Look Development & Workflow in DaVinci Resolve

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Welcome to an in-depth course in Look Development and Workflow in DaVinci Resolve.  

This is an intermediate course for colorists that want to gain a solid understanding of look development workflows, color management, and color theory.

You will learn complex saturation workflows, how to evaluate and recreate film emulations, analyze and create film halation, create custom black and white look, film grain methodology, the teal and orange look and much more.

At the end of the course, we challenge you to use what you have learned, to color grade your own version of an award-winning commercial.

The footage used in this course and a free sample of 35mm film grain is available for download so that you can easily follow along.

About the instructor

Jason Bowdach is a colorist and finishing artist based in Los Angeles, California. He's a Blackmagic Design certified instructor specializing in color and finishing, and he has an extensive background in film\tv post-production with large-scale international distribution at studios like Disney and Fox. He is also the founder of PixelTools, a company that creates color grading tools and presets for DaVinci Resolve.

Who is this course designed for?

  • Intermediate colorists
     

COURSE OVERVIEW

 

LESSON 01: HERO SHOTS

Going through methods for evaluating which shots to include as hero shots.

LESSON 02: COLOR MANAGEMENT & BASE GRADE

Preparing the project by setting up the color management and color space aware tools. Looking at how to work with exposure and balance to preserve details while keeping the integrity of the cinematography and the context of the story. Also going through some image-analyzing tools that helps make better decisions in the base grade process.

LESSON 03: LOOK WORKFLOW AND FILM PRINT EMULATION LUTS

In this lesson, we're diving deep into workflow for look development and node organisation with node hierarch. Then, looking at film print emulation characteristics and setting up a workflow to get the best result out of them.

LESSON 04: WORKING WITH FILM PRINT EMULATION LUTS

Using printer lights and film print emulation on a commercial using the established workflow. Also, discussing order of operations, ways to kill off saturation, whether to apply noise reduction before or after the grade and general color theory.

LESSON 05: SILVER HIGLIGHTED LOOK

Demonstrating three different methods to create the Silver Highlighted Look (Bleach Bypass) on a color chart. The methods include midtone detail work to add micro contrast, shaping luma only curves and primary controls.

LESSON 06: LOOK ADJUSTMENT

Now it's time to implement the look into the established workflow, on top of the base grade. Explaining how to adjust for best possible result and consistency. Then, experimenting by mixing silver looks.

LESSON 07: EVALUATING & RECREATING FILM EMULATIONS

Diving into the characteristics and behaviours of film emulations, and recreating the essence with curves.

LESSON 08: CUSTOM BLACK & WHITE LOOKS

The RGB mixer and the Splitter & Combiner node is used to gain better control over black & white images.

LESSON 09: ANALYZING & CREATING HALATION

Analyzing halation on images shot on film, and creating halation that can be used in a variety of looks from scratch. Talking about the benefits of working in linear light and converting between color spaces.

LESSON 10: FILM GRAIN METHOLOGY

Using charts and scopes to evaluate grain, and continue to emulating both negative and positive film grain. Looking at the best ways to integrate grain for most visually pleasing result, and setting up a real film-scan-grain workflow.

LESSON 11: TEAL & ORANGE LOOK

Building the classic teal & warm look with curves on a test image and charts.

LESSON 12: TEAL & ORANGE CONTINUES

Going through two more methods to create the teal & orange look, using both primaries and the color warper.

LESSON 13: COMPLEX SATURATION WORKFLOWS

Going through different saturation tools, and looking at color management to create technical accurate saturation response in non-managed workflows. Then, using the LAB model to adjust saturation and using HSV and HSL to create deep filmic colors.

LESSON 14: COLOR MODELS EXPLAINED

Looking at some color models to better explain what happens with saturation when converting between different color spaces.

LESSON 15: HARDWARE & 3RD PARTY SCOPES

Jason walks you through his hardware recommendations and looks at Nobe Omniscope.

LESSON 16: CHALLENGE

In the last lesson, we're challenging you to re-create the original grade of a commercial using the techniques and strategies from this course.


 

 

 

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Just want to point out something that wasn't mentioned in Lesson#2.... and hopefully BMD fix this... but when using temp/tint on a panel (while in the HDR pallete) the left and center trackball rings will default to the primaries Temp/tint controls which function differently to the HDR temp/tint and for some reason will still leave the HDR pallete on screen... again hopefully BMD fix this cause it can get conusing. But just know that the temp/tint controls function differently between the Primaries and HDR palletes.

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3 hours ago, Nikhil Shahapurkar said:

What are the settings used in CST at the timeline level?

CST on timeline level is bypassed, there's only CST from Alexa,LogC to Rec.709, Cineon Film Log on the Group post-clip level 

 

I'm still watching it and in lessons above 3 he's using timeline CST ARRI Alexa, LogC to Rec709 Gamma 2.4

Edited by Grzegorz Mukanowski
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17 hours ago, Kristof.z said:

Hi and thanks for your course!!!

i'm wondering which band or music did you use in your final Challenge?

thanks again,

Chris

The music is composed specifically for the commercial.

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3 hours ago, Ethan Thomas said:

But just know that the temp/tint controls function differently between the Primaries and HDR palletes.

Please, can you elaborate on their differences Ethan? Maybe you can guide me to a knowledge base for more info on that (some article/link...) ? Are there any info on the BMD Resolve manual?

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