KolorKlinic
Finishing tools

Six frequency bands, from grain to volume: Fine, Detail, Texture, Structure, Modelling and Volume. Soften the digital edge, bring back the modelling of a face, and add presence without sharpening halos.

The red-orange glow film produces around bright sources. Threshold, radius, amount, red, orange or custom tint, and saturation.

Pro-Mist and Glimmerglass style: highlights spread into the image, bloom around the brightest points and an optional misty black lift.

Organic, animated grain with 35mm, 16mm and Super 8 stocks: amount, size, softness, separate response in shadows, midtones and highlights, and mono, colour or 3D film dye grain: cyan, magenta and yellow dye clouds that melt into the image instead of sitting on top.

Save your own looks in 5 slots on your machine, or export a look code to copy-paste and share with other colorists.

Organic, 35mm Kodak, 16mm, Pro-Mist 1/4 and Digital clean presets load every module at once. Tweak anything afterwards.

Use the automatic skin mask to equalise skin only, or everything but skin. Inspect the mask, the halation layer and the detail change.

Film-style highlight rolloff runs first in the chain: highlights stop clipping and roll off into dense whites. Every film look sets it for you.

One plugin, three modules you can switch on and off, running inside Resolve's GPU memory (Metal, CUDA or OpenCL). Fully offline. Works in Rec.709, ACEScct, ACEScc, ACEScg, ACES2065-1 and DaVinci Wide Gamut projects.

A film-style tone response: toe, shoulder and contrast that roll the image the way a negative and print do.

Push, shift and saturate each hue on its own, with film-like crossover between neighbours.

Colour casts plus a bleach bypass for dense, desaturated contrast.

Neutral, Basic Punched, 2383, Vision 3, Indie, Soft Silver and Muted, plus two black and white looks, all from hand-graded ACES LUTs. Tweak anything on top.

Grain, halation, diffusion and gate weave from KolorKlinic Texture, built in.

Uses the same colour space menu as Texture: Rec.709, ACES and DaVinci Wide Gamut projects, with gamut compression so neon and LEDs never break up. Fully offline.

Print any look onto a modelled Kodak 2383, 2393 or 2302 black-and-white release print, with its own strength.

Bake your film colour into a 33-point LUT for clients, on-set monitoring or other apps.

Splits skin into a tone layer (colour, blotches, shadows of pores) and a texture layer (pores, fine hair). Gaussian, Box or edge-aware Surface filter, so smoothing never bleeds across eyes, lips or the jawline.

Finds skin by its place on the vectorscope skin line and keeps eyes, brows and lips out, with no roto needed. Or use Resolve's own window, qualifier or an incoming alpha.

Fades spots and large pores, the mid-size detail, while the finest texture stays. Add midtone detail or post-sharpening for a natural, filmic finish.

The tone layer is motion-stabilised across neighbouring frames, so the retouch stays locked to the face instead of shimmering. Texture always comes from the current frame.

View the final image, the tone layer, the texture layer or the skin mask, with a draggable split view against the original.

Runs inside Resolve's own GPU memory (Metal, CUDA or OpenCL), with a Fast playback mode for real-time scrubbing. Fully offline. Works in Rec.709, ACEScct, ACEScc, ACEScg, ACES2065-1 and DaVinci Wide Gamut projects.

Quarter-pixel motion vectors on 8×8 blocks, outlier-free vector smoothing and overlapped-block compensation with no seams. Pixels that don't match are left out, so there's no ghosting. It measures about +0.8 dB over v1.1 on fast pans and handheld shake.

Five-scale à-trous wavelet shrinkage with separate Luma NR and Chroma NR, so colour blotches go without plastic skin.

Click Auto-detect noise: the plugin finds the flattest areas of the frame by itself, measures the clip's real noise and tunes every scale to it. Prefer to choose? Drag your own sample box and click Analyze.

Runs right inside Resolve's own GPU memory (Metal or OpenCL), so frames never round-trip through the CPU. CUDA on NVIDIA, with an automatic fallback to all CPU cores. Every engine runs the same math, fully offline. Works in Rec.709, ACEScct, ACEScc, ACEScg, ACES2065-1 and DaVinci Wide Gamut projects.

Frames and motion stay cached on the GPU, so during playback each frame only reads one new neighbour and starts its motion search from the last frame. Switch Quality to Fast playback for a lighter, 1-frame-each-side mode while you scrub.

Drag a divider in the viewer to compare the original and the denoised image side by side, with an optional thin guide line.

Keep part of the clip's own grain, or add animated film grain with size, amount and softness. Clean, but never plastic.

Highlights roll off softly toward white the way film does, instead of the hard digital clip. Shadows and midtones stay untouched.

Set where the image reaches full white and how far down the compression reaches, from a gentle shoulder to a deep film curve.

Highlight colour goes from negative film (bright areas lose saturation) to slide film (they stay rich).

See exactly which part of the image is being compressed, then dial it in.

Runs in Resolve's GPU memory (Metal, CUDA, OpenCL). Rec.709, ACEScct, ACEScc, ACEScg, ACES2065-1 and DaVinci Wide Gamut.

No licence, no trial, no account. Also built into KolorKlinic Texture, where each film look sets it for you.