Pro Level Saturation in Da Vinci Resolve | HDR Tools | Curves
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- čas přidán 30. 11. 2022
- In this video I go over a few tools that will help you improve your color grading in Da Vinci Resolve. #colorgrading #davinciresolve #filmmaking
Frederick Trevino is a colorist with over 10 years experience and a Top Teacher at Skillshare. He's graded over 50 feature length films and has worked with clients such as Versace, HBO, Under Armour, ESPN and more. To check out his Skillshare color correction classes go here: skl.sh/3k4EPKN - Krátké a kreslené filmy
Many colorists on CZcams are overcomplicating things. Love your teaching style man. Many want this type of videos. Keep 'em coming!
Thanks man! More are coming!
Dude I’m colourblind and I have to say - you have helped me so so much. I’m quite new to resolve and I didn’t realise that I could click on parts on the image and it’d take me to the right place on the curves.
Thanks!
Oh wow, so glad I could help!
The HDR saturation is one I never thought of outside of exposure adjustments. I like it. 🤔 Thank you for this
Wow, this is a fantastic video! I have been looking for a video like this for the longest time. Will definitely try these techniques. Thank you for posting this! 👍👍👍
Thanks!
3:41 Video starts here
Thank you! 🙂
excellent & helpful tip!
Very helpful. I learned a lot from your guidance. Thanks for creating it for us.
Anytime!
Everything explained here is fine but your footage will still end up looking very digital and video like. The best way to achieve "cinematic" saturation that emulates the color density of actual film is s trying to recreate subtractive saturation. When looking at actual film, darker areas are always more saturated than bright areas. So a bright sky e.g. will never have a strong blue color. A good way to achieve that is right clicking on a node and changing the color space to "HSV". Then right click again and disable the channel 1 and 3 of this node. This enables you to work only on the saturation of this color space. You then crank up the gain wheel in your primaries and end up with a dark saturation that emulates film and makes everything look less like digital video.
Respectfully, I get that everyone knows about HSV based Saturation now, but there is a case for additive saturation models too. In fact there are several tools that mix the two models for an even more pleasing saturation response with less breakage than pure HSV-based Sat. You can absolutely still get a "cinematic" result out of additive saturation (really wished Cullen hadn't used that term; it's a bit of a misnomer for an otherwise solid technique) and in the instances where additive saturation is useful, Fred is absolutely right to use the HDR panel's colorspace aware Saturation tool over the traditional one that's basically designed from gamma-locked Rec709 interpretation.
So I get the zeal, but understand these are just tools and there are use cases for all of them. Film emulation/response isn't the goal of every grading session.
@@ErrickJackson I totally agree, I was just expecting a video that is called „pro level saturation“ to at least briefly touching this approach.
@@TeipelFilms Fair enough I guess. I think you would be surprised by how many professional colorists don't use HSV saturation though. I don't think it's as widely used as you'd think simply because a lot of post houses with color scientist teams can have their in-house LUTs built with subtractive models built-in (with more finesse). Could be wrong though.
The use of curves achieves the same visual outcome of negative sat. The filmic part of making more color in film is that the more dense the color, it creates less light to go through the film - It's like putting paint on a window. First coat is more translucent but color is faded, so you add more paint and the color becomes more dense, but less light gets through. Saturation in film works the same way and yes it's a negative process, but lowering the luminosity and increasing the sat. ( Sat vs Hue ) will produce the same goal visually.
THANK YOU
Hey Fred, this is the first video I have seen from you. I really enjoyed watching it. Saturation is more complicated than most people realize, as we go through life with our eyes, not even considering or realizing it. I believe that we tend to recognize things that are under saturated and things that are overly saturated and a one knob approach to get the footage back to what our memory saturation is not the best approach.
I tend to do what you show here with the curve adjustments on different aspects of the saturation, then on the next node as a "master" sat node then mix the overall levels - I too use the HDR tool for that. But like an audio engineer, making the saturation values separate then mixing the overall is akin to setting the levels of mixing a band then setting the overall gain. I'm just mixing sat. levels first.
Good stuff @jimrobinson-colors honestly one of my favorite things is sitting with other colorists and seeing how they do things. Give 10 different colorists the same scene and they will all grade it dramatically different. And I think anytime I’ve seen another colorist grade I’ve learned so much.
great stuff, thank you for sharing!
Very good video and a very inviting thumbnail. Thanks for all the tips!
My pleasure!
Great advice and technique. Will try next time I colorgrade my videos :).
Awesome, glad you liked it!
Helps a lot.. could you explain the scopes in davinci resolve
thnanks man
THANKS A LOT! I´m a blackmagic p4k user i always battle with the blow light in skintones,.
Amazing! Might switch from Premiere to Davinci after this 😄
They have a fully capable free version. Paid version isn’t need for most users.
cool
Great video, especially your tip re Hue V Lum. Liked and subscribed.
Awesome, thank you!
why won't you use Parallel nodes for each different color so it doesn't affect each other?
Great work man! I found your channel randomlyu! I wiull ask you couple3 of things later maybe you can make a video about them ;)
Thanks! And yes please do!
When you suggest using global sat vs normal saturation, what's the science there? How is it treating it differently?
Well, this is a very complex answer (maybe I'll do a video?) but generally it treats the image more photographically and the tool is color space aware. Basically the adjustments have a similar effect on the footage as when you apply a filter to a lens (it looks more natural), and it is aware of your color management and adjusts itself to feel and look more organic. This results in a more more optical, "natural" grade vs digital.
I like this technique sometimes for darker looking saturation. Negative film tends to look like this. czcams.com/video/6brYbOjhUcU/video.html
Oh yea, great technique!