5 Advanced Color Grading Tips in DaVinci Resolve for a Cinematic Look & Efficient Workflow

Casey Faris

Introduction to Daria Fissoun's Expertise [00:05:24]

Daria Fissoun, a recognized expert in DaVinci Resolve, is introduced as a legend in the Blackmagic Design community. She is praised for her teaching abilities and extensive knowledge in color grading and DaVinci Resolve.

• Background and Contributions [00:06:55]
  • Daria has authored many of the color grading training materials for Blackmagic Design, contributing to the beginner's guide since version 14 and the colorist's guide since version 15.
  • She works as a post-production engineer, assisting major feature productions (including Disney+ projects in Los Angeles and Greece) in transitioning to and optimizing an all-DaVinci Resolve workflow.
• Big Production vs. Indie Similarities [00:10:07]
  • Surprisingly, many challenges, like issues with XML transfers between applications, remain similar between large-scale and smaller indie productions.
  • A key difference is the scale, with large productions sometimes having dedicated professionals for tasks like conforming timelines.
  • Another noticeable difference: better catering/lunches on big productions, avoiding the "old pizza" problem common in indie film shoots.

1. Achieving a Film Look in Post-Production [00:13:41]

While real filmic looks primarily depend on lenses and lighting, Daria shares a trick to emulate celluloid film characteristics using DaVinci Resolve's tools.

• Understanding the Celluloid Effect [00:17:12]
  • Celluloid film often struggles to capture fine details in very dark shadows, resulting in elevated, dark gray "pools" rather than pure black.
• Technique 1: Soft Clip Low in Curves Palette [00:16:13]
  • This aggressive method "clips" shadows, making them less distinct and more elevated.
  • Go to the Curves palette and adjust the "Soft Clip Low" setting.
  • While effective, it can be destructive by removing data.

    

  • Before adjustment (log curve)

    

  • After adjustment (higher contrast, elevated shadows)

    

• Technique 2: Black Offset in HDR Palette (Less Destructive) [00:18:13]
  • The "Black Offset" in the HDR palette offers a gentler way to achieve a similar elevated shadow effect.
  • Instead of hard clipping, it "gently rolls up" or compresses the shadows, retaining more detail.
  • This is found in the HDR palette, under "Black Offset" in the adjustment controls.
  • Example of Black Offset applied to a scene with deep shadows.

    

  • Before Black Offset (deep, digital-looking blacks)

    

  • After Black Offset (elevated, filmic shadows with retained detail)

    

• Additional Tip: Film Grain Effect [00:20:38]
  • For Studio users, adding a "Film Grain" effect from the effects panel can further enhance the celluloid look.

2. Streamlining Workflow with Node Tree Templates [00:20:58]

Daria recommends creating reusable node tree templates to save time, especially when repeating similar steps across many clips.

• Purpose of Templates [00:22:05]
  • Templates are pre-built node structures in the node editor that are empty and ungraded.
  • They provide a clean, organized framework with labeled nodes for consistent adjustments across a timeline.
• When to Use Templates [00:21:23]
  • Useful when you find yourself repeatedly performing the same actions (e.g., normalization, balancing, skin grading, applying a look, adjusting highlights/shadows, vignette, contrast, denoise).
  • Daria often adopts them after realizing she's repeated a set of actions three times.
• Creating and Applying a Template [00:23:47]
  • Build your desired node structure (e.g., Denoise, Normalization, Balance, Skin Grade, Look, Shadows, Highlights, Vignette, Contrast).
  • Right-click in the viewer and select "Grab Still" to save the node structure.
  • Rename the still to "TEMPLATE" (or similar) for easy identification.
  • To apply to a new clip, select the clip and middle-click on the "TEMPLATE" still in the gallery.
  • This instantly applies the empty node structure, allowing quick navigation and grading.
  • Benefits: Acts as a checklist, ensuring all necessary steps are considered for each shot and significantly speeding up repetitive grading tasks.

    

    

    

• Repetition as a Skill Builder: Repetition in actual grading is crucial for improving speed and quality, which are key professional attributes.

3. Enhancing Shots with DaVinci Resolve 18's Depth Map [00:26:13]

The new Depth Map tool in DaVinci Resolve 18 leverages AI to recognize depth in a scene, allowing for quick and accurate selective adjustments.

• Functionality [00:27:26]
  • The Depth Map analyzes the footage to create a grayscale mask where white areas are closest to the camera and darker areas are further away.
  • This eliminates the need for manual power windows or magic mask tracking for depth-based selections.
  • It is found in the "Resolve FX Refine" category within the Effects panel.

