BMW E36 · Behind the edit

How I edited the E36 car reel

My DaVinci Resolve workflow for building the edit, stabilizing clips, and grading S-Log3 footage.

Red BMW E36 parked on a tree-lined road
01

Set up the project

This edit starts with the footage from my E36 shooting process. I use a vertical 1080p timeline for Instagram and keep the project in DaVinci YRGB because I prefer to manage the S-Log3 conversion myself with CST nodes.

Why I chose DaVinci Resolve

The main reason is that it is free. The free version gives me editing, color grading, Fusion, and audio tools in one application, so I can learn the complete workflow without paying for a subscription. Resolve Studio adds more features, but the workflow in this post can be done with the free version.

SoftwareDaVinci Resolve
Timeline resolution1080 × 1920
Timeline frame rate30 fps
Color scienceDaVinci YRGB
Timeline color spaceDaVinci Wide Gamut / Intermediate
Output color spaceRec.709 Gamma 2.4
Do not enable automatic color management for this workflow. The CST nodes below handle the transforms. Using both can apply the conversion twice.
02

Build the timeline

I add the music first and place the strongest shots around the main beats. Because the footage was recorded at 60 fps, I can slow it to 50% on the 30 fps timeline.

  • Start with a short detail shot
  • Use a wide shot to reveal the full car
  • Mix wide, medium, and close shots
  • Keep similar camera movements together
  • Finish with a clean hero shot
03

Stabilize only when needed

I try the Translation mode in Resolve first. It corrects horizontal and vertical movement without warping the shape of the car as much as stronger stabilization modes can.

Translation stabilization

I use this for small gimbal shakes. I keep the strength low and check the crop after stabilizing. If the clip starts to bend or drift, I reduce the settings or leave it unstabilized.

Planar Tracker

For a more difficult clip, I use the Planar Tracker in Fusion. I track a flat area with clear detail, switch the operation to Stabilize, and then adjust the crop back on the Edit page.

Stabilization cannot fix every shot. Sometimes a small amount of natural movement looks better than an aggressive digital correction.
04

Start with CST In

The first node converts the Sony footage into DaVinci Wide Gamut. This gives me a large working space for the correction and look nodes that follow.

Input color spaceSony S-Gamut3.Cine
Input gammaSony S-Log3
Output color spaceDaVinci Wide Gamut
Output gammaDaVinci Intermediate
Tone mappingNone
05

Correct before adding a look

I correct the image before applying the film LUT. I use separate nodes so I can adjust or disable each part without affecting everything else.

01
CST In

S-Log3 and S-Gamut3.Cine into DaVinci Wide Gamut and Intermediate.

02
Exposure and white balance

Balance the image and match it to the other clips.

03
Contrast

Shape the black and white points without crushing the car details.

04
Color corrections

Adjust the paint, greens, and any distracting color casts.

05
Color Boost

Add a small amount only when the colors still feel dull.

Example node graph · Scroll to view

NODE 01CST In
→
NODE 02Exposure + WB
→
NODE 03Contrast
→
NODE 04Color correction
→
NODE 05Color Boost
→
NODE 06CST Out
→
NODE 07Fujifilm LUT
06

Add the film look

I use the Fujifilm 3513DI D65 film-look LUT included with DaVinci Resolve. It expects Cineon Film Log, so I prepare the image with a second CST before the LUT.

Input color spaceDaVinci Wide Gamut
Input gammaDaVinci Intermediate
Output color spaceRec.709
Output gammaCineon Film Log
Next nodeFujifilm 3513DI D65 LUT
The correct LUT name is Fujifilm 3513DI D65. It is included in Resolve under Film Looks. If I skip the LUT, I change the CST output gamma to Gamma 2.4 instead of Cineon Film Log.

Once the edit and grade are ready, I follow my export and Instagram upload workflow.