{"id":91662,"date":"2026-05-04T10:08:58","date_gmt":"2026-05-04T06:38:58","guid":{"rendered":"https:\/\/pixflow.net\/blog\/?p=91662"},"modified":"2026-05-13T12:12:41","modified_gmt":"2026-05-13T08:42:41","slug":"davinci-resolve-color-grading-for-beginners","status":"publish","type":"post","link":"https:\/\/pixflow.net\/blog\/davinci-resolve-color-grading-for-beginners\/","title":{"rendered":"DaVinci Resolve Color Grading for Beginners: Nodes, Wheels, and Curves Explained"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776581022899{margin-bottom: 25px !important;}&#8221;]The first time you click on the Color page in DaVinci Resolve, it can feel like stepping into a cockpit. Scopes flicker, wheels glow, a blank node stares back at you, and somewhere under all of that is a single clip that just needs to look good. The good news is simple: about 90% of a professional grade comes from only three tools, nodes, wheels, and curves. Once you understand how those three pieces fit together, the rest of the Color page starts to make sense fast.<\/p>\n<p>This guide is written for beginners using the latest version of DaVinci Resolve. It covers both color correction (making footage look right) and color grading (making footage look intentional), walks through a full mini project from flat log to cinematic finish, explains when a feature is Studio-only, and ends with the common mistakes that keep beginners stuck. By the end, you will be fully capable of grading inside Resolve with a clean, repeatable workflow.<\/p>\n<p>Let&#8217;s start at the beginning, because color correction and color grading are not the same thing, and the order you tackle them in matters more than any individual slider.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1766995823024{margin-top: 50px !important;}&#8221;][vc_column][px_product_grid_remote px_product_grid_remote_ids=&#8221;115571,113292,113071,112891&#8243;][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Color Correction vs Color Grading&#8221;]<\/p>\n<h2>Color Correction vs. Color Grading (and Why Order Matters)<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776581128801{margin-bottom: 25px !important;}&#8221;]These two terms get mixed up constantly, even by experienced editors. They are related, they happen on the same page in Resolve, but they solve different problems.<\/p>\n<ul>\n<li>Color correction is technical. You are fixing the image so it looks the way a human eye saw it on set. White should be white, skin tones should be natural, exposure should be balanced, and shadows should not be crushed. Correction is invisible when it is done well.<\/li>\n<li>Color grading is creative. With a balanced image in front of you, grading is where you inject mood: a cold teal for a thriller, a warm golden wash for a wedding film, high-contrast muted greens for a sci-fi look. Grading should be felt, not noticed.<\/li>\n<\/ul>\n<p>If you skip correction and jump straight to a creative look, every problem in the footage (green cast, clipped sky, muddy shadows) gets baked into your final grade. That is why professionals always correct first, then grade.<\/p>\n<p>Here is a clean side-by-side:[\/vc_custom_heading][vc_wp_text]\n<table id=\"tablepress-28\" class=\"tablepress tablepress-id-28\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\"><strong>Aspect<\/strong><\/th><th class=\"column-2\"><strong>Color Correction<\/strong><\/th><th class=\"column-3\"><strong>Color Grading<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">Goal<\/td><td class=\"column-2\">Make the image look accurate<\/td><td class=\"column-3\">Make the image feel a certain way<\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">Typical tools<\/td><td class=\"column-2\">Primary wheels, offset, white balance picker, scopes<\/td><td class=\"column-3\">Log wheels, curves, qualifiers, LUTs, gallery stills<\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">What it fixes or adds<\/td><td class=\"column-2\">Exposure, white balance, contrast, matching shots<\/td><td class=\"column-3\">Mood, stylized colors, filmic contrast, skin tone shaping<\/td>\n<\/tr>\n<tr class=\"row-5\">\n\t<td class=\"column-1\">Order in the pipeline<\/td><td class=\"column-2\">First<\/td><td class=\"column-3\">Second<\/td>\n<\/tr>\n<tr class=\"row-6\">\n\t<td class=\"column-1\">When you know it is done<\/td><td class=\"column-2\">The image looks natural and neutral<\/td><td class=\"column-3\">The image supports the story<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-28 from cache -->[\/vc_wp_text][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776581118667{margin-bottom: 25px !important;}&#8221;]Keep this distinction in your head for the rest of this guide. Every workflow decision in Resolve is easier once you know which half of the job you are in.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Setting Up the Color Page in DaVinci Resolve&#8221;]<\/p>\n<h2>Setting Up the Color Page in DaVinci Resolve<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221;]Before you drag a single slider, spend two minutes configuring the project. This one habit prevents half the weird color problems beginners run into.