Speaker A
Hi. I'm Julianne. [music] I'm a world-famous creative director. Kind of. When I say kind of, I mean I've worked in production for years.
Learn color grading basics with Big Sis Julia in this Lazy Girl Tech episode, focusing on DaVinci Resolve and CapCut editing tips.
Ask about this video. Answers come from its transcript only — with the timestamp, so you can check them.
Generated from the transcript and can be wrong — check the timestamp.
Key Takeaways
- Color grading is easier and more flexible when shooting in log format.
- DaVinci Resolve offers powerful tools like Color Space Transform that can replace LUTs.
- Editing should be done in separate nodes for better control over each adjustment.
- Personal preference plays a big role in color grading style, such as choosing warmer or moodier tones.
- CapCut is a viable option for mobile editors, though it lacks log conversion features.
What the video covers
- Julianne introduces herself as a creative director with extensive production experience, focusing on beauty and tech content.
- She created the Lazy Girl Tech series to teach tech skills in an accessible way, especially for women.
- The video focuses on color grading, explaining the importance of shooting in log format for better editing flexibility.
- Julianne uses DaVinci Resolve for professional color grading but also covers CapCut for phone editors.
- She explains the concept of log footage and why it appears flat before grading.
- A five-step color grading process is shared, emphasizing personal style and preferences.
- She demonstrates how to use the Color Space Transform effect in DaVinci Resolve for converting log footage.
- White balance and individual node editing are highlighted as key steps in the workflow.
- Tips on adjusting lift, gamma, gain, and temperature to achieve warm, saturated tones are provided.
- The video concludes with encouragement and practical advice for beginners to start color grading confidently.
Chapters
- 00:00Introduction and Background
- 01:19Morning Routine and Video Setup
- 03:16Editing Platforms and Preferences
- 04:45Color Grading Philosophy and Style
- 06:34Color Space Transform Setup
- 08:11White Balance and Node Workflow
- 09:52Adjusting Lift, Gamma, and Gain
- 11:55Final Touches and Temperature Adjustment
- 13:20CapCut Color Grading Overview
- 15:22Conclusion and Encouragement
Full Transcript — Download SRT & Markdown
Speaker A
Everything from photo to video to lighting to directing. I taught myself every aspect of the job on set and eventually started teaching you guys how to do it, too. I created a series a little over a year ago called Lazy Girl
Speaker A
Tech because why is everything taught by boys? Nine times out of 10, you can tell they're speaking directly to other boys.
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I originally started creating content about beauty and fashion, but I like, I knew I wanted the world to see more of my [music] brain. I love makeup, but I love glam, but I'm also highly freaking intelligent, okay? 'Cause who says that
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beauty creators have to be in that box? Okay, now don't get me wrong. I am a sucker for a good makeup tutorial and a good get ready with me. But I like, what if I was getting ready with you while
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we're talking about tech? Doing a full beat of makeup while I'm teaching you how to edit. Making my morning cafecito with you guys while showing you my favorite camera. I've been working in production for years primarily in the
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beauty space, but I was always directing some of your favorite social media campaigns and hiding behind the camera versus ever being in front of it. And what I've heard a lot from you guys is you want to create content or you want
Speaker A
to pick up a camera and figure out how to use it, but you don't really know where to start. Por eso, we're turning Lazy Girl Tech into a YouTube series.
Speaker A
Shout out to my boy Johnny for the new lease syrup. It's sugar-free and this almond croissant is bomb. But I like, anyway, back to today. You guys really, really wanted to learn how to edit, specifically how to color grade, and I
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heard y'all, okay? But I like you already know, of course I had to make my little cafecito in the morning before we get started. Tell me that doesn't look like a cafecito from a cafe. Are you joking? Please do not mind me 'cause the
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reality of it is everything will always be a mess. But I [music] like for now, let's get into today's video.
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Good morning. I'm actually recording this on 4th of July, so happy 4th of July. We got the cafecito mug of the day. Hope you enjoyed that little intro. That was very fun to make because I love coffee and I
Speaker A
needed a new cup. We got that. It's freaking ghosts. Is that ASMR? Is that ASMR? Today is the long-awaited full-length color grading video breakdown. You guys like welcome back to another episode of Lazy Girl Tech where I give you the tech tips for the girlies
Speaker A
who don't do tech. If you're new to this and not true to this and you have no idea what I'm talking about, [music] I posted a few Lazy Girl editing videos on my Instagram, my TikTok focusing on color grading because one [music] of the
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biggest, most frequently asked questions that I get when it comes to my content, no matter what content it is, is OMG, how do you edit? How do you color grade?
