S-Log3 grading in DaVinci Resolve is a well-defined process once you understand how the nodes fit together. The most common mistake is applying a LUT first and trying to correct colour around it — do it the other way around.

Here's the exact workflow used by professional colourists.

Node Structure

The standard S-Log3 grading pipeline uses three nodes in this order:

  1. CST In — converts S-Log3/S-Gamut3.Cine to a linear or intermediate working space
  2. Primary Grade — exposure, contrast, and colour balance corrections
  3. Creative LUT — your look

You can add further nodes after the LUT for secondary corrections (skin tones, sky isolation, etc.) but these three are the foundation.

Step 1: Set Up Your Colour Science

Open Project Settings > Colour Management. Two options:

Option A — DaVinci YRGB Colour Science

  • Input colour space: S-Gamut3.Cine/S-Log3
  • Timeline colour space: Rec.709 Gamma 2.4
  • Output colour space: Rec.709 Gamma 2.4

This is the simplest setup for most delivery workflows.

Option B — DaVinci YRGB Color Science with CST nodes Leave project settings at default and add a Colour Space Transform node manually. This gives you more granular control and is better if you're mixing footage from multiple cameras.

Step 2: Balance Exposure

On your primary grade node, use the Log wheels (not Lift/Gamma/Gain) for S-Log3 footage. The log wheels operate in a linear fashion that matches how S-Log3 compresses the image.

  • Lift (shadows): pull this down slightly to restore natural black levels
  • Gamma (midtones): adjust for overall exposure
  • Gain (highlights): keep an eye on your parade scope — protect those highlights

Aim for a neutral, well-exposed image before you touch anything else.

Step 3: Apply Your LUT

Add a new serial node after your primary grade. Right-click → 3D LUT → browse to your .cube file.

For CleanLUTs packs, use the LOG folder — these are the creative looks tuned for log footage. The node's Key Output slider controls intensity — use it like an opacity control for the LUT. Start at 0.65–0.75 and adjust to taste.

Step 4: Final Delivery

For YouTube and social media delivery:

  • Colour space: Rec.709
  • Gamma: 2.4 (mastering) or sRGB (web)
  • Data levels: Video (16–235) for broadcast, Full (0–255) for digital

Export at your source resolution. There's no benefit to upscaling S-Log3 footage.

Common Mistakes

Applying the LUT before primary corrections — your LUT assumes neutrally balanced, properly exposed input. Feed it flat, unbalanced footage and the results will be inconsistent.

Using the wrong folder — use the LOG folder for S-Log3 (or any log profile) and the STD folder for Rec.709 footage. Applying a STD LUT to log footage will look flat; applying a LOG LUT to Rec.709 will look washed out.

Over-correcting after the LUT — if you find yourself making large adjustments after the LUT node, it usually means your primary grade was wrong. Go back and fix it there.

Next Steps

Once you have the workflow locked in, experiment with secondary corrections: skin tone vectors, sky isolation using the qualifier, and power windows for local exposure adjustments. Those tools are where DaVinci Resolve really earns its reputation.