DaVinci Resolve Color Grading Tutorial: Achieving the Stranger Things Look in 2 Nodes While Preserving Skin Tones

Chef Odd

Introduction and Reference Analysis [00:00:00]

The video aims to create a Stranger Things-inspired color palette in DaVinci Resolve, with a particular focus on preserving skin tones.

• Importance of references [00:01:03]
  • Before beginning color grading, it is crucial to analyze visual references to understand the desired look.
  • Blackmagic stock footage is used for the tutorial, available for free download.
• Breakdown of Stranger Things references [00:01:15]
  • Reference 1 (Green/Cyan Dominance) [00:01:19]
    • Greens and cyans are the predominant colors in the palette.
    • Hints of other colors like yellow are present.
    • Skin tones are protected, blending with the environment rather than appearing naturally lit.

      

  • Reference 2 (Muted Film Stock Look) [00:01:40]
    • Emphasis on preserving skin tones in cohesion with an emulated film stock.
    • Rich but muted colors: cyans, warmer creams with a green tint.
    • Whites are not clean, possessing character and color.
    • Shadow points are slightly deeper and matted, not completely crushed.

      

  • Reference 3 (Warm Interior) [00:02:11]
    • Features a warmer, rustic, wooden interior with practical lights creating warmth.
    • A large window provides a burst of daylight.
    • Contrast created by colors like pink tops, cyan tops, and denim.
    • Skin tones are authentic to the environment, not necessarily natural to ethnicity.

      

  • Reference 4 (Muted Tonalities and Specific Choice) [00:02:46]
    • Blues appear muted, not overly vibrant or rich, but still contain enough color to avoid appearing boring.
    • Warmer tones are also muted, indicative of the setting's time period.
    • This reference image was ultimately chosen for the tutorial's grade.

      

Method 1: Manual Node-Based Grading (Layer Mixer) [00:03:59]

This method involves a more detailed, manual workflow using multiple nodes to achieve the look and protect skin tones.

• ACES Workflow Setup [00:04:06]
  • Input Device Transform (IDT): Convert Blackmagic footage to DaVinci Wide Gamut.
  • Output Device Transform (ODT): Convert from DaVinci Wide Gamut to Rec. 709 2.4.
  • A look that works within the Rec. 709 wireframe (Kodak 2383 emulation) is applied.
• Initial Adjustments [00:04:43]
  • Linear white balance node: Adjust white balance.
  • Exposure work: Match the luminance to the reference.
  • Contrast work [00:05:22]
    • Only the Y (luminance) channel is tweaked using a custom S-curve.
    • Importance of identifying middle gray to avoid crushing the image and ruining DP's set luminance values.

      

• Look Development and Shadow Cleaning [00:06:04]
  • Injecting color profile to match warmer oranges from lights and yellows in the scene.
  • Cleaning up darker areas and shadow points using the shadow wheel, aiming for matted but not completely crushed shadows.
• Skin Tone Preservation using Layer Mixer [00:07:13]
  • A layer mixer is created, where the bottom node (skin) takes precedence over the top node (background).
  • Skin Node (Bottom) [00:07:39]
    • Qualify the skin tones and manually create a mask to prevent infiltration into other areas.
    • Adjust hue vs. saturation to pull down the red channel and inject magenta to match the reference's muted skin tones.

      

  • Background Node (Top) [00:09:50]
    • Adjust yellow, red, and blue points in the background to unify the image with the reference.
    • The main challenge is that the background still feels quite saturated compared to the reference.
• Challenges with Saturation Control [00:10:21]
  • Manually desaturating specific colors (like yellow) can affect other areas and requires additional qualification and masking for finesse.

Method 2: Parallel Mixer Approach [00:11:18]

This method uses a parallel mixer to achieve a similar result with different blending characteristics.

• Skin Work [00:11:27]
  • Qualify and mask the skin.
  • Use gamma and gain to add magenta and strip back saturation to achieve a muted feel.
• Color Adjustments [00:11:49]
  • Key out and adjust yellow points, potentially using masks for cleaner results.
  • Adjust red points to match reference reds in neon lights and ceiling.
• Key Differences: Parallel vs. Layer Mixer [00:12:50]
  • Parallel Mixer: Blends all chosen adjustments across the image.
  • Layer Mixer: Isolates adjustments in separate nodes, meaning changes on the top node won't affect the bottom node (e.g., skin).
  • It is better to start with a neutral canvas before qualifying to prevent color infiltration.

Method 3: Professional Workflow (Two Nodes with DCTL) [00:13:54]

This advanced method drastically speeds up the color grading process, achieving a filmic look in only two core nodes.

• ACES Setup (IDT, ODT) [00:14:12]
  • Standard IDT/ODT conversion.
• Initial Exposure and White Balance [00:14:17]
  • Perform exposure adjustments.
  • Tweak white balance to introduce subtle green into highlights and warm up the image slightly, aligning with the reference.
• Look Development with Look DNA DCTL (Node 1) [00:14:55]
  • Utilizes a "Look DNA DCTL" (Digital Color Transform Language) tool.
  • Key Adjustments within DCTL [00:15:33]
    • Tweaks nit points for shadow depth.
    • Adjusts undertones for deeper areas.
    • Pulls back contrast to create softness and muted tonality, avoiding a glossy feel.
    • Slightly lifts highlights and white points for sparkle.
    • This DCTL is intuitive and understands the color workflow, removing the need for separate IDT/ODT/film profile transformations.
    • Fuji 3513 is chosen over 2383 for its richer starting point.

      

• Color Finessing with Color Warper (Node 2) [00:18:04]
  • The Color Warper tool is used for precise hue and saturation adjustments.
  • Allows for specific points to be created and manipulated for individual colors (e.g., blues, warmer lights).
  • Skin Tone Refinement [00:18:57]
    • Create a point for skin tones, pull back saturation, and twist it to add magenta, quickly matching the reference's skin color without masking or tracking.

      

  • This method dramatically reduces the time and complexity compared to manual node work.

Final Touches for a Film Look [00:20:21]

Two additional steps enhance the filmic quality of the graded image.

• Softening the Digital Image [00:20:21]
  • Reduces the digital sharpness to achieve a more filmic feel without using glows.
  • Achieved by switching from "blur" to "sharpen" in the blur tab and increasing the radius (e.g., to 54) to soften the image.

    

• Adding Film Grain [00:21:12]
  • Incorporates natural-feeling grain using the film look creator tool (available in DaVinci Resolve Studio).
  • Selects 35mm grain to complement the filmic aesthetic.

    

Summary of Professional Workflow [00:23:04]

The professional workflow is remarkably quick and efficient, relying on the synergy of just a few key tools.

• Core Process [00:23:07]
  • IDT and ODT for color management.
  • Exposure work to match luminance.
  • White balance for subtle identity.
  • Look DNA DCTL for primary look development (depth, contrast, overall tonality).
  • Color Warper to tie everything together and precisely adjust individual hues, especially skin tones.
• Extra Credit [00:23:38]
  • Softness to reduce digital edge.
  • Film grain for a natural, filmic texture.
• This streamlined approach helps preserve skin tones effectively while achieving a stylized look.