How to Color Grade Log Footage to Achieve a Cinematic Netflix Look in DaVinci Resolve 19

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Introduction [0:16]

• The speaker introduces the video, focusing on transforming Log footage into cool, Netflix-style video using DaVinci Resolve 19. [[Image 15 - Speaker introducing the tutorial.]]
• He mentions that this is an updated version (2025 version) of a previous tutorial, incorporating improvements and new techniques.
• The tutorial will demonstrate how to achieve this look without relying on LUTs (Look-Up Tables), building the grading from scratch.
• Viewers are encouraged to open DaVinci Resolve and follow along.
• An example of the raw Log footage that will be graded is shown. [[Image 0 - Raw Log footage before grading.]]

Master Settings [2:10]

• Accessing Project Settings: Navigate to the Project Settings (bottom right gear icon) in DaVinci Resolve.
• Color Space Setup:
  • Set the Timeline Color Space to "DaVinci Wide Gamut Intermediate".
  • Set the Output Color Space to "Rec.709 Gamma 2.4".
  • Explanation: These settings provide DaVinci Resolve with a wide color gamut to work within, allowing for more extensive and higher-quality color manipulation. This helps in achieving a richer and more dynamic output compared to standard color spaces. The speaker notes that outputting slightly darker than expected when watching on iPhone/other devices can be fixed by exporting with a slightly richer or brighter color profile.

Color Space Transformation [3:41]

• Adding CST Nodes: Add two "Color Space Transform" (CST) nodes in the node tree.
  • Label the first node "CST IN" and the second "CST OUT".
• CST IN Configuration:
  • Input Color Space: "Sony S-Gamut3.Cine" (or your camera's specific log profile, e.g., FX3 footage used in the example).
  • Input Gamma: "Sony S-Log3".
  • Output Color Space: "DaVinci Wide Gamut".
  • Output Gamma: "DaVinci Intermediate".
• CST OUT Configuration:
  • Input Color Space: "DaVinci Wide Gamut".
  • Input Gamma: "DaVinci Intermediate".
  • Output Color Space: "Rec.709".
  • Output Gamma: "Gamma 2.4".
  • Purpose: This two-step process brings the Log footage into DaVinci Resolve's wide-gamut working space ("DaVinci Wide Gamut Intermediate") for grading, and then converts it back to a standard display color space ("Rec.709 Gamma 2.4") for viewing, ensuring accurate color representation. This step is crucial for maintaining color fidelity and maximizing grading potential.

Highlight Compression [6:07]

• Adding a Serial Node: Add a new serial node after the "CST OUT" node and label it "High Comp".
• Adjusting Curves for Compression:
  • Go to the "Curves" tab (Custom Curves).
  • Enable "Editable Spline" by right-clicking on the curve graph.
  • Drag the top-right point of the curve downwards to compress the highlights.
  • Goal: This softens the brightest parts of the image, preventing harsh clipping and creating a more subtle, film-like highlight roll-off, which contributes to a cinematic aesthetic.

Coloring with HDR Wheels [8:09]

• Adding a Serial Node: Add another serial node after "High Comp".
• Switching to HDR Wheels: Click on the "HDR Wheels" icon (looks like a sun) to switch from Primary Color Wheels.
• Adjusting Color Temperature and Tint:
  • Drag the "Color Temp" slider (bottom-left wheel) to the right (e.g., around 1600.0 Kelvin) to introduce warmth to the image.
  • Drag the "Tint" slider to the left (e.g., around -4.0) to balance out any excessive green or magenta, maintaining a natural skin tone.
  • Insight: The speaker explains that Netflix-style footage often has a "dark and solid" feel, but this isn't just about brightness. Achieving the right color warmth and balance using HDR wheels allows for precise control over the overall mood, mimicking the nuanced color palettes seen in professional productions.

Parallel Node Design [10:15]

• Adding Parallel Nodes: Add three parallel nodes (Option/Alt + P) after the HDR wheel node.
• Labeling Nodes:
  • Label the first parallel node "Look".
  • Label the second "Glow".
  • Label the third "Skin Tone" (or similar).
• Benefit: Parallel nodes allow for non-destructive, independent adjustments that are then blended together. This provides flexibility to modify different aspects of the image (overall look, atmospheric effects, specific elements like skin) without affecting the base corrections. The speaker suggests referring to previous videos for a deeper dive into parallel nodes.

Creating the Look [11:06]

• Primary Adjustments in "Look" Node: Select the "Look" node.
  • Go to "Primary Color Wheels".
  • Slightly decrease the Gain (red and blue sliders) by 0.01-0.02.
  • Go to "Color Bars".
  • Slightly increase Red and decrease Blue in the Gamma and Gain sliders (around 0.01-0.02).
• Hue vs Hue/Saturation/Luminance in "Look" Node:
  • Go to "Curves HSL" and select "Hue vs Hue". Add an anchor point in the yellow/orange range and slightly raise it to enhance warmth in those specific hues.
  • Go to "Hue vs Saturation". Add an anchor point in the yellow/orange range and slightly lower its saturation to create a less vibrant, more desaturated effect.
  • Go to "Hue vs Luminance". Add an anchor point in the yellow/orange range and slightly decrease its luminance, contributing to the desired dark, cinematic aesthetic.
  • Emphasis: These micro-adjustments create a subtle shift in the color palette, moving towards the desired "Netflix-like" tone. The speaker notes the importance of small, controlled changes.

