Cinematic Color Grading in DaVinci Resolve: Secondaries, Glow, and Tone Curves Tutorial

Flynn on Film

Introduction [0:30]

• This is episode 2 of "Cracking the DaVinci Code" series.
• The episode covers secondary adjustments, glow effects, and tone curves to achieve professional cinematic quality footage using the free version of DaVinci Resolve.
• The video will walk through the complete workflow: isolating specific colors, adding cinematic glow, and mastering tone curves.

Secondaries [0:55]

• Understanding Secondary Adjustments [0:55]
  • Secondary adjustments are specific to a certain area of the image (e.g., shadows, sky, a masked subject).
  • Unlike primary adjustments that affect the entire image globally, secondaries allow targeted changes.
  • The video utilizes pre-made sky and dark nodes, but users can create unlimited secondary nodes as needed.
• Keying for Highlights (Sky Recovery) [2:24]
  • To key out the sky, primarily use the Luminance slider.
  • Set the softness between 6 and 10 (e.g., 7) to ensure a gradual and soft transition.
  • Adjust the Luminance slider to key out only the bright areas (sky), typically between 58 to 60.

    

  • Applying a Blur Radius [7:18]
    • Always apply a blur radius (e.g., 9-10) to the mask to avoid harsh edges, making the key look natural.

      

• Methods for Highlight Recovery [3:03]
  • 1. HDR Tab Exposure Slider: [3:13] This method affects the exposure metrically but might behave differently.

    

  • 2. Highlights Slider: [3:17] This is the preferred method as it precisely adjusts points on the curve for bright highlights without desaturating the image.
    • Moving the highlights slider down recovers detail in blown-out skies and bright areas very effectively.
    • This method works exceptionally well for cameras shooting in 10-bit, which store extensive highlight information.
  • Combining Methods: [5:55] Sometimes, a combination of both the HDR exposure slider (for global brightness reduction) and the highlights slider (for precise recovery) works best.
    • For instance, reduce overall exposure by a quarter stop with HDR, then use the highlights slider to recover specific detail.

Recovering Shadows [7:51]

• Identifying Dark Areas for Recovery [7:51]
  • The example image features a subject (cyclist) and his equipment (bike, helmet) that are very dark, almost pure black.
  • Keying out dark areas helps recover lost information in shadows.
• Keying for Shadows (Dark Recovery) [8:12]
  • Similar to highlights, use the Luminance slider in the opposite direction.
  • Set the softness around 8-10.
  • Adjust the Luminance slider (e.g., up to 58) to key out only the dark areas.
  • Add a blur radius for softer edges, similar to highlight keying.

    

• Methods for Shadow Recovery [8:50]
  • 1. HDR Tab Exposure Slider: [8:53] Adjusting this slider will brighten the shadows but might also lift surrounding mid-tones.
  • 2. Shadows Slider: [10:30] This is the preferred method for shadows.
    • It precisely adjusts the shadow points on the curve without washing out the image if kept below 25 (e.g., 20).
    • This method helps lift the subject slightly and creates a more natural, well-balanced image.
  • Combining Methods: [11:06] A combination can be effective; for example, using the shadows slider to lift the shadows and then a slight adjustment with the HDR tab if needed.
  • The result shows significant detail recovered in the subject's hoodie and bike that were previously black.

Glow [12:05]

• Introduction to the Glow Node [12:05]
  • The glow node is pre-activated with specific settings in the example powergrade.
  • Many people might grade with the glow node off, but with the correct setup, it's beneficial to keep it on.
• Optimal Glow Settings [12:12]
  • Composite Type: Set to Soft Light. This creates a subtle vignetting effect.
  • Shine Threshold: Set to 0. This maximizes the glow and creates a very nice vignette effect in the image's edges and keys in on the middle.
  • Spread: Adjust the spread slider (between 0 and 2) to control the "dreaminess" or "pop" of the effect.
    • A spread of 2 (or higher) looks like real life.
    • Closer to 0 makes the image more dreamy and poppy, emphasizing highlights.
  • Gain: Set to 0.39.
  • Gamma: Set to 0.92.
  • Ensure both "Alpha Blur Light Sources" and "Gamma Curve Effect" are checked.

    

• Importance of Correct Settings [13:47]
  • It's crucial to have the correct settings for the glow node to function as intended and avoid undesirable effects.

Curves [14:25]

• 1. Hue vs. Hue Curve for Color Correction [14:27]
  • The Hue vs. Hue curve is used to adjust specific color hues within the image.
  • In the example, the subject (cyclist) appears slightly purple.
  • Click the blue dot in the curve (representing the blue/purple range) and drag it slightly upwards or downwards to remove the unwanted purple hue.
  • This creates a more neutral blue tone, effectively fixing the color cast.
• 2. Tone Curve (S-Curve for Contrast and Dynamic Range) [15:51]
  • Crushing Whites (Highlights) [16:09]
    • Place anchor points on the highlights and shadows in the tone curve.
    • Grab the white point and bring it down to "crush" the whites, setting a limit to how bright highlights can get.
    • This creates a gradual roll-off and a cinematic "faded" look in the highlights, while adding subtle pop and contrast.
  • Lifting Blacks (Shadows) [16:50]
    • Add two points in the shadow region of the tone curve.
    • The first point on the "fourth line" from the bottom, and the second on the "second line" from the bottom.
    • Lift the second point slightly to roll up the blacks, ensuring they are not completely crushed (at zero).
    • This brings back information in the darkest areas, preventing pure black and giving a more cinematic lift to the shadows without looking washed out.
    • The scopes will show that the blacks are no longer at the floor (zero).

      

Final Review [18:35]

• Comparison: Before vs. After Color Grade [18:35]
  • Before: The original image was dark with a blown-out sky and purple cast on the subject. There was very little detail in the shadows and highlights.
  • After: Secondary adjustments recovered significant detail in both the sky and the dark subject. The glow node added a desired dreaminess/pop, and the tone curves corrected color and set the overall contrast and dynamic range.
  • The final image looks professional, with rich detail and a cinematic feel, taking it from an amateur look to something seen on TV.