<\/p>\n<h3>Open Project Settings<\/h3>\n<p>Click the small gear icon in the bottom right corner of Resolve. Inside, the Color Management tab is where the important settings live.<\/p>\n<p>For a beginner starting with standard camera footage (h.264, h.265, ProRes, or similar), the safest defaults are:<\/p>\n<ul>\n<li>Color science: DaVinci YRGB<\/li>\n<li>Color processing mode: SDR Rec.709<\/li>\n<li>Timeline color space: Rec.709 Gamma 2.4<\/li>\n<li>Output color space: Rec.709 Gamma 2.4<\/li>\n<\/ul>\n<p>If you are working with log footage (Sony S-Log, Arri LogC, Blackmagic Film, Canon C-Log, and so on), you have two common paths:<\/p>\n<ul>\n<li>Apply an input LUT to each clip on the first node (beginner-friendly and visual).<\/li>\n<li>Switch to DaVinci YRGB Color Managed and set the timeline and output to Rec.709 while keeping your input as the camera&#8217;s log space (more automated, scales to multi-camera jobs).<\/li>\n<\/ul>\n<p>For your first few projects, the first path is easier to reason about. You can learn Resolve Color Management later once the basics feel natural. If you need a refresher on getting white to actually look white before you even hit the Color page, the <a href=\"https:\/\/pixflow.net\/blog\/white-balance-video-color-temperature\/\" target=\"_blank\" rel=\"noopener\">white balance in video guide<\/a> covers the on-set and in-post steps side by side.<\/p>\n<h3>Know the Color Page UI<\/h3>\n<p>Spend a minute mapping the layout so you are not hunting for buttons mid-grade.<\/p>\n<ul>\n<li>Viewer: top-center, your live preview.<\/li>\n<li>Scopes: bottom-right by default, your source of truth.<\/li>\n<li>Node editor: top-right, where your grade is built.<\/li>\n<li>Palettes: bottom-left, houses primaries wheels, curves, qualifiers, and more.<\/li>\n<li>Timeline and thumbnails: top strip, so you can jump between clips fast.<\/li>\n<\/ul>\n<p>The Color page is dense, but you only need to master a handful of panels to grade at a professional level.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Read Scopes Before You Touch Anything&#8221;]<\/p>\n<h2>Read Scopes Before You Touch Anything<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776581260554{margin-bottom: 25px !important;}&#8221;]Your eyes are unreliable. Monitors are inconsistent. Ambient light plays tricks. Scopes do not care about any of that, they measure the signal directly, which is why every professional grader lives with them open.<\/p>\n<p>Open scopes from the three-dot menu above the viewer (or View &gt; Video Scopes). The four you will actually use as a beginner:[\/vc_custom_heading][vc_wp_text]\n<table id=\"tablepress-29\" class=\"tablepress tablepress-id-29\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\"><strong>Scope<\/strong><\/th><th class=\"column-2\"><strong>What it shows<\/strong><\/th><th class=\"column-3\"><strong>Use it for<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">Waveform (Luma)<\/td><td class=\"column-2\">Brightness from left to right across the frame, 0 to 1023<\/td><td class=\"column-3\">Exposure, contrast, checking crushed blacks or clipped whites<\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">RGB Parade<\/td><td class=\"column-2\">Red, Green, Blue channels separately, left to right<\/td><td class=\"column-3\">White balance, color casts, matching shots<\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">Vectorscope<\/td><td class=\"column-2\">Hue and saturation on a color wheel<\/td><td class=\"column-3\">Skin tone (watch the I-line), overall saturation, hue targeting<\/td>\n<\/tr>\n<tr class=\"row-5\">\n\t<td class=\"column-1\">Histogram<\/td><td class=\"column-2\">Total distribution of tonal values<\/td><td class=\"column-3\">Quick sanity check on exposure and contrast range<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-29 from cache -->[\/vc_wp_text][vc_custom_heading css=&#8221;.vc_custom_1778144363574{margin-bottom: 25px !important;}&#8221;]A quick beginner checklist for a balanced shot:<\/p>\n<ul>\n<li>Blacks sit around level 0 to 64 on the waveform without crushing flat against the bottom.<\/li>\n<li>Whites peak around 920 to 1000 without clipping into a flat line at the top.<\/li>\n<li>On the Parade, the bottoms of R, G, and B align in shadows and the tops align in highlights (this gives you neutral whites and blacks).<\/li>\n<li>On the Vectorscope, skin tones sit along the I-line (the diagonal line between red and yellow).<\/li>\n<\/ul>\n<p>If any of those feel off, fix them with corrections, not grading. Do not try to style a shot that is still broken.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Nodes &#8211; The Building Blocks of Grading&#8221;]<\/p>\n<h2>Nodes: The Building Blocks of Grading<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776590149195{margin-bottom: 25px !important;}&#8221;]If the Color page has one concept beginners trip over, it is nodes. Once the metaphor clicks, grading gets dramatically easier.