The easy mistake that will ruin your high saturations

[@Skymography]

As someone that has seen a lot of tutorials for tons of different niches, I rarely get the “what the f… 🤯” mindblown moment anymore. But this video, and consistently across your channel I get that over and over again. THANK YOU FOR THIS! This will save a lot of headache around saturation clipping in the future

[@ifell3]

Yeah a lot of channels just tweak the normal. This channel really takes a different stance.

[@8bitWave]

Thank you for actually taking the time to explain things and concepts instead of just instructing people to put the luminance mix to 0. I have come across this a few times and didn't understand why and am always sorta skeptical of "just trust me bro!" Attitude so thank you so much for the in depth explanation! ❤

[@thatcherfreeman]

Excellent video, I'm glad the message of "Lum mix considered unsafe" is spreading

[@sumantamunda843]

I also stumbled onto the same problem, a few days before. It helped me exponentially

[@thetaylorsfilmandphoto]

Just wanted to say a huge thank you for introducing us to the concept of Linear Gain. It has entirely changed our approach to balance, and I reckon it's sped up our colour correction by at least 50%. This step is a great aside, as highly saturated elements are something we encounter often. I'm going to go through our current project and apply it in all the relevant nodes and I bet a load of stuff we've just decided to live with become things we're actually pleased with. Thank you thank you thank you!! Matt & Sophie

[@paulobirek8276]

This popped up on my video feed today. Perfect timing! Today, I literally had this issue come up with a back-lit video where the light source was the sun coming through trees.

[@kmovfilms]

Thanks for following up on this!

[@TubeSilva]

As always Cullen, solid and clear explanation of something that can be very confusing. I'm looking forward to more of your videos!

[@outdoorsinontario3037]

Well done! I started using this linear method and didn’t notice this either. I had my normal luma mix to zero almost always. The one time I didn’t because of the last project, and I still didn’t realize until watching this video. I’ll need to go through and check all my shots for my last project now. Thanks for the update, it’s stuff like this that keeps us all coming back to ur channel. You care enough to keep pushing us and go back to fix up the mistakes that occur. Ur badass dude! Keep em coming!

[@teddygage6623]

I've ran into this a few times and just compensated by adding new nodes and qualifiers. You're a life-saver.

[@ballstadt]

Perfect timing! I have been dealing with a few shots like this on a short film recently, this may help to fix those issues!

[@ricardobirnbaum]

Thanks, great tutorial! I've had those artifacts before... this helps solve the problem.

[@foxyvisionsvideographer]

Okay this is going to help me tons when grading my highly saturated footage from events which can be extremely saturated from the colourful lights

[@NOIRGRADE]

Wonderful follow up video, Cullen. Couldn't have explained it any better!

[@theindiefilmdude]

Actually learned the extra step of setting the Lum Mix to 0 from Qazi. Also setting the Pivot to around 0.335 is essentially middle grey.

[@tylervigue3878]

This is great! I had this exact problem with some blue highlights on a video I graded the other day. I masked the problem with a selection, but now I know how to deal with it for real. Thanks man!

[@raendp]

I noticed these artifacts on one of my recent videos I graded lately. Was wondering why that happened and yep! When I investigated it was surely on my balance node. I wondered why that was.... now I know. Thank you Cullen!❤

[@kuunami]

Fantastic tip. I can see the time this knowledge will save me. Thanks so much!

[@Asadulla_kasimov]

Thanks! I’ve often run into this problem, and I’m glad a solution was found

[@graemetowner7257]

great content as always, thanks for sharing your vast knowledge

[@frank2067]

New lighting setup looks great

[@showsonvhs]

dude you're amazing, these videos are soooo helpful!

[@plastikplanet5743]

Perfecto as always ! Thank you Cullen

[@shueibdahir]

Thankfully I've started grading projects already with luma mix turned off by default and it has massively changed my grading. I only turn it on inside the node when I require it. Ps. I just tried the linear gain and OH MY GOD it balanced out my grades beautifully! Thanks a lot for the tip, this was valuable

[@PetesHakubaDiaries]

My hero.

[@MarkToddOsborne]

Lovely. Nice and "Clean".

[@vineethv.kartha1378]

Thanks for a very useful information.I was having a similar problem. This video is a solution for that.

[@heymiranda512]

You are a GEM. Thanks!!

[@niemandschuldet]

This helps a lot! Thank you!

[@qwvrk.mp4]

Just a big thank you 👍

[@hrfilms8565]

While Balancing the color I always turn luma mix to zero then use printer lights, but this linear workflow is different though I would like to give it a hit. ✌️

[@justso1337]

Thank you so much

[@vividmotion66]

Thanks for sharing

[@seanlennon5986]

Any chance you can do a video on prepping for a grade, what you require from editorial etc etc?