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Like what filter are you using? How do you get those warm tones? How do you get the colors to look like that? What are your camera settings to make everything look like that? So, we're going to kind of break some of that down today. But
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like before we jump into it, it is important to know that I am not a professional colorist. I didn't go to school for cinematography. I went to school for marketing graphic design and then I learned everything else as I
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went. Everything I know in the sense of [music] how to film, how to edit, how to color grade and do all of those things, YouTube university, baby. [music] Specifically in this video, we're going to focus on color grading. Now, I know
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everybody kind of like has their own way of doing things and they have their own platforms [music] of like how they like to edit or how they like to process their footage. I personally edit all of my footage in DaVinci. If it is shot on
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a camera, I edit in DaVinci Resolve. [music] All right? I used to use Premiere Pro, but then once I kind of started using DaVinci, it was like it was a whole new world. I also know that a lot of us film and edit on our phones,
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probably CapCut, if I had to guess. [music] So, worry, so worry. For the people who are doing that, we're going to go over color grading in CapCut as well.
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But oh my god, Julia, like what if I don't want to shoot in log? Why is it flat? Why is it gray? Why is it ugly?
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Where is the color? If you shoot it correctly, the color grade honestly is pretty easy and does itself. All of my footage is shot in log, which basically means your footage is flat, desaturated, and unprocessed, giving you the widest range of
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flexibility when it comes to editing and color grading. It's kind of like when you're working in Photoshop, you have more flexibility when everything is in its own respective layer, but when everything is merged together, [music] the process then becomes editing
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everything all at once at the same time. So, with log footage, it retains all of that data in the colors, in the shadows, in the highlights. I shot everything in C-Log 3, which is its own color profile, and that is what we're going to be color
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grading today. If you use a Sony, you're probably shooting S-Log. If you're shooting Nikon, you're shooting N-Log.
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As long as you know your camera settings, you can edit log footage. [music] Finally ready to start our color grading process, I typically break my color grade down into five individual [music] steps. Now, it is important to know when it comes to color grading and
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editing, everybody has their own sauce. A lot of it is going to be up to personal preference, [music] how you like your colors to look. Do you like things vibrant and saturated, or do you like things a little bit moodier and
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darker? That will all be up to you. I prefer higher saturation and [music] warmer tones, so that is how I'm going to show you how to color grade today. I do have a five-step process in how [music] I tackle every single color
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grade, no matter how I shoot it. And before you ask, where's the LUT? What LUT are you using? You haven't talked about I don't use LUTs.
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If you wanted to utilize a conversion LUT, you definitely can. There is nothing that says you're not allowed to do that, but with the way that I shoot and how I color grade, you kind of don't necessarily need that because color
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space transform in DaVinci is that good at dialing in that tone. And I know DaVinci Resolve is really, really scary.
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Like listen. If boys can do it, it should be nothing, okay? So anyways, the first thing we want to do is create a new node. So go ahead and hit option S. That's going [music] to be your shortcut. And on your
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right side you should have a list of effects. If you [music] don't have a list of effects, go ahead and click the button effects and they will pop up. The one you are looking for is color space transform. Once you find it, go ahead
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and drag it over to that node and you want to make sure that [music] node is all the way at the end of I don't know, your chain, your node chain. I'm sure there's an actual word for it, but I
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don't really care. I'm going to call it a node chain. All right, color space transform is going to be your BFF, okay? In here you're going to see four primary settings that you're going to want to play with. Your input color space,
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[music] your input gamma, your output color space and your output gamma. Before you even jump into color grading, one of the biggest things is how you're shooting your footage. Your input color space is how you shot it right now. And since I
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shot it on a Canon, we're going to go down here to Canon cinema gamut. This is going to be dependent on the camera you shot it with and what type of color space you shot it in. So if you shot
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C-Log, S-Log, N-Log, anything like that, this is where this comes in. If you're just filming on your phone and it's normal footage, this is not [music] going to work for you. So this is truly only if you are shooting in log footage.
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I also shot my footage in C-Log.
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desaturated to super colorful and what your eyes would [music] typically see in real life. For your output color space, that's where you're going to select Rec.
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709 because that is the color space we are going [music] after. For the output gamma, you're going to click on Rec. 709 A. That's basically going to make sure all of your colors are super accurate.