<\/p>\n<p>Think of a node as a stage on a factory conveyor belt. Your image enters on the left, passes through each stage where something is added or adjusted, and exits on the right as the finished grade. Each node is one step. You can stack as many as you want, you can split the signal into parallel paths, and you can isolate parts of the frame inside specific nodes.<\/p>\n<h3 id=\"tablepress-30-name\" class=\"tablepress-table-name tablepress-table-name-id-30\">Node types you will actually use<\/h3>\n<p>[\/vc_custom_heading][vc_wp_text]\n<table id=\"tablepress-30\" class=\"tablepress tablepress-id-30\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\"><strong>Node type<\/strong><\/th><th class=\"column-2\"><strong>What it does<\/strong><\/th><th class=\"column-3\"><strong>When to use it<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">Serial<\/td><td class=\"column-2\">Adds a new node after the current one, in a line<\/td><td class=\"column-3\">90% of the time, your default<\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">Parallel<\/td><td class=\"column-2\">Splits the signal into two paths that are mixed back together<\/td><td class=\"column-3\">Combining two looks that should blend evenly<\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">Layer<\/td><td class=\"column-2\">Stacks nodes like Photoshop layers, top wins<\/td><td class=\"column-3\">When one correction should visibly sit over another<\/td>\n<\/tr>\n<tr class=\"row-5\">\n\t<td class=\"column-1\">Outside<\/td><td class=\"column-2\">Applies changes to everything NOT selected by the previous node's mask<\/td><td class=\"column-3\">After a qualifier or power window, grade the rest of the frame<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-30 from cache -->[\/vc_wp_text][vc_custom_heading css=&#8221;.vc_custom_1778661743495{margin-bottom: 25px !important;}&#8221;]<a href=\"https:\/\/pixflow.net\/blog\/davinci-resolve-keyboard-shortcuts\/\" target=\"_blank\" rel=\"noopener\">DaVinci Resolve keyboard shortcuts<\/a> worth memorizing on day one:<\/p>\n<ul>\n<li>Alt+S (Option+S on Mac) to add a serial node<\/li>\n<li>Alt+P for parallel<\/li>\n<li>Alt+L for layer<\/li>\n<li>Alt+O for outside<\/li>\n<\/ul>\n<h3>A clean beginner node tree<\/h3>\n<p>Professional graders do not use one giant node with every adjustment piled in. They split the work into clearly named stages. A reliable beginner structure looks like this:<\/p>\n<ol>\n<li>Node 1, Balance: exposure and white balance only, using the primaries wheels and offset.<\/li>\n<li>Node 2, Contrast: shape the tonal range, usually with a custom curve.<\/li>\n<li>Node 3, Color: push saturation and overall color intention.<\/li>\n<li>Node 4, Secondaries: isolated work with qualifiers or power windows (skin, sky, a specific object).<\/li>\n<li>Node 5, Look: creative pass, LUTs, vignettes, film emulation, final polish.<\/li>\n<\/ol>\n<p>Name your nodes (right-click, Node Label). Future-you and anyone else opening the project will thank you. A tidy tree is easier to tweak, easier to copy-paste between shots, and easier to troubleshoot when something looks wrong.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Primary Color Wheels &#8211; Lift Gamma Gain and Offset&#8221;]<\/p>\n<h2>Primary Color Wheels: Lift, Gamma, Gain &amp; Offset<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776581637210{margin-bottom: 25px !important;}&#8221;]The primaries wheels are the foundation of DaVinci Resolve and of color grading in general. They target the three tonal regions of your image, plus a global shift.<\/p>\n<ul>\n<li>Lift: shadows. Use this to set your black point and to neutralize color casts in darker regions.<\/li>\n<li>Gamma: midtones. Lifts or lowers the middle of the image. Skin tones live here.<\/li>\n<li>Gain: highlights. Sets your white point and controls brightness of bright areas.<\/li>\n<li>Offset: moves all three tonal regions at once, like a pedestal. Great for quick white balance.<\/li>\n<\/ul>\n<p>The small master ring under each wheel controls luminance for that range. The ring itself shifts color balance. Drag the puck inside the wheel toward a hue to push that tonal region toward that color.<\/p>\n<h3>Primary vs Log vs HDR wheels (and which to pick)<\/h3>\n<p>Resolve gives you three sets of wheels, and beginners often do not know they exist.[\/vc_custom_heading][vc_wp_text]\n<table id=\"tablepress-31\" class=\"tablepress tablepress-id-31\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\"><strong>Wheel set<\/strong><\/th><th class=\"column-2\"><strong>Range of influence<\/strong><\/th><th class=\"column-3\"><strong>Best for<\/strong><\/th><th class=\"column-4\"><strong>Studio-only?