Red Output
R out = 1.00R + 0.00G + 0.00B
The three sliders define how much of the input Red, Green and Blue channels contribute to the red output channel. By default, red output receives only red input.
Color encyclopedia · channels
RGB Mixer in DaVinci Resolve: how channel mixing works
RGB Mixer is not another white-balance panel. It controls how the input red, green and blue channels are recombined into the output image. Once you see it as a 3×3 channel matrix, the nine sliders become much easier to understand.
Below we will break down Red Output, Green Output and Blue Output, explain Preserve Luminance and Monochrome, and show when RGB Mixer is actually useful instead of ordinary Color Wheels.
The core idea
RGB Mixer answers one question: what should each output channel be made from?
The panel has three blocks. Each block creates one output channel from all three input channels. The default values form an identity matrix — the image passes through unchanged.
Green Output
G out = 0.00R + 1.00G + 0.00B
Green Output is built from the same three input channels, but by default it uses only green. Adding R or B means you are deliberately mixing channels.
Blue Output
B out = 0.00R + 0.00G + 1.00B
Blue Output follows the same logic. That is why RGB Mixer is easier to understand as a channel-mixing matrix rather than just another set of color sliders.
Default state
1 on the diagonal, 0 everywhere else
That means Red Output receives Red input, Green Output receives Green input and Blue Output receives Blue input. The moment you add a different channel into an output, channel mixing begins.
1.00
0.00
0.00
0.00
1.00
0.00
0.00
0.00
1.00
When RGB Mixer makes sense
Use it for channel logic — not because normal grading feels too simple
Most exposure and white-balance problems are easier to solve with Primaries. RGB Mixer becomes valuable when the task is specifically about channel contribution, monochrome conversion or a deliberate cross-channel look.
Mix or redistribute channels
RGB Mixer lets you feed information from one input channel into another output channel. This can be useful for specialised technical work and deliberate channel shaping.
Build a monochrome image manually
In Monochrome mode you can decide how Red, Green and Blue contribute to the brightness of the black-and-white image. This is much more flexible than simply setting Saturation to zero.
Create an unusual color look
Strong cross-channel mixing can create unusual palettes very quickly. This is a creative treatment, so it is usually cleaner to keep it on a separate node from the primary correction.
Control brightness with Preserve Luminance
Preserve Luminance helps keep overall brightness more stable while channel contributions change. It does not make the result automatically correct — the Viewer and scopes still need to be checked.
Preserve Luminance · Monochrome
Two switches change the way you should read the mixer
They are easy to ignore because they sit at the bottom of the panel, but both can completely change the result of the same channel values.
Preserve Luminance
Keep channel mixing from becoming an accidental exposure move
When Preserve Luminance is enabled, Resolve compensates channel-mix changes so overall luminance remains more stable. This is often useful for color work, but it does not remove the need to watch the image and scopes.
Monochrome
A smarter black-and-white conversion than Saturation = 0
Monochrome lets the mixer decide how strongly each color channel contributes to grayscale brightness. Skin, sky and foliage can separate very differently depending on those weights.
Practical workflow
A four-step way to use RGB Mixer without losing control
The mixer becomes confusing only when all nine values move without a clear goal. A simple order keeps cause and effect visible.
01
Start on a separate node
Do not bury RGB Mixer inside the same node as the primary balance. A separate node makes the effect easier to compare, disable and understand.
02
Check the default 1 / 0 / 0 matrix
In the default state, each output channel receives 100% of its matching input channel and 0% of the other two. This is the neutral starting point.
03
Change one output at a time
First decide what you actually want to change: Red Output, Green Output or Blue Output. Moving all nine values at once makes the result much harder to read.
04
Compare the image and RGB Parade
RGB Mixer directly changes channel relationships, so RGB Parade is especially useful. It immediately shows which channel was strengthened, reduced or mixed with another.
Which tool should you open?
RGB Mixer, Color Wheels and Curves solve different problems
Color Wheels
Primary exposure, white balance, contrast and overall color balance. This is the normal starting point for most shots.
Open topic
RGB Mixer
Redistributing RGB channels themselves, Monochrome work and specialised cross-channel looks. This is a more specialised tool.
Open topic
Curves
Precise tonal or color relationships over a selected range. Especially useful for controlled curve shaping or Hue vs Hue / Hue vs Sat work.
