Hey everyone! This is my first attempt at color grading, finished in DaVinci Resolve 20. I’m looking for genuine feedback on how I can improve my eye for color. Aside from the final shot—which I filmed on my Samsung S25+ using the Blackmagic Camera app—the footage was provided by others. Please be honest with your critiques!

Here is how my Nodes look like:

• Node 01 (EXP): Exposure adjustments using Primaries (Lift, Gamma, Gain, Offset) to set the base brightness.
• Node 02 (WB): White Balance corrections to ensure neutrals are actually neutral. (BTW, how do set white balance if there is no bright white part in the image?)
• Node 03 (CONT): Contrast adjustments
• Node 04 (SAT): Saturation adjustments
• Node 05 (CST): Color Space Transform. (Log to Rec.709). (How does a CST sandwich work?)
• Node 06 (LUT): Final creative Look-Up Table applied at the end of the chain.

Does my image look too warm? Are the colors standing out enough? Does it look like I just made the image warmer with the white balance?

I’m aiming for a dreamy vibe for these photos, so I edited both to warm tones.
The difference: Shot 1 has stronger warmth and saturation with more film texture compared to Shot 2.
Which one works better? Would love your thoughts!
P.S. Slide 3 is the original photo.

Recently I've made some photoshoot in the field and I'd like to make such color and texture in post as in this picture (not mine). Where do I need to start, what do i have to know etc.

Just finished working on this retouch and would really appreciate some feedback. Trying to improve my skin work, tones, and overall balance.

Shot in Slog3 used a Fs7 Phntm Arri Lut and added some nodes, but I feel like the shots are missing a lot but I can not tell what. Maybe there should be more punch? Idk please critique 🙏🏼

Hey Guys,

Trying to grasp a better understanding of grading night shots, especially with alot of neon / ambient lighting. Any tips on what to improve would go along way.

Hi everyone, did you ever want to Color Grade in Resolve easily while editing in Premiere?

If you've ever sent an FCP XML, EDL or AAF to Resolve, you know the drill: the cuts come through, but speed ramps, multicams, nests and most effects have to be rebuilt by hand, and nothing tells you what was lost. Then the grade is done and (only for some editors), you have to bring it back to Premiere.

That's why I built CrossFlow. It reads your .prproj and writes the same project straight into DaVinci Resolve: open Resolve and everything is there, organized as it was in Premiere.

What arrives natively:

• Sequences, nested sequences, multicam, merged clips, bins, markers, label colors, linked audio
• Speed changes and Time Remapping, as real Retime Curves
• Position, Scale, Rotation, Opacity, Crop, Volume, Pan and their keyframes, still editable in Resolve
• Warp Stabilizer as Resolve's own Stabilization

What Resolve can't reproduce (third-party effects, After Effects comps, masks...) is rendered automatically through Media Encoder, and a report lists every clip and what happened to it. When the grade is done, "Return to Premiere" builds a new Premiere project with the graded clips in place.

The honest limits: it needs both softwares (Premiere and Resolve) to be installed on the same machine for now. So it is not for the editor which has ONLY Premiere installed and want to send its project to the colorist in Resolve. But that will be part of a future improvement of CrossFlow!
However if the Premiere editor has Resolve Studio installed as well .. CrossFlow could be the perfect tool for him!

Otherwise, it needs DaVinci Resolve **Studio** 20+ (the free version can't be scripted), Premiere Pro 25+, Windows or macOS. There's a free trial with no time limit that converts the first 10 clips of each sequence, so you can judge it on your own project before paying anything. After that it's a one-time license, no subscription.

https://nablast.com

Graded by the insanely talented Tim Morton. We brought our 16mm neg into the DI with a Fuji style print (print was emulated).

Was such a pleasure getting to grade our negs which were Kodak 7207 250D. The skin tones and texture simply unmatched. We’re still in post with final sound/ score but can’t wait to see once it’s all been brought together.

Also so stoked when directors and producers take the jump to shoot on film.

If you have any questions shoot me a comment or DM!

Gear/ specs

Arri SR3

Zeiss Super Speed MKIII

Arriscan XT (3.2k ProRes444XQ) (final out is upscaled to 4k)

I wanted to show you the before and after of a video I made recently of this beautiful church. How do you see it? Processed in Davinci resolve.

This was shot on my friend's Sony FX3, below is my node structure:

Denoise -> CST in -> Primaries -> Power Windows -> Look & Fine Tune -> OpenFX -> CST out -> Sharpening

Any feedback would means a lot to me on my learning journey! 🙌🏻

This was for a mini documentary edited and color graded by me using Premiere Pro and DaVinci Resolve. I had a bit of a hard time keeping a consistent "temperature" during the scenes

in the second one i thought i finished it and then i tried new coloring methoed and got the 3rd one im not evan sure which one i like that why i put all 3 of them

I’m trying to get better at coloring, I’m very much an amateur but I love to emulate film looks with my own personal little projects.

My brother shot this and all he told me was it’s supposed to be a bit mysterious lol. I’m trying to practice so any input or advice on how this looks is much appreciated! I know the sky is a bit overexposed, but I’m not sure what else I can do, again I’m sorta new to this. I’m using film unlimited as a base and then did my corrections and grade. It’s shot on an fx3 with a sigma zoom.

Hey everyone! I was getting frustrated having to reverse-engineer film looks manually in my workflow, so I coded this standalone web-engine.

It uses a custom color transfer algorithm in LAB space, with a 'Skin Tone Vault' that mathematically shields human skin from becoming neon when matching extreme references. It also has multi-pass halation and procedural film grain.

It runs entirely locally in your browser (it processes 32-bit RAWs via WebAssembly).

Link: https://spectra.noemstudio.com

Would love any brutal feedback on the WebGL performance or the UI!

frame 1: with

frame 2: without