How to Get Cinematic Saturation

Saturation is important, but the default tool in Resolve doesn't really provide us with the best option. Watch to dive deep into getting better saturation, and other options within Resolve to get the color you want.
We dive deeper into this topic on this week's livestream of Grade School.
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[@rodricfrancis2281]

Very informative video Cullen! Please move your talking head so that we can see the changes on the wheels for the next one :)

[@titusking-coloradorealtor]

It would also be great to have a top down view of the mini panel & see what you’re doing

[@mustafakamal8608]

When he says spin gain wheel to the right, does it mean to move the color to the right? Or saturation to the right?

[@DaCarnival]

@@mustafakamal8608 It means the gain - the exposure tool, which now affects the saturation because of how the HSV node is set up.

[@thomaswindfeld728]

I didn't get anything out of this, due to that exact issue. 🙂

[@oscarbarrera2847]

This is the most beautiful treatment of saturation I've seen on the internet up to this date. Incredible tutorial.Cheers!

[@torreymerritt]

Never seen this before and I seriously appreciate your willingness to share this golden nugget. I prefer the subtractive color look WAY more than the standard look so this is incredible.

[@ErrickJackson]

I've used DCTLs to do subtractive saturation in the past , but the beautiful thing about this approach is being able to use Gamma and Gain to adjust the saturation curve. For example, pulling Gamma and Pushing gain to get a relative normal saturation approach throughout most of the tonal range, but then quickly ramp up to a punchy saturation at the upper sat range. It feels like magic. Conversely, pushing Gamma and pulling Gain to get a really even and holistic saturation response throughout the whole tonal range before dipping to 0 for neutrals. This is brilliant. Thank you for this!

[@joyoffilming9500]

Hi Cullen - awesome tutorial for quick saturation boost. I am using this a step further for getting the filmic "Subtractive Color Look", that is about making more saturated colors a bit darker, but w/o changing overall saturation at all: 1) just put 2 nodes in a row - first node is HSL, 2nd node is HSV 2) adjust Gain of the 1st node (HSL) back to 0.5 3) adjust Gain of the 2nd node (HSV) up to 1.99 (ideal Would be 2.0, but DR allows only cranking up to 1.99) The overall saturation remains the same after the 2 multiplied S-channels of the 2 nodes, but by applying first HSL and next HSV you get the darkening effect on higher saturated parts And, now your trick comes into play: If you want to get the overall image more saturated, plus the cinematic effect enhanced, just add your explained HSV node before both (as node 0 of now 3 nodes) and manipulate only the saturation with all the tricks you explained in your video - awesome results that come very close to saturation behavior of true film material because node 2 and 3 will have more saturation to take effect on. Thanks so much for sharing your trick because I was always using the Sat attenuator for node 0 - now I get the saturation I always wanted.

[@hoozn]

lol this is sooo geeked out. love it 😄🤘

[@fartsmr5100]

Why can I raise my Gain up to 16 ??

[@joyoffilming9500]

@@fartsmr5100 Not sure I understand your question. Pls re-phrase.

[@fartsmr5100]

@@joyoffilming9500 I try your node construction. 1st node HSL with channel 1,2 and 3. 2nd node HSV with channel 1,2 and 3. I adjust the gain to 0.5 for HSL. on the second you say you can only go up to 1.99. but the gain can go much higher... Something I don't understand. /// 3) adjust Gain of the 2nd node (HSV) up to 1.99 (ideal Would be 2.0, but DR allows only cranking up to 1.99)///

[@joyoffilming9500]

@@fartsmr5100 Sorry for ma late response. Here some things to consider with the 2-node HSL sequence for getting that deep dark saturation: 1) set the color space of both nodes to HSL (HSV would also work here) 2) uncheck both channels 1 and 2 - this leaves only the channel 2 which is the S-channel (= saturation channel) 3) Go to the primary wheels and adjust with the Gain-wheel the saturation values (node 1 = 0,5 and node 2 = 1,99) In the meanwhile, I use DCTLs for such as gentle color weighting and film density - but, you can achieve much of it with the 3-node combination (Cullen + my 2 nodes) Hope this helps a bit.

[@JimRobinson-colors]

Looking forward to this discussion. Thanks Cullen. this method triggered my memory of learning something similar where you have a node set to HSL, turn off the channels - and set the luma mix to 0 - and decrease gain, Then add a following node and set it to HSV( remove the channels ) - luma mix to 0 and then bring the gain up. This makes deep saturation that changes and leaves blacks and whites clean.

[@nathansextoncolour]

This sounds interesting! I am going to go try this!

[@m1nt9reen]

setting luma mix to 0 makes absolutely no difference there though

[@JimRobinson-colors]

@@m1nt9reen Disagree - to have the colors look denser the Y channel shouldn't change with the adjustments. If you try it with and without changing the luma mix to 0, they are slightly different results. So then it becomes a subjective move.

[@m1nt9reen]

@@JimRobinson-colors they are not slightly different, they are 100% identical. The luminance mixer control does nothing when in HSV, even if you keep all channels enabled.

[@JimRobinson-colors]

@@m1nt9reen Actually you have a point and I surrender to your argument. Just note that I made that assumption from seeing it done in the past. But I believe you are right now that I think about it. When doing this process - I am not sure how it is being compressed where if you push the HSV that it still seems to remain in the safe region on the vectorscope. Thanks for pointing out that.

[@NONE2NONE]

This is my first time coming across Cullen. I got his name from another colorist on KZbin. Cullen is phenomenal. He seems to understand how the basic colorist thinks and is able to translate how you should think before approaching a project rather than what to do. Does he have a masterclass?

[@DanielKouba]

Amazing lesson as usual. Only thing that would help us viewers would be if we could see your primary wheels when you’re adjusting them. Even if it was something as simple as cutting your ARoll for those moments, I think that would help a lot. Another step further would be to also scale up the primary window as it’s being adjusted to help with its readability.

[@Ivan21th]

yeah placing your camera there makes no sense whatsoever haha xD made me leave the video bit early cause We cant see what you pressing

[@Resolve_This]

Best tip of the year for me. I try to never use the SAT knob, as I never liked what it did, and if I did use it, then I always ended up trying to counter the overall SAT increase with a Sat vs Lum curve to get deeper colors, but this is exactly the technique I've been looking for. Thanks so much for sharing this Cullen.

[@issayasamanuel722]

This is the only brilliant, simple explanation I ever found on youtube. I appreciate your willingness to go this much deep into this subject I struggled to find the right amount of saturation. Looking forward to your next video. Thank you!!

[@scottymac0427]

I love your videos and thank you so much for sharing! On the next one, could you possibly move your camera window to the lower right side instead? We can't see anything you're doing on the primaries or curves. Thanks and keep it up! It means the world to us trying to improve our color correction and subsequent grading in Resolve!

[@AlbertKarhuFilms]

Id also like to point out something; we dont need to see your face at all when you go fullscreen 🙂💪

[@AaroKari]

This is amazing. Using your lift gamma gain method on a saturation channel gives a much better result than the saturation knob alone. I was wