Cinematic Color Grading Davinci Resolve | How to create the Hollywood look 

Thank you very much for commenting! we appreciate it very much!

what do we do with our gopros? damnn pricess

which program, you mean Davinci Resolve?

Yes you are right, but we are simply not making a comparison, it is just a sample of the material as recorded by the bmpcc4k and the result you can get, as in the tutorial you can see the whole process of the image. But in future videos we can make that comparison from Rec 709 to the final look.

@@hermanosbander from raw to graded, we dont see your grade , cos we dont know what was in 709)) we need to remember start, and than find final) but final is really good, yes 👍

Relax ur vigygy.. no need to be intense 😊

Tranculo, skinny super man.

Why you hating this much? Relax dude.

Thank you very much for sharing your feelings with us. It is a pleasure that our work can be useful. It is very motivating to read comments like yours. success and blessings!!!!

Same here

Thank you, the AI gives us the flexibility to change the language of our videos so that more people can get to know the way we work, but we will take your comments into account!

When doing color grading, the goal is to achieve an image that conveys something, not necessarily to make everything look technically natural. It all depends on what you're aiming for. If we want to have a natural balance, we can go down that path, but in this specific case, that wasn't our objective. The same applies to skin tones: if the environment has a strong temperature or dominant color, adjusting skin tones for technical correctness can cause them to not blend well in the scene. That's why it all depends on what you're aiming to achieve.

Thank you! Yes, we will be making tutorials with footage from other cameras.

This is done because when converting from Wide Gamut to Rec709, you ensure how the image is supposed to look with a standard transformation. By having the Cineon film log and LUT nodes separated, we can easily combine them if we want to reduce the Kodak film effect.

@@hermanosbander got it! Thanks

We have not worked especially with the Sony a7 but we have done color grading in Sony S log, soon we will do a tutorial.

How awesome that our tutorial helped you nail that result!

Thanks for commenting, I'm glad you find our content helpful!! :)

@hermanosbander hey bro, Could please explain why we need to convert to cinelog ? I am blank about that

Correct, ideally you should shoot in a log profile, and in DaVinci Resolve, on the first CST node, change the input to your camera's profile. After that, you can follow the tutorial for everything else

Of course, some processes are best done in a wider color space, so we rescue information and adjust a much wider range of colors, and the contrast for example we prefer to do it on the rec 709 conversion because it gives a different result and sometimes you are looking for that, it is important to define where to make certain adjustments.

This is because once we have our conversion to REC 709, then we can work towards achieving a natural image. By having both a CST and a LUT, we can easily combine this film print effect. It's mainly about having control and organization over each process and being able to easily revert to a more natural look.

Of course it can be done without the rec 709 conversion, but it is our way of having everything in sections, so if we decide to combine the transformation with the Kodak lut we can do it without any problem, in this case we do not lower the intensity of the kodak effect, but in some other cases we do it.

We shot in BRaw 3:1

Are you referring to the Kodak LUT? I think this is also available in the free version, what might be exclusive to the Studio version is the CST plugin.

Thanks so much!! Sure, you can use the same node structure for slog3. The only thing you need to change is the input in the first CST, set the color space and gamma to slog3, Sgamut3 Cine.

You can use the same node tree but you have to change the input in the first CST, input color and input gamma to match your material.

Sure, we will keep it in mind!

To use the Raw settings, you need to select the "CLIP" option in "Decode Using" within Camera Raw

You can follow the tutorial step by step even if you have footage in Slog3; you just need to change the input in the first CST to match your footage. This way, you'll be working in a color space larger than Slog3. If you want to work directly in Slog3, it's not necessary to have an initial CST, only the CST at the end of your tree node that transforms Slog3 to Rec 709."

@@hermanosbander understood thank you

Yes, it could be more technical to use P3-D65 before the LUT, but testing I have noticed that it only affects the saturation, and with the fact of using the kodak 2383 lut we obtain a very desaturated image due to the characteristics of the LUT and if instead of Rec 709 we use P3-D65 the image is even more desaturated, for this reason I simply leave it in Rec 709.

@@hermanosbander i have seen many colorist profisonals are not transferring colorspacees property. Not mentioning to you because i totally got your point and tested rec709 myself as you said is better saturated with kodak film looks. I'm glad that you properly transformed all your colorspaces correctly.

You should use p3 if your output will be cinema theater or HDR rec2020 p3 limited, most of internet content is 709 color space limited, so it turns out less saturated inp3 because colors are out of final color gamut.