[@brmoogma]

Very helpful!!!

[@mohamadali2066]

Amazing just Amazing

[@Endimione17]

well this is really a great trick. Didnt consider it... thanks

[@grambo3D]

This is effectively the same issue we see in Nuke when we use a Grade node to gain/multiply an image with a color. If you overdrive a gain/multiply value above 1.0 on any of the R, G or B channels, you either have to compensate by using another gain/multiply to uniformly reduce luminance or select an original gain/multiply color where the max value of any RGB channel is 1.0 (normalizing the color). This will result in colorizing the image by the selected color, while reducing the overall luminance of the image (which may not be desirable). Whatever channel is at 1.0 will retain its luminance while the other channels would get darker. Otherwise, in Nuke we would use a Luma Key node as a mask for the Grade node, to reduce or remove the gain/multiply effect on the highlights, similarly to the DaVinci "Lum Mix".

[@albertorambaudi6055]

i mark the option to default to zero even when i didnt know what it means . thanks cullen!

[@chelo111]

daVinci users we up , good video broddy

[@B.Alejandro]

🤯🙏🏼

[@EirikYouTube]

Nice video! One suggestions, could you please have vectorscope up when you do these tutorials? 😇

[@martinadamcz]

Thank you

[@xmgj]

But does using the global wheel in the HDR Color Wheels to adjust be the same and make us not think about Lum Mix? As I understand, it uses a linear gamma

[@im_gldn]

Just a FYI if you use the difference viewer mode and you set defualt luminance mix to 0, you will not see the "difference". you may see a slight color difference but not to the extent to use lets say RGB mixer nodes to view noise.

[@soaringvisionimages8448]

Right. Under. Nose. Like a chef with a new rack of spices jumped into the linear, DCTL, and 19 all at once. Yeah. Saturated grades with the CST>HSVCh2>CST recipie got out of hand quickly - a rare combination of thrilling and WTF? Going to have to revisit the project to experience this gem firsthand. Can't thank you enough.

[@mark_neven]

thanks for do the videos shorterrrr! 10min is perfect :)

[@maxime13320]

Thanks @Cullen ! Very intersting !! But How often do you use Offset (Printer Lights), and why should I use it ? HDR Offset is better isn't it ?

[@leebrandt8597]

Could one do all the color grading by only using HDR wheels while on wige gamut?

[@MossChasteen]

Give the people what they really want, grow the mustache out...

[@JimRobinson-colors]

I have mine set to 0 as well. It seems that there must be some applications where we use a number between 0 and 100. I am guessing that it probably would the equivalent of a "global blend" that we use on OFX etc. I can't think of where that would be applicable for use though. The use s-curve is a nasty setting as well and can cause all kinds of havoc if you don't know it's on.

[@wuliwong]

When you change the gamma on a node to linear do you need to do a color space transform after it to go from linear to 2.4 or whatever you want?

[@HumzaYousafFilms]

We could fix this with our Cst as well, by changing our tone mapping to Saturation preserving, or lumninance mapping?

[@NOIRGRADE]

@@HumzaYousafFilms I wouldn't say so. Those are widely different things - even though the lingo is similar. lumamix works by mixing the luminance of the input image with the color adjusted image. tonemapping in the CST looks at completely different values. the differences between DaVinci, Luminance and Saturation Preserving tonemapping stem from totally different math. Also just simply look at it like this: Changing the tonemapping method changes the entire image, even without any whitebalance adjustments. Setting Lumamix to 0 only does something when you in fact did some whitebalance in the first place. Always treat issues where they appear first and not somewhere later downstream.

[@zebostoneleigh]

The more I lean on linear gain for such work, the less value I see in a control surface with three wheel/balls. I'm curious If you find your self living more and more on just one wheel/ball... or whether you have uses for the traditional LGG methods.

[@posebukse]

That clipped red flare looks like every car taillight in every Michael Bay movie

[@HumblyNeil]

Awesome job Cullen! I asked on your mid-tone live stream a question that didn't get answered (probably wrong place to ask) but would love to know, even if it's a terminology response because I haven't yet found an answer (could be user error searching for the wrong thing): This has happened to me in the past more than once and I'm sure I'm not alone. I under-exposed an 8-bit exterior scene and when reviewing in resolve, I was unable to fix the exposure regardless of all the magic the NLE has. As I lift shadows, the saturation drifts off, hue shifts, and grain creeps in. What would you do to work around this if re-shoots weren't an option?

[@gimsaramannadi7295]

❤

[@LaurenceLee]

whats the difference in balancing using linear gain with the gain wheel in primaries vs using the HDR Global Wheel?

