DaVinci Resolve Color Grading Tutorial: Achieving a Motion Picture Film Look with 3 Methods and Optimal Export Settings

Summary:

This tutorial demonstrates three methods to achieve a motion picture film look using DaVinci Resolve. It covers essential camera settings [Image 10] (Cine EI, S-Log3, base ISOs, 30fps, XAVC-I 4K) and characteristics of film [Image 14] like grain and halation. The first method uses the Dehancer third-party plugin [Image 23], detailing node tree setup [Image 25] and plugin adjustments [Image 27] for a soft, cinematic image, showing a before [Image 26] and after [Image 28] example. The second method utilizes the CinePrint-16 PowerGrade [Image 50], explaining its application [Image 52] and suggested tweaks, with a before [Image 53] and after [Image 79] comparison. The third method achieves the film look using only DaVinci Resolve's free, built-in tools [Image 81], demonstrating how to apply film grain [Image 95], camera shake [Image 97], film damage [Image 107], film breath [Image 109], and halation [Image 113], with a before [Image 82] and after [Image 117] example. Finally, it outlines crucial DaVinci Resolve project preferences [Image 18] and export settings [Image 121] for optimal color accuracy and high-quality video output on Mac.

Introduction [0:00] [Image 3]

The video introduces a comprehensive guide on achieving a motion picture film look through color grading in DaVinci Resolve. Example footage with the film look is shown [Image 0].

Equipment [0:30] [Image 5]

Camera: Sony FX3 is used for shooting.
Lens: Sigma Art II lens is attached to the camera.
Filter: A 1-5 Variable ND Filter is always used, with the reasoning explained in the camera settings.
Editing Hardware: A 2023 14-inch M2 MacBook Pro is used for editing.

Camera Settings [0:50] [Image 10]

Cine EI Mode: The Sony FX3 is set to Cine EI mode.
S Gamut3.Cine / S-Log 3: Footage is shot in this color space and gamma.
Base ISOs: The primary ISO settings used are Cine EI 800 and 12,800.
- Using these base ISOs, images can sometimes be too bright, necessitating the use of a variable ND filter to correctly bring down exposure.
Frames Per Second (FPS): 29.97 FPS (effectively 30 FPS) is chosen for a realistic, film-like motion.
File Format (XAVC-I 4K): This format provides a balance of better quality and smaller file sizes, which is crucial for efficient editing and faster computer performance, especially when uploading.

Film [2:00] [Image 14]

Desired Aesthetic: The creator personally loves the "film look" for its nostalgic and characteristic feel.
Film Characteristics: Key elements that contribute to a film look include:
- Film Grain (most important)
- Hailation (most important)
- Bloom
- Film Breath
- Gate weave
- Film Damage

Methods [2:30]

Three distinct methods are presented to achieve the desired film look:

Plugin Method: Using a plugin (demonstrated with Dehancer).
PowerGrade Method: Utilizing a PowerGrade (demonstrated with CinePrint-16).
Free Method: Achieving the look using only DaVinci Resolve's built-in tools.

Project Settings [2:45]

To ensure accurate color representation during editing and export, specific DaVinci Resolve settings are recommended:

General Preferences (for MacBook users) [3:05] [Image 18]
- Navigate to DaVinci Resolve > Preferences > General.
- Toggle on "Use Mac display color profiles for viewers."
- Toggle on "Automatically tag Rec.709 scene clips as Rec.709-A."
- These settings ensure consistent color display between DaVinci Resolve and the MacBook's native display.
Project Settings (Color Management) [3:28] [Image 20]
- Click the gear icon for Project Settings > Color Management.
- Set "Timeline Color Space" to Rec.709-A.

Dehancer [3:56] [Image 23]

This section demonstrates achieving a film look using a third-party plugin.

Node Tree Setup [4:20] [Image 25]
- Initial Color Space Transform (CST) Node 1:
  - Input Color Space: Sony S-Gamut3.Cine
  - Input Gamma: Sony S-Log3
  - Output Color Space: DaVinci Wide Gamut
  - Output Gamma: DaVinci Intermediate
- Primary Correction Nodes: Create several serial nodes for basic adjustments: Exposure (Exp), White Balance (WB), Contrast (Contrast), Saturation (Sat).
- Parallel Nodes for Additional Effects: Create parallel nodes (using Option+P) for elements like Temperature and Grain/Texture (named "Grain").
- Dehancer Compound Node: Create a compound node at the end and apply the Dehancer plugin to it.
- Final Color Space Transform (CST) Node 2:
  - Input Color Space: DaVinci Wide Gamut
  - Input Gamma: DaVinci Intermediate
  - Output Color Space: Rec.709
  - Output Gamma: Gamma 2.4
Dehancer Plugin Settings [7:42] [Image 27]
- Camera: Select "Sony" as Vendor, "Cine Line FX3" as Camera, and "S-Log3" for Exposure Log.
- Film Profile: Kodak Vision3 500T is preferred for the film look (many profiles available).
- Print Profile: Kodak 2383 Print Film (D60) is selected as the standard print profile.
- Film Grain: The creator turns off Dehancer's film grain, preferring DaVinci Resolve's native grain.
- Hailation: Enabled with default settings for a subtle glow in highlights.
- Bloom: Enabled and slightly reduced to avoid overpowering the image, giving a soft feel.
- Film Damage: Enabled, preferring a 65mm film damage profile [Image 35].
- Film Breath & Gate Weave: Enabled for subtle color shifts and frame shake.
Adjustments After Plugin Application [8:45] [Image 41]
- Exposure Node (HDR Tab): Slightly lowered global exposure using the HDR tab for overall brightness.
- White Balance Node (Color Wheels): Adjusted the offset in the primary color wheels to center the vectorscope, then fine-tuned visually.
- Contrast Node (Color Wheels): Slightly decreased contrast to prevent crushing blacks.
- Saturation Node (Color Space to HSV): Changed the node's color space to HSV (Hue, Saturation, Value) to increase saturation without altering hue or luminance, resulting in denser colors.
- Temperature Node (Color Wheels): Warmed up the image slightly (around 300 temperature) for a sunny, summery vibe.
- Grain Node (DaVinci Resolve Film Grain): Applied DaVinci Resolve's 16mm film grain with Overlay composite type and slightly reduced opacity [Image 43], preferring its look over Dehancer's.
- Before and After Example: The original footage [Image 26] is transformed into a cinematic film look [Image 28].

