DaVinci Resolve 20: Cinematic Color Grading Workflow from Scratch with Denoiser Pro

Director Qim

Introduction [00:00:14]

Director Qim introduces a color grading tutorial in DaVinci Resolve, focusing on creating cinematic looks from scratch, promising to reveal his detailed workflow that he hasn't fully shared before.

Initial Setup with Denoiser Pro [00:00:54]

The first step in the color grading process involves setting up the color space and applying a base film look using the Denoiser Pro plugin.

• Accessing Denoiser Pro [00:01:40]
  • The speaker uses Denoiser Pro version 7.01, noting it hasn't been updated.
  • All default tools are initially disabled to allow for a custom workflow. [00:02:10]
• Setting Camera Color Space Transformation [00:02:25]
  • The video footage's original camera color space is unknown, so a generic but effective option is chosen.
  • AR 35 is preferred [00:02:56]
    • This profile is selected for its ability to provide excellent exposure, dynamic range, and pleasing color tones, particularly a slight magenta shift that aids in skin tone correction.
  • Other camera color space transformations (Canon, Blackmagic) are available for footage shot with those cameras.

    

• Applying Print Film Profile [00:03:36]
  • The next step is to choose a print film profile to further shape the image's look.
  • Kodak 3383 [00:04:47]
    • This specific profile is selected as the output, completing the initial conversion from flat log footage to the Denoiser color space. [00:04:53]
    • Other preferred options include Kodak Ultra Max and Vision 350D.

Primary Color Corrections [00:05:10]

After the initial color space conversion, the video moves into fundamental image adjustments.

• Adjusting Global Exposure [00:05:15]
  • The image is initially overexposed.
  • The global exposure tool is used to reduce the overall exposure to a more balanced level. [00:05:25]
• Controlling Dynamic Range & Contrast [00:05:37]
  • The original footage has very low dynamic range.
  • Compressing Highlights and Increasing Shadows [00:05:51]
    • An S-curve is created in the curves panel to compress the highest highlights and slightly increase the shadows, reducing the overall contrast to allow for a custom contrast build.

      

  • Adding a Separate Node for Contrast Balance [00:06:31]
    • A new node is added specifically for contrast adjustments.
    • Dual Gamut Mid-Range Points [00:06:43]
      • A setting of 0.336 is applied to control the dual gamut mid-range points, resulting in a more refined contrast compared to default settings.
• Fine-Tuning Highlights and Shadows [00:07:05]
  • Highlights are slightly increased.
  • Shadows are meticulously adjusted using HDR tools to control light and prevent over-popping. [00:07:16]
• White Balance Adjustment [00:08:40]
  • The image initially has a noticeable magenta tint.
  • The tint is shifted slightly towards greenish, and a touch of warmth is added to achieve better color separation and a more natural look. [00:08:43][00:08:56]
• Saturation Adjustment [00:09:18]
  • Saturation is increased, but kept at a very low level to avoid an oversaturated image, aiming for a less saturated, pleasing aesthetic. [00:09:21]

    

• Midtone Adjustment [00:10:04]
  • The midtones are subtly opened to enhance the overall beauty of the image.

Creating the Look with LUTs [00:10:32]

The next stage involves applying Look Up Tables (LUTs) to establish the desired cinematic aesthetic.

• Applying the First LUT [00:10:55]
  • A parallel node is introduced for the first LUT.
  • The intensity (opacity) of the LUT is reduced to prevent an overly strong effect, ensuring a more integrated look. [00:11:01]
  • Various LUTs are previewed (Look 1, 3, 4, 5, 6, 13). [00:11:14]
  • Selection of "Look 6" [00:11:34][00:12:02]
    • "Look 6" is chosen for its ability to deliver perfect skin tones and a consistent cinematic quality that matches the colorist's signature style.

      

• Applying the Second LUT [00:12:43]
  • A second LUT is added at the end of the color grading chain.
  • Its intensity is set to a low value (0.3 to 0.5) to achieve subtle blending. [00:13:11]
  • Selection of "Look 4" [00:13:39]
    • "Look 4" is chosen for this final artistic blend, providing an excellent overall result.

      

Refining Specifics [00:14:02]

This section addresses particular color ranges and the subject's prominence.

• Adjusting Blue Tones [00:14:11]
  • The bluish tones in the image are slightly reduced to impart a warmer feel to the whites. [00:14:14]

    

• Skin Tone Correction [00:14:32]
  • The skin tone area is precisely qualified.
  • The magenta tint often present in fair skin is addressed. [00:15:14]
  • Saturation is reduced, and the hue is subtly shifted towards yellow to achieve a more natural skin tone. [00:15:20]
• Enhancing Subject Pop [00:17:34]
  • Shadows are increased to make the main subject stand out more prominently against the background. [00:17:41]

    

• Adding a Subtle Glow [00:18:13]
  • A "soft spotlight" glow effect is applied to help blend the image elements together. [00:18:30]
  • The spread and blend parameters of the glow are adjusted to ensure a natural and cohesive appearance, adding extra contrast and depth. [00:18:38]

    

Final Touches [00:19:49]

The concluding steps add detail, texture, and cleanup to the cinematic grade.

• Sharpening Details [00:19:52]
  • The sharpen tool is utilized to make image details pop, enhancing clarity. [00:19:54]
• Adding Film Grain [00:20:04]
  • Film grain from Denoiser Pro is applied to give the image a classic cinematic texture. [00:20:08]
  • Custom settings are chosen, making the grain negative and reducing the amount to 0.1 for a subtle, natural effect. [00:20:18]

    

• Noise Reduction [00:20:42]
  • A final noise reduction pass is performed to clean up any camera noise or noise introduced by the grading process, ensuring a smooth and professional output. [00:20:45]