DaVinci Resolve 20: Building Node Trees and Matching Reference Looks for Beginners

JustColorThings

Introduction to Color Grading & Reference Looks [0:05] [Image 4]

• The host, Ayush from JustColorThings, introduces his channel focused on his journey from beginner to pro colorist.
• This episode focuses on structuring a node tree and matching a reference look in DaVinci Resolve 20.

The Importance of Reference Images [0:40]

• The host highlights that having a visual destination, or a "reference," consistently leads to better color grades compared to just experimenting.
• This approach allows for achieving a specific desired look rather than aimless tweaking.

Introducing Shot Cafe for References [1:07] [Image 16]

• Shot Cafe (shot.cafe) is presented as a free, comprehensive online database for finding reference images from various films.

• It's noted that this website is a hidden gem, not widely discussed.

  • Finding Specific References on Shot Cafe [2:38] [Image 25]

    • The host demonstrates filtering options to narrow down searches based on shot attributes:
      • Time of day: Day
      • Location: Exterior
      • Shot type: Clean single, medium closeup
    • A still from "12 Years a Slave" (shot by Sean Bobbitt) is selected as a suitable reference for its similar lighting and composition to the sample footage.

  • Utilizing Shot Cafe's Built-in RGB Parade [4:09] [Image 35]

    • A unique feature of Shot Cafe is its integrated RGB parade scope, allowing users to analyze the color data of a reference image directly without downloading.
    • This aids in comparing the tonal and color distribution between the reference and the user's footage.

Building a Node Tree in DaVinci Resolve 20 [5:01] [Image 42]

• The host transitions to DaVinci Resolve's color page to set up a node tree.

  • Structuring the Node Tree [5:08]

    • The node tree is organized into three main types of nodes:
      • Primaries: Usually 3-4 serial nodes for global adjustments (like exposure and white balance).
      • Secondaries: Parallel nodes for specific, targeted adjustments.
      • Final Look/Touch: A few more serial nodes at the end for overall artistic touches.
    • This structured approach ensures a clean and efficient workflow.

  • Setting Up Color Management (Color Space Transform) [5:38]

    • A Color Space Transform (CST) node is added to manage color space:
      • Input Color Space: Blackmagic Design Gen 5
      • Input Gamma: Blackmagic Design Film Gen 5
      • Output Color Space: DaVinci Wide Gamut
      • Output Gamma: DaVinci Intermediate
    • This ensures a consistent color pipeline from input to output.

Understanding Color Correction vs. Color Grading [6:24] [Image 52]

• The host clarifies the distinction between two fundamental stages of post-production.

  • Primaries vs. Secondaries [7:00]
    • Color Correction: The initial process of fixing an image, primarily addressing exposure and white balance to achieve a neutral and balanced starting point. These are typically global adjustments (primaries).
    • Color Grading: The creative process of enhancing the image to achieve a specific look or emotion. This involves both global (primaries) and targeted (secondaries) adjustments.
    • Primaries are global adjustments affecting the entire image (e.g., overall exposure).
    • Secondaries are specific, targeted adjustments to particular colors or areas of the image (e.g., increasing saturation of only the sky).

Reading an Image for Color Grading [8:02] [Image 56]

• A systematic approach to analyzing an image using scopes is presented, focusing on three key aspects.

  • 1. Luma (Brightness & Contrast) [8:17]

    • Luma refers to the brightness and contrast levels of an image.

    • Questions to ask: Is the image bright or contrasty (high-key or low-key)? Are there details in shadows and highlights, or are they clipped?

      • Analyzing Luma with Waveform Scopes [9:25] [Image 60]

        • Waveform scopes are used to visually represent the luminance distribution.
        • Display qualifier focus and low-pass filter features are enabled for clearer scope readings.
        • The reference image's highest point (highlights) is around 896, and the darkest portion (shadows) is just above zero. Midtones are around 512.

      • Adjusting Highlights and Shadows [10:25] [Image 68]

        • The gain wheel is used to bring down the highlights to match the reference.
        • The lift wheel is adjusted to raise the shadows slightly above zero.
        • Midtones are adjusted with the gamma wheel to match the reference's midtone level (around 512).
        • Emphasizes an iterative "back and forth" process for fine-tuning.
  • 2. Color (Hues) [13:11] [Image 76]

    • Color refers to the hues present in the image.

    • Questions to ask: What colors are visible? Is there a dominant color? Are specific colors introduced in highlights or shadows?

      • Analyzing Colors with Colorized Waveform [13:30]

        • The colorized waveform mode on the scope displays RGB data, showing the distribution of red, green, and blue levels.
        • Analysis of the reference image reveals more green in the highlights and higher red in the midtones compared to other colors. Shadows show similar levels for all three colors.

      • Adjusting Colors in Highlights and Midtones [14:40]

        • In DaVinci Resolve, the gain wheel is slightly pulled towards green to introduce green into the highlights of the footage.
        • The gamma wheel is slightly adjusted towards red to increase red in the midtones.
        • The adjustment should be subtle and iterative, constantly comparing with the reference's scopes.

      • Targeting Skin Tones [19:07] [Image 80]

        • The saturation adjustments made earlier might make skin tones appear dull.

        • The video demonstrates how to specifically address this.

        • Isolating Skin Tones with Qualifiers and Power Windows [19:40] [Image 84]

          • A power window (mask) is drawn around the character's face.
          • The qualifier tool is used within the masked area to refine the selection, isolating only the skin tones.
          • The reason for ignoring the background is explained: DaVinci Resolve might confuse similar colors (e.g., skin and background greens if desaturated).

Adding Final Touches and Exporting Node Tree [28:26] [Image 90]

• This section focuses on enhancing the image further and preparing the node tree for future use.

  • Increasing Midtone Details and Adding Film Grain [24:23]

    • The midtone detail slider is adjusted to enhance subtle textures on the skin.
    • A film grain effect (35mm film stock) is added for a more organic and cinematic look, emphasizing the importance of not overdoing it.

  • Applying a Cinematic Aspect Ratio [29:11] [Image 95]

    • To match the cinematic feel of the reference, a 2.35:1 aspect ratio (black bars) is applied using DaVinci Resolve's built-in film look creator tool.

  • Saving and Reusing the Node Tree [31:39] [Image 103]

    • The complete node tree, representing the developed look, can be saved as a .drx file.
    • This .drx file can be easily dragged and dropped onto any new footage in future projects, providing a consistent starting point.
    • The process of applying the saved .drx file and then making necessary color space transformations is shown.

The video concludes with a recap of the three image reading questions (Luma, Color, Saturation) and an invitation for viewers to share their insights and questions in the comments.