DaVinci Resolve & Fusion Studio colour grading
Working with the right software file types
For this project, all the grading work was done using DaVinci Resolve in a 4K project. The source files were .exr (zip codec) which provided all the dynamic range I needed as a colourist. Exr 16-bit files in a linear colour space (ACES) provided us with tremendous latitude to work with the image, giving us the ability to manipulate it extensively while maintaining quality. The colour space we used was ACEScct with Rec 709 output for the trailer and P3 DCI output for the final film.
Colour approach
Since the film is fully CG animation, the initial imagery felt cold and heavily saturated. To counter this, we decided to go darker and reduce the gamma. We also desaturated the reds and blues, leaning more toward greens and yellows in the shadows. This created a more grounded, atmospheric feel. The lower light colour grading helped to build a moodier, less sterile tone that supported the narrative without overwhelming the viewer.
Telling a story
Ultimately, my job as a colourist is to tell the story through colours. My goal is to support the director’s vision and use the tools at my disposal to amplify the emotional impact of the film. The director guides me into the world they’ve imagined, and I help bring that vision to life. It’s all about translating the mood and emotions through colour, light, and texture – turning each frame into a piece of visual storytelling.
Balancing realism and stylization
While creating a cinematic experience, striking a balance between realism and artistic stylization is crucial, especially when working with CG animation. Pay close attention to how much realism you inject versus how much you stylise. In Babiru, we walked a fine line, ensuring the world felt grounded yet retaining the creative flair that distinguishes it from other action films. DaVinci Resolve’s advanced HDR tools allowed us to selectively push the stylization without losing realism.
Collaboration and feedback
Color grading is a highly collaborative process, especially in a high-concept film like Babiru. Regular feedback from the director, VFX supervisor, and even the sound team can provide valuable perspectives that help shape the final visual tone. Make sure to build a workflow that allows for quick iterations and smooth feedback integration. We used a combination of colour-graded proxy renders and synced remote sessions to ensure the creative vision was aligned throughout the post-production process.
Conclusion
In conclusion, the colour grading process for Babiru was a complex and collaborative effort that required careful attention to detail and a deep understanding of the director’s vision. By working closely with the team and using the right software and techniques, we were able to create a visually stunning film that exceeded expectations.
FAQs
Q: What software was used for colour grading in Babiru?
A: DaVinci Resolve and Fusion Studio were used for colour grading in Babiru.
Q: What was the source file format used for the project?
A: .exr (zip codec) was used as the source file format.
Q: What was the colour space used for the project?
A: ACEScct with Rec 709 output for the trailer and P3 DCI output for the final film.
Q: How did the team approach colour grading in Babiru?
A: The team took a highly collaborative approach, with regular feedback from the director, VFX supervisor, and sound team. They used a combination of colour-graded proxy renders and synced remote sessions to ensure the creative vision was aligned throughout the post-production process.
