Is your node tree making your grading worse?

There are a million node tree videos on the internet, and if you're not careful, they can make you a worse colorist.
Grab my node tree PowerGrade for free here: procolor.ist/n...
0:24 - The purpose of node graphs and common misconceptions
5:00 - Key color preferences for effective node graphs
6:30 - HDR global wheels vs. linear gain
8:34 - Order of operations in node graph design
11:35 - Choosing the right saturation model: HSV vs. color slice
12:16 - How lift, gamma, and gain behave in the HSV saturation model
14:00 - Parallel mixer vs. layer mixer
19:00 - Organizing secondary adjustments in the node tree
21:45 - Placement of texture adjustments in the node tree
27:30 - Using trim nodes for fine-tuning
29:37 - Building and evolving a template node graph
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[@frames_ap]

I finally stucked to a node tree for like 3 months and now this man made me thinking about my life choices (I didn’t even started the video yet)

[@LaurenceLee]

same 😂

[@simonedwards3467]

@@LaurenceLee with you 😂

[@jhonastt]

TE AMO CULLEN, SINCE 2021. I was off for the entire 2024 for a big depression, I see I still can access and watch your Spring 2023 course, I have no words on how thankfull I am for your existence and willingness to do these videos.This template node graph integrates everything, it's AMAZING. I only hope one day to be big and get the chance to say hi to you, to me it will be like meeting a childhood celebrity artist and probably cry. I wish you all the best from Perú

[@AndrewSciba_color]

Love the tree update. Looking forward to putting it to use!

[@sheldonnorton9035]

Hallelujah! The most Swedish of node trees! Elegance, simplicity, functionality. Many Thanks.

[@Zeigerful]

I would really appreciate a video about how to tackle bigger projects faster. Do you usually group clips by scene as well as camera? Do you then use the group to quickly grade the entire group first and then do smaller adjustments on the clip levels afterwards? How do you apply changes to lots of different clips all at the same time without having to go throguh every single clips and reapplying the changes to each one? Would really appreciate some guidance on this kind of workflow!

[@maybepranav]

Yess! I second this. Cullen is perhaps the only person on KZbin who teaches us workflows that can actually optimize our efficiency when working on bigger projects. So it would be great to know the ideal way of going about it. It would also be great if he can tell us workflows that will allow for an easier way of incorporating feedback and changes in the overall look

[@aneilyounis2304]

He has talked about this in a few of his past videos and some hour long grade school videos but what I’ve noticed is things keep changing. Yes, over all color management theory remains but how he goes about it changes and there’s not one video that actually talks about the complete process with his latest way of doing things

[@kmovfilms]

Really helpful to hear your thoughts on an evolving workflow, and good reminder to consider decisions instead of just doing things on habit. My only question is doesn't this potentially create problems for rippling node changes within selected or groups of nodes? When Nodes are added to some shots and not others, wouldn't that break the 'fixed node structure' and make that operation inconsistent or unusable? I've found ripple node to be a useful workflow for long form projects, but also very finicky in terms of when it actually works and when it doesn't.

[@graemetowner7257]

excellent as aways...love your philosophy on colour grading, "keep it simple" is such a great way to work and often overlooked, especially when starting to learn what can very quickly become a complex process...many thanks Cullen

[@oneilshah3158]

Hey Cullen, love you videos a lot, helped me shape and understand colour grading better. I would really like it if you could guide us more into understanding why you use linear for balance. I looked it up on KZbin, but I dont see you covering balance, thank you again for you help!

[@TheRealBarkinMadd]

Great evolution, Cullen. How did you come to the realization that your parallel nodes should start with the primary, balanced, saturation corrected image rather than the ungraded image you used to incorporate? Your new approach makes sense to me but I wondered how you got to this point. Also - I love the fact that you have an example here where balance really does need to happen before tonality can be fully established. It's something that has come up in questions before and usually your source material is so well shot that it doesn't matter but the example in this tutorial explores why a balance is needed before tonality can be fully established. I love it! Thanks again for all you do for this community.

