DaVinci Resolve: Retro Film Color Grading and LUT Application Tutorial

Cam Quay Tay

Introduction to Color Grading and DaVinci Resolve [0:00]

• The video provides a guide to color grading for a retro film look and applying LUTs using DaVinci Resolve. [Image 0]
• The presenter explains that DaVinci Resolve is ideal for deep color manipulation. [Image 2]
• A final retro-film-like result is shown for context. [Image 1]

Setting Up DaVinci Resolve Timeline [0:25]

• Before color grading, users must correctly set up the timeline parameters, especially the output settings.
• Steps to configure timeline:
  • Open DaVinci Resolve and go to the Edit tab.
  • Right-click in the Media Pool and select "Create New Timeline".
  • Name the timeline (e.g., "Chỉnh Màu").
  • Uncheck "Use Project Settings".
  • Navigate to the "Color" tab within the "Create New Timeline" window. [Image 3]
  • Timeline Color Space & Output Color Space:
    • For Windows users: Select "Rec. 709 Gamma 2.4".
    • For Mac users: Select "Rec. 709-A" for better display.
  • Click "Create" to finalize the timeline.
• Importing Footage: Drag and drop your video footage into the newly created timeline. [Image 5]

Identifying Footage Characteristics [1:17]

• It is crucial to determine the camera system and file format (e.g., Sony A6400, 8-bit, SLog3) of your footage. [Image 6]
• This information is essential for correctly setting the input parameters during color transformation.

1. Transforming Color Space (SLog 3 to Rec. 709) [1:44]

• Before and After Transform: An example shows flat log footage transformed to a more vibrant state. [Image 7]
• Creating Nodes:
  • Go to the "Color" tab.
  • Create multiple serial nodes (Option + S on Mac, or right-click on a node -> Add Node -> Add Serial).
• Applying Color Space Transform:
  • Select Node 5 (or a later node, as shown in the video).
  • In the Effects Library (top right), search for "Color Space Transform".
  • Drag and drop "Color Space Transform" onto the selected node.
• Configuring Color Space Transform Settings: [Image 8]
  • Input Color Space: Select "Sony S-Gamut3.Cine" (or corresponding camera log profile).
  • Input Gamma: Select "Sony S-Log3" (or corresponding camera gamma).
  • Output Color Space: Should be set to "Use Timeline" (which is Rec. 709).
  • Output Gamma: Should be set to "Use Timeline" (which is Rec. 709).
• Importance of this step: This converts the flat log footage into a standard Rec. 709 color space, preserving maximum detail for subsequent adjustments. Placing this node early in the node tree (before other corrections) ensures optimal data manipulation.
• Apology for previous error [3:03]: The presenter apologizes for a previous tutorial where he incorrectly advised applying Rec. 709 first, then corrections, explaining that this reduces the color information available for editing.

2. Naming Nodes for Organization [3:25]

• For better workflow and clarity, rename your nodes: [Image 10]
  • Node 1: EXP (Exposure/Brightness Balance)
  • Node 2: WB (White Balance)
  • Node 3: SKINTONE (Skin Tone Correction)
  • Node 4: MASK (Masking specific areas)
  • Node 5: CST (Color Space Transform - already applied)
  • Node 6: LUT (LUT application - will be applied later)

3. Exposure/Brightness Balance (Cân Bằng Sáng) [3:46]

• Goal: Adjust brightness and contrast to make the image pleasing and natural. [Image 12]
• Tools: Use the "Color Wheels" (Primaries - Color Wheels) and "Waveform" scope. [Image 13]
• Waveform Interpretation:
  • The waveform visually represents the luminance and color values in your image.
  • Highlights are at the top, shadows at the bottom, midtones in the middle.
  • Red, Green, Blue lines correspond to their respective color channels.
• Adjusting Brightness and Contrast:
  • Lift: Controls the shadows (darker tones). Adjust to bring shadows down towards the bottom of the waveform without clipping.
  • Gamma: Controls the midtones (middle brightness range). Adjust for overall brightness.
  • Gain: Controls the highlights (brightest tones). Adjust to bring highlights up towards the top of the waveform without clipping.
  • Offset: Adjusts the overall brightness of the entire image.
• Workflow: Observe the waveform while making adjustments. Aim for a balanced distribution of light and shadow, ensuring no clipping in highlights or shadows. Focus on the main subject's lighting.
• Tip: When footage is in motion, choose a representative frame within the scene to make global adjustments.

4. White Balance (Cân Bằng Trắng) [7:11]

• Goal: Ensure white objects appear truly white and free of color casts.
• Methods:
  • During shooting: Pre-set white balance based on the environment.
  • Post-production (in DaVinci Resolve):
    • Visual Judgment: Rely on your eyes and experience to identify color casts. This requires a properly calibrated monitor.
    • Waveform Scope: Observe color channels (Red, Green, Blue) on the waveform. If one color is significantly higher than others in neutral areas, a cast is present. [Image 15]
• Tools: Use "Temp" (temperature, blue/yellow axis) and "Tint" (green/magenta axis) sliders in the "Color Wheels".
• Workflow:
  • If the image is too blue, increase "Temp" (move towards yellow).
  • If the image is too yellow, decrease "Temp" (move towards blue).
  • If the image is too green, decrease "Tint" (move towards magenta).
  • If the image is too magenta, increase "Tint" (move towards green).
• Key Principle: Whites should be white, blacks should be black, without any unwanted color contamination. Focus on the main subject to ensure natural-looking skin tones. Consistent practice is vital for developing an eye for color.

5. Applying a LUT (Look-Up Table) [10:31]

• When to apply: LUTs are generally applied after initial exposure and white balance corrections. [Image 16]
• Adding a LUT:
  • Create a new node (e.g., Node 6).
  • Go to the "LUTs" tab in the Effects Library (top left).
  • Select a desired film look LUT (e.g., "Rec.709 Fujifilm 3513DI D55"). [Image 17]
  • Drag and drop the LUT onto your selected node.
• Result: The LUT will significantly alter the image's colors and contrast. Do not be alarmed if it doesn't look perfect immediately.
• Post-LUT Adjustments: After applying a LUT, you will likely need to revisit the "Exposure/Brightness Balance" and "White Balance" nodes to fine-tune the image to your preference. [Image 19]
• Important Note: LUTs are context-dependent. A LUT designed for one lighting situation or camera might not look good on another. Further adjustments are almost always necessary. Rely on visual judgment more than just technical scopes after applying a LUT to achieve your desired aesthetic.

6. Skin Tone Correction (SKINTONE) [14:38]

• Goal: Isolate and refine the skin tones of your subject. [Image 34]
• Method 1: Using Qualifier (HSL)
  • Select the "SKINTONE" node.
  • Go to the "Qualifier" palette (eyedropper icon).
  • Use the eyedropper to select the skin area of your subject.
  • Activate "Highlight" mode (Magic wand icon or Shift+H) to see the selected area. [Image 35]
  • Adjust the "Hue", "Saturation", and "Luminance" sliders to isolate the skin tone as precisely as possible, removing unwanted colors from the selection.
  • Refine the softness (Softness: Low/High) to ensure a natural transition.
• Method 2: Using Window Tool
  • For more precise control, you can use the "Window" tool (circle, polygon, curve shapes) to manually draw a mask around the skin area (e.g., the face).
  • Apply "Softness" to the mask (soft1, soft2 sliders) to ensure natural blending and avoid harsh edges.
• Tracking the Mask [16:55]:
  • Once the mask is drawn, open the "Tracker" window (crosshair icon).
  • Click the forward play button to track the mask's movement across the frames, ensuring it stays on the subject's face. [Image 37] This maintains consistent corrections even if the subject moves.
• Adjusting Skin Tones with Color Wheels:
  • After isolating and tracking the skin, use the "Color Wheels" (Lift, Gamma, Gain, Offset) to make subtle corrections to the skin tone, adjusting brightness or shifting hues (e.g., adding a bit of warmth or reducing unwanted color casts) until it looks natural and pleasing. Focus on the subject's face.

7. Masking Specific Areas (MASK) [17:32]

• Goal: Isolate and correct problematic areas in the frame, such as overly bright backgrounds. [Image 38]
• Steps:
  • Create a new node (e.g., "MASK").
  • Use the "Window" tool (circle, polygon, curve shapes) to draw a mask around the problematic area (e.g., a bright window or background highlight). [Image 40]
  • Apply "Softness" to the mask for natural blending. [Image 42]
  • Inverting the Mask (Optional): If you want to affect everything outside the masked area, click the "Invert" button (square with dot).
  • Color Correction: Use the "Color Wheels" (Lift, Gamma, Gain, Offset) to adjust the selected area. For example, reduce highlights or gain to dim an overly bright background. [Image 44]
• Importance of Pre-Production: Proper lighting and shooting techniques (pre-production/tiền kỳ) significantly reduce the need for complex masking and correction in post-production.

Conclusion and Summary [20:39]

• The video concludes by recapping the learned techniques: transforming color space, balancing exposure, white balance, skin tone correction, masking, and tracking.
• It emphasizes that color grading is an iterative process requiring practice, visual judgment, and understanding of the tools.
• The specific LUT used was a film look, and further adjustments are usually needed after applying any LUT.
• Examples of the final retro film look are showcased. [Image 46] [Image 47] [Image 49] [Image 52] [Image 53] [Image 54]