Color grading looks intimidating, but almost every good grade follows the same order: get the image neutral and correct first, then build a look on top. Here is a simple, repeatable workflow you can use on the DaVinci Resolve Color page — all of it works in the free version.
Every grade lives on the node tree in the bottom-right of the Color page. Keep each job on its own node — one for balance, one for conversion, one for contrast, one for the look. That way you can turn any step off or dial it back later without starting over.
Open the Waveform and Parade scopes. Use the Lift / Gamma / Gain wheels to set your blacks near the bottom and highlights near the top without clipping, and balance the red, green and blue channels so a neutral object reads neutral. Do this by eye and by scope — the scopes do not lie.
Log footage looks flat and grey on purpose. Add a Color Space Transform node (or your camera's official log LUT) to bring it to a correct Rec.709 base before grading. Full walkthrough: converting log to Rec.709.
On a fresh node, add contrast with the Custom curve (a gentle S-shape) and nudge saturation. Then on another node build the creative look — a teal-and-orange split, a warm nostalgic tone, or a cold thriller feel.
Once you understand the steps, a ready-made PowerGrade or LUT from the directory can get you 80% of the way in one click — then you fine-tune. That is the fastest way to learn what a good grade is actually doing.
Yes. The entire primary and secondary color grading toolset — wheels, curves, nodes, scopes, Color Space Transform and LUTs — is available in the free version. The main paid extras are noise reduction, HDR tools and some OFX effects.
Color correction makes the image technically neutral and consistent (exposure and white balance). Color grading is the creative step on top — the mood, palette and look. In practice you do correction first, then grading.
Balance and correct exposure and white balance first, normalize log footage to Rec.709, add contrast and saturation, then build your creative look, and finally match all your shots to each other.