CinePrint-16 [14:07]

This section covers using a PowerGrade for a film look.

Importing the PowerGrade [14:28] [Image 51]
- In the Gallery panel, right-click on the "PowerGrades" tab.
- Select "Import" and choose the CinePrint-16 DRP file after unzipping the downloaded package.
Applying and Adjusting [15:00] [Image 50]
- Drag and drop the desired CinePrint-16 PowerGrade (e.g., "CinePrint16 Vision 2") onto your clip.
- Node Tree with PowerGrade: The PowerGrade applies a complex node tree [Image 52].
- First CST Node: Ensure input/output color space and gamma match your camera's log footage (e.g., Sony S-Gamut3.Cine / S-Log3 to DaVinci Wide Gamut / DaVinci Intermediate).
- Second CST Node: Ensure input/output color space and gamma are set for delivery (DaVinci Wide Gamut / DaVinci Intermediate to Rec.709 / Gamma 2.4).
- Within the PowerGrade's nodes, toggle off "Cine On" and toggle on "Print" for a different base look.
- Experiment with various "Print Profiles" (e.g., 2383/D60).
- Exposure: Slightly lowered global exposure for a cinematic feel.
- Contrast & Saturation: Adjusted saturation downwards slightly for a flatter look.
- Warmth: Increased temperature for a warmer image.
- Vintage: Enabled for a desaturated, aged look; denoise is available to counter introduced noise.
- Film Grain: Turned off the PowerGrade's film grain in favor of no grain or potentially DaVinci Resolve's built-in grain if preferred.
- Gate Weave & Film Breath: Enabled for subtle movement.
- Hailation: Enabled, adjusting its strength to create a natural glow around bright areas [Image 66].
- Before and After Example: The original footage [Image 53] is transformed into a cinematic film look [Image 79].

DaVinci Resolve Free [19:05]

This section details how to achieve a film look using only DaVinci Resolve's native tools (requires Studio version for Film Grain and some effects).

Node Tree Setup [19:25] [Image 81]
- The node tree structure is similar to the Dehancer setup:
  - Initial CST Node: Converts camera log footage to DaVinci Wide Gamut / DaVinci Intermediate.
  - Primary Correction Nodes: Exposure, White Balance, Contrast, Saturation.
  - Parallel Nodes: For Temperature, Grain, Gate Weave, Dust/Film Damage, Film Breath, and Hailation.
  - Final CST Node: Converts DaVinci Wide Gamut / DaVinci Intermediate to Rec.709 / Gamma 2.4.
Adjustments [22:10]
- Exposure: Lowered global exposure slightly in the HDR tab.
- White Balance: Adjusted offset in primaries for neutral white.
- Contrast: No further adjustment needed.
- Saturation: Increased saturation slightly using the gain wheel.
- Temperature: Warmed up the image for a desired tone.
- Grain: Apply "Film Grain" effect (available in Studio version). Set Film Grain Presets to 16mm, Composite Type to Overlay, and adjust Opacity (e.g., 0.597) for a subtle effect [Image 95].
- Gate Weave (Camera Shake): Add "Camera Shake" effect (available in Studio version). Set Motion Style to 0.02, Speed to 1.8 for a subtle, natural shake [Image 97].
- Film Damage (Film Damage effect): Add "Film Damage" effect (available in Studio version). Adjust Dirt Density, Dirt Size, and add Scratches with custom settings [Image 107].
- Film Breath (Flicker Addition): Add "Flicker Addition" effect (available in Studio version). Adjust speed, smoothness, and range. Turn off R and G channels to isolate blue flicker. Adjust Global Blend [Image 109].
- Hailation (Glow effect): Add "Glow" effect (available in Studio version). Adjust Threshold, Softness, and Spread to create a subtle glow around highlights [Image 113].
- Before and After Example: The original footage [Image 82] is transformed into a cinematic film look [Image 117].

Export Settings [27:31]

These settings are crucial for exporting high-quality video that retains color accuracy.

Format: QuickTime.
Codec: H.265 (offers good quality at smaller file sizes) [Image 121].
Checkboxes:
- "Use hardware acceleration if available" should be enabled.
- "Network optimization" should be enabled.
Resolution & Frame Rate: Set to "Timeline Resolution" and "Timeline Frame Rate."
Quality: Set to "Automatic" to optimize quality and bitrate automatically [Image 123].
Encoding Profile: Main 10.
Advanced Settings:
- Pixel Aspect Ratio: Square [Image 125].
- Data Levels: Auto.
- Color Space Tag: Rec.709.
- Gamma Tag: Rec.709-A [Image 127].