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And now you see as of right now, we have our base color. Most people when they apply a LUT or a conversion LUT, this is what they're trying to achieve. We did that in four steps without needing a
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LUT. Like if you're not trying to be a colorist or like this professional cinema boy, I don't really think you need them. All right, so now that we have the base color down, I'm going to go ahead and copy
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this from this specific node chain and just apply that to every single other clip. You like wow, now it's time for the fun part. All right, so we got step one out of the way. Conversion is done.
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On to step number two, white balance. Every single [music] step should get its own node. You never want to do like two different edits on the same node. Option S to create a new node. If you're editing in Premiere, the
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steps may look a little bit different. Literally on any editing software, whether it's Premiere, [music] After Effects, Final Cut Pro, DaVinci, even CapCut, everybody has a white balance picker, [music] which is basically this little color dropper here. It's usually by your temp
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area. So go ahead and click on that [music] and find the most neutral like white gray area that you can find. That's going to [music] basically serve as your base. The exposure was already shot properly, so there [music] wasn't a ton
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of change, but if for some chance, given your conditions, the white balance was off in your final [music] shot, this will correct it. Once you have your white balance squared away, it's on to step number three, lighting. Now for the
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lighting, this is where you're going to decide, do you want it brighter? Do you want the shadows darker? Do you want [music] to add some curves, some masks?
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Like this is where you can get really creative with it. Again, we're making a brand new node, and if you want to label your nodes, you definitely can. You just right click and you can go ahead and hit
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label node. In DaVinci Resolve, for the [music] lighting, I typically stay within this area here. So you have your lift, your gamma, your gain, and your offset. [music] Your offset is going to kind of be like your exposure. It's going to control the
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overall global brightness or darkness of the actual video. Your gain here is going to kind of be like your highlights. It's going to [music] take the brightest parts of your area and make them a little bit brighter. The
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gamma is going to focus on all of your blacks. So, all of [music] the shadows, all the darkest areas of your footage will either get darker or lighter based on how you set it. And then your lift is
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basically going to take [music] the overall I guess light of the footage, [music] but it will include some of those blacks. So, if you increase the lift, you ultimately lose contrast at the same time. I typically kind of like [music]
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to play with a little bit of everything. So, I start with the offset just to kind of see [music] where I'm at, what I like, but I think what it was originally is fine. We'll hop over to the gain,
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which you see how it increases the brightness and the highlights without overexposing anything. That's kind of what we want. It still maintains the data [music] and the clarity of your footage while still making those key aspects brighter at the same time. For
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gamma, you see how really the darkest areas of your images are what gets affected, but the rest of the highlights within the footage don't necessarily get touched. So, I'm going to reset everything, and then we're going to actually start with a little bit of the
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gain. Increase the gain. I'm going to play with the gamma a little bit because [music] our eyes are naturally drawn to contrast. So, everything I shoot, I try to make sure there is some sort [music] of contrast in that footage to keep your
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eyes focused on something. And then you also have your standard shadows [music] and your highlights down here. I am going to darken the shadows a bit while also bringing down the highlights cuz you see this area over here of the boat,
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it's a little bit bright for me, so I kind [music] of want to take that down.
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There actually are no skin tones in this particular shot, so we're going to we're going to go ahead and skip that step and go straight to color. [music] In DaVinci Resolve, you have this color tab over here. It's you're still in your
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edit tab like everything kind of stays in your edit area. But we're going to go [music] ahead and click this color over here. And the first thing I'm going to kind of touch on is this water. It's very dark. [music] It's kind of like on
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the greener side. When I was there in person, it was just so so beautiful and I want to make sure it really reflects that. Over here, these are basically all of your color wheels. They're individual colors, so you can tackle each one
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individually. The hue, the saturation, the luminance, all that. So, we're going to start over here with cyan [music] and blue. Those are typically the two colors that you'll find in any sort of ocean body of water. Over here is going
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[music] to be your saturation. We're going to raise that just a little bit and you see how it kind of took it to a little bit more of an aqua color. And then I'm also going to do the same thing
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on the blue side just to bring out [music] that saturation. But here is where it gets fun. I'm going to take the hue of each one and drag it over towards [music] the green. We want to add a
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little bit of green or a little bit of yellow into that water. All right, so I have the water where I want it, but we still have to kind of address these boats and this little dock over here.
