Pro Level Saturation in Da Vinci Resolve | HDR Tools | Curves 

Thanks man! More are coming!

Oh wow, so glad I could help!

Thanks!

Awesome, glad you liked it!

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.

Thanks! And yes please do!

My pleasure!

They have a fully capable free version. Paid version isn’t need for most users.

Anytime!

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.

Awesome, thank you!

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.

Oh yea, great technique!