DaVinci Resolve Color Grading Tutorial: Achieving the Netflix Thriller Look Without Plugins

JP Reshuan

Initial Setup and Project Configuration [0:01:45]

• Configure DaVinci Resolve project settings for accurate color management.
  • Navigate to the gear icon in the bottom right corner to access project settings [0:01:59].
  • Select "Color Management" and set "Color Science" to DaVinci YRGB.
  • Set "Timeline Color Space" to DaVinci WG/Intermediate.
  • Set "Output Color Space" to Rec.709 (Mac users: Rec.709-A; Windows users: Rec.709 Gamma 2.4) [0:02:21].
• Adjust DaVinci Resolve preferences for optimal viewing.
  • Go to DaVinci Resolve > Preferences.
  • Under System > General, enable "10-bit precision in viewers," "Use Mac display color profile" (if on Mac), and "Automatically tag Rec.709 scene to Rec.709-A" (if on Mac) [0:02:41].
  • For PC users, select available equivalent options.

Selecting a Hero Frame [0:03:07]

• Choose a single representative clip (hero frame) from the timeline to establish the initial color grade.
  • The hero frame should contain key elements like the subject, background, and various colors to ensure the grade applies well across the entire sequence [0:03:26].
  • Avoid close-ups or overly backlit shots as hero frames, as they might not represent the overall scene accurately [0:03:32].

Establishing Color Space Transform (CST) Nodes [0:04:06]

• Create a flexible working environment by transforming log footage into DaVinci Wide Gamut and then to Rec.709.
  • Add two serial nodes (Option + S for Mac, Alt + S for Windows) [0:04:06].
  • Label both nodes "Color Space Transform" [0:04:13].
  • Place the first CST node at the beginning and the second at the end of the node tree [0:04:26].
  • Apply the "Color Space Transform" effect to the first node [0:04:32].
  • Set "Input Color Space" and "Input Gamma" to match the camera's log profile (e.g., Sony S-Gamut3.Cine / S-Log3) [0:04:42].
  • Set "Output Color Space" to DaVinci Wide Gamut and "Output Gamma" to DaVinci Intermediate [0:05:00].
  • Copy the CST effect from the first node and paste it onto the second node [0:05:12].
  • On the second CST node, swap the input/output values: set "Input Color Space" to DaVinci Wide Gamut / Intermediate and "Output Color Space" to Rec.709 / Gamma 2.4 [0:05:32].
  • This creates a color-managed workflow where all primary grading happens between these two CST nodes in the DaVinci Wide Gamut space, offering greater flexibility [0:06:05].

Basic Color Correction [0:06:14]

• Adjust fundamental image properties (exposure, white balance, contrast, saturation) to prepare for the desired look.
  • Add three serial nodes after the first CST node: "Exposure," "White Balance," and "Contrast" [0:06:14].
• Exposure Adjustment [0:06:47]
  • In the "Exposure" node, use HDR wheels. Change the color space to match the camera's log profile (e.g., Sony S-Gamut3.Cine / S-Log3) [0:07:06].
  • Lower the global exposure significantly to achieve a moody, dark base, ignoring typical scope rules for highlights [0:07:29].

    

• White Balance [0:08:08]
  • In the "White Balance" node, use the offset values to align red, green, and blue values in the parades, ensuring whites are white and blacks are black without color spills [0:08:36].
  • Use the "Display Qualifier Focus" to pinpoint white/dark areas for precise adjustments [0:09:16].
• Contrast Enhancement [0:09:34]
  • In the "Contrast" node, increase contrast using the slider while carefully monitoring shadows to avoid crushing details [0:09:41].
  • Adjust the pivot to add more weight to the shadow side of the image [0:10:10].
  • Use custom curves (Y luminance only) to further shape the contrast by lowering highlights and slightly raising shadows, creating an "S" curve [0:10:26].

