DaVinci Resolve 19 Film Look Creator: A Comprehensive Guide to Achieving Filmic Looks

Color Grade Digital

Introduction to DaVinci Resolve 19 Film Look Creator [0:00]

The video introduces the new Film Look Creator in DaVinci Resolve 19, a powerful tool designed to quickly achieve filmic looks.

• Tool Overview [0:04]
  • The Film Look Creator is a new feature in DaVinci Resolve 19, available for free with the Studio version.
  • It is highly useful for rapidly developing various cinematic looks.
• Look Development vs. Color Grading [0:16]
  • The presenter emphasizes that look development and color grading are distinct disciplines.
  • Look development focuses on establishing an overall visual style, while color grading involves shot-by-shot adjustments for consistency and narrative.
• Compatibility [0:40]
  • The Film Look Creator works seamlessly with ACES, DaVinci Wide Gamut Intermediate, and other color spaces, offering flexibility in different workflows.

Initial Setup and Workflow [0:50]

The presenter outlines the recommended node tree setup and workflow for integrating the Film Look Creator into a professional color grading pipeline.

• Footage and Camera [0:51]
  • The demonstration uses footage shot with a Blackmagic Cinema Camera 6K.
• Node Tree Configuration [1:01]
  • The presenter pre-configured a node tree with "in" and "out" nodes to manage color space transformations.
  • The "in" node converts Blackmagic Gen 5 camera footage to ACEScct (working color space). [1:15]
  • The "out" node converts the ACEScct timeline working space to Rec. 709 gamma 2.4 for SDR deliverables. [1:38]

    

• Applying the Look [2:10]
  • The strategy is to apply the film look to all clips first (at the timeline level) to define the overall visual language. [2:13]
  • Individual color grading adjustments will then be made on a shot-by-shot basis after the look is established. [2:34]
  • This approach prevents unnecessary adjustments within the Film Look Creator that are better handled during individual clip grading. [2:44]

Film Look Creator Interface and Presets [3:22]

The video delves into the Film Look Creator's interface, explaining basic controls and how to utilize presets.

• Accessing the Tool [3:25]
  • The Film Look Creator can be found in the Effects tab by searching "film look" or "look."
  • It is applied to a node, ideally positioned as the last step before the "out" node in the timeline. [3:47]
• Basic Controls [4:11]
  • A red dot on the effect allows for quick activation/deactivation, similar to enabling/disabling a node.
  • Presets like "Default 65mm," "Cinematic," and "Nostalgic" offer quick starting points. [4:37]
  • For professional grading, the presenter recommends starting with "Clean Slate" to build a custom look from scratch. [5:09]

    

• Blend Options [5:21]
  • "Color blend" and "Effects blend" sliders control the intensity of the applied color and textural/spatial effects.
• 3D LUT Compatibility [5:39]
  • The "3D LUT compatible" option allows users to temporarily disable textural and spatial effects (like halation, bloom, grain) to focus solely on color and split toning adjustments. [5:56]
  • This helps in understanding the impact of each parameter without visual clutter.

Color Settings [7:49]

This section details various color adjustments available within the Film Look Creator and the presenter's recommendations for their use.

• Film Look Blend [6:37]
  • Controls the overall blend amount of the chosen film look into the footage.
  • The "Core look" parameter offers different aesthetic bases such as "Cinematic," "Rochester," and "Akasaka." [6:51]
  • The presenter prefers "Rochester" for the demonstration clip. [7:15]
• Exposure [7:54]
  • The presenter advises against using the exposure slider in the Film Look Creator for overall looks, as exposure adjustments are highly shot-specific. [8:04]
  • These should be handled during individual clip grading.
• Contrast [8:42]
  • While the presenter prefers using contrast curves for individual clips, the Film Look Creator's contrast slider can be used for general contrast adjustments across the look. [8:47]
• Highlights [9:16]
  • Similar to exposure, highlights are rarely adjusted in the FLC, as they are clip-specific. [9:24]
• Fade [9:31]
  • Increases shadow detail by raising them above the zero point on the waveform, protecting them from clipping. [9:40]
  • The presenter does not use this, preferring contrast curves for shadow control. [9:53]
• White Balance and Tint [10:02]
  • These are not recommended for general look development as they are crucial for shot-by-shot balance. [10:04]
• Subtractive Saturation [10:41]
  • This is a highly favored slider, as it increases saturation without significantly affecting luminance, contributing to a more filmic quality. [10:50]
• Richness [11:15]
  • Adds depth to colors but needs careful adjustment to avoid over-saturation. [11:28]