<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">Primary<\/td><td class=\"column-2\">Broad, soft overlap between shadows, mids, highlights<\/td><td class=\"column-3\">Overall balance, everyday corrections<\/td><td class=\"column-4\">No (Free)<\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">Log<\/td><td class=\"column-2\">Targets shadow, mid, and highlight bands with adjustable pivots<\/td><td class=\"column-3\">Log footage, precise contouring of tonal regions<\/td><td class=\"column-4\">No (Free)<\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">HDR<\/td><td class=\"column-2\">Zone-based, highly precise with user-defined zones<\/td><td class=\"column-3\">HDR finishing, very targeted corrections<\/td><td class=\"column-4\">Yes (Studio)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-31 from cache -->[\/vc_wp_text][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776581735431{margin-bottom: 25px !important;}&#8221;]For a beginner, live on the Primary wheels. Touch Log wheels when you want a tighter grip on a specific tonal region. HDR wheels are a Studio feature, useful once you are serious about HDR finishing or very surgical corrections.<\/p>\n<h3>Wheel-to-problem cheat sheet<\/h3>\n<p>[\/vc_custom_heading][vc_wp_text]\n<table id=\"tablepress-32\" class=\"tablepress tablepress-id-32\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\"><strong>Problem<\/strong><\/th><th class=\"column-2\"><strong>Wheel to reach for<\/strong><\/th><th class=\"column-3\"><strong>What to do<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">Whole image too dark or too bright<\/td><td class=\"column-2\">Offset (master) or Gain master ring<\/td><td class=\"column-3\">Nudge up or down while watching the waveform<\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">Green or magenta cast in the whole image<\/td><td class=\"column-2\">Offset color ring<\/td><td class=\"column-3\">Push opposite the cast until RGB Parade aligns<\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">Crushed blacks<\/td><td class=\"column-2\">Lift master ring up<\/td><td class=\"column-3\">Raise shadows until detail returns at the bottom of the waveform<\/td>\n<\/tr>\n<tr class=\"row-5\">\n\t<td class=\"column-1\">Blown highlights<\/td><td class=\"column-2\">Gain master ring down<\/td><td class=\"column-3\">Lower until peak whites sit below clipping<\/td>\n<\/tr>\n<tr class=\"row-6\">\n\t<td class=\"column-1\">Skin tone slightly off<\/td><td class=\"column-2\">Gamma color ring<\/td><td class=\"column-3\">Tiny push toward warm or cool, confirm on the vectorscope's I-line<\/td>\n<\/tr>\n<tr class=\"row-7\">\n\t<td class=\"column-1\">Shadows have a color cast<\/td><td class=\"column-2\">Lift color ring<\/td><td class=\"column-3\">Push opposite the cast only in the shadow region<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-32 from cache -->[\/vc_wp_text][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776581840715{margin-bottom: 25px !important;}&#8221;]One rule that will save you hours: small moves beat big moves. The wheels are extremely sensitive. If the image snaps into a look immediately, you almost certainly went too far.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Custom Curves and HSL Curves&#8221;]<\/p>\n<h2>Custom Curves &amp; HSL Curves<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221;]Curves are where grading gets expressive. They do things wheels cannot, and once you are comfortable with both tools you can pick whichever is faster for each decision.<\/p>\n<h3>Custom curves (Luma and RGB)<\/h3>\n<p>The Custom curve shows the image&#8217;s tonal response. The bottom-left point is shadows, the top-right is highlights. Pull a point on the line to push that tonal value up (brighter) or down (darker).<\/p>\n<ul>\n<li>For classic cinematic contrast, a gentle S-curve (lift the highlight shoulder, drop the shadow toe) adds punch without crushing.<\/li>\n<li>Switch to R, G, or B individually to fix or create color casts with more precision than the primaries wheels give you.<\/li>\n<li>Right-click the curve to enable Soft Clip, which pulls extreme values back into legal range.<\/li>\n<\/ul>\n<h3>HSL curves (the secret weapon)<\/h3>\n<p>The six HSL curves let you target specific colors without masks. You pick a color on the image and then bend a specific property of it.[\/vc_custom_heading][vc_wp_text]\n<table id=\"tablepress-33\" class=\"tablepress tablepress-id-33\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\"><strong>Curve<\/strong><\/th><th class=\"column-2\"><strong>What it changes<\/strong><\/th><th class=\"column-3\"><strong>Typical use<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">Hue vs Hue<\/td><td class=\"column-2\">Shift one hue to another<\/td><td class=\"column-3\">Turn yellow jackets into orange, fix a magenta sky<\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">Hue vs Sat<\/td><td class=\"column-2\">Change saturation of a specific hue<\/td><td class=\"column-3\">Mute a loud red, boost the green of foliage<\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">Hue vs Lum<\/td><td class=\"column-2\">Brighten or darken a specific hue<\/td><td class=\"column-3\">Darken a blown sky, lift a dull skin tone<\/td>\n<\/tr>\n<tr class=\"row-5\">\n\t<td class=\"column-1\">Lum vs Sat<\/td><td