COLOR GRADING WORKFLOW

1. Color management

Color management is the first step in color grading. It basically consist in preparing the clip for color grading by the means of specifying how the camera took the footage and how we are going to deliver the footage depending of the output media (what the camera saw and what the display can reproduce).

In Davinci Resolve, Color management can be conducted in three ways: via Project settings, via nodes or via Camera Raw. Via nodes give you a bit more fine tuning.

1. Via Project settings is done by using a Color Science other than the default DaVinci YRGB , and changing the 'input color space', 'timeline color space' and 'output color space' under Project Settings -> Color Management -> Color Space & Transforms. This method will affect all clips in the project. If we have clip recorded with different cameras, we can right click in a clip in the Media pool section and select a different input color space, and it will only apply to that clip.

2. Via nodes and Color Space Transform (CST) effect.  Default DaVinci YRGB color science must be used. Each clip must have a input node at the start and output node at the end. The graphic above explain where Input and Output nodes must be placed. The input node must be setup with a Color Space Transform (CST) effect with the camera color space and the timeline color space, whereas output node must be setup with a CST effect with the timeline color space and the output media color space (monitor, tv broadcast, cinema, etc).

3. Via Camera RAW. For RAW format footage (BRAW, RED, ARRI), keep the default DaVinci YRGB color science with the default settings. Now we have to set DaVinci Resolve to use the correct color space by default when encountering such RAW clips. For that we have to set some values in Project Settings -> Camera Raw. More information can be found in the section "Camera RAW" below.

Note: Regardless of the color management used, set '3D lookup table interpolation' to 'Tetrahedral' within Project Settings -> Color Management -> Lookup Tables

Automatic Color Management in Project Settings

• Color science: DaVinci YRGB Color Managed

• Automatic color management: ticked

• Color processing mode: choose option

• Output color space: choose option

When importing clips to the project from the Media pool section, DaVinci Resolve will automatically  select the correct Input Color Space. If for some reason Resolve does not process the "Input color space", right click on the imported clip from the Media section and select "Input Color Space" and choose the color space of the clip.

Semi-Automatic Color Management in Project Settings

• Color science: DaVinci YRGB Color Managed

• Automatic color management: unticked

• Color processing mode: choose option (HDR DaVinci Wide Gamut Intermediate)

• Output color space: choose option (Rec.709 Gamma 2.2)

Between brackets are the preferred options if you are in doubt. You need to setup the "Input Color Space" manually on each clip by right clicking on the imported clip from the Media section and select "Input Color Space" and choose the color space of the clip.

Custom Color Management in Project Settings

• Color science: DaVinci YRGB Color Managed

• Automatic color management: unticked

• Color processing mode: custom

• Input color space: choose option

• Timeline color space: choose option (DaVinci WG/Intermediate)

• Output color space: choose option (Rec.709 Gamma 2.2)

Between brackets are the preferred options if you are in doubt. If for some reason the Resolve does not processes the "Input color space" selected, right click on the imported clip from the Media section and select "Input Color Space" and choose the color space of the clip.

Color Management using Nodes and CST

We have to choose DaVinci YRGB color science in Project Settings. Otherwise, the other color science settings will override the CST implemented in the nodes. CST stands for Color Space Transform.

• Color science: DaVinci YRGB

• Timeline color space: DaVinci WG/Intermediate

• Output color space: Rec.709 Gamma 2.2)

Also, if we are using RAW format clips, we must configure 'Camera RAW' as explained below.

In the Color page, with the Nodes tab selected, we have to follow a particular node workflow depending if we are using RAW format clips or not.

• RAW:

Check the section "Camera RAW" below.

• Not using RAW:

Then we create two nodes in color page, one at the beginning (input node) and one at the end (output node) of the pipeline. We drag and drop a Color Space Transform (CST) effect to both nodes and change the settings depending on the camera used and the intended output display.  Check the section "Camera Settings" below for detailed information.

Camera RAW

IMPORTANT: For RAW format footage (BRAW, RED, ARRI), keep the default DaVinci YRGB color science with its default settings. Now set DaVinci Resolve to use the correct color space by default when encountering such RAW clips.  For that we have to set some values in Project Settings -> Camera Raw:

For Blackmagic BRAW we use the following:

• RAW profile: Blackmagic RAW

• Decode quality: Full res.

• Decode using: Project

• Color space: DaVinci Wide Gamut

• Gamma: DaVinci Intermediate

After this, in the Color page, in the nodes panel, select 'Timeline' instead of 'Clip' and add a serial node if there is none, and add a Color Space Transform effect to it. These are the settings:

• Input Color Space: DaVinci Wide Gamut

• Input Gamma: DaVinci Intermediate

• Output Color Space: Rec.709

• Output Gama: Gamma 2.2

From this point on, any Blackmagic RAW clip in your project will be automatically corrected and will remain as such, regardless of the input color space selected or changes you make to the input color space. If you also add settings in Camera Raw for RED and ARRI (they are cumulative, not exclusive), it will work the same as for Blackmagic RAW clips.

Any other node added to this pipeline within the 'Timeline' node will affect all footage in the timeline, so this is a good place to normalize your footage. Just remember that the node with the CST effect must be added at the end of the pipeline.

If you want to fine tune individual clips, add nodes within the 'Clip' mode. 'Clip' mode and 'Timeline' mode can be set either clicking on the dots, or using the top down menu besides the zoom slider on the top left.