[@gabrielwolfcolor]

Thank you! I’ll go for it and see what happens. 😊

[@sumantamunda843]

This is better than your previous node, because I feel the qualifiers and the power windows are separated which gives more clarity.

[@Fairyrobots]

Love your videos and have learned a lot from them. Wondering how you are faring with the wildfires?

[@BunMok]

Amazing video, very detailed but easy to follow. Learned a lot and subscribed!

[@jseamans]

So helpful! Thanks for sharing this. How many times have I ended up with a bunch of serial nodes stacked up on the right like a multi car collision? More than a few. Hopefully this node structure will put a bookend on all that.

[@TheRealBarkinMadd]

I made some mods to this because Resolve doesn't have a shortcut to switch between Primaries and the HDR palette for some reason. So I changed the exposure node to Linear gamma so that I can use the gain wheel in the primaries for exposure and then added the old contrast node followings the exposure node for lift/gamma/gain and/or contrast and pivot. I'm using the micro control panel and so I wanted something that would easily let me jump back and forth between nodes without touching the mouse. If you are using a mouse then having to click on the HDR palette for exposure and then back on the primaries for contrast is not an issue. Cheers!

[@Learn2Canoedotca]

Another reason for leaving Noise Reduction etc. to the end is that it can be cpu/gpu intensive and bog down things. After applying NR and being happy is to turn it off until ready for output.

[@MinhNguyen-FatCat]

Thanks you so much, looking forward to the Base Tree video!

[@motopixelz]

Looking forward to the Base Tree video!

[@frankinblackpool]

This new node tree makes more sense compared to your last iteration, which I never understood. This could be a fault on my part as I'd never seen anything like that design choice before, but I could not get used to it. However this Node Tree has similar DNA to that of other traditional/mainstream colourists. I can understand your design choices. And more importantly, I can take away some really good "Best Practices" and amalgamate those into my Darren Mostyn inspired tree to create a fusion of both styles that suits my needs. All this because I was bored one day, where I wanted to learn how to make my film projects look better. I fell down the KZbin rabbit hole of Colour Grading, and never looked back. Its cost me a fortune in building a PC that can cope with Resolve, getting a decent domestic display monitor, and endless hours tinkering for a handful of views of my masterpieces. You are a bad influence. 🤣🤣

[@MelesAdventures]

Thank you! Think I'm going to need to watch this video multiple times 😁

[@graysonarias]

I am beyond excited to clean up the node tree that I’ve been using for years. Thank you for this tutorial, and for a new philosophy to apply on the color page. 🫡

[@japanversion1-gl5qc]

Thank you Cullen

[@krdcountrytv]

Thank you Cullen, another excellent video and some great tips. 'Keep it simple' is an excellent philosophy.

[@lumachrome-colorgrading]

A quick question to make sure I don't misunderstand you about how you use the secondary parallel nodes: From what I understand, the first parallel stack in your secondaries is soley used for "global" color adjustments, that affect the whole frame, right? So if you did a more "local" color adjustment (by protecting it with a power window), you would reach for the second stack of parallels instead of the first?

[@gibgibGG]

Cullen, Excellent as always. Thank you for sharing your expertise. I really love the simple, elegant structure and functionality of this node tree. I'm an intermediate in my colorist knowledge. I've watched many of your videos, and because of your explanations I feel comfortable with Node Based Color Management. However, I have a question concerning Groups. Question: What is the best way to create a Template Node Tree (like the one you have) which includes Groups in the Tree? What would be the method for adding the LUT and Output Transform in the Timeline, and the Input Transform at the Pre-Clip? I can't figure a way to create Group Nodes without there being footage. 🙃 How would you create a Template Group Node Tree? Thanks, Gary

[@ifell3]

Another fantastic tutorial. For all those and myself shooting in a flat version of rec709, do you think or have you done a tutorial on this. I know we are going to start off on the back foot and probably will never get the same final output, but do you think it can be done and how would you incorporate it into some of your other tutorials. Kind regards

[@mabelem3618]

Thank you so much for your videos :) i am quite new at all that, very much appreciated your knowledge