class=\"column-2\">Saturation based on brightness<\/td><td class=\"column-3\">Remove color from shadows or highlights, classic filmic trick<\/td>\n<\/tr>\n<tr class=\"row-6\">\n\t<td class=\"column-1\">Sat vs Sat<\/td><td class=\"column-2\">Saturation of already-saturated or already-desaturated areas<\/td><td class=\"column-3\">Pull down over-saturated neons without touching skin<\/td>\n<\/tr>\n<tr class=\"row-7\">\n\t<td class=\"column-1\">Sat vs Lum<\/td><td class=\"column-2\">Brightness based on saturation<\/td><td class=\"column-3\">Lift muted tones or darken bright areas<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-33 from cache -->[\/vc_wp_text][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221;]<\/p>\n<h3>Curves vs Wheels: when to use which<\/h3>\n<ul>\n<li>Wheels are fast and intuitive for broad balance and creative pushes.<\/li>\n<li>Curves are precise and perfect for contrast shaping and isolating a single color.<\/li>\n<li>A common pro workflow is wheels first, curves second. Wheels set the foundation, curves refine the details.<\/li>\n<li>If a correction needs to target one color only, curves beat wheels almost every time.<\/li>\n<li>If the whole image needs a shift, wheels beat curves.<\/li>\n<\/ul>\n<p>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Step-by-Step Mini Project &#8211; Grading a Shot from Flat to Cinematic&#8221;]<\/p>\n<h2>Step-by-Step Mini Project: Grading a Shot from Flat to Cinematic<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776590096100{margin-bottom: 25px !important;}&#8221;]Theory is fine, but grading sticks only when you do it. Follow this five-step workflow the next time you open a project. It is the same skeleton a working colorist uses, just simplified.<\/p>\n<h3>Step 1: Set up the project and import footage<\/h3>\n<ul>\n<li>Create a new project with the settings from the Setting Up section above.<\/li>\n<li>Import your clip on the Media page and drop it on a new timeline.<\/li>\n<li>Click the Color page.<\/li>\n<li>In Project Settings, confirm your timeline and output color space match your delivery target (usually Rec.709 for web and social).<\/li>\n<\/ul>\n<h3>Step 2: Build the node tree<\/h3>\n<p>On your first clip, right-click in the node editor and choose Reset Grade. Then build the five-node tree from the Nodes section:<\/p>\n<ol>\n<li>Balance<\/li>\n<li>Contrast<\/li>\n<li>Color<\/li>\n<li>Secondaries<\/li>\n<li>Look<\/li>\n<\/ol>\n<p>Name each node. Leave them empty for now.<\/p>\n<h3>Step 3: Primary correction (exposure, white balance, contrast)<\/h3>\n<p>Select the Balance node.<\/p>\n<ul>\n<li>Open the RGB Parade. Your goal is to align the bottoms (shadows) and tops (highlights) of the three channels so blacks and whites look neutral.<\/li>\n<li>Use Offset to shift the overall white balance until the Parade lines up.<\/li>\n<li>Use Lift&#8217;s master ring to set the black point. Aim for shadows just above zero unless the scene is supposed to be very dark.<\/li>\n<li>Use Gain&#8217;s master ring to set the white point. Aim for bright highlights peaking around 920 to 1000 without clipping.<\/li>\n<li>Use Gamma&#8217;s master ring to adjust midtone brightness so skin looks correctly exposed.<\/li>\n<li>Check skin tones on the Vectorscope. They should lean on the I-line.<\/li>\n<\/ul>\n<p>If you are unsure what counts as a correct white balance before you start, the <a href=\"https:\/\/pixflow.net\/blog\/white-balance-video-color-temperature\/\" target=\"_blank\" rel=\"noopener\">white balance in video guide<\/a> walks through the on-set principles that make Resolve&#8217;s corrections much faster.<\/p>\n<p>Move to the Contrast node. Add a subtle S-curve on the Custom curve. Do not over-push. You are shaping, not stylizing.<\/p>\n<h3>Step 4: Curves pass<\/h3>\n<p>Select the Color node.<\/p>\n<ul>\n<li>Boost overall saturation slightly if the image looks flat (typically 55 to 60 from the default 50, on log-to-709 footage).<\/li>\n<li>Move to HSL curves. On Hue vs Sat, you can pull skin tone saturation down a touch so faces do not compete with the background.<\/li>\n<li>On Hue vs Lum, consider darkening blown skies slightly if your shot has a lot of sky.<\/li>\n<li>On Lum vs Sat, pull down saturation in the deepest shadows. This is a classic filmic trick that adds subtle depth.<\/li>\n<\/ul>\n<p>At this point, the image should look like a well-corrected, slightly cleaned-up version of reality. That is exactly what you want before the creative pass.<\/p>\n<h3>Step 5: Creative look (LUT + final polish)<\/h3>\n<p>Move to the Look node. This is where grading (not correction) happens.<\/p>\n<p>Two popular approaches:<\/p>\n<ul>\n<li>Apply a creative LUT as the Look node&#8217;s starting point, then dial back its intensity with the Key palette&#8217;s Output Gain slider until it feels natural (often 40 to 70 percent strength). Pixflow&#8217;s <a href=\"https:\/\/pixflow.net\/color-luts\/\" target=\"_blank\" rel=\"noopener\">cinematic LUT pack<\/a> works well here because the LUTs are designed as bases to grade on top of, not destinations.