Design systems

Color and grade look system

A series, channel or client with several editors or an agent touching color, and you want every episode to land in the same look

brand/LOOK.md · 34 linesDownload .md
# LOOK.md: Color and grade look system

## Pipeline
- Color managed: DaVinci Wide Gamut / DaVinci Intermediate timeline, output Rec.709 Gamma 2.4 for web and TV. [Change if your deliverable is HDR or P3]
- Input transforms per camera, set once per clip on the INPUT node or via project color management. Never grade log footage by eye without a transform.

## Node template (same order on every clip)
1. INPUT CST (if not project managed)
2. EXPOSURE and WB
3. CONTRAST
4. SAT and HUE
5. SECONDARIES (skin, sky): qualifier windows only here
6. LOOK (shared group node or PowerGrade, never edited per clip)
7. OUTPUT CST

## The look, in words
- Name: [Series look name]
- Contrast: [medium], blacks slightly lifted, no clipped highlights on skin.
- Skin: natural, on the skin tone line of the vectorscope.
- Shadows: [slightly cool]. Highlights: [slightly warm].
- Saturation: [90%] overall, highlights desaturated at the top.
- Texture: [fine grain at low strength] or none.
- References: [3 real frames from your own past episodes, with timecodes].

## Shot matching rules
- Match to the hero shot of each scene, not shot to shot down the timeline.
- Check on scopes: waveform for exposure, vectorscope for skin, parade for balance.
- Faces in a scene stay within a small exposure range of each other.

## For agents
- Only touch nodes 2 to 5 per clip. Never edit node 6 (the LOOK) unless asked.
- Label every node. Save a still before and after each change.
- Studio only tools (some ResolveFX like film grain and halation, and external scripting since 21.1): ask before using.

Before you run it Fill in anything in [brackets]. If it edits a project, use a duplicate and read the agent's plan before you say go

Sources and credit

Written by AgentCut. Free to copy, edit and use in your own projects

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