DaVinci Resolve Node Structure for Non-Destructive Hollywood-Style Color Grading

Alex Mufasa

Introduction to Non-Destructive Node Structure [0:00] [Image 2]

• The video introduces a "perfect" node structure used in Hollywood productions for non-destructive color grading in DaVinci Resolve, demonstrating a before-and-after visual of the grade applied to footage [Image 0].
  • This structure allows maximizing the logarithmic curve of DaVinci Wide Gamut.
  • It facilitates project-wide adjustments using a single node.
  • The methodology is inspired by professional colorists like Walter Volpatto [1:12], who worked on films such as Interstellar [Image 3] and Dunkirk [Image 5].

Importance of a Proper Node Structure [2:09]

• DaVinci Resolve is designed for organic and non-destructive workflows.
  • Using destructive methods, like applying a LUT early in the node tree, can lead to loss of dynamic range and image information that cannot be recovered even if the adjustment is reversed.
  • A well-structured node tree ensures flexibility and preserves image quality throughout the grading process, as illustrated by the evolving node graph [Image 8].

Color Management and 3D LUT Interpolation [3:14]

• Color Space Setup:
  • Color Science: DaVinci YRGB Color Managed.
  • Color Processing Mode: HDR DaVinci Wide Gamut.
  • Input Color Space & Gamma: DaVinci Wide Gamut / DaVinci Intermediate.
  • Output Color Space & Gamma: Rec.709-A (recommended for Apple devices) or Rec.709 Gamma 2.4 (for Windows devices).
• 3D LUT Interpolation:
  • Change "3D Lookup Table Interpolation" from the default "Trilinear" to "Tetrahedral".
  • Tetrahedral interpolation offers more precise 3D LUT calculations, resulting in less banding and fewer color errors, providing a cleaner output.
  • Save these project settings as default.

Noise Reduction Techniques [4:30]

• Method 1: Resolve FX Noise Reduction:
  • Apply the "Noise Reduction" effect from the Resolve FX Revival category directly to a node.
  • Adjust temporal and spatial thresholds for luminance and chroma.
• Method 2: Targeted Noise Reduction with Qualifiers:
  • For more control, apply noise reduction specifically to problematic areas like shadows.
  • Use a Qualifier to select only the dark and shadowed areas.
  • Apply noise reduction settings within the selected qualified region, avoiding other parts of the image like highlights or midtones which might be clean.

Exposure Adjustment Methods [6:04] [Image 14]

• Two distinct methods for exposure adjustment are demonstrated using the color wheels:
  • Method 1: Offset Wheel (Logarithmic):
    • Works within the logarithmic curve of DaVinci Wide Gamut.
    • Adjusts exposure uniformly across all tonal ranges.
    • Useful for general exposure shifts where a consistent change is desired.
  • Method 2: Global in HDR Wheels (Linear):
    • Operates in a linear fashion, allowing adjustments that better preserve shadows and highlights.
    • Preferable for more "clinical" or precise exposure changes, especially in HDR workflows.
    • The video demonstrates how it affects the waveform differently, maintaining black and white points while adjusting midtones.

White Balance Correction Methods [8:10]

• Three methods are presented for white balance correction:
  • Method 1: Temperature/Tint Bars:
    • Simple and quick adjustments, suitable for minor corrections.
  • Method 2: Offset Wheel (Logarithmic):
    • Affects white balance across all tonal ranges (shadows, midtones, highlights).
    • Can be used for a more stylized look or when a uniform color shift is desired.
  • Method 3: Global in HDR Wheels (Linear):
    • Allows for a "cleaner" white balance adjustment that respects shadows and highlights more effectively.
    • Provides a more "clinical" correction, useful for maintaining natural skin tones and preserving image integrity.
    • By adjusting the global color balance, it respects the existing tonal distribution.
• Preferred Method: The narrator favors the Global in HDR Wheels for its precision and cleaner results.

