw3di9s]

怎么可以没有字幕！差评！

[@srimallya]

both are not same

[@jvke.p]

yup

[@srimallya]

@@jvke.p but you see, designing a look has to simple and with broader strokes.

[@srimallya]

@@jvke.p the driving force behind every look has to be what what it feels in the story we want to tell. The thematic journey of a look has to stay in the context of a scene like a leitmotif in a music.

[@jvke.p]

@@srimallya yea unless you want really pushed looks. Then you find clean ways to dig into your secondaries to get the desired result. Also, this isn’t look development 101. This is a look recreation. Trying to manipulate non-Loki footage to get a Loki look. I feel like this has been addressed a thousand times but maybe we need to address it 1,001 times

[@srimallya]

@@jvke.p yes, agreed In the pipeline where we should use the secondaries is a important thing. Secondaries are by definition are quite a distractive process. A film by design manipulate color space in a primary way. Then we can create a unique look by changing the thickness of color filters and using different timing for the chemical process. Here we should understand how color space shifts in a geometrical pov. I think that’s the key to understand and manipulate and craft a color space. And also every digital process should have an analog.

[@Woodleylozamma]

amazing