    

• Softening Highlights and Shadows [0:12:15]
  • Add a new serial node after the contrast node for "Softening."
  • Use the highlights and shadows sliders to mute harsh highlights and lift crushed shadows, softening the overall image [0:12:28].
• Saturation Enhancement [0:13:12]
  • Add a new serial node for "Saturation."
  • Right-click the node, go to Color Space > HSV and Channels > disable Channel 1 and Channel 3 (keeping only Channel 2 for saturation) [0:13:20].
  • Use the color wheels (e.g., gain wheel) to selectively add saturation, resulting in richer, deeper colors rather than a flat saturation increase [0:13:55].

    

Building the Netflix Thriller Look [0:14:30]

• Apply the distinct aesthetic of the Netflix thriller look.
  • Add three new nodes: "Look," "Look Adjustment," and "Hue Saturation Luminance (HSL)" [0:14:40].
• "Look" Node (Color Wheels) [0:15:09]
  • In the "Look" node, use the color wheels (lift, gamma, offset) to introduce a cooler overall tone.
  • Use the lift to push shadows towards teal/blue [0:15:21].
  • Use the gamma to warm up the midtones and recover skin tones (opposite to the lift) [0:15:45].
  • Use the offset to globally shift all colors towards cooler, teal/blue tones [0:16:24].

    

• "Look Adjustment" Node (DCTL) [0:18:12]
  • Apply a free DCTL called "Tetra Interp" (link in description) to this node [0:18:19].
  • This DCTL provides sliders for fine-tuning the red, green, and blue components within each primary and secondary color (e.g., Red-Red, Red-Green, Red-Blue).
  • Decrease "Red-Red" values to introduce cyan into skin tones, shifting towards a monochromatic look [0:20:18].
  • Adjust "Red-Green" to fine-tune green balance and "Red-Blue" to adjust yellow levels (decreasing blue adds yellow) [0:20:33].
  • Adjust magenta values to reduce redness in lips by adding cyan [0:21:14].
  • Carefully adjust yellow values to balance elements in the background, being mindful of their impact on skin tones [0:21:58].

    

• "HSL" Node (Hue vs. Saturation Curves) [0:22:57]
  • Go to the curves panel and select "Hue vs. Saturation" [0:22:57].
  • Create points on the green, cyan, and blue sections of the curve [0:23:02].
  • Lower the saturation for blue and green areas to desaturate the background elements, further isolating the subject and reinforcing the moody aesthetic [0:23:11].

    

Adding Cinematic Texture [0:24:11]

• Refine the look with subtle effects to enhance the cinematic feel.
  • Add two serial nodes after the HSL node: "Beauty Effect" and "Glow Effect" [0:24:14].
• Beauty Effect [0:24:21]
  • Apply the "Beauty" effect to the first texture node [0:24:31].
  • Set the operating mode to "Automatic" and increase "Amount" (e.g., 680) and "Scale" (e.g., 450) [0:24:38].
  • Blend the effect using the "Global Blend" slider (e.g., 400) to keep it subtle and prevent a muddy appearance [0:25:01].
• Glow Effect [0:25:19]
  • Apply the "Glow" effect to the second texture node [0:25:19].
  • In "Advanced Controls," set "Composite Type" to "Soft Light" and lower the "Shine Threshold" to zero [0:25:23].
  • Increase "Spread" to blend the glow into highlights [0:25:35].
  • Optionally, lower "Saturation" to zero if the glow shifts colors too much, but a slight blue tint can be desirable [0:25:47].
  • Blend the effect using "Global Blend" (e.g., 450) [0:25:57].
• Contrast Pop (Optional for Studio Version) [0:26:11]
  • Add a "Contrast Pop" effect for additional texture (available in DaVinci Resolve Studio).
  • Increase "Detail Amount" (e.g., 50) and adjust "Detail Size," "Threshold," and "High Threshold."
  • Add "Softness" and blend the effect to taste, keeping it very slight for subtle texture enhancement [0:26:39].

    

The tutorial concludes by emphasizing the importance of understanding the logic behind each step to adapt it to different footage and encourages consistent practice.