Which adjustments are you referring to? Adjusting in RAW settings is useful when you need to correct something like exposure, temperature, etc. In this case, there was no need to make any adjustments of this kind directly in the RAW settings.

Thank you! Having a dedicated node with the transformation to REC 709 and then another compound node with Cineon Film Log output before applying the LUT allows you to combine the print film emulation effect whenever you want. Sometimes you may only want to apply a hint of the film effect, and this way, it's very easy to adjust the opacity of the effect.

@@hermanosbander Thank you!!

Softlight

Thanks!! Not all the footage can be shared, but in future tutorials, we will upload the footage so you can download it

Soon :)

By performing the transformation in the first node, we are completely reducing the color space and gamma, leaving us with no range to alter colors and luminosity. Rec709 is a very small color space. By following the tutorial's approach, we ensure that we are leveraging a very wide color space with ample range to recover information and alter tones

@@hermanosbander Thank you so much

This is done because when converting from Wide Gamut to Rec709, you ensure how the image is supposed to look with a standard transformation. By having the Cineon film log and LUT nodes separated, we can easily combine them if we want to reduce the Kodak film effect.

This is done because when converting from Wide Gamut to Rec709, you ensure how the image is supposed to look with a standard transformation. By having the Cineon film log and LUT nodes separated, we can easily combine them if we want to reduce the Kodak film effect.

The look of any film is subjective. Personal preferences play a big role here, but with these tutorials, you can experiment and achieve a finish that you like the most.

Many thanks to you bro, we'll keep sharing more of what we do!!!

Just click on "Decode Using" an select Project

Thank you! If we reach more views we will share some footages

Surely your clip is not Raw, it may be a log file but if you can't adjust anything in the camera raw window it is not a Raw.

@@hermanosbander i see, thanks man

Thanks so much :)

In this specific case, we are happy with the skin tone, so we didn't make a specific adjustment. Skin tones should also be influenced by the scene's environment, otherwise, it will look artificial. In this clip, the skin blends well with the color palette. It's not necessarily a natural tone, but it's what we were aiming for here.

Which color picker options are you referring to? The blue wheel?

@@hermanosbanderI think I’m not seeing it because I’m using Windows

Aquí está la versión en español: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-OB5YbaXOBzA.html

@@hermanosbander Muchisimas gracias

Yes you can, change input settings in the fisrt CST node

Thank you! You can make the node tree as it is in the tutorial, as long as you have Davinci resolve studio you will have no problem to create it following the steps

Thanks!! This footage is currently not available for download but we will be uploading downloadable material in future tutorials.

@@hermanosbander Thanks for responding, so can you use this technique in future tutorials? I really liked.

You would have to change the Color and gamma input to match your footage

This specific one is not available for download but we will be uploading tutorials with downloadable material.

Thanks!! Our shot has a resolution of 4K DCI, but we made the project in 4096 x 1716 Scope 2.39, so it's a widescreen scene, not the classic 16:9. When exporting in this 2.39 aspect ratio, blanking is automatically generated when played on certain platforms. Working and exporting in this aspect ratio you wouldn't need to zoom or apply black bars or anything of the sort.

Hi, this footage is not available in stock. We are developing a course where the footage will be available for download, in addition to more advanced color grading techniques.

Of course, each footage needs different input settings, in the case of stock or AI footage, the material must be treated as if it were rec 709 or srgb, depending on the footage. Soon we will do a tutorial with stock and AI footage.

Thanks!!!

@@hermanosbander ok fine make again more of tutorial on DaVinci résolve and the color grading 😊

Which ISO is your footage filmed at? Does it look good in terms of lighting when applying the default BMP4K LUT?

Hello, thank you!!! Yes, the reason why we convert to cineon film log after converting to rec 709 gamma 2.4 is to be able to use the film emulation lut. Since this type of luts are designed to be applied to cineon film log gamma material.

Thanks so much. For now, we don't have a tutorial with Lumix material, but soon we will make more tutorials with different cameras.

Yes, you can use the same node tree but changing the settings in the first CST, input color: S Gamut 3.cine if you filmed like that, and in Gamma: Slog3 or the profile you filmed with.

Thanks! I agree, this time the look was very clear from the beginning, but it's advisable to leave a node just for balance.

In the free version the more advanced effects such as Aperture diffraction or CTS can be used but Davinci Resolve will place a watermark

Sure, although I haven't tried it on Windows 10, you can download the free version from the official Black Magic Design website to check if it runs well.

Because it depends on the color settings of the timeline, when using Davinci Wide Gamut as color space, we must convert the footage to this color space before converting it to rec 709.

