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DAVINCI Resolve Color Grading in DAVINCI Resolve davinci resolve Resolve is a professional grade color correction and grading suite that is widely considered as the industry standard tool for image manipulation in post-production. It can be a powerful tool in your post-production workflow and attention to color can greatly improve the quality of your work. This guide will be a step-by-step guide for integrating Color Correction and Grading into your workflow, introduce you to the color correction tools in Resolve, and include some best practices. In this guide we are using version 14.3.1 the differences between Free & Studio versions of Davinci Resolve: Resolve (Free Version) Has support for SD/HD & UHD projects up to a resolution of 3840 x 2160px Resolve Studio Supports SD/HD/UHD, DCI-4K, 5K, and greater(8K) projects Supports Stereoscopic/3D Media Includes Real-Time Noise Reduction Can utilize CUDA GPU Support for faster rendering ver. 2019-03-29 Page 1 of 28 Color Grading in Resolve important considerations calibrated reference monitors Keep in mind that while it is possible to colorgrade from your laptop, or desktop computer it is far from ideal, understand that there are huge differences among displays, even between similiar models and manufacturers, and even the color & lights of a room you are in can influence your attention to color. It is best to know the intended way your project will be played back, either via Web, Installation, DCI-Projection, or Broadcast and have an understanding of what colorspace it will playback in, what standards(if any) you need to conform to, and if there is a gamma or color shift for that format. It would defeat the purpose of spending your time color correcting on your display if the color does not translate to any other place than your computer. There are some standards you can conform to: Rec.709 is the colorspace of HD Video, DCI-P3 is the colorspace for cinema theatre projection, so calibrating your reference monitor to the playback method will decrease the disparities between your reference monitor and how it will be played back. Color correct in a controlled environment The light your environment, the color temperature around you will certianly influence the way you look at your computer display. Keep in mind that your eyes are constantly adjusting to the light around you, not only in brightness but also to color temperature. All FVNMA Workstations are equipped with 4k resolution displays with 10-bit color depth. The displays selected were specifically chosen for high color depth and accuracy. While the quality of the monitors is high, understand that editing labs are not controlled environments. Not every monitor is the same It is important to know that color tint, saturation, native black levels, and contrast levels will vary wildly outside of a colorgrading environment. There are a multitude of factors that are just outside of your control. So yes, there will be color differentiation from computer to computer, from room to room, from display to television to a projector, and even using the same computer but in different locations can cause variations to your eyes. Calibrated Reference Monitors are available in the 3rd floor Grad Editing Suites, as well as in MC819, MC519, and MC714. ver. 2019-03-29 Page 2 of 28 Color Grading in Resolve Starting a resolve project Project Manager Once you open Resolve, the first thing you should see is the Project Manager, this is an overview of all the projects on the host computer. Create a New Database A database is where Resolve saves projects. If you cannot see the databases, it is accessible by the Show/Hide Databases icon in the upper left hand corner. The default Local Database is located in the harddrive of the computer you are working in. While this is functional, you will not be able to move to different computers with your project. Create a new one and specify it to be on your external working harddrive. 1. In the lower left hand corner select, New Database 2. On the top, select Create and make sure Disk is selected. 3. Give it a Name, a location, then hit Create I use a folder on my portable hard drive titled ResolveDatabase Now that you have a database to work in, select it so that it is highlighted red, then Select New Project to get started. ver. 2019-03-29 Page 3 of 28 Color Grading in Resolve Set project settings File > Project Settings > Master Settings This is an important first step to do before you dive into Resolve. The project settings are directly linked to your Timeline settings. So it is important to set your project resolution to match your output or your footage. In this example and all following images, I will be using an HD Project with 1920 x 1080 resolution with a 24 fps framerate. Generally, it is best to match your project settings to your footage settings, if your footage is UHD, work in UHD. Keep in mind that DaVinci Resolve is a typically part of the online (the almost end) process of the post-production process, and that you can downscale to a lower resolutions after color grading. Specify Color Science & color Space File > Project Settings > Color Management This is particularly important if you are using Resolve to colorgrade footage before editing. By default, DaVinci Resolve projects are not color managed, and you will need to set up your project correctly if you want your grade to look the same between Resolve and your NLE. In Color Management: Color Science: DaVinci YRGB Color Managed Input Colorspace: REC.709 (Scene) Timeline Colorspace: REC.709 (Scene) Output Colorspace: REC.709 (Scene) It is imperative that it is the standard REC.709 Colorspace. If you use Rec 709 Gamma 2.4 or Gamma 2.2 you will experience a gamma shift which will move the native black point of your footage and will see a noticeable difference in the shadows of the footage. ver. 2019-03-29 Page 4 of 28 Color Grading in Resolve Media Workspace overview Color correction can be applied either before or after your edit. just be aware that if you intend to use Resolve after your edit, effects used in your NLE(such as Lumetri Color or FCPX’s Color tab) WILL NOT translate into Resolve. 1 3 4 5 2 1 Media Storage 3 Viewer 5 Metadata A browser to view media files A Video Monitor to review the Information about the selected stored on your computer or currently selected clip clip, including resolution, connected drives. framerate, codec, bit depth, 4 Audio Meters etc. 2 Media Pool Displays the Amplitude of The Media Imported into the the embedded audio in the current Resolve Project, similar selected clip. to PPro’s Project Window. Importing Importing media clips Navigate to the Media Workspace. You can import media into the Media Pool from the Media Storage Window by dragging & dropping or right clicking on your media files and selecting Add into Media Pool. You can also import by dragging and dropping from Finder. You can organize your clips in the Media Pool by creating Bins which will then appear on the left hand side. ver. 2019-03-29 Page 5 of 28 Color Grading in Resolve Importing a project or timeline from an nle Prepare your Picture Locked Edit. Once your project is in picture lock, duplicate your edit sequence, and it is highly suggested to simplify your edit down to 1 video & 1 audio track. This reduces the amount of things that can go wrong when importing the project into Resolve. Export a Final Cut XML In Premiere Pro open your picture-locked timeline and go to: File > Export > Final Cut XML In Final Cut Pro X Go to: File > Export XML... Set your destination folder to your Project folder on your harddrive. Export an Offline Reference Clip Export your media as you would normally export a Exporting an XML from Premiere Pro master file. In Premiere Pro Go to: File > Export > Media In Final Cut Pro X Go to: File > Share > Master File The settings used in this example are as follows, but know that your project and sequence settings may differ: Format: Quicktime Video Codec: Apple ProRes 422 LT Resolution & Framerate: use Same as Source (1920x1080, 24fps in this example) Notes on Offline Reference: What is the offline reference for? The offline reference will be used to cross reference your EDIT from your NLE and the imported sequence in Resolve. This is primarily to double check your edit has been translated properly, and can be used to cross reference effects/editor’s grade in your NLE VS your colorgrade in Resolve. Continued on next Page ver. 2019-03-29 Page 6 of 28 Color Grading in Resolve Importing a project or timeline from an nle (continued) Import .XML into Resolve Go to File > Import AAF, EDF, XML and find your .xml file exported from FCPX/PPro. A Load XML dialogue will pop up. Make sure that Import Source Clips into Media Pool is checked. Secondly, make sure your timeline resolution and Make sure this is CHECKED! frame rate match your Edited Project and match Resolve’s Project Settings Select OK. Import Reference ProRes as Offline Reference File Go to the Media Workspace. In the Media Storage window locate the Offline Media / Master clip exported from your NLE. Right Click on the Reference file and select “Add as Offline Reference Clip” It will then be imported into the Media Pool with a checkered Icon.
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