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So, a little trick I like to do is I know [music] I said that there's no skin tones in this footage, but we're going to use a skin tone toggle anyways. So, in DaVinci Resolve, this is why I love
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this [music] platform. There is a specific skin color wheel. It can identify skin tones and basically help [music] you figure out the color that they're exactly supposed to be. So, there's no skin tones in this specific video, but I [music] can see that the
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dock is on the brown side, which same color is skin. So, we're actually going to increase the saturation on the skin tone and you see [music] how the red is already like coming back and and bringing back to life. [music] That's
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what we want. Now, I'm going back to the original like lighting tab. I'm going to increase saturation just a little bit and I'm actually going to tackle some of the highlights and shadows. So, I'm going to add an additional tab. I really
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want to tackle the highlights and the mid tones since that's what's currently getting hit by the sun. For those mid tones, I'm going to kind of try to play with it and see what happens if I drag it towards the left towards like more of
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a yellow hue. All right, so this is what we have so far. Everything is pretty vibrant, everything is saturated. We see the warmer tones coming through, but the inside of the boats [music] are still a little bit bright for me. So, we're
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actually going to add an additional node. This will probably be the last [music] one and this one will be a mask.
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In DaVinci Resolve, there is this thing called Magic Mask. [music] I love it so much cuz it's so easy to use. All you do is click on this dropper tool here and you're going to click on exactly where
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you want the mask to [music] appear. So, I only want to affect the color of the inside of these boats, so that's what I'm going to click on. This is what kind of shows the mask. You can toggle the
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mask on and off, but I'm going to click [music] each bow and make sure I get the brightest part of the bow. And now I'm going to click track backward and forward. This is going to make sure the
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mask is tracked for the entire duration of the clip. All right, our mask is tracked, [music] so we're going to hop over back to the edit tab, like the lighting tab, and we're going to bring those highlights down [music] just a
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little bit. And you see like that makes such a huge difference because now, typically whether it's a photo or a video, your eyes will naturally [music] go to the brightest part of the photo or the video. Whatever you're looking at,
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your eyes will go to the brightest part. Like I said, your eyes love contrast, [music] so that's what we're always looking for anywhere we look. So, you want to make sure that the brightest part of your shot is what people are supposed to be
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paying attention [music] to. For this shot in particular, I want you to see the whole thing. There's multiple boats.
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It's not just one boat, but it was the brightest over here in this area, so that's kind [music] of like what I wanted to tackle. The only thing now is like if you really wanted to finesse, this is where you do it. So, I know I
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said I have a five-step process, but color grading truly is [music] about personal preference. So, if you feel like you're not done and if you feel there's [music] still more you can do, do it. Don't stop here. I do feel
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[music] like there is a little bit more fun that we can have. So, if you wanted to get creative with masks or curve layers or anything [music] like that, this is where you would do it. And I feel like maybe we can do that. So,
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we'll go ahead and add another node. We're going to go [music] over here to this little like oval mask icon. And then based [music] on the mask that you want to do, I'm going to start with gradient just to kind of make it easy.
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Go ahead and click your point, and then that's going to kind of determine where [music] your gradient's going to start and stop. And then the length of this arrow will determine how far it gets stretched. Basically like the the blur
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of it. So, it's not just a harsh line across your footage. So, you see how [music] this area is already naturally lighter than the rest of the image, this area is darker, this area is the same color as
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this. So, I'm going to kind of follow [music] that natural pattern cuz that's how the sun was hitting at that moment in time.
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[music and singing] I'm going to actually lower the gain a little bit on where the shadows already [music] are. And we're going to do another mask going this way since this is where the [music] sun is naturally hitting. What I really
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love about DaVinci is they have some fun effects that you can use that are already made for you.
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[music] So, I added a halation effect to the video, which basically is going to make it look a little bit more film-like.
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It's going to give [music] it that glow that you would normally see in natural film footage or like a Fuji camera. And then you can adjust everything within here. [music] Like the effect settings are actually super super dope within
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DaVinci. I encourage you to play around with it. It kind of just takes your video from a good video to like, [music] oh wow, that looks really freaking good.
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And the final color grade for the video should look something like this. Again, personal preference. So, if you want to change anything about it, you definitely can do that. DaVinci also lets you basically copy and [music] paste all of
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the edits that you make. So, that way you don't have to redo anything or start from [music] scratch. You see how everything is like basically already done for me. Oh, that one we got to change. And sometimes you will have that
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where you copy and paste and it just doesn't look that great. But with that, we can typically [music] figure out where we failed. So, actually maybe here, we can reset that. [music] There [singing] we go. You see that? So fast.
