Split Tone.

Natural is aimed at a film-like split; Strong makes the stylization more explicit; Custom gives independent control over two colors. Switching Mode changes the effect model itself, so choose it before fine-tuning Pivot, Hue and Strength.

VERIFYCompare Natural and Strong at the same Strength. If you need a specific shadow/highlight palette, move to Custom instead of forcing a preset beyond its intent.

Shows where the split occurs using the actual influence colors. It is a debug view for distribution, not the finished image. It is especially useful before adjusting Pivot and neutral protection.

VERIFYLook for unwanted influence on white/gray objects, skin midtones and important highlights. Fix the distribution before the final A/B.

Determines how much of the split-tone colors is added to the original image. It is the overall creative amount, but it does not move the split boundary and does not replace Pivot.

VERIFYIf the look feels too obvious, verify Pivot/Hue first and then reduce Strength. A high amount should not hide a bad distribution.

Sets the point where highlights and shadows diverge — the effective center of the tonal split. Moving Pivot redistributes which luminance regions receive shadow-side versus highlight-side color influence.

VERIFYPlace it according to the shot, not a universal number. Check faces, background and specular highlights in Preview Influence.

Defines the split-tone color as an angle on the vectorscope. In Natural/Strong the opposing color pair is built around this axis; it is not a temperature control or a simple hue rotation of the whole image.

VERIFYRead the image and vectorscope together. What matters is the direction of the color axis relative to the scene palette, not the bare number in the field.

In Custom, Blackmagic documents separate Strength and Hue controls for the shadow side. Strength controls color saturation in dark regions and Hue defines the color itself. This lets you move beyond the automatically opposing pair used by Natural/Strong.

VERIFYChoose the hue first, then the amount. Do not compensate for an overly broad shadow influence with lower Strength alone; still verify the boundary through Pivot/influence.

In Custom, the highlight side has its own Strength and Hue. This creates an independent artistic pair, for example warm highlights without requiring a complementary shadow hue.

VERIFYCheck speculars and skin highlights separately; a saturated highlight color can quickly turn light into colored paint.

Enables protection of near-neutral/gray regions from split-tone coloration. In Custom, Minimum Saturation and Maximum Saturation add finer control over the low-saturation range.

VERIFYUse it for white walls, gray clothing, product neutrals and other objects that should not receive an obvious tint. It is not a substitute for balancing the shot.

According to Blackmagic, regions below Minimum Saturation are preserved as gray, while regions above Maximum Saturation are affected by Split Tone; the interval between them forms the transition. These controls belong to Custom neutral protection.

VERIFYDo not push the protection so far that low-saturation skin, smoke or atmospheric detail falls completely outside the intended look.

Selects the input gamut/primaries for the effect. Use timeline follows the project Color Management settings; a manual override is for cases where the node actually receives a different signal state.

VERIFYCheck transforms upstream. If a CST/DCTL sits before Split Tone, timeline metadata may no longer describe the current signal.

Defines the input transfer function. It should match how luminance is encoded in the signal that actually enters the effect.

VERIFYA wrong gamma changes how tonal regions land in the split. If Pivot behaves unexpectedly after a transform, verify the signal contract first.

Defines the gamut/primaries of the signal after the effect. With Use timeline the output remains aligned with the managed project; a manual override belongs only in an intentional display-referred chain.

VERIFYDo not use Output Color Space as a creative preset. If a transform is required, define its place in the node pipeline and avoid double conversion.

Defines the output transfer function, aligned with the selected Output Color Space and the downstream pipeline.

VERIFYMatch it to the signal expected by the next node or DRT. A mismatched output contract can distort both contrast perception and the color character of the effect.

Defines the effect display white point. Blackmagic lists D65 as the default and allows other values for creative purposes.

VERIFYChange it only when you understand why the white point belongs in your display/look contract. For ordinary split toning it is not the first creative control to reach for.

The final dry/wet control for the entire Resolve FX. It is useful for the last A/B and a small trim after Mode, Pivot, Hue, neutral protection and the signal contract are already correct.

VERIFYIf Blend has to be pulled down dramatically, check whether Strength/Hue are too aggressive or Pivot is distributing the look poorly. Blend is not a repair tool for a bad setup.