When working with Digifilm we recommend setting your colour management timeline colour space to Davinci Wide Gamut and output colour space to Rec.709A if working on a Mac. This will mot only ensure you work in a wide colour space allowing you take advantage of the full dynamic range of your camera but also ensure your export looks exactly the same as in your colour tab.

CST - Digifilm uses a CST workflow where you simply input the log and colour space such as Slog3 and S-Gamut3.cine if using a sony FX3 or simply inputing Rec.709 for both settings if you’re grading clips from your phone. Once you have done this you will have a classic Digifilm look to use as a starting canvas for your edit

Halation - is the spreading of light beyond its boundaries to form a glow around the edges of a bright image. Davinci’s built in halation although great, lacks finesse. Digifilm uses a specific technique that allows you to not only adjust the strength of your halation but also change the hue of it to any colour using curves and blur.

Film tone - A 16mm or 35mm filmic emulation can easily be achieved by turning on the film tone, Grain and Blur nodes. You can then delve into each of these and adjust to your preference.

Colour masking - Digifilm uses a unique method to help isolate colours, perfect for controlling skin tones.

Glow + Bloom - These tools are great to not only soften up your highlights but also to help you create that dreamy look.

Red control - Reds are always a challenge, though using the new colour slicing tool you’re able to control them easily.

Vignette - A well adjusted vignette that’ll push emphasis on the centre of your frame

Printfilm + Cineon - Choose either to create a printfilm look through Kodak and Fujifilm colour science or achieve a more filmic look using the cineon node

Black Desat - A tool used to desaturate any colours lying in your shadows to give neutral blacks