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But it's a little pink for me, so we're going to add more green into it. A better clip to work on the skin tones [music] is literally the one of me. So, starting with the same color space transform, that's what brought back our
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color, and the white balance is already correct here. [music] If you are pretty good at exposing and you don't really have to worry about that, you can kind of skip that step and go straight into lighting. The lighting here is I'm a
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little too bright, so we're going to go ahead and bring the offset down just a little bit. And then we're going to increase the gain just a teeny bit, not too much. The gamma [music] is also going to come down so I can add in some
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of that contrast. And then we're actually going to drag the lift down as well. And you see it already brings back a little bit more of that dimension. You can see the shadows, you [music] can see the darkness. There's more contrast
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between me and the background, which makes it a little bit more interesting to look at. I am going to lower the highlights just a teeny bit and then [music] go back and raise the gain so that way I can have the brighter points
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be brighter without [music] overexposing or increasing the highlights a little too much. Adding a new node, we're going to jump straight into skin tones. So, going back to [music] that color tab, going back into the skin tone color wheel, we're going
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to increase the saturation just a little bit. I don't add masks [music] here cuz sometimes it is easier to add a mask that just affects your skin tone, but my room and my home and my surroundings, [music] everything around me, typically
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is on the warmer side. I have like the warmer wallpaper behind me. I have like the dark brown wooden furniture, so I really [music] like those overall warmer tones. So, I let the skin tone tab affect the entire [music] image. So, I'm
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going to raise that just a little bit, not too much. Then I'm also going to raise the red just a teeny bit cuz as you see like even if as high as I go it typically [music] really just affects my
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lipstick to make the lips like a little bit more saturated. [music] And then for the stuff that's shot in my own house, very natural lighting, daylight. Once the skin tones are adjusted and once I bring back some of that saturation,
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[music] I'll go back into the main tab, increase the saturation just a teeny bit overall, like globally, [music] and then I will go up into the temperature tab just a teeny bit, just a smidgen. [music] And this you do at the
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very end. If your footage is still like not vibrant enough or not warm enough, [music] that's when you can at the very end increase the temperature just a teeny bit. But understand that when you increase the [music] temperature, it
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will affect everything, the entire image. So with that, [music] I will go back into the skin tone tab and bring the saturation of the skin tone down again just a hair, just a [music] smidgen. You can like just like that,
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you're done. If you wanted to go ahead and add in some masks, you definitely [music] could. Like let's say I wanted to make the background a little bit darker or make myself pop a little bit more. So I would go into here, [music]
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add in a gradient or you can add in like a circular mask, whatever kind of mask you want to add in. Bring down, let's say the gamma [music] just a little bit.
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Bam, way bam, thank you ma'am. Cool. And then what if we wanted to do the [music] same thing? So we would do the same thing, add another gradient on the opposite side, but there's actually more light coming over here, [music] so I'm
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actually going to I'm actually going to make that slightly brighter. And then bring down a little bit of the lift just to add a little bit more contrast [music] up there towards my hair. I know this sounds complicated, but you don't
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have to add the masks. I'm just showing you like my full process of like sometimes when you start there's [music] no stopping, you know, your brain just kind of goes and you're like, oh, I can do that. Oh no, wait, I can also [music]
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adjust that. Okay, wait, what if it'll it'll probably look better if I adjust that. So it's literally a lot of just like playing with it. [music] It's playing with it and figuring things out and like figuring what what you like and
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how [music] you want your image to look and that's basically how you identify your sauce.
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So, once your color grading is finished, you should have some videos like this. [music] [music] [music] Now, if you are editing in CapCut, you're basically going to do the same thing except you're going to completely skip [music] the conversion part because
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anything you edit in CapCut has to be what's shot on your phone or normally [music] on a camera like not log footage. You can't edit log footage in CapCut. I don't care how many times people say yes, you can. Maybe they can,
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I don't know. I just am not a firm believer that like that [music] is how you should edit your professional footage. So, in CapCut, I have a clip that I shot [music] on my phone just naturally as is and we're going to go
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ahead and color grade it. So, it's a little bright for me right now. You're going to go ahead and scroll down [music] to adjustments right here and then this is where all of the fun is.