    

• Bleach Bypass [11:53]
  • Creates a desaturated, high-contrast, "gritty" filmic look by retaining silver in the film during processing. [11:59]
  • The presenter opts not to use it for this demonstration.

Split Toning [12:22]

Split toning is highlighted as a crucial element for achieving traditional filmic characteristics.

• Concept [12:25]
  • Traditionally involves adding cooler tones to shadows and warmer tones to highlights. [12:35]
  • This technique has been a staple in Hollywood for many years.
• Controls [12:55]
  • Amount: Controls the intensity of the split toning effect. [13:02]
  • Hue Angle: Shifts which specific hues are affected in the highlights and shadows. [13:22]
  • Pivot: Adjusts the crossover point between shadows and highlights, determining where the split toning effect transitions. [14:05]
  • Caution is advised, as these controls can quickly lead to extreme results if not used carefully. [14:27]

    

Effects Settings [15:09]

After establishing color, the video moves to textural and spatial effects.

• Vignette [15:22]
  • Adds darkness to the edges of the frame to draw attention to the center.
  • The presenter advises against applying vignette at the look level due to its shot-specific nature, preferring to use power windows during individual clip grading. [15:35]
• Halation [16:13]
  • A significant new addition, halation simulates the red fringing around bright areas, a characteristic of film photography due to light scattering in the emulsion.
  • Controls include Amount, Radius, Saturation, and Hue. [16:28]

    

• Bloom [17:22]
  • Softens bright areas and highlights, creating a diffused, dreamy effect.
  • Adjustable parameters are Amount and Radius. [17:28]
• Grain [18:06]
  • Adds film grain to simulate the texture of analog film.
  • Presets include "35mm" and "65mm." [18:13]
  • Adjustable controls are Amount, Size, Softness, Saturation, and Image Defocus. [18:39]

    

• Flicker, Gate Weave, and Film Gate [18:46]
  • These are specialized effects for replicating specific photochemical or vintage film characteristics (e.g., inconsistencies in film projection or frame imperfections).
  • The presenter rarely uses these for general film looks, reserving them for projects requiring a very specific, stylized, or archival aesthetic. [18:50]

Applying the Look and Iteration [19:57]

The presenter discusses the process of evaluating and refining the created look across an entire project.

• Global Application [20:05]
  • After creating a look, it is applied globally to all clips in the timeline.

    

    

• Iterative Refinement [20:48]
  • It's common for a look to work well on some clips but not others, necessitating further adjustments to the overall look. [21:06]
  • This back-and-forth process is normal for colorists to achieve a consistent visual style across diverse footage. [21:21]
• Transition to Color Grading [22:07]
  • Once the overall look is satisfactory, the final step involves individual clip color grading for precise exposure, contrast, and balance adjustments. [22:28]
  • The presenter reiterates the preference for performing shot-by-shot adjustments outside the Film Look Creator for parameters like exposure, highlights, contrast, white balance, tint, and saturation. [22:38]

    

Blending Creative and Technical Skills [23:39]

The video concludes by emphasizing the importance of combining technical proficiency with creative intent in color work.

• Working with Intent [23:41]
  • Beyond learning the tool, users should focus on the story, mood, and what they want the audience to feel or focus on.
• Holistic Approach [23:55]
  • Color grading is a blend of creative vision and technical execution.
  • Mastering both aspects leads to stronger and more impactful images.