[@gillescharvet]

Thanks for your sharing Cullen, I’ll try a few minor changes to my node tree to separate window nodes and specific color w witch makes sense. One question I would like to ask you is the place of the node tree when you’re dealing with noise. I usually grade underwater footage and I have to deal with noise as the lack of light is quite complicated and brings a big amount of noise in some shots. Usually my noise node is in number one of the tree and I activate it only at the end of the grading. Do you think it’s better to move it and the end ? And why ? Thanks for your advice Gilles

[@mr.goldfinch684]

Great stuff! How do you combat the highlight mode in cst managed structure for example when you need to qualify or check skin tones?

[@realtmony]

Great video Cullen. A quick one. Why don't you do your Noise Reduction way before even the Balance. Like, as the first node there... Do you think it has an impact?

[@Learn2Canoedotca]

See my comment above. NR is a resource hog.

[@yhuhTTYGFYB]

sir which is best saturation tool in DR🤔✅

[@Ian-pn9ff]

What's your reasoning behind using the Motion effects tab for noise reduction instead of the Noise reduction tool?

[@gabbi_joe]

Thank you.

[@ianharper6015]

Thank you for another helpful video. I've installed your node tree but Resolve has renumbered the nodes. Is there a setting that I need to change or perhaps another fix for this issues?

[@SpittleFPV]

Thanks for the tips! If we use neat video noise reduction would you still recommend placing it at the end before the trim node?

[@Learn2Canoedotca]

I use Neat at the end. See my comment above.

[@yuba_td]

Hello Cullen! We really need a video to how to export a graded video from Mac, without that colorshift … knowing that I already like using Davinci wide gamut in my timeline, and I don’t wanna work on “Rec.709-A”

[@MELAS_SA]

I can show you how to do that bro

[@yuba_td]

@@MELAS_SA yes please!

[@ozzyosmond1]

@@yuba_td Share with us all!

[@LaurenceLee]

@@yuba_td same here!

[@frankinblackpool]

Ditch the mac and buy a PC. Simples!

[@RichB-78]

Anyone know why Cullen has changed the way he does secondaries? Instead of doing them from the base image using a parallel node under primaries, his secondary work is now downstream of the primaries.

[@ChrisKripper]

Another great video, thanks! I just have 1 question... is it okay if I put the contrast adjustment in 7 or 9 Node?

[@lutzilutz9123]

Does it change anything if I'm using DWG and right-click on footage selecting the correct colorspace (something you showed a while ago) ? I think you don't do that way, thus I'm not sure if my tools would respond the same as you. Especially, are your advices on the tools (HDR global for exposure, balance with linear gamma, ...) still relevant when letting Resolve do the colorspace transform on its own through DWG ? I really like your content, clear, precise, and filled with experience !

[@ihzanurashshiddiqie9855]

How come your first node is still number 2? Does it change whenever you add new node?

[@_shreditate]

How do you feel about texture adjustments at the group post-clip or timeline level? Should they always be added at the clip level?

[@chadmillercolor]

Nice one Cullen.. Watching from the treadmill at the gym. 🙌🏻💪💪💪💪

[@trent9012]

Same! Working on color AND getting healthy. Glad you and your family are safe, Cullen.

[@iMikops]

Hi, first, thanks for this video. Secondly, i would like to ask if do u have some video where it's explained how to edit stills on davinci resolve...? i have a Lumix, and the colors and luminance of how the Raw looks in lightroom or the DNG in Davinci are not even close.... Which colour space should i use, or settings, to edit the pic on davinci resolve? English isn't my first language, sorry if i said something weird, and thanks for reading.

[@tombojumbo]

Thanks for the breakdown. When you say at 9:11 you wouldn't get a "true scene linear image" with the old order of operations, what does that mean?

[@chadmillercolor]

Cullen stated he likes to prioritize and adjust his tonality in his prime node which is in Log. If that node was before his Linear balance node.. He would be feeding Log adjustments into this Linear Bal node. By keeping the Linear Balance node 1st and prior to the Prime node.. The input is not affected by these LOG Adjustments.