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You can kind of tackle it however [music] you want to, but if you follow the five-step process that I mentioned, you will have a very consistent, very seamless workflow every single time. So, we're going to start out with the
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brightness. I'm actually [music] going to lower it just a little bit just like minus one and then I'm going to go straight to the blacks. Instead of tackling the shadows, I'm going to go to the blacks because it's going to tackle the darkest part
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[music] of the image. just a pinch. So, I'm going to lower that just a little bit, and that immediately brings back some of that contrast. So, [music] from here, I like to hit the brilliance, and like just for s's and g's, brilliance is
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something that you [music] kind of only get when you're editing phone footage. So, it's basically going to [music] to automatically brighten your dark areas while kind [singing] of muting some of the brighter areas. So, it typically makes your overall photo [music] or
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video appear a lot more vibrant without flattening it or desaturating it in any way. I am going to go to desaturation [music] and increase that just a teeny bit, and then I'm going to go to the warmth. This
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is your essentially [music] color grading. So, I'm going to take that over to the right, which is going to add some of those warm tones back [music] into your video. What I love about CapCut is it has an HSL slider.
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So, HSL stands for hue, saturation, and luminance. [music] You're able to tackle each one individually for any of the colors listed [music] out footage, which kind of helps bring that color grade together. Because CapCut doesn't have a skin tone toggler or a skin tone button
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like Videoleap does, [music] this kind of is your workaround for that. Skin tones are typically orange, so we're going to go to orange. We're going [music] to increase the saturation here a little bit. If you want it to be a
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little bit brighter, you can increase the luminance. I'm going to increase it just [music] by like one or two, and then this is where like if you're a little too red, you can bring it towards yellow. If you're a little too yellow,
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you [music] can bring it towards red. So, making sure that your skin tones are right where they need to be, but I'm going to leave them where [music] they originally are. And then you can also edit any other colors that are in your
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frame. Cool, cool, cool. All right, so this is basically what the color grade [music] would be for this, but a little trick in CapCut that I like to do is basically [music] add one [singing] of their filters. I have a favorite, it's
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called San Francisco. I do pay for CapCut. I don't know what it is monthly, but I do pay for I [music] It's like a million percent worth it. If you are editing every day, if you're are every day, and if you're on your phone every
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single day, I highly recommend paying for CapCut [music] cuz it just you get way more features and you get more bang for your buck. We're going to click on San Francisco and that is what adds like this warm film style color grade to your
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footage. So, I'm going to take that, but you see what the little too warm is a little too bright, you know what I'm saying? So, we're going to drag that down just a teeny bit. Cool, cool, cool.
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So, now we got that warmth, but with that warmth, we lost a little bit of the contrast and we're going to go back [music] into the edit page and we are going to [music] bring down the highlights. And that's basically it. The
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only time I'm really shooting on my phone anymore is like when I'm out and about and I can't really have a camera.
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[music] So, so like if I'm at a baseball game or a basketball game or a stadium or like out and about where like I cannot have my camera, that is when I use my phone footage. But or like
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whether you're using CapCut or DaVinci or Premiere or Final Cut Pro, I don't care what software it is you're using, but I highly, highly, highly encourage you to learn how to use your camera, learn how to shoot in log, and learn how
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to edit. There is literally no ceiling to what you can do [music] when you start actually finagling these softwares and kind of like playing around with them yourself. It it it really is often us. It really is all personal
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preference. I [music] remember like a comment on one of my editing videos was like, "Oh, you just like do it until you like it. Haha. What kind of answer is that?" It's so true though. What else do you want me to say? It's all [music]
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based on what you want your footage to look like. If you want it warmer, you can make it warmer. If you want it cooler, you can make it cooler.
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Sometimes people think my footage is too warm. I've actually never heard anybody say that, but like [music] this is one way to color grade. This is one way to edit.
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This is how I do it. There's so many other people who do it in way more various ways, way [music] more intricate ways, but this is the laziest way that I can explain to you. DaVinci gets real complex real fast, okay? This is a great
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starting point for you guys. Like, this is a a bomb.com starting point. I truly [music] hope this helped. I hope that you guys learned something. Sorry if I'm like not the best at explaining, but I'm doing my best. Let me know [music] what
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else we're looking for in the comments below when it comes to editing, cameras, beauty, whatever. Anything you want to see from me, let me know. Any questions you have about what we just talked about, let me know.
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[music] And let me know what you want to see next. I can't be lucky. Love you. Bye.
Topics:color gradingDaVinci ResolveCapCutlog footagevideo editingbeauty contentLazy Girl Techcreative directorvideo productionediting tutorial
