Grade School: Learn Saturation Techniques w/ A Pro Colorist
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- čas přidán 8. 07. 2024
- Go pro with your saturation tools. This Q&A is an extension of my cinematic saturation video, and we'll dive deep into pro-level saturation approaches so you can get the best color for your projects. View the first part of this video series here: • How to Get Cinematic S...
00:13 Introduction
01:33 What is happening when we select the color space and gamma of a node + saturation trick using HSV node
04:41 In which color space are the HSL curves operating and why is that important?
10:06 Why does decreasing gain in HSL and then increasing it sequentially in HSV work for creating deeper color?
14:56 Why are saturation values more prominent in the reds than in the blues perceptually?
16:50 Is there any way to manipulate saturation in a subtractive way only for a particular color?
20:14 How can we know what is the best color space to do certain operations?
23:03 What is the difference between Color Boost and Saturation in Resolve?
26:50 Why does the vectorscope not show some saturation changes? Could the chromaticity scope be useful in those cases?
30:04 Why do we disable channel 3 in the HSL/HSV node if the relationship between SAT and Luma/Value is what gives us the subtractive saturation feeling?
34:20 Is it better to boost saturation before balancing the shot to have a better context of the imbalances that might be present?
36:10 Explaining how the color wheels work in an HSL/HSV node
39:53 Have you found any use in some of the color models that are only available in the color warper?
43:08 How can we read the CIE horse shoe when grading?
45:29 Can you talk about the curves and in which order do you manipulate them when creating a look?
49:51 What is the difference between saturation in the primaries and saturation in the HDR Wheels?
53:07 What is a neutral preservation matrix?
54:59 Is there a way to achieve density without touching saturation?
57:11 How does saturation work in the RGB mixer and how can we use it in a better way?
59:37 What do you think is the most common misconception about saturation?
1:04:45 Final thoughts and conclusions
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Cullen, I just tried the HSV/Saturation technique, and DOOOD! The results are so much better! Thanks for that technique, Sifu!
Lately I've been playing around using curves with editable splines to manipulate HSV saturation, and I've been liking it a lot. Of course leaving the 0-point anchored where it is. I've found that with curves I'm really able to fine tune how saturation behaves, where I want the top sat to land, whether I want to make the sat increase more in the lower saturation levels and then softly taper toward higher values, or in certain situations I've found that a soft s-curve type of sat curve can give nice results with crisp neutrals and vibrant but tasteful higher saturation levels. Thank you for sharing the HSV technique!
Thanks for all your insight, Cullen! The CIE Chromaticity diagram always bugged me so it was a very nice reminder that it's a 2D representation of the 3D space
You asked, “what topics you want me to cover next.” I think I asked this before: Grading BRAW footage from a Black Magic Pocket Cinema Camera? Especially setting up the color management and going into the grading part? Also working with BRAW footage in an Arri Log C color space? Thank you for the time you put into these lessons every week.
Your videos are very informative and actually very inspiring too. I have played with different methods working with photography back in a days and I just remembered about LAB color space. And it seems I have another way to do the saturation using LAB - in this color cpace the L channel is a LUMA channel and A and B channels are color channels with opposite colors (Green to Magenta and Yellow to Blue). So for example you can play with both A and B channels (by turning off channel 1 in resolve) using just curve to play with SAT, Or use Contrast knob to change it (just mention that you have to set Pivot point to 0.5 to avoid color shift). Not sure about how good or bad it works compared wigh HSV but at least worth mentioning too ^_^
At 14:00 you were trying to fit yourself in the screen because that rectangle takes a lot of space. Solution is, you can go to page 4 Edit Page. Effects leading to Open FX & then type transform on the Search Bar. Resolve Fx Transform will show up. Drag it on your Clip go to Inspectsor-> Effects-> Image Adjustment. This will give us a Lot of Space to see what you are teaching us also will be easier for you to demonstrate.
I was a little skeptical, but after trying it I have to say that it works.
I've tried increasing Color Boost and decreasing Saturation instead - it works similarly, but your hsl/hsv method is better:)
@@CullenKelly I want you to know that you are not only a great colorist, but also a great person:) Thanks for being who you are🌈
What topics to cover next: would be cool to venture into the fusion page. See how you use it for look dev, how fusion can be used to check grades, powerful tools you find useful etc
OR
How do you go about matching 2 different camera’s. For example BM and Aari. What do you do first? What’s your process, does matching cameras decrease or define our look development?
:)
@@CullenKelly thanks Cullen, I am actually listening to Walter talk about this now.
Something weird is happening with my DWG color management. I set everything up for DWG (as per usual) using IDT and ODT (as you have shown us) and when I use your DCTL to find mid grey my mid grey is sitting at 352 not 336 which it should. Do you know why this could be happening? I ran some tests, aari was working fine but DWG was not.
Cheers Mate
Since i saw this 2 days ago. One quastion riplling in my mind constantly, what about best way to take colors off (desat)?
And great job as always!
Would you leave the OmniScope code you referred to? Much appreciated - and thanks for another great vid.
@@CullenKelly 🙏
so what time on Friday do you stream??? would like to see grade School live!!
great video as always.. If there's a possibility to discuss how to create high contrast in the midtone while keeping the highlights and shadows soft, similar to what Jill was describing in previous grade school video.
Hey man, I asked this questiom on another video. I will copy and paste Cullens reply below :)
Strong contrast in the mids can come about in many ways, but especially in the context of this conversation on film print emulation, she's talking about good old fashioned linear slope. You can get this with lift and/or gain, or the way I do with contrast/pivot. In that case, you just have to make sure Project Settings -> General Options -> Use S-Curve for contrast is off. And then you can set your pivot point to match the mid gray of your working space, and now you're dialing in slope that pivots around mid gray! If you add roll/compression in the toe and shoulder, you've got the basic components of a film curve.
@@nathansextoncolour thanks man for the response.. appreciated!!! :)
@@qusainofal3776 welcome mate ☺️
Sir ..what should be te settings for HSV ...in the Color Management???
I was developing the same topic in my channel too. Concidence!
czcams.com/video/tacmaeuTKY0/video.html (EN subs available)
@@CullenKelly nothing to discuss since it is a coincidence!
sorry for the out of topic question but it's urgent for me. I am facing gamma and tint shifting after film emulation in my export from davinci resolve (win) Please can you help on this!
In Deliver Tab, go to Advanced Settings and in Gamma Tag, change it to 2.4, not sure if this is what you mean, hope it helps
@@12darinho I've tried it but i am still facing the same issue. All the creative work what i am doing is completely loosing in the export 😔
contact me on Instagram if you need assistance
@@Routhu_Joshi check your 3D Look Table Interpolation in the color management tab, if it's in Trilinear option change it to Tetrahedral.. hope that helps
@@CullenKelly thank you for the response, eagerly waiting for that topic :)