Camera Settings

Video export settings

• Format: QuickTime

• Codec: H.265

• Encoder: NVIDIA

2. Primary grading (normalizing, balancing and shot matching)

Before you can grade footage creatively, you must adjust shot luminance and chrominance to create a level starting point for your grade. It uses techniques known as normalization, balancing and shot matching. Contrast is normally not performed at this stage. Primary grading affects the whole image.

Normalization (tonal range) and balancing (colors) involves creating a neutral starting point for each clip in the timeline by consistently adjusting the luminance levels of each clip (normalization, which involves adjusting the shadows between 0 and 128, and adjusting the highlights up to 896), and neutralizing any issues with the color balance (white balance). It is basically getting all the three parades the same in gray scale areas. You can create a node for normalization and another node for balancing, this way you expand the luminance of the image and work on the colors on a much broader range of the image.

Shot matching involves comparing clips to one another and matching their contrast and colors exactly. This technique is particularly advantageous when the majority of your footage already has a similar look, and you need tweak only a few exceptional shots to create a smooth starting point for your scene. It is basically about getting the relationship between the channels to be the same, so if on one image the red channel is far more dominant than the blue channel, then if I'm performing matching I have to kind of replicate that mismatch between the parades.

HDR

SDR

Converting HDR to SDR

If you are delivering both to HDR and SDR displays, it is recommended to start color correcting in HDR and then convert to SDR. It is very easy to  do. Follow these instructions:

1. Grade your footage in HDR Color Wheels

2. Go to preferences -> Color Management

3. Under Dolby Vision, click on the Enable Dolby Vision tick box

4. Select your HDR display on Mastering display (1000-nit, P3, D65, ST.2084, Full) and click 'Save'

5. Click on the newly 'Dolby Vision' button

6. On Target Display Output, select your SDR display: 100-nit, BT.709, BT.1886, Full (HOME)

7. Click on Frame button

3. Secondary grading

After performing a primary grade, you may need to tweak specific areas or specific color. On this process only a part of an image is altered. It’s mainly achieved by two means: keying and masking. Secondary grading involves parallel nodes. If you require to alter three different things, for example, create three parallel nodes. 

Keying targets a portion of an image based on a hue, saturation or luminance range. In Resolve, the main tool for key extraction is the qualifier.

Masking employs geometric vector shapes to isolate a portion of an image. In Resolve, the masking interface is the Power Windows palette.

Like the qualifier, Power Windows cannot alter the appearance of an image directly, but act as selectors for the grading tools.

Secondary grading is at its most powerful when the qualifier and Power Windows are used in tandem. While the qualifier focuses on extracting an element with a clean edge, a power window can confine  the qualifier’s influence to a specific portion of the screen. In this way, it is possible to target an object in the presence of other areas of the shot that are of the same key range.

4. Creating a Look

Once your footage is balanced and shot matched, and any individual secondary grading needs are met, your creative process can begin. Contrast is mostly added at this stage. You can use primary grade to influence an audience’s emotional perception of an environment by tweaking a scene’s temperature to indicate positive (warm) or negative (cold) moods. Also, the creative grade can communicate practical narrative elements such as a change in location or time (for non-linear stories).

Note that it is often necessary to return to and readjust the grades applied in earlier stages.

Types of looks:

• Cross Process (opposing colors between opposite tonal ranges of the image): https://youtu.be/jo0YcNRlrNA?t=2479

• Cross Process (alternative way): https://www.youtube.com/watch?v=AnImo1jV52Q&t=423s

• Low Key Blue: https://www.youtube.com/watch?v=AnImo1jV52Q&t=79s

• High Key (vibrant colors): https://www.youtube.com/watch?v=AnImo1jV52Q&t=123s

• Muted Yellow: https://www.youtube.com/watch?v=AnImo1jV52Q&t=263s

• Bleach Bypass: https://www.youtube.com/watch?v=AnImo1jV52Q&t=318s

• Hot Day: https://www.youtube.com/watch?v=AnImo1jV52Q&t=481s

• Brown: https://www.youtube.com/watch?v=AnImo1jV52Q&t=543s

Primary and Log wheels

Primaries and Log wheels can be used very effectively together. Whereas you can use the primaries as a means of establishing tonal range and contrast, Log wheels behave like a secondary adjustment that can further refine the three luminance ranges.

Log wheels are particularly effective for working on under or overexposed footage. They allow for restorative work in the high and lower ranges, as well as minor tweaks to the brightness and hue of those ranges without seriously affecting the remainder of the image.

Together with balancing and matching, they are also powerful tools for creating distinct creative looks.

Color Managed Workflow

When using Rec.709 color space, the general rule is to use 2.2 gamma when preparing work for web content, and to use 2.4 when preparing to output for broadcast or theatrical screening.

Revert the color space back to Log when sending materials to VFX compositors. Your color corrections will be retained in the image and visible to the VFX artists when they color manage the media on their end.

Nodes

The green triangle and square shapes at the top of the node are the RGB input and output respectively. These carry the pixel data of the image. Corrector nodes can only accept one RGB input but can output multiple RGB signals to other nodes.

The blue triangle and square shapes at the bottom of the node are the key inputs and outputs. These enable you to transfer the key data generated by the Power Window and qualifiers to be used by other nodes.

When using a qualifier, you almost always want to work with the ungraded or balanced version of the image, free from any severe color or contrast impact.

The Parallel Mixer node is perfect for performing organic, or natural-looking adjustments such as skin tone or hair work.