Comprehensive Guide to Cinematic Color Grading in DaVinci Resolve: Camera Setup, Shooting Techniques, and Post-Processing Workflow

Jay Jankulovski

Camera Setup/Settings [0:38]

Before opening editing software, having correct camera settings is crucial for perfect color grades. The speaker uses a Sony A7IV but emphasizes that the camera model is less important than understanding settings.

• Resolution [0:54]
  • Always shoot in the highest possible resolution, typically 4K on most modern cameras.
• Frame Rate System [0:59]
  • 30fps: Recommended for smoother playback on social media and YouTube.
  • 60fps: Used for slow-motion footage.
  • 120fps: Used for extra slow-motion footage.
  • The goal is consistent frame rates across all projects for proper setup.

    

• Shutter Speed [1:41]
  • 180° Shutter Rule: Double your frame rate for shutter speed (e.g., 1/60 for 30fps, 1/120 or 1/125 for 60fps, 1/240 for 120fps).
  • This rule creates realistic, smooth motion blur.

    

    

    

  • ND Filters: Essential for bright outdoor conditions to maintain the 180° shutter rule without overexposing. Variable ND filters are highly recommended for adjustable exposure.
• Aperture [2:32]
  • Lower Aperture: Allows more light into the camera, creating subject separation (blurrier background) and a more cinematic look.

    

    

  • ND filters enable using lower apertures in bright conditions.
  • Lens Recommendation: The Sigma 24mm f/1.4 prime lens is recommended for its low aperture [1] and performance, especially in low light.

    

• White Balance [3:13]
  • Set and Lock: Always set and lock your white balance using camera presets (sunny, cloudy, shade) according to the lighting situation.

    

  • Avoid Auto White Balance: Auto white balance constantly adjusts, leading to inconsistent color temperatures across shots and more work in post-production.
• Shoot in LOG (10-bit Color Profile) [3:50]
  • Log Color Profile: Crucial for color grading as it provides a much wider dynamic range than standard Rec. 709 profiles.
  • 10-bit Slog 3 (Sony A7IV example): Enables greater flexibility to manipulate colors in post-production.

    

    

• ISO Settings [4:12]
  • Native Base ISO: Stick to your camera's specific native base ISO and dual base ISO values to achieve the cleanest image with minimal noise.

    

  • Sony Slog 3 Example: Base ISO is 800, and dual native base ISO is 3200.
  • Use 800 ISO for daytime and 3200 ISO for nighttime shots.

    

Shooting Techniques for Better Shots

Before grading, improve your raw footage with these techniques.

Shoot Shadow Side [5:08]

• Concept: Position your subject between the camera and the light source (e.g., the sun).
• Result: Creates a beautiful cinematic and natural style of contrast in your footage.
• The camera should be on the shadow side of the subject relative to the light source.

  

  

Intentional Color Composition [5:50]

• Pre-planning Colors: Deliberately include specific colors in your scene or choose locations that inherently have the colors you want to emphasize.

  

• Example: Placing an orange lamp and a blue light strip in a talking head shot to create a strong color contrast.
• Gear Selection: Purchase gear (e.g., red goggles for snow, blue motocross gear for a red bike against green) that creates visually appealing color contrasts.

  

  

• Without these colors present in real life, no LUT or color grade can effectively "pull" them into the shot.

Practise Tripod Shots [7:03]

• Composition Focus: Shooting on a tripod or handheld forces you to concentrate on the actual composition of the shot, unlike gimbals which primarily focus on smoothness and centering.
• Skill Transfer: Improving compositional skills through tripod shooting makes you a much better videographer and cinematographer, enhancing all future gimbal or other types of shots.

Dehancer Plugin Review [7:41]

Dehancer is a film emulation plugin for color grading, compatible with DaVinci Resolve, Premiere Pro, Final Cut, and Photoshop.

• Workflow Integration: It can transform log footage to Rec. 709 directly within the plugin, eliminating the need for separate Color Space Transforms (CSTs).
  • Select source camera vendor (e.g., Sony) and log profile (e.g., Slog 3/S-Gamut3.Cine).
  • Adjust exposure, temperature, and tint within the plugin.

    

• Film Profiles: Offers various film profiles (e.g., Kodak Portra 400) with adjustable "push" and "pull" to affect the look.
• Film Developer: Adds contrast and boosts saturation.
• Film Compression: Applies a filmic compression to highlights and adjusts color density.

  

• Print Film: Emulates specific print films (e.g., Fujifilm 3513 Print Film) for distinct color and contrast characteristics.
• Color Head: Allows for detailed color grading, adjusting tones in shadows, midtones, and highlights (e.g., cool shadows, warm highlights).
• Filmic Effects:
  • Film Grain: Offers highly realistic and customizable film grain options (e.g., 16mm ISO 50).

    

  • Halation: Creates a distinctive glow around bright light sources.

    

    

  • Bloom: Mimics the effect of a mist filter on a lens, softening highlights.

    

  • Film Damage: Adds subtle flickers and imperfections like old film.
  • Film Breath: Reproduces the slight flicker characteristic of film.

    

  • Gate: Adds a subtle "shake" effect, simulating a film projector.

    

  • Overscan: Creates a vintage film camera look with a black border and other filmic characteristics, often used for cinematic social media posts.

