Optimal Node Structure and Dehancer Workflow for Cinematic Color Grading in DaVinci Resolve

Marco Bagnoli

Summary:

This video details an effective node structure workflow for color grading in DaVinci Resolve, enhanced by the Dehancer plugin for a cinematic film look. The process begins with 1. Color Space Transformation (CST) to convert footage into DaVinci Wide Gamut. It then proceeds with 2. primary corrections for exposure, white balance, contrast, and saturation using specific techniques for accuracy. 3. Secondary adjustments involve Power Windows for selective exposure and color correction, such as directing the viewer's eye or toning down overly saturated blues. The workflow then integrates the 4. Dehancer plugin to emulate film stocks and prints, offering controls for film developer settings, analog range limiting, film grain, halation, and bloom effects. Finally, the video demonstrates using 5. False Color for precise exposure checks and how to export custom LUTs for consistent on-set monitoring, promising a more accurate and film-like final result.

Introduction to DaVinci Resolve Node Tree Workflow [0:00:23]

This section outlines a structured workflow for color grading in DaVinci Resolve, starting with essential color space transformations and moving into primary and secondary corrections.

Initial Color Space Transform (CST) [0:00:29]

• The first step involves converting the camera footage (e.g., Red Log) into a color space that DaVinci Resolve can properly interpret.
  • This is typically done by setting the Input Color Space to the camera's native log (e.g., Red Gamma, Red Log) and the Output Color Space to DaVinci Wide Gamut and DaVinci Intermediate for consistent processing.

    

Output Color Space Transform [0:00:53]

• After all internal grading, the footage is converted back to a standard output color space.
  • The timeline color space is DaVinci Wide Gamut, and the output is set to Rec. 709 Gamma 2.2, which is suitable for web delivery.

    

Primary Corrections in DaVinci Resolve [0:01:14]

This part focuses on fundamental adjustments to the image to achieve a balanced and desirable base look before applying creative elements.

Exposure Adjustment [0:01:16]

• Simple exposure corrections are made using the HDR wheels.
  • This involves lowering highlights and adjusting global exposure to refine the image's overall brightness.

    

White Balance Correction [0:01:27]

• For RAW footage, white balance can be corrected directly in the RAW settings.
  • An advanced technique for accurate color balance involves setting the node's gamma to 'linear' and the luma mix to 'zero' in the color wheels, allowing for highly controlled and precise white balance adjustments.
  • This method helps achieve a neutral look with minimal changes.

    

Contrast Adjustment (Curves) [0:02:09]

• Contrast is primarily adjusted using the curves.
  • Typically, this involves pulling down the blacks slightly to add depth.

    

Saturation Adjustment [0:02:16]

• Saturation can be adjusted using a different technique for a more natural look.
  • Change the node's color space to HSV, and reduce channels one and three, then move the saturation slider to achieve a more natural color density.

    

Secondary Adjustments (Power Windows) [0:02:37]

This section demonstrates how to use Power Windows for targeted adjustments to draw the viewer's eye and correct specific areas.

Guiding the Eye with Exposure [0:02:37]

• Power Windows are used to manipulate exposure in specific areas to direct the viewer's attention.
  • Brightest parts of the image may be brought down, while the subject's exposure is increased.
  • A subtle vignette can be added to further focus attention on the main subject.

    

Correcting Specific Colors [0:03:08]

• Individual colors that are too dominant can be adjusted.
  • For instance, if a blue hour scene has overly saturated blue, color qualifiers can be used to reduce its saturation and color density.

    

Applying Dehancer Plugin for Film Look [0:03:23]

The Dehancer plugin is integrated into the workflow to achieve a rich, cinematic film aesthetic, emulating various film stocks and processes.

Initial Dehancer Setup [0:03:23]

• The correct input color space must be selected within the Dehancer plugin to match the DaVinci Wide Gamut of the timeline.
  • Technical controls like exposure, tint, and defringe (for chromatic aberration) are available.

    

Selecting Film Profile and Print [0:03:48]

• Dehancer offers a library of over 60 film stocks.
  • A film profile (e.g., Fuji Chroma Velva 100) is chosen to set the initial film look.

    

  • This is then combined with a film print profile (e.g., Kodak 2383) to add further cinematic characteristics, often resulting in warmer colors and enhanced color contrast.

    

Film Developer Adjustments [0:04:44]

• The film developer section allows for fine-tuning the film's reaction to development.
  • Sliders for gamma correction, color density, and color contrast mimic the physical developing process, offering unique adjustments not found in standard sliders.
  • For this image, contrast was slightly reduced, and colors were slightly pushed.

    

Film Compression and Expand [0:05:12]

• These controls emulate the film's compressed tonal range, providing greater flexibility in redistributing highlights.
  • Film compression makes the image look more analog and flexible.
  • Expand allows for granular control over black and white points.

    

Color Print Settings [0:05:27]

• The color print section offers additional controls for refining the film print look.
  • Target White: Adjusts the white balance of the printing source, allowing for warmer or cooler tones.

    

  • Total Contrast: Provides an aggressive contrast adjustment; best used subtly.
  • Split Tones: Allows for playing with color balance in highlights and shadows (yellow-blue, magenta-green, cyan-red).

    

Adding Film Grain [0:06:32]

• Dehancer offers a wide selection of film grain sizes (65mm down to 8mm).
  • Custom mode allows disabling chroma for a classic gray grain, avoiding a "noisy" digital look.

    

Simulating Halation [0:06:56]

• Halation simulates how older lenses affected highlights, creating subtle red fringes around light sources.
  • It adds an authentic analog feel to the image.

    

Applying Bloom Effect [0:07:32]

• The bloom effect creates a natural glow without oversaturating highlights, unlike some native DaVinci Resolve plugins.
  • Different millimeter settings control the intensity and spread of the bloom.

    

Film Damage, Breath, and Gate Weave (Optional) [0:08:11]

• These features simulate various film artifacts like scratches, film breathing, and gate weave.
  • They are optional and can be used to add specific vintage or distressed looks depending on the project's mood.

Finalizing the Look and Workflow [0:08:28]

This concluding section covers critical steps for reviewing the grade and integrating the look into a practical filmmaking workflow.

Using False Color for Exposure Check [0:08:28]

• False Color is a powerful tool for precisely checking exposure across the image.
  • It helps ensure that exposure is balanced, especially in darker scenes, and allows for fine-tuning to achieve a desired aesthetic, often favoring a slightly underexposed film look.

    

Creating and Exporting LUTs for On-Set Monitoring [0:08:55]

• The entire color grade can be exported as a Look Up Table (LUT).
  • These custom LUTs can be loaded onto on-set monitors, allowing filmmakers to preview the final look while shooting.
  • This significantly changes how a shoot is approached, leading to more accurate lighting and color decisions on set.