What benefits brings 'Fixed Node Tree'?

The concept of a ‘Fixed Node Tree’ is essentially a predefined node structurE, (usually) a ‘blank template’ in the Color tab. Instead of adding nodes ‘on the fly’ as the work progresses, you prepare a ready-made ‘tree’ where each node has a designated purpose, handling specific adjustments such as exposure, white balance, saturation, or masks. As a rule, these nodes do not carry any initial adjustments; they simply establish a framework and an order of operations. However, some may contain predefined values or settings, such as a linear gamma curve or a standard vignette. While some colorists utilize highly complex trees with multiple variations, others prefer a more streamlined approach, modifying them as needed for a specific project. From a broader perspective, a ‘Fixed Node Tree’ reflects a colorist’s personal workflow that typically evolves alongside their experience and shifting approach to color grading.

So, what are the advantages of using a ‘Fixed Node Tree’? The first is obvious: instead of manually adding nodes one by one, you have a complete structure ready with a single click. This structure, especially for less experienced colorists, helps maintain a consistent workflow and a logical order of operations. Such an organized system is particularly valuable during the revision process, as it makes it much easier to locate the specific node responsible for a given adjustment.

A ‘Fixed Node Tree’ also facilitates muscle memory when using Blackmagic Design control panels, specifically the buttons for jumping to the next or previous node. However, there is one caveat: besides its custom label, every node has a specific index number, and the ‘next’ or ‘previous’ commands refer to that number. A ‘Fixed Node Tree’ should not be viewed as a rigid cage; you may need to add a node or a group of nodes within the tree during your session. Therefore, it’s worth knowing that under Preferences / User / Color, there is an option called Preserve node numbers when adding nodes. This allows you to keep the original numbering intact and any new node, even if placed visually f.i. second in the chain, will be assigned the next available higher number. This ensures your primary node sequence and mapping remain consistent.

The aforementioned Preserve node numbers option is of paramount importance when utilizing the Ripple Node Changes function. Once adjustments are made in a specific node, you can use Ripple Node Changes to Selected Clips or Ripple Node Changes to Current Group (available in the Color menu or via custom shortcuts) to apply those changes simultaneously to nodes with the same index number across all selected clips or all clips within an active group. Furthermore, there are four distinct ripple modes available under Preferences / User / Color / Ripple Mode: Exact values changed, Percent value changed, Unit values changed, and All values are copied (a detailed description with examples of how each mode behaves can be found in the Manual, accessible via the Help menu).

In this context, although not directly tied to the ‘Fixed Node Tree’ itself, it is also worth exploring options for reordering thumbnails. By default, clips in the Color tab are arranged according to their position on the timeline. However, by navigating to View -> Timeline Thumbnail Mode, you can switch the order to SourcE (recording time). This is particularly useful because shots filmed sequentially usually share the same lighting and atmospheric conditions. When these shots are grouped together in the thumbnail view, using the Ripple function or even simple grade copying becomes significantly more efficient.

Calling it color management with a ‘Fixed Node Tree’ might be a bit of an overstatement, but if you manage color at the node level rather than automatically, a Fixed Node Tree or even a single ‘Fixed Node’ can make life much easier. For instance, you can have a node with predefined Color Space Transform (CST) values, such as a transformation from Sony S-Gamut3.cine / S-Log3 to DaVinci Wide Gamut / Intermediate. You can prepare numerous presets like this, not just for color management, but for any other functions that can be preconfigured to save yourself from repetitive clicking.

A ‘Fixed Node Tree’ is essentially a still saved in the Gallery within the Color tab (Right-click the viewer -> Grab Still). Depending on which bin is active, it will land in either the Stills or PowerGrades folder. It is better to use PowerGrades (you can rename this folder to something like ‘Presets’), as they are accessible across your entire database rather than being limited to a single project. To keep these presets organized, the simplest solution is to create a text clip on the Timeline with a descriptive name (e.g., ‘Slog3 -> DaVinci Wide Gamut’) and then convert it into a Compound Clip so it becomes visible in the Color tab. Using a saved preset is then exactly the same as using any other still: double-click, right-click and select Apply Grade, or simply drag and drop it onto your node graph.

There is a good reason why the ‘Fixed Node Tree’ is such an incredibly popular tool among colorists; it significantly boosts efficiency and provides a much needed sense of structure for those who are less experienced. Predefined node structures, preset values for manual color management, and the Ripple Node Changes function are wonderful examples of its utility, and they are just the beginning. It is well worth expanding your arsenal and building your own custom node structures to fully leverage the power of DaVinci Resolve!