[@muerdelavida]

Amazing video, thank you so much.

[@MaleKinoLeszno]

thank you for sharing your knowledge. got a question about the "texture" node. If i want to add some grain, why dont use the node in timeline node tree to simplify my work?

[@familygonzcartwright]

You may want to do it like when people shoot film, when grain is different for night and day/interior and exterior scenes for the change of film for ISO purposes

[@MaleKinoLeszno]

@familygonzcartwright yeah, i didnt think about it. Thank you, good point

[@SilverHERO17]

I thought that was always better to grade a denoised image? With denoise at last, every tweak on the node before it would make to start it loading all over again, right?

[@petermader9559]

Amazing, but how do you pre invert the windows ?… is there a check box to set it up?thanks

[@mcewan-media]

Got a bit confused on the node numbering/upstream/downstream primary/linear exposure node but especially the Numbering 😢

[@mcewan-media]

I got it!!! Took me a bit 😅 thanks

[@Patrick-mg7vv]

I was about to reply to this comment with " im confused too". What did you figure out? Im confused about the "not getting a true scene linear image". Thanks

[@mcewan-media]

@@Patrick-mg7vv i got the numbering system sorted, it's just how he likes to work tho i'm still not exactly sure why he didn't put Exp 1st in line in the first place . Then also with the linear node, linear exposure in the HDR section saves you alot of time because it doesn't pull up your shadows(which you would then have to pull back again if you were to do it in the Log panels and then probably have to go back to your offset again)

[@tuckertota]

Why use linear gain for balance and not HDR global wheel which is already linear? 9:36

[@chadmillercolor]

Less button clicks ... No need to swap to the HDR panel. Also keeps the control on the Gain wheel... which depending on the Panel being used.. eliminates the potential need to swap to offset. Sensitivity can be factor also.

[@nicolaswojdacki6277]

Probably beacause linear gain is less sensitive. In my experience the hdr global is quite touchy with balance shifts.

[@DirectedByGae]

Only the global exposure adjustment functions in linear mode when working in HDR. However, I believe the color wheel does not operate the same way.

[@chadmillercolor]

@@DirectedByGae Unless you are referring to timeline working space.. HDR has nothing to do with it per se.. Cullen setups DWG/DI for his working space which could be considered an "HDR" working space. If you go to the HDR palette and set global EXP to +1, grab a still, turn off the node. Now create a new node, right click -> gamma -> Select Linear.. and now adjust gain on that node to 2.00. Its will be 1:1 to the HDR still. However if you went -1 stop on the HDR Palette... You only use 0.5 Gain on a linear node. Its doesn't make as much sense (the math is correct however) and why many of us simply use the HDR palette for EXP.... Balance via both of these methods (HDR GLOBAL OFFSET/Linear Gain Node) is also linear and can be matched 1:1 also.

[@LaurenceLee]

I've been seeing a lot of people adjust their contrast with curves using editable splines. I adopted it and like it quite a but compared to using the contrast slider or the primary wheels. Do you have any thoughts on that method and if it's any better or worse technically?

[@FjodorvS]

One isn't better or worse technically, as with many tools it's all about what you want from it. The slider is a very simple and quick tool, the curves allow for way more control but take more time. The choice you make can depend on the project and what you want to achieve. I know Cullen generally bases his practices on what works best when grading hundreds of clips so that might be why in this case he leans towards the slider. For his lookdevelopment phase he might go for a more granular tool like the curves or something custom!

[@keithseabrooks]

Sorry, when did we start changing nodes to linear? Can someone direct me to what vid shows the reasoning for this? Thanks

[@martinpostmusfotovideo]

Speaking of 'order of operation' where is node 8? ;-)

[@shotbyzeusio]

Nice!

[@ZURISADDAI]

he has spoken

[@stefanocson6237]

great

[@RafalGendarz]

Grain before rec709 conv hm

[@sammorganmoore]

Keep it simple. Adds nine nodes!

[@Bobsmithabc]

He loves listening to himself talk 😂🤦‍♂️