<\/li>\n<li>Build a look by hand using the Log wheels: cool shadows + warm highlights is the classic teal-and-orange, desaturated mids + crushed blacks gives you a thriller feel, warm highlights + neutral shadows gives you a lifestyle or wedding look.<\/li>\n<\/ul>\n<p>The color palette of a film is part of the language of the story. If you want inspiration for how a single palette can define a mood, read how <a href=\"https:\/\/pixflow.net\/blog\/the-color-palette-of-amelie\" target=\"_blank\" rel=\"noopener\">The Color Palette of Am\u00e9lie<\/a> uses green, yellow, and red to build a specific emotional register.<\/p>\n<p>Finish with a light vignette on a Power Window inside the Look node (lower Gain around the edges by 5 to 15 percent). Your shot is graded.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Secondary Grading Basics (Qualifier, Power Windows, Tracking)&#8221;]<\/p>\n<h2>Secondary Grading Basics (Qualifier, Power Windows, Tracking)<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776588622610{margin-bottom: 25px !important;}&#8221;]Secondaries are how you grade part of the frame instead of the whole frame. This is where Resolve starts to feel magical.<\/p>\n<h3>Qualifier<\/h3>\n<p>The Qualifier is a color-key tool. You pick a color with the eyedropper, refine the hue, saturation, and luminance ranges until only that color is selected, and then every correction on that node affects only the qualified area.<\/p>\n<ul>\n<li>View your key by clicking the Highlight button in the viewer (mode: Difference or B\/W Matte).<\/li>\n<li>Tighten the Hue range first, then Saturation, then Luminance.<\/li>\n<li>Use Blur and Denoise on the key to soften harsh edges.<\/li>\n<li>Follow a qualifier node with an Outside node to grade everything except the selection.<\/li>\n<\/ul>\n<h3>Power Windows<\/h3>\n<p>Power Windows are shape-based masks, rectangle, circle, polygon, curve, or gradient. Use them for areas defined by shape rather than color (a face framed in a window, a sky cut by a horizon line, a subject that needs to be slightly brighter than the background).<\/p>\n<h3>Tracking (and the Studio note)<\/h3>\n<p>Once a Power Window is placed, you can track it so it follows movement across the shot. Resolve Free includes excellent motion tracking. The tracker handles most handheld, panning, and subject-movement shots without issue.<\/p>\n<p>Magic Mask, the AI-driven mask that isolates people, objects, or features, is a DaVinci Resolve Studio feature. It is powerful but not necessary to learn everything in this guide. Standard Power Window tracking gets you 95% of the way there.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Using LUTs in DaVinci Resolve the Right Way&#8221;]<\/p>\n<h2>Using LUTs in DaVinci Resolve the Right Way<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776588671093{margin-bottom: 25px !important;}&#8221;]LUTs (Look Up Tables) are color recipes. A .cube file tells Resolve: take this input color, output that color. LUTs are fast, portable, and perfect for establishing a base look, but they are also the single most abused tool in color grading.<\/p>\n<p>Two kinds of LUTs to keep straight:<\/p>\n<ul>\n<li>Input LUT (technical): converts log footage to Rec.709 so you can see what you are working with. Apply on Node 1.<\/li>\n<li>Creative LUT (stylistic): adds a look on top of a corrected image. Apply on the Look node, late in the tree.<\/li>\n<\/ul>\n<h3>How to apply a LUT in Resolve<\/h3>\n<ul>\n<li>Place the LUT in the right folder so Resolve sees it: Project Settings &gt; Color Management &gt; Lookup Tables &gt; Open LUT Folder. Drop .cube files in, click Update Lists.<\/li>\n<li>On the node where you want the LUT, right-click, choose LUTs, and pick your file.<\/li>\n<li>Lower its strength with the Key Output Gain slider or by following it with corrections that push it back.<\/li>\n<\/ul>\n<p>A LUT is a starting point, not the grade. If you stop there, your footage will share the exact same look with everyone else using that LUT pack. Push the primaries wheels, bend a curve, adjust contrast on top of it. That is how you get a look that is yours.<\/p>\n<p>Pixflow&#8217;s <a href=\"https:\/\/pixflow.net\/color-luts\/\" target=\"_blank\" rel=\"noopener\">professional color grading LUTs<\/a> are built to work with Resolve Free or Studio, come in Rec.709 and Log variants, and are designed as bases you can grade on top of. If you want a deeper walkthrough on how LUTs plug into an editing workflow beyond Resolve, the Pixflow guide on <a href=\"https:\/\/pixflow.net\/blog\/lut-for-color-grading-and-video-editing-in-premiere\/\" target=\"_blank\" rel=\"noopener\">using LUTs for color grading and editing<\/a> covers .cube formats, Lumetri in Premiere, and generic best practices.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Matching Shots Across a Scene&#8221;]<\/p>\n<h2>Matching Shots Across a Scene<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776589074185{margin-bottom: 25px !important;}&#8221;]A single graded shot is easy. A scene of 20 shots that all look like they belong in the same film is the real test. Resolve has excellent tools to speed this up.