Thanks!! What material are you working with? What format is it?

Inside davinci resolve there are some transitions called Triangle Left, then you place the ungraded video in your timeline and on top of it you place the video already graded, then you place the transition and you get the effect.

Thank you!!

Gracias! Ok lo tendremos en cuenta!!

Soon!!

Composite mode is available in Davinci resolve starting with version 18.5

@@hermanosbander hey, i found this information in commens. So Idownloaded the lasted version, and work very well. thank u so much! I have learn so much with u, its a great tutorial

@@rrrcarol Thanks!! :)

Thanks!! Using bmpcc footage you should change the settings in the first CST node, adjusting the color and gamma input the same as the settings you have in the RAW window, otherwise you can use the same node structure.

Pro Mouse

Thank you! The adjustments in a wide color space are perfect to recover and work global tones, as in this case the blue and cyan tones. By putting the warm tones in Rec 709 on a smaller color space, we make sure that those warm tones don't affect the whole tonality of the image again, but rather add a kind of tint which is what we were looking for in this specific look.

Ohh sorry i'm watching second time and i see on the begining

Thank you very much for watching and commenting. Yes, at the beginning of the tutorial we show the project settings :)

Of course it can be done without the rec 709 conversion, but it is our way of having everything in sections, so if we decide to combine the transformation with the Kodak lut we can do it without any problem, in this case we do not lower the intensity of the kodak effect, but in some other cases we do it.

@@hermanosbander thanks, makes sense

Thank you!! Ok, what happens is that you're doing your color grading with an Apple monitor; these monitors aren't Rec 709. If you don't have a calibrated monitor in Rec 709 gamma 2.4 and you're going to color grading directly on the MacBook, then your timeline should be set to Rec 709-A, and always do your color grading this way. When exporting, your output should also be Rec 709-A. This way, when you export, you'll see the same thing as inside Davinci. Working in Rec 709 gamma 2.4 is only if you're monitoring on a monitor that's properly calibrated in this color space, but I've found that if you're working directly on Apple monitors, Rec 709-A is always the best option.

@@hermanosbander Alright, I get it! Thank you for the feedback!

Yes we recommend it, it is a tool that gives a slightly different result, with other textures. It all depends on what result you are looking for, soon we will do a tutorial using dehancer.

Thank you!

The Kodak Lut is built into Davinci resolve

In color grading you want the tones to be as close to reality as possible and that everything looks natural, but color grading is a creative phase, here it doesn't matter if the tones are not the real ones, it's about finding a look that you like, experimenting, changing some tones as you wish. There are hundreds of movies where we see colors and tones that are not real but it doesn't matter in these cases, since you are looking for a unique look that projects something. If you are looking for natural and realistic colors that's fine, if you are not looking for that that's fine too.

Great response!! 👏🏾

What are your settings when rendering?

@@hermanosbander after render color the same on Mac, but on iPhone temperature more cold. Timeline color space: Rec709-A Output colorspace: Same as Timeline

@@hermanosbander you use the same settings?

@@Pure.Progression If you do your color grading on an Apple monitor, then it's best to set your timeline to Rec 709-A not only for the output but from the CST, so that when you render it, it looks the same as what you were seeing inside DaVinci Resolve.

I need to set up Rec709-A in last CST when colorgrading?

Great!! :)

Hi, it is always best to set your output to Rec 709 gamma 2.4, as long as your color grading monitor is calibrated like this.

Mac studio M1 Max

@@hermanosbander thank you! what do you think macbook pro m2max 32ram 1tb is good enough for complex video editing?

We are glad to read that! thanks for commenting

Of course, we can apply the conversion on the first output node, but this way we have full control over the effects and if we wanted to, we could combine the whole Lut kodak effect at will.

Nice!! :)

Thank you! If the footage is from the bmpcc 6k you must change the gamma input in the first CST node, you must select: Black magic pocket design 6k Film

@@hermanosbander tnx for the feedback 🙏

Thanks so much!! :)

Thanks!!! Yes techniques are also applicable to other types of footage, the important thing is to know the strengths of your equipment and keep experimenting.

@@hermanosbander For sure! My dream is have a camera like that one or at least that shoots raw it must be another whole world! Keep the good work matte! Best wishes from Argentina!

I am glad to read this :)

Thanks!! The node structure can be the same but you must change the settings in the CTS depending on the format in which you have filmed, you must adjust the color and gamma input.

@@hermanosbander Thanks for your reply, I'll try it!

Thanks!! :)