Color Grading 101 - Everything You Need to Know - YouTube
A systematic breakdown of the color grading pipeline that explains why your log footage looks flat, when raw is overkill, and how to use scopes and LUTs properly instead of randomly pushing sliders.
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TLDR
• Color correction comes before grading - neutralize and match shots first, then add creative look
• Log is the sweet spot: preserves highlight/shadow detail like raw but without massive file sizes; expose to the right (ETTR) for maximum flexibility
• ACES workflow preserves full dynamic range throughout grading, letting you export to any color space (Rec 709, HDR, P3) without regrading
• Scopes (waveform, RGB parade, vectorscope) are more reliable than your eyes - use them to check exposure, white balance, and skin tones objectively
• LUTs are tools, not magic - apply creative LUTs at 25-50% intensity as starting points, not final solutions
In Detail
Color grading follows a two-stage process: color correction (neutralizing white balance, matching shots, balancing exposure) comes first, then creative grading adds atmosphere and character. This separation is crucial - correction creates a neutral base, grading builds the look. The workflow uses scopes (waveform for exposure, RGB parade for white balance, vectorscope for saturation and skin tones) because they're objective while your eyes adapt and lie.
Understanding capture formats determines your grading flexibility. Rec 709 is immediately usable but clips highlights and crushes shadows quickly. Raw preserves maximum sensor data but requires massive storage and debayering. Log uses a logarithmic curve to compress highlights and lift shadows into a flat, desaturated image that preserves detail in 10-bit files - it's the practical middle ground. Each manufacturer has their own log profile (S-Log, Log-C, RED Log Film) that requires specific conversion to Rec 709 for viewing. The ACES workflow solves multi-format projects by working in a unified color space throughout grading, then converting to any delivery format (Rec 709, HDR, P3) at export without regrading.
The practical workflow: import log footage, apply log-to-709 conversion at the final node, do color correction (white balance, exposure, contrast), apply creative grading using curves and color wheels, then add a creative LUT at 25-50% intensity as a finishing touch. DaVinci Resolve's node-based workflow makes this non-destructive and organized. The key insight: LUTs are starting points or final polish, not magic fixes. They work pixel-by-pixel and need proper correction underneath to look good.