Open topic
FAQ
RGB Mixer in DaVinci Resolve: common questions
Short answers about channel mixing, Preserve Luminance, Monochrome and the difference from ordinary Primaries.
What does RGB Mixer do in DaVinci Resolve?
RGB Mixer defines how much information from the input Red, Green and Blue channels contributes to each output channel. By default Red feeds Red, Green feeds Green and Blue feeds Blue; changing the coefficients mixes the channels.
Does RGB Mixer replace Color Wheels?
No. Color Wheels are better for normal luminance and color balancing through Lift, Gamma, Gain and Offset. RGB Mixer is for tasks that specifically require channel redistribution or a special look.
What does Preserve Luminance do?
Preserve Luminance helps compensate for overall brightness changes while channels are mixed, so channel work does not turn into an accidental exposure shift. The result still needs visual and scope checks.
What is Monochrome in RGB Mixer for?
Monochrome produces a black-and-white result while letting you control how much the red, green and blue channels contribute to final brightness. This provides more tonal control than simply setting Saturation to zero.
Should Preserve Luminance always be enabled?
There is no universal rule. It often helps keep brightness predictable, but in creative channel mixing an intentional luminance change can be part of the effect.
Keep learning Color
RGB Mixer is a specialist tool — keep the primary grading logic nearby
If the goal is simply to balance the shot, go back to Color Wheels. If you need finer tonal zones, HDR Wheels is the next logical branch.
Channel linear algebra
RGB Mixer is easiest to understand as a 3×3 matrix: three inputs build three outputs
In its neutral state RGB Mixer is an identity matrix: Red Output receives 1R+0G+0B, Green receives 0R+1G+0B, and Blue receives 0R+0G+1B. Changing any coefficient means an input channel starts contributing to another output channel. That makes the tool powerful for channel repair, stylisation and monochrome work, but it can also destroy neutrals and luminance quickly when nine coefficients are moved without a mathematical goal.
Matrix
3 output × 3 input = 9 coefficients
Identity
diagonal 1.0, all others 0.0
Preserve Luminance
compensates other channels to hold overall luma
Monochrome
R/G/B weights create one B&W response
Technical reference
Reading RGB Mixer as a matrix
| Output | Neutral formula | If another channel is added | What to measure |
|---|---|---|---|
| Red Output | R′ = 1R + 0G + 0B | G/B begin contributing to red output | Red Parade, neutrals, skin hue |
| Green Output | G′ = 0R + 1G + 0B | R/B alter green response | Green Parade, foliage, neutral balance |
| Blue Output | B′ = 0R + 0G + 1B | R/G alter blue response | Blue Parade, sky/noise, highlights |
| Preserve Luminance | automatic compensation | other channels move in response to the chosen adjustment | Waveform + RGB Parade, not Viewer alone |
| Monochrome | Ymix = wR·R + wG·G + wB·B | subject colour becomes controllable B&W brightness | skin/sky/foliage separation and clipping |
Working sequence
1. Start from the identity matrix
Before experimenting, verify 1/0/0, 0/1/0 and 0/0/1. If the starting values differ, you are analysing an existing mix rather than a neutral Mixer.
2. Frame the task as an output equation
For example: 'add some Green to Red Output' rather than 'make the image more interesting'. This lets you change one coefficient and predict the direction of the result.
3. Decide whether Preserve Luminance is appropriate
With Preserve Luminance enabled, Resolve compensates other channels so a channel adjustment does not directly become an overall luma shift. Some creative looks deliberately require that luminance change instead.
4. For B&W, design channel separation rather than merely desaturating
Monochrome lets you brighten green foliage, darken blue skies or separate skin from backgrounds using channel weights. Make sure local separation does not destroy highlight or shadow detail.
Diagnostics
Neutral greys become coloured
Likely cause
matrix rows no longer produce equal response for a neutral R=G=B input
What to check
all three output coefficients and RGB Parade on a neutral patch
A small channel mix changes exposure strongly
Likely cause
Preserve Luminance is off or coefficients collectively amplify/reduce the signal
What to check
Waveform, coefficient sums and Preserve Luminance
Monochrome looks flat
Likely cause
R/G/B weights map important colours to similar brightness
What to check
adjust weights for scene subjects and compare channel separation in Viewer/Waveform