    

    

JAY's CineKit Powergrade [13:00]

The CineKit Powergrade is a DaVinci Resolve node tree system designed for consistent and confident color grades across various projects and cameras.

• Structure: It's a pre-built node tree that logically organizes color grading steps.
  • Includes both a Dehancer version (if you own the plugin) and a stock version (using DaVinci Resolve's native tools).

    

• DaVinci Wide Gamut: The system works within DaVinci Wide Gamut color space, offering a wider dynamic range than individual camera log profiles (e.g., Slog 3).
  • Utilizes a Color Space Transform (CST) "in" node to convert log footage to DaVinci Wide Gamut and a CST "out" node to convert back to Rec. 709.

    

How I Color Grade (Step by Step) [14:07]

The core workflow using the CineKit Powergrade involves a structured approach to color correction and creative grading.

• 1. Color Space Transform (CST) In [14:07]
  • Convert camera log footage (e.g., Sony S-Gamut3.Cine / S-Log3) into DaVinci Wide Gamut for maximum dynamic range.

    

    

• 2. Exposure Adjustment [14:55]
  • Fine-tune lift, gamma, and gain for proper overall exposure and to create natural contrast.

    

    

• 3. Contrast Node (Optional) [15:21]
  • Adds additional contrast if needed, but often naturally achieved through exposure adjustments.
• 4. Linear White Balance [15:27]
  • Accurately adjust white balance in post-production using the gain wheel, referencing the vectorscope for centering.

    

• 5. Temperature Adjustment (Creative, Optional) [15:49]
  • A creative adjustment for overall shot temperature after primary white balance is set.
• 6. Saturation (HSV Technique) [15:57]
  • Apply subtle, cinematic saturation using the HSV (Hue, Saturation, Value) technique through the gain slider.

    

    

• 7. Curves Node (Optional) [16:17]
  • Provides highlight roll-off, blacks lift, and an S-curve for a more filmic look.

    

• 8. Masks Compound Node (Optional) [16:28]
  • Used to add power windows or other masks for isolated adjustments.
• 9. Softness Node [16:34]
  • Subtly softens the image, often in preparation for grain application.

    

• 10. Color Space Transform (CST) Out [16:45]
  • Converts footage from DaVinci Wide Gamut back to Rec. 709.
• 11. Look Node (Creative Color Adjustment) [16:53]
  • Applies the primary creative look using a custom LUT (e.g., "Monarch") within a parallel node structure, with adjustable intensity.

    

    

    

• 12. Effects Node [17:40]
  • Includes various filmic effects:
    • Radial Blur: Creates an anamorphic style look on the edges.
    • RGB Split: Introduces chromatic aberration.
    • Halation: Emulates the glow around bright areas.
    • Bloom: Softens highlights, similar to a mist filter.
    • Vignette: Darkens the edges of the frame to draw attention to the center.

      

      

      

• 13. Sharpen Node [18:24]
  • Sharpens the image if needed, especially after noise reduction or softening.
• 14. Grain Node [18:29]
  • Applies realistic film grain (using Dehancer or stock plugins for the "stock" CineKit version).

    

    

    

Grading Night Footage [18:58]

• Applying CineKit: Start by applying the CineKit Powergrade and setting the CST input (e.g., Slog 3).
• Exposure & Contrast: Adjust lift, gamma, and enable the contrast node for a strong base.

  

• White Balance: Make subtle adjustments to white balance, often cooling it slightly.
• Look & Effects: Apply the "look" node, optionally pairing with other creative LUTs or film looks. Selectively enable effects like RGB split.
• Noise Reduction: Crucial for night footage, apply noise reduction early in the node tree.
• Sharpen: Re-sharpen the image after noise reduction, as noise reduction can soften details.

Grading Talking Head Shot [20:41]

• Initial Setup: Apply CineKit, set CST, then adjust exposure (lift, highlights) to manage skin brightness.
• Curves: Enable curves for highlight roll-off and to bring blacks down for more depth.
• Softness: Apply image softness.
• Look: Apply the main "look" but reduce its intensity (e.g., 0.4) and optionally pair it with other creative nodes like a "Kodak" node for an extra creative layer.
• Effects: Selectively enable effects like radial blur.
• Custom Vignette: Use a power window in the masks node to create a custom vignette, focusing attention on the subject by darkening the surroundings.

  

Sunset Grade [22:10]

• Stock CineKit Version: Demonstrates grading using the stock version of CineKit (without Dehancer).

  

• Exposure: Adjust lift, use HDR wheels for global exposure control, and slightly punch up gain.
• White Balance: Correct overly warm sunset tones by pushing cool tones into the clip.
• Saturation: Enable HSV saturation to make the sunset colors pop.

  

• Curves: Apply curves for highlight roll-off and a subtle black lift for a clean S-curve.

  

• Softness: Apply softness, anticipating a grain application later.
• Look: Enable the main "look" node, adjusting its intensity.

  

• Effects: Selectively apply effects like radial blur for an anamorphic style, RGB split, and halation (using stock plugins).

  

• Grain: Apply grain using stock plugins to complete the filmic aesthetic.

  

  

Learn more with The CineKit tutorials [23:54]

• The CineKit includes a short course with in-depth tutorials on color grading, DaVinci Resolve project settings, and export settings.

  

• Five (or six) sample shots are provided for practice color grading.