<\/p>\n<ul>\n<li>Use the Gallery (left palette) to save stills from your hero shot. Right-click a clip in the viewer and choose Grab Still.<\/li>\n<li>On your next clip, right-click the still in the Gallery and choose Wipe to compare side by side.<\/li>\n<li>With the wipe active, match tonal values on the waveform (blacks, mids, whites) before touching color.<\/li>\n<li>Once luminance matches, align the RGB Parade so white balance matches.<\/li>\n<li>Only then touch saturation and creative adjustments.<\/li>\n<\/ul>\n<p>A simple trick to keep looks consistent: apply your base correction and look nodes to all shots first (copy-paste a grade with middle-mouse drag on the thumbnail bar), then fine-tune each individual shot. This ensures the scene reads as a scene, not a collection of separate grades.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Free vs Studio: What&#8217;s Paid?&#8221;]<\/p>\n<h2>Free vs Studio: What&#8217;s Paid?<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776588801629{margin-bottom: 25px !important;}&#8221;]DaVinci Resolve is famously generous. The Free version is a full professional NLE and color grading tool. Studio adds conveniences and advanced features. Here is the short list of color-related differences so you know what is locked until you upgrade.[\/vc_custom_heading][vc_wp_text]\n<table id=\"tablepress-34\" class=\"tablepress tablepress-id-34\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\"><strong>Feature<\/strong><\/th><th class=\"column-2\"><strong>Free<\/strong><\/th><th class=\"column-3\"><strong>Studio (paid)<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">Primary wheels, Log wheels<\/td><td class=\"column-2\">Yes<\/td><td class=\"column-3\">Yes<\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">HDR color wheels<\/td><td class=\"column-2\">No<\/td><td class=\"column-3\">Yes<\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">Curves (Custom, HSL, Soft Clip)<\/td><td class=\"column-2\">Yes<\/td><td class=\"column-3\">Yes<\/td>\n<\/tr>\n<tr class=\"row-5\">\n\t<td class=\"column-1\">Qualifier, Power Windows, basic tracker<\/td><td class=\"column-2\">Yes<\/td><td class=\"column-3\">Yes<\/td>\n<\/tr>\n<tr class=\"row-6\">\n\t<td class=\"column-1\">Magic Mask (AI-driven isolation)<\/td><td class=\"column-2\">No<\/td><td class=\"column-3\">Yes<\/td>\n<\/tr>\n<tr class=\"row-7\">\n\t<td class=\"column-1\">Noise Reduction (temporal and spatial)<\/td><td class=\"column-2\">No<\/td><td class=\"column-3\">Yes<\/td>\n<\/tr>\n<tr class=\"row-8\">\n\t<td class=\"column-1\">Film Look Creator, Film Grain effects<\/td><td class=\"column-2\">Limited<\/td><td class=\"column-3\">Yes<\/td>\n<\/tr>\n<tr class=\"row-9\">\n\t<td class=\"column-1\">Output above UHD (4K)<\/td><td class=\"column-2\">No<\/td><td class=\"column-3\">Yes<\/td>\n<\/tr>\n<tr class=\"row-10\">\n\t<td class=\"column-1\">Stereoscopic 3D tools<\/td><td class=\"column-2\">No<\/td><td class=\"column-3\">Yes<\/td>\n<\/tr>\n<tr class=\"row-11\">\n\t<td class=\"column-1\">Certain OFX effects and blur\/mist filters<\/td><td class=\"column-2\">Limited<\/td><td class=\"column-3\">Yes<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-34 from cache -->[\/vc_wp_text][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776588897817{margin-bottom: 25px !important;}&#8221;]The beginner verdict: everything in this guide works in the Free version. Upgrade to Studio when you hit a specific workflow wall, noise reduction on messy footage, isolation on complex subjects, or 4K+ delivery.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Common Beginner Mistakes to Avoid&#8221;]<\/p>\n<h2>Common Beginner Mistakes to Avoid<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776588982282{margin-bottom: 25px !important;}&#8221;]Even with the right tools, it is easy to sabotage a grade. These are the mistakes that trip up almost everyone at the start.<\/p>\n<ul>\n<li>Over-saturating. Saturation is seductive. On a neutral image, bumping saturation feels great, and then a week later you watch it back and the skin tones are radioactive. Keep a check-monitor open and compare before and after often.<\/li>\n<li>Crushing blacks and clipping whites. If the waveform flat-lines at 0 or 1023, you have permanently lost detail. Use Soft Clip on the Custom curve if you need to contain extremes.<\/li>\n<li>Stacking LUTs. Two creative LUTs in a row rarely look better than one well-dialed-in LUT followed by manual corrections. LUT layering bakes in weirdness that is very hard to undo.<\/li>\n<li>Not using scopes. Your eyes will lie. The scopes will not. If there is a disagreement, trust the scopes.<\/li>\n<li>One giant node with everything in it. Your future self will not understand what you did. Split the work into labeled nodes.<\/li>\n<li>Grading without correcting first. Every unbalanced pixel becomes part of the look. You will fight the footage for hours instead of shaping it in minutes.