Use the same technique to edit the ground (minus the vignette). Go to curves and bump it up a bit, feather it, and then create another parallel to add a vignette.
Tap on the blue color and stretch the curve to make it look softer. To handle this, go to motion effect and bump up the chroma setting. It looks unnatural and is present even without color grading. Watch out for chroma noise, which is typical with RED cameras. You don’t want to compress anything from the beginning of the color gradient.
That way, you preserve the most amount of data. If things still don’t look right, try resetting the settings or just stretching out the highlights and shadows manually. Be sure to use pivot to counter the compression. We don’t want it to be compressing or crushing any shadows. In the scopes pane, watch out for compression. In the contrast node, you can simply bump up the contrast or use offset. In the saturation node, you just bump up the saturation. This node will be for saturation, and its parallel will be for contrast. This is to ensure the least destructive process when color grading. Next, create a new node and convert it to parallel. The DaVinci Resolve color grade settings are changed first: color science is set to IPP2, color space is set to REDWideGamutRGB, decode is set to clip, and gamma curve is set to Log3G10. Shoot it right on camera, and you can edit it later.ĪramK uses two different clips of a motorcycle rider cruising down a desert highway. Pro tip: it doesn’t matter what camera you shoot on (as long as it is shot correctly) because you can always color grade it. The iconic hit TV show is filled with chrome-esque gradients, crunchiness, and plenty of action. In this DaVinci Resolve tutorial, AramK talks about how to recreate that Top Gear look with color grading. In collaboration with Youtuber AramK, we bring you a series of Davinci Resolve 16 tutorials to help you get your video project off the ground.
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