My COLOR GRADING workflow in DaVinci Resolve | KEEP IT SIMPLE!

In this video I will show you my minimalistic approach to color grading in DaVinci Resolve.
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[@matteobertoli]

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[@razorkid1525]

This is what I love about your channel: You keep things simple without sacrificing quality and production level. This is the fastest way to increase your value among so many iPhone shorts out there.

[@obe3]

Man this is crazy, I had this idea of learning colour science etc..and all I needed to do was purchase the buttery Luts, do a few nodes and send to my clients. I feel so stupid. But you live and you learn! Easy money!

[@freedomfilms974]

You’ve single-handily saved my filmmaking career. I’m not even exaggerating

[@Jaxplode]

Basically you are absolutely right. I just do a bit more. I have 4 BASE nodes before the LUT node. 1. Noise Reduction (if necessary) 2. Balance/Exposure 3. Contrast and 4. Saturation. With these 4 nodes you have better control to one aspect of settings and if you later want to change just one of these settings its much faster changing it for all clips. But I really like your mindset for color grading.

[@Jaxplode]

How can I purchase the Luttery Buts?

[@emersonsenseman2182]

Awesome video Matteo! I love to see other filmmakers making the color grading process simple as well. Keep up the awesome content dude🤟🏼

[@EncounterCaneCorso]

Thanks for the look into your process. Keeping it simple goes a long way.

[@benjaminmagambo3849]

This is fantastic as a lesson!

[@PeterTheodore91]

Really appreciate your mention on 1:20, I remember professional colorist Brian Singler once said that it is not necessary to make too much nodes, especially if you're working on a simple project.

[@Aaron-ec3mr]

I appreciate and envy how pragmatically you approach the grading process. When I grade, I always end up questioning everything I've done in camera and every little change I do in post.

[@ThroughtheLensProductions]

I've felt for awhile that I can get things done with two to three nodes at the most, but feel like I'm not professional enough since every Davinci color grade has a node tree with numerous nodes within. Honestly, it discouraged me. However, seeing this makes me feel more confident in grading my own projects. Thank you so much!

[@GeorgeStamatakis87]

this is one of the most realistic and accurate coloring tutorials, really loved it

[@13StopsPocketFilms]

Good stuff Matteo!

[@imanolstick]

Hey Mateo! Thanks for the video! Looking forward to more sit downs like this, maybe a cinematic breakdown describing processes could also be great!

[@carlos_pimentel]

Less is more for sure! I'm not a professional colourist, but when people ask me how to color grade in DR because their footage doesn't look so good and then I see those 65 nodes you're talking about I immediately tell them that there's no point in making things so complicated. In my honest opinion, people make sooooo complex node structure just to make it look like they are professional in grading and to attract views. Specially. like you say, the majority of people who watch this type of videos are people who work in low to medium budgets, and it is so stupid to lose so much time per shoot. I'm a proud user of the Buttery Luts, and besides one extra node here & there for Noise Reduction or some specific mask, I keep it as simple as you do. More content like this Matteo, please. Straight to the point and without bullshit.

[@matteobertoli]

Thanks man! Really appreciate!

[@PraveenKumar-fs6of]

lovely 🙏

[@toddtab3048]

Mate, I can't tell you how much your channel has helped me. In terms of camera, shooting, post production...... EVERYTHING!!!! I have the buttery lots pack, that I LOVE!!!! I'm getting back into filming after 20+ yrs away from it (it is a world of difference). I shoot on BMPCC4K with a set of Sirui anamorphic lenses. I've done a little corporate work (FOC for friends) in last month. In 2 weeks I have my first paying gig, and I am entering a short film festival next month (starting filming soon). Thx again mate, I honestly can't praise you enough!!!! I'm a nearly 50yr old giving my dream one last go. Odds are against me, but I'm having a blast doing it. Keep up the good work mate.

[@matteobertoli]

You’ll be absolutely fine! Thank so much for your comment! Really helps me to keep creating!

[@RobertoDomeArt]

Great video and great channel. I seriously need to get a BMPCC for my videos :)

[@ediwitdaheat7798]

I only use about 3-5 nodes. They come out perfectly fine for me. Now if I were to grade a Hollywood feature film then that’s a whole different story. Music Videos, Weddings, events, promo work for local businesses ehh you only need about 3-5

[@culture-media]

Matteo thank you simple but great results, just another question what about Preferences Generel settings, do you turn „use mac display color profiles for viewers“ on or off?

[@matteobertoli]

Never touched that option!