    

• Application Example: Isolating a Subject [00:26:39]
  • Step 1: Apply Depth Map. Drag the Depth Map effect to a node, ideally at the beginning of the node pipeline.
  • Step 2: Generate Mask. Allow DaVinci Resolve a few seconds to analyze and generate the depth mask. The mask shows white for foreground and black for background.
  • Step 3: Invert Mask (if needed). To affect the background, click "Invert" in the Depth Map controls.
  • Step 4: Connect Key Output. Connect the blue key output of the Depth Map node to the blue key input of a new node where you will apply your grade.

    

  • Step 5: Apply Adjustments. In the new node, make desired adjustments, such as darkening and blurring the background using the Gamma wheels and Blur palette.
  • Result: The subject appears brighter and more prominent, similar to adding a fill light, while maintaining a natural look.
  • Before Depth Map: Clear background detail.

    

  • After Depth Map (darkened and blurred background): Subject stands out.

    

• Use Cases: Ideal for directing viewer attention in busy scenes, improving interview footage by separating the subject from the background, and subtly enhancing lighting effects.

4. The Benefits of Color Grading Control Panels [00:33:36]

While not mandatory, Daria highlights how color grading panels significantly enhance workflow efficiency for professional colorists.

• Time-Saving Features [00:34:01]
  • Simultaneous Parameter Adjustment: Panels, particularly with trackballs and rings, allow simultaneous adjustment of multiple color parameters (e.g., lift/shadows and gain/highlights) which is impossible with a mouse. This drastically speeds up color and contrast creation.
  • Reduced "Traveling" in Interface: Soft keys on panels provide instant access to palettes and functions, eliminating the need for extensive mouse movement across the screen to navigate UI elements.
  • Daria estimates panels can make a 5-day job a 1-day job due to increased speed.
• Philosophy on Equipment [00:36:04]
  • Daria emphasizes that being a colorist means doing color work, and being a professional colorist means getting paid for it, regardless of equipment.
  • She advises acquiring a panel only when you have earned enough money from color work to justify its cost, suggesting it's a tool for scaling professional work rather than a prerequisite.
  • Good equipment does not inherently make one a better artist; skill and practice are paramount.

5. Navigating Color Management and Display Consistency [00:39:30]

Daria addresses common concerns about color shifts across different displays and the complexities of color management, offering practical advice and an encouraging perspective.

• Embracing Confusion [00:39:38]
  • Feeling confused about color management is normal, even for experienced professionals. The field is constantly evolving with new technologies and experimental workflows, especially in digital cinema.
  • DaVinci Resolve 18's Automatic Color Management: The default automatic mode in Resolve 18 is powerful and often provides excellent results for online or festival deliverables, reducing the need for manual configuration for many users.
• Color Space Aware Tools [00:42:12]
  • Many tools in DaVinci Resolve's color page are "color space aware," meaning their behavior adapts to the footage's dynamic range (extended or high dynamic range). This leads to more consistent results across different types of footage.
• Dealing with Color Shifts on Different Displays (Q&A) [00:44:44]
  • Issue 1: Data Levels. Incorrect data levels during export can cause shifts. In DaVinci Resolve's Deliver page (Advanced Settings), ensure "Data Levels" is set correctly (often "Auto" is sufficient, but "Full" or "Video" might need manual selection if transcoding codecs causes issues).
  • Issue 2: Apple's ColorSync. Apple displays use an internal color management system called ColorSync, which can cause inconsistencies when viewing DaVinci Resolve footage (a non-Apple product) in Apple applications (QuickTime, Safari).
    • Solution 1 (Monitoring): In DaVinci Resolve preferences (User > UI Settings on Mac), there should be a setting to help monitor on an Apple workstation.
    • Solution 2 (Exporting): When rendering, change the "Gamma Tag" to "Rec 709-A" in the advanced settings of the Deliver page. This embeds metadata that allows ColorSync to display the video correctly while remaining compatible with non-Apple applications and platforms like YouTube.
  • Personal Approach: Daria prioritizes working on a calibrated, neutral grading monitor to ensure her work is foundationally correct. Once the output is out of her hands, she accepts that various consumer displays will inevitably alter the appearance, as this is beyond her control.
  • General Life Advice: Focus on controlling what you can (calibrated monitoring, correct export settings) and accept that end-user viewing environments are outside your influence.