Blackmagic Design announced that multi-award-winning feature The Substance relied on DaVinci Resolve Studio for all aspects of picture finishing for its ambitious post production workflow.
Directed by Coralie Fargeat and shot by Benjamin Kračun, BSC, the film’s stylistic arc presented several challenges for post house Lux Studios during the grade.
“We worked closely with Coralie and Benjamin from the start to define the film’s aesthetic, using the script and mood boards as early creative references,” explained Lux Studios senior colorist Fabien Pascal. “Early camera tests allowed us to validate equipment choices and develop custom LUTs, which gave us a creative starting point for our collaboration.”
To realize Fargeat’s bold artistic vision, Lux Studios developed a custom two phase grading pipeline in DaVinci Resolve Studio. “We moved away from off the shelf color management,” said Pascal. “In phase one, we used a logarithmic, photochemical approach in a P3 workspace, evoking the look of early 1980s film stock. Then, as the narrative shifts, we transitioned to phase two, grading in Rec. 709 for a sharper, more digital look.”
The film’s visual storytelling deliberately evolves across its runtime, with color playing a crucial role. “We designed the palette to transition across the story’s arc, from visceral reds to fluorescent yellows and greens,” Pascal noted. “Where some scenes have a nostalgic photochemical 1980s feel to them, others embraced a bolder, digital aesthetic to heighten the unsettling atmosphere viewers experience.”
Among the film’s big technical challenges was the “pump it up” sequence, which incorporated both dynamic lighting shifts and fast camera movements. However, the transformation scene featuring the “LisSueMonster” proved to be even more demanding according to Pascal. “We worked hand in hand with the VFX and SFX teams to maintain realism under some difficult lighting conditions,” he noted. “Custom grading tools helped us fine tune the monster’s organic texture, preserving detail without making it look too artificial.”
Practical effects used throughout the body horror scenes also required further work in the DI suite to dial in the look. “We developed a node tree structure to enhance the wet, organic appearance of skin and flesh tones,” explained Pascal. “Small contrast adjustments helped ensure the textures stayed rich, even under extreme lighting conditions.”
To ensure consistent presentation across viewing environments, Lux Studios created multiple deliverables. “After finishing the initial SDR cinema grade at 48 nits, we spent another week on the Dolby Vision HDR pass,” explained Pascal. “Our workflow allowed us to easily adapt grades across different display formats with a custom output display transform, maintaining consistency between HDR content and the SDR master.”
“The Substance challenged us creatively and technically at every stage,” reflected Pascal. “From pre production to final delivery, DaVinci Resolve Studio gave us the flexibility to execute our vision and craft a striking, immersive experience.”