[@LukasUngerer-u5d]

He posted a Video about that not long ago. The HDR Global Wheel doesn't respond as natural as linear gain.

[@NOIRGRADE]

Mainly I see a difference regarding hue shifts. But the HDR global wheel can also create some artifacts in with really strong adjustments. I am releasing a video about that next week, but Cullen also talked about it recently.

[@brachysm]

I thought hdr wheel also works in linear which should yield same result.

[@LaurenceLee]

@@brachysm Thats what I thought as well. I guess I'm just checking to make sure there is no difference because my thought was why go through the extra step (granted a tiny step) when the same function works in HDR?

[@LaurenceLee]

@@LukasUngerer-u5d Any chance you know which video? I couldn't immediately tell from skimming thumbnails & titles.

[@DavideScarpellini]

Is linear gain the same as hdr global?

[@pietromelandri6834]

the same question was asked in the comments of one of Kelly’s latest video, which i think was“i stole this trick from vfx artists”. if i’m not mistaken, there are two cases: if you have to make an exposure change, Linear Gain and HDR global wheel works the same, whereas if you need to use them to balance your image, Cullen Kelly and NoirGrade suggested using Linear Gain (with LumaMix set to 0) between the two, since HDR Global wheel produces slight hue shifts that may be unwanted.

[@ja-kidnb6416]

cool that you followed up after I pointed out that traffic light. I was wondering what was going on and experimented with it myself and found lum mix has to be set to 0. TBH I really like using the Chromatic Adaptation Node, put input and output both to temperature and experiment with the algorithms after I've nailed it 90%. What do you think of this method?

[@harikrishdop]

Can you get in detail on this?

[@ja-kidnb6416]

@@harikrishdop There's not much to it. I think the Chromatic Adaptation Method is best for finding White Balance since it incorporates different algorithms. Not all footage needs the same adjustment (like linear gain does), so different algorithms might come in handy as they yield slightly different results. I set input and output both to temperature to get controll over Temperature and Tint. I adjust until I'm almost there and then try different algorithms (although I have my favorites. For me this works much better than any other method I've tried, including Linear Gain as described in this video.

[@ilyacosmonaut]

It'll be a couple more years before Cullen does the same thing about the global wheel )

[@buzzedge]

I thought I was the only one that do get this wrinkled colors on my videos till I stumped into yours Well yet to figure out how Darren Mostyn does his

[@georgediakoslomnios908]

Linear Gain vs HDR for Balance?

[@christian-schubert]

So... Just to get this straight: Saturation boost = increased brightness Density boost = increased darkness (difference additive vs. subtractive color space) Saturation - Luminance Mix = desired result, namely adjusting color balance without affecting Luminance?

[@raymondlee8299]

when do I use this for a shot/clip? Do i have to use it everytime? Thank you

[@CullenKelly]

Up to you, but as I mention in the video, I like to leave it at zero as my default for all shots and projects

[@frankinblackpool]

Hmmmm. I was working on a Firework project last week with some very vibrant colours with obvious strong contrasts. This checkbox may even help me. The whole idea of moving form one version of Resolve to another is a very frightening prospect for me. It takes time to remember and slowly rebuild my settings. And as Resolve is a complex beast there are an awful lot of things to remember. Sadly I forget to include stuff and don't realise until one of those "Ho @@@@" moments. Any idea where I could get a Check List crib sheet of what to set up, turn on or off so that when I do upgrade to Resolve 20, then I can hit the ground running.

[@krishnamoorthy6727]

im experiencing video color change slowmotion video in davinci it looks same but after export its changes any solution anyone

[@TroyQwert]

Why we always hear random users, but never hear from those who creates DaVinci?

[@MarkusFinholt]

It's annoying that there isn't a way to color balance that gives a realistic response to the shots we have. Methods for balancing are constantly changing but the problem still persists; Balancing feels unnatural with the tools in resolve.

[@theowlfromduolingo7982]

What do you mean by "realistic response"

[@MarkusFinholt]

@@theowlfromduolingo7982 Something that would be perceptually similar to our vision and how it sees / feels coldness and warmth. As he talked about in this video, using any of the tools to cool down the image will usually contaminate the shadows heavily with cold tones.

[@mohamedashfaq9167]

This content is illegal to be free

[@iestynx]

Just watched your 'White balance Hack' video and noticed this happening on the traffic lights in the background. kzbin.info/www/bejne/aXqYaYGqoryCo6csi=qNrAsncmlxW960fR&t=342 Good to know how to fix it. Thanks

[@Marcin-lp4qi]

Take a look at your background - a lot of noise and artifacts, and you are talking about CG....

[@CullenKelly]

Try watching in 4K!

[@RomanGWatch]

Thank you very much