DaVinci Resolve: Beginner's Guide to Filmic Color Grading with Free 4K Raw Footage

Green Goat Productions

Summary:

This tutorial provides a simple, accessible color grading workflow in DaVinci Resolve, demonstrating how to transform Blackmagic RAW footage into a filmic look. It covers essential steps using a node-based approach, even in the free version of Resolve.

• Initial Setup: Configure project settings, including color management and camera raw settings for Blackmagic RAW footage, using DaVinci Wide Gamut and Intermediate.
• Applying a Film LUT: Transform the color space to Simeon film log and apply a Kodak Film LUT (e.g., D65) available within Resolve for a quick filmic base.
• Primary Adjustments: Balance the footage by neutralizing color shifts, adjust overall exposure using linear gamma, and subtly add contrast and filmic saturation.
• Secondary Adjustments: Enhance the subject and scene through targeted power windows, tracking the main character to brighten them, darkening distracting foreground elements, and adding a subtle blur to the background for improved focus.

Downloadable 4K raw footage is provided to practice the techniques.

Colour Space Transform [0:31]

• The tutorial begins with transforming Blackmagic RAW footage.
  • Raw Settings Configuration: Set up project settings by navigating to the "Project Settings" cog. [0:48]
    • Adjust playback and timeline frame rates to 50fps if the footage was shot at that rate. [0:57]
    • Color Management: Configure color science to DaVinci YRGB, timeline color space to DaVinci Wide Gamut Intermediate, and output color space to Rec.709 Gamma 2.2 for YouTube. [1:08]
    • Camera Raw Settings: For Blackmagic RAW, set the color space to DaVinci Wide Gamut and gamma to DaVinci Intermediate. [1:33]
      • Keep exposure, color temp, and tint as shot unless specific adjustments are desired. [1:50]
      • No highlight recovery is needed if there are no blown-out highlights. [1:59]

How to apply a Kodak Film Lut [2:06]

• After raw settings, the footage still appears flat because the Output Device Transform (ODT) hasn't been applied.
  • Node Setup: Create an "ODT" node following the initial footage node. [2:28]
  • Color Space Transform within ODT: Apply a "Color Space Transform" effect to the ODT node. [2:49]
    • Input color space: DaVinci Wide Gamut. [2:55]
    • Input gamma: DaVinci Intermediate. [3:01]
    • Output color space: Rec.709. [3:06]
    • Output gamma: Cineon Film Log. [3:10]
  • Tone Mapping: Turn off all tone mapping (saturation, gamut, luminance, highlight, shadow) to ensure the film LUT is applied without interference. [3:19]
  • Applying the Kodak Film LUT: In the LUTs folder, select a Kodak Film LUT, such as "Kodak 2383 D65" for a classic look. [3:36]
    • This immediately gives the footage a filmic appearance. [4:30]

Balance Node [5:17]

• After applying the film LUT, further primary adjustments are needed for balance and exposure.
  • Node Structure: Create additional serial nodes for "Exposure," "Balance," "Contrast," and "Saturation." [5:02]
    • Use "Alt+S" (Windows) or "Command+S" (Mac) for serial nodes, and "Alt+P" (Windows) or "Command+P" (Mac) for parallel nodes. [5:02]
  • White Balance Adjustment: In the "Balance" node, use the Vectorscope to analyze color cast. [5:24]
    • Change the gamma type to "Linear" for easier balancing. [6:04]
    • Drag the white point in the color wheels towards the blue area to neutralize the warm (yellow/red) cast. [6:24]
    • The goal is a more neutral-looking image. [6:48]
  • Exposure Adjustment: In the "Exposure" node, also change gamma to "Linear." [7:09]
    • Use the offset and gain controls to subtly brighten the image without crushing highlights or shadows. [7:21]

How to add filmic saturation [8:31]

• Fine-tuning contrast and adding filmic saturation.
  • Contrast Adjustment: In the "Contrast" node, change the pivot to approximately ".366" (middle gray for DaVinci Wide Gamut Intermediate). [8:00]
    • Add a small amount of contrast to enhance the image, being mindful that contrast also adds saturation. [8:16]
  • Filmic Saturation: In the "Saturation" node, right-click and change the color space to HSV (Hue, Saturation, Vibrance). [9:01]
    • Deactivate channels 1 (Hue) and 3 (Vibrance), leaving only channel 2 (Saturation) active. [9:14]
    • Use the gamma control to boost lower to mid-saturated areas and the gain control to adjust higher-saturated areas, achieving a pleasing, subtle filmic saturation. [9:46]
    • The change is subtle but avoids over-saturation. [10:14]

Secondary Adjustments [10:23]

• Using power windows and selective adjustments to guide the viewer's eye.
  • Targeting the Subject: Create a parallel node named "Person." [10:28]
    • Use a circular power window around the main character's face/upper body. [10:54]
    • Track the power window forward and backward, typically without needing 3D or rotation tracking. [11:03]
    • Brighten the subject using the HDR global control to make them stand out. [12:09]

      

  • Darkening Foreground/Background: Create separate parallel nodes for "Foreground" and "Background." [10:36]
    • Foreground Adjustment: Create a power window around distracting bright elements in the foreground (e.g., a white drape). [12:50]
      • Darken this area using global adjustments and slightly reduce highlights with the gain control in primaries to draw focus away from it. [13:22]

        

    • Background Adjustment (Optional): If needed, create another power window for the background. [13:50]
      • Darken the background to further emphasize the subject. [14:01]
      • Add a subtle blur to the background using the blur/sharpen controls to soften distracting elements and enhance depth. [14:39]

        

  • Highlight Control: Add a final serial node named "Highlights." [15:53]
    • Use the highlights control in the primaries to gently reduce overly bright areas, ensuring they are not distracting. [15:58]