[@GK-jx7gd]

Hi Matteo, can you please share what the export settings you use to keep your image so clean on KZbin, thank you, your videos are really helpful

[@matteobertoli]

Either h264 100mbs or prores hq 4k, nothing else :)

[@GK-jx7gd]

Thank you for your reply, really helpful

[@Drrezzin]

I can see using 2 nodes or none. Back when shooting film, the DP had to create the look using lights, gels and knowing what film stocks did what. Personally, I like shooting that way, so there's less to do in post.

[@westkition4126]

Hi Matteo! What kind of macbook are you using? Thanks!

[@rwootenvideo]

Do you render p6k footage in 4k or 6k?

[@alexvielfaure2981]

Are you using a Black Mist filter in all of these shots?

[@matteobertoli]

Yes

[@choobracer]

Why do we only have an option to ‘like’, not ‘love’?!? 😉 Great video Matteo.

[@PortBurwell8]

Yiu on Mac and using rec 709 gamma 2.4? While exporting don't you get gamma shift? I always use 709A to compensate for different color space on Mac.

[@matteobertoli]

Did hundreds of tests. Rec709A doesn’t do a thing for me. Gamma shift still happens when you upload online. My export file with these settings is perfect when opened in VLC. Identical to DaVinci. Quicktime is messed up. I simply don’t watch my files in Quicktime anymore and I also tell my clients to open master files in VLC. As simple as that.

[@PortBurwell8]

@@matteobertoli I totally agree!!! That's why there is so much confusion... Thanks!!!

[@JimRobinson-colors]

@@matteobertoli If you don't understand that VLC is not color managed and is independent on your system as it is on your clients, you really shouldn't be giving advice to other people. Especially if you want credibility for selling your LUTs. The 1.96 gamma that Applecolor sync applies to files happens in the math of the display transfer from linear to non-linear in camera. Apple in the math defines that at 1.96 where all other OS or players etc. defines that as 2.2. This is why we see more of a discrepancy in video that should be gamma 2.4 because in the math, that happens early in the equation. And it doesn't take very much effort to open a file in quicktime ( which is color managed ) then compare it on the same MAC in VLC ( not color managed ) and see the gamma shift that happens when the display profile from Colorsync is being applied on Quicktime but not on VLC. I have discussed with BMD , and Adobe engineers, but Apple won't respond to my questions - but instead sent me into their white papers on Gamma . Apple has assigned gamma 1.96 as the variable for the initial gamma when it is captured when it converts linear to a logarithm camera display function. And the rest of the world applies that variable as gamma 2.2 . Y = 2.2 video_out = video_in^Y = 0.5^2.2 - which approx. equals - 0.2387 Now if Y equals 1.96 as Apple says it does. Then of course that equation would have a different result So when the equation for the monitor display function gets inverted to video_out = video_in^(1/y)= 0.2387^( 1/2.2) which approx. equals to 0.5945 Which means that the gamma is lifted. The display will show a different result, which is the crux of the problem. Adobe made a lut to compensate for this and Resolve has the rec709-a - they are both targeting the apple decision and compensating for it. There are smarter people than any of us, who are attempting to fix this problem that you think doesn't exist. And people in this forum and in Premiere groups etc. all find the problem and post about it several times a week.

[@jonasscheidegger8740]

@@JimRobinson-colorsHello Jim. What are you suggesting to use when doing client work? I cut and grade on a iMac and always used Rec709-A so far. Thanks for the advice.

[@JimRobinson-colors]

@@jonasscheidegger8740 Rec709-a only actually achieves the gamma problem if it is baked in. But baking it in will have the opposite problem for windows users. So I would use a calibrated display with a clean signal from a breakout -box, that is calibrated to the gamma of your environment - low light - gamma 2.4 - more room light gamma 2.2 - and unless you know for a fact that your video will be played on a mac in a color managed player ( i.e. Quicktime not VLC ) then just ignore it. Sometime solving one problem creates a new one.Pretty much every pro colorists that I know - do this. Eventually it will be all sorted out by the big companies and there will be a standard that they all use. Until then - pick a side or ignore it.

[@PancakeBunnyOfficial]

W

[@AnthonyMoreschi]

Why not use any of the raw controls?

[@matteobertoli]

Iso is the one I wanted and I nailed WB as well. Everything else is better doing it with the 3 wheels

[@AnthonyMoreschi]

Thanks for the info. I’m usually a 1-2 node guy myself. Now I don’t feel quite so inadequate 😂

[@evaminag3205]

This is ABC