The Key to Glow [12:43]

• Applying the "Glow" Effect: Select the "Glow" node. [[Image 17 - DaVinci Resolve interface showing the node tree and curves during the glow adjustment.]]
  • Open "Resolve FX Light" and apply the "Glow" effect.
  • Set "Composite Mode" to "Soft Light".
  • Adjust "Blend" to around 0.5.
  • In "Color Filter", select a light blue or cyan hue.
• Impact: The glow effect with a cool color filter creates a soft, diffused light around highlights, adding an ethereal and cinematic atmosphere. This is described as a crucial step for the Netflix look, as it can drastically change the perception of light in the footage.

Adjusting Colors with Curves (Refinement) [15:19]

• Hue vs Hue Adjustment: In the Curves tab, go to "Hue vs Hue".
  • Make very subtle adjustments to the yellow/orange range, potentially slightly increasing it, to fine-tune the warmth introduced earlier.
• Hue vs Saturation Adjustment: In "Hue vs Saturation", make subtle adjustments to the yellow/orange range, gently desaturating to reduce any lingering over-vibrancy.
• Hue vs Luminance Adjustment: In "Hue vs Luminance", make very slight adjustments to the yellow/orange range to achieve the desired brightness for that specific color.
  • Note: The speaker stresses that these are extremely subtle adjustments, often just moving the curve by tiny increments, to achieve a nuanced color balance.

Skin Tone Adjustment (if needed) [17:33]

• Isolating Skin Tones: Add a new serial node. Go to the "Qualifier HSL" tab.
  • Use the eyedropper tool to sample skin tones in the footage.
  • Refine the selection using the "Clean Black" and "Clean White" sliders, and adjust "Blur Radius" to soften edges.
  • Apply a Power Window (e.g., circular) to further isolate the skin area, if desired, to prevent unintended changes to other parts of the image.
• Adjusting Skin Color: Using the Primary Color Wheels, make subtle adjustments to the skin tones.
  • The goal is to give the skin a healthy, slightly reddish tone (as if from drinking alcohol in the scene), avoiding an overly saturated or unnatural look.
  • Caution: The speaker advises extreme subtlety here, as drastic changes can make skin look artificial.

Highlight Adjustment with Curves (Contrast and Texture) [19:14]

• Curves Custom Adjustment: Go back to the "Curves" tab, ensuring "Editable Spline" is unchecked (if previously checked) for a global adjustment.
  • Slightly lift the highlights (upper part of the master curve) to regain some brightness lost from earlier compression, aiming for a delicate balance that doesn't overexpose.
  • Slightly adjust the "Low Soft" slider in the "Soft Clip" section. This will gently lift the darkest shadows, giving them a "matte" or "milky" appearance often associated with filmic looks.
  • Purpose: This step fine-tunes the contrast, ensuring details are preserved in both highlights and shadows, while also contributing to the overall cinematic texture.

Emphasizing Light with Gradient [21:09]

• Adding a Serial Node and Window: Add a new serial node. Go to the "Window" tab.
  • Select the "Gradient" shape (e.g., linear gradient).
  • Position and rotate the gradient window on the screen to simulate a directional light source (e.g., sunlight coming through a window).
  • Adjust the feathering of the gradient to make the light transition appear natural.
• Adjusting Exposure within Gradient:
  • In the Primary Color Wheels, increase the "Gain" and "Gamma" within the gradient window to brighten the area, enhancing the effect of the simulated light.
  • Optionally, adjust the color temperature or tint within the gradient to match the desired light color (e.g., warm for sunlight, cool for moonlight).
  • Effect: This technique adds a dynamic visual element, creating a sense of depth and making the light feel more intentional and dramatic, characteristic of high-end cinematography.

Final Saturation Adjustment [23:52]

• Adding a Serial Node: Add a final serial node.
• Subtle Saturation Decrease: In the Primary Color Wheels, slightly reduce the overall "Saturation" (e.g., from 50 to 43).
  • Rationale: Many cinematic looks feature slightly desaturated colors, which can make the image feel more artistic and less "video-like." This adjustment should be subtle to avoid a completely monochrome appearance.

Applying Film Grain [24:58]

• Adding Film Grain Effect: Add a serial node at the very end of the node tree.
  • Go to "Resolve FX Texture" and apply the "Film Grain" effect. (Note: This feature is primarily available in DaVinci Resolve Studio. Free users can skip this step or explore alternative methods).
  • Select a "Film Stock" (e.g., "16mm 500T" for a classic look).
  • Adjust "Grain Size" and "Grain Intensity" to achieve a desired subtle texture without being distracting.
  • Slightly increase "Softness" (e.g., to 0.23) for a more organic blend.
  • Purpose: Film grain adds an authentic filmic texture, completing the cinematic illusion and helping to unify the overall look of the footage.