Activating Numeric Keypad for Printer Lights [10:18] [Image 16]

• Enable "Printer Lights Hotkeys" under the "Color" menu (Nodes > Printer Lights Hotkeys).
• This activates the numeric keypad as a professional color grading panel, with each number mapped to specific RGB and CMY colors.
• This technique allows for quick and intuitive color adjustments, mimicking traditional film printing.

Second Phase of Node Construction [11:22]

• Introduces building parallel nodes for zonal adjustments.
  • Create three parallel nodes: "Fondo" (Background), "Frente" (Foreground), and one for Powerwindows.
  • This allows isolating different parts of the image for specific adjustments.

Powerwindows [12:02] [Image 25]

• Powerwindows are used to isolate specific areas within the image for targeted adjustments.
  • Example: Adjusting a dark forest (left side) and a bright sky (right side) independently using circular or custom Powerwindows.
  • This offers precise control over targeted areas without affecting the rest of the frame.

Base of Color Grading: Important Nodes [12:50]

• The main color grading adjustments (tonality changes, skin retouching, etc.) are performed in dedicated nodes.
  • "LOG/HDR" Node: Used for precise, non-destructive exposure adjustments that respect the logarithmic curve.
  • "Sky/Ceiling" Node: Dedicated to modifying the sky or ceiling, as these often require individual attention in exterior/interior shots.
  • "SLIDES" Node: Utilizes DaVinci Resolve's newer "Slides" tool for initial tonal shifts and color grading passes.
  • "SKIN" Node: Reserved specifically for adjusting skin tones to maintain natural appearance and consistency.

DCTLs (DaVinci Color Transform Language) [15:50] [Image 10]

• DCTLs are custom code-based color transforms that offer advanced control beyond standard tools.
  • The video provides a link to download a free DCTL called "Tetra" from GitHub, and its settings panel is shown.
  • DCTLs can separate chromatic ranges (Red-Red, Red-Green, etc.) for highly granular adjustments.
  • They offer immense power for complex color manipulations.

Second Round of Skin Adjustments [16:56]

• A dedicated "Skin 2" node is created for further, more exhaustive skin adjustments.
  • This is used when initial skin adjustments aren't enough, particularly if there are color casts from elements like grass or other dominant colors.
  • Qualifiers can be used within this node to precisely select skin tones and correct any unwanted color influences.

Magic Mask [18:30]

• The Magic Mask tool (a recent addition to DaVinci Resolve) is used to isolate subjects for targeted adjustments.
  • This is particularly useful for complex selections that might be difficult with traditional Powerwindows or qualifiers.
  • The narrator adds a Magic Mask node to his structure, as he often finds himself needing to use it in projects.

Saturation [19:21]

• Precise saturation control is achieved by changing the node's color space to HSL (Hue, Saturation, Luminance).
  • By working in HSL, adjustments to saturation become more organic and less destructive, preventing over-saturation of already vibrant colors.
  • Use the Gain and Gamma wheels in HSL mode to subtly enhance or reduce saturation without affecting the hue or luminance excessively.

Vignette [20:33]

• Vignettes are added using two separate nodes:
  • "Vig In" (Vignette Input): Applies a Powerwindow to bring contrast or light to the center of the image. This is often done to draw attention to the subject or to correct for lens characteristics.
  • "Vig Out" (Vignette Output): Applies an inverted Powerwindow to darken the edges of the image, further guiding the viewer's eye to the center.
• These nodes are typically automated as presets for quick application across projects.

Using a Node for Project-Wide Adjustments [22:24] [Image 26]

• Group Nodes: Create groups of clips with similar characteristics (e.g., "Exteriors 1").
• Pre-Clip and Post-Clip Nodes: When a group is created, two new sections appear in the node graph: "Group Pre-Clip" and "Group Post-Clip."
  • Adjustments made in "Group Pre-Clip" nodes affect all clips before individual clip nodes are applied.
  • Adjustments made in "Group Post-Clip" nodes affect all clips after individual clip nodes are applied.
• Ripple Changes: The "Ripple Node Changes to Selected Clips" (or "Current Group") option allows copying node adjustments from one clip to multiple selected clips or an entire group.
• This powerful feature ensures consistency across a project and allows for global adjustments without affecting individual clip-specific grades.