This is how 'The Substance' was graded, the unexpected gore cinematic phenomenon with Demi Moore

Fabien Pascal, main colorist of Lux Studio, deployed a wide selection of DaVinci Resolve (Blackmagic Design) tools to perform color correction on one of the most talked-about films of 2024: 'The Substance'.

Directed by Coralie Fargeat with photography direction Benjamin Kračun (BSC), The substance tells the story of Elizabeth Sparkle (Demi Moore / Margaret Qualley), a fading actress who gains access to a miraculous product that allows her to create an alter ego that is the “improved” version of herself. The result, as it could not be otherwise, is not what was expected in the medium term, which results in a staging of gore, body horror and black humor which presented several challenges for color correction company Lux Studios.

As Pascal explains, The substance required the collaboration from all parties from the initial phases of production: "From the beginning we worked closely with Coralie and Benjamin to define the aesthetic of the film, using the script and a mood board as initial creative references. The first tests with the cameras gave us the possibility to confirm the choice of equipment and develop custom LUTs, which gave us a starting point to collaborate on the creative aspects."

With the purpose of realizing this artistic vision, Lux Studios created a two-stage work process for color grading in DaVinci Resolve Studio. In the first stage, he used a logarithmic photochemical approach in a P3 workspace, in order to evoke the aesthetics of films from the early 1980s. Then, as the plot changes, it evolves to a second stage in which grading is done with a Rec. 709 color space to achieve a more digital and sharp appearance.

A film with constant visual evolution

The visual narrative deliberately evolves throughout the film, and the color, as it could not be otherwise, plays a fundamental role: "We designed the color palette so that it changed as the story evolved, going from visceral reds to yellows and phosphorescent greens. While some scenes have a nostalgic photochemical air reminiscent of the 1980s, others adopt a more prominent digital aesthetic to increase the disturbing atmosphere that viewers experience."

One of the main technical challenges of the film was the “Pump it up” scene sequence, which incorporates both dynamic lighting changes and rapid camera movements. However, the “Lis-Sue” monster transformation scene It was even more challenging, as Pascal recalls: "We worked hand-in-hand with the VFX and special effects teams to maintain realism in complex lighting conditions. Custom grading tools helped us refine the monster's natural texture and retain details without making it look too artificial."

Los special effects throughout the body horror scenes also required additional work in the digital intermediate in order to achieve the desired look. "We developed a nodal structure to accentuate the moist, natural appearance of the skin and raw flesh tones. Small contrast adjustments allowed us to ensure the complexity of the textures, even under extreme lighting conditions," explains Pascal.

Finally, in order to ensure a uniform aesthetic in different viewing environments, Lux Studios delivered a wide variety of files: "After completing the initial grading at 48 nits in SDR, we spent another week achieving high dynamic range Dolby Vision files. Our workflow allowed us to easily adapt chromatic adjustments to different display formats with a custom transformation, preserving consistency in the HDR images and the SDR master."

“The substance presented a creative and technical challenge at all stages. From pre-production to final delivery, DaVinci Resolve Studio gave us the necessary flexibility to execute our vision and create a surprising and immersive experience,” concludes Pascal.

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