<\/li>\n<li>Judging the grade on the wrong display. If possible, calibrate your monitor. At minimum, avoid grading in a bright room with a cheap laptop screen and expect the result to hold up everywhere.<\/li>\n<li>Ignoring clip timing. If your clip changes exposure over time (a dimming sun, someone turning a light on), a single static grade will not hold. Use keyframes on the node (right-click, add a keyframe in the Keyframes panel) to adapt over time.<\/li>\n<\/ul>\n<p>[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Exporting Your Graded Timeline&#8221;]<\/p>\n<h2>Exporting Your Graded Timeline<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776589727390{margin-bottom: 25px !important;}&#8221;]All of this work deserves a clean export. Head to the Deliver page.<\/p>\n<ul>\n<li>Format: MP4 for social and web (h.264 or h.265), ProRes or DNxHR for archival and client delivery.<\/li>\n<li>Resolution and framerate: match your timeline exactly unless you have a reason not to.<\/li>\n<li>Color space tags: make sure the output color space matches your timeline (Rec.709 for standard SDR delivery). This is the step beginners most often forget, and it causes washed-out or oversaturated video when played back on web players.<\/li>\n<li>Quality: data rate matters more than format alone. Aim for 15 to 25 Mbps for 1080p social delivery, higher for 4K.<\/li>\n<\/ul>\n<p>If you are choosing between codecs and containers and not sure which is which, the <a href=\"http:\/\/pixflow.net\/blog\/codec-vs-container\" target=\"_blank\" rel=\"noopener\">codec vs container breakdown<\/a> clarifies what .mp4, .mov, h.264, h.265, and ProRes actually mean. And if you are stuck between variable and constant bitrate on export, the <a href=\"http:\/\/pixflow.net\/blog\/vbr-vs-cbr-bitrate-setting\" target=\"_blank\" rel=\"noopener\">VBR vs CBR guide<\/a> covers when each one makes sense for online delivery.[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;&#8221; el_id=&#8221;Conclusion&#8221;]<\/p>\n<h2>Conclusion<\/h2>\n<p>[\/vc_custom_heading][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776589143436{margin-bottom: 25px !important;}&#8221;]Color grading in DaVinci Resolve is not a mystery once you strip it down to the three pillars: nodes structure the work, wheels set the foundation, curves refine the details. Everything else on the Color page, qualifiers, power windows, LUTs, scopes, is there to support those three tools. Correct first, grade second, always.<\/p>\n<p>The fastest way to learn is to do. Open Resolve, drop in a clip, and build the five-node tree from this guide: Balance, Contrast, Color, Secondaries, Look. Grade one shot today, a scene tomorrow, a full short the week after. Each pass gets faster, and each grade gets more confident.<\/p>\n<p>When you are ready to speed up the creative pass without giving up control, Pixflow&#8217;s <a href=\"https:\/\/pixflow.net\/color-luts\/\" target=\"_blank\" rel=\"noopener\">professional color grading LUTs<\/a> are built exactly for this workflow: drop one on the Look node, dial it back, refine on top. You keep the craft, the LUT just gives you a head start.[\/vc_custom_heading][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row css=&#8221;.vc_custom_1734342908250{margin-top: 125px !important;}&#8221;][vc_column][vc_custom_heading google_fonts=&#8221;font_family:Abril%20Fatface%3Aregular&#8221; css=&#8221;.vc_custom_1776581022899{margin-bottom: 25px !important;}&#8221;]The first time you click on the Color page in DaVinci Resolve, it can feel like stepping into a cockpit. Scopes flicker, wheels glow, a blank node stares back at you, and somewhere under all of that is a single clip that just needs to look good. The [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":91875,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[131,132],"tags":[2624,1136,348,2651,2650,2648,2647,2649],"class_list":["post-91662","post","type-post","status-publish","format-standard","hentry","category-color-grading","category-video-editing","tag-color","tag-color-correction","tag-color-grading","tag-color-wheel","tag-correcting","tag-davinci","tag-davinci-resolve","tag-grading"],"acf":[],"_links":{"self":[{"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/posts\/91662","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/comments?post=91662"}],"version-history":[{"count":10,"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/posts\/91662\/revisions"}],"predecessor-version":[{"id":92109,"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/posts\/91662\/revisions\/92109"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/media\/91875"}],"wp:attachment":[{"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/media?parent=91662"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/categories?post=91662"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pixflow.net\/blog\/wp-json\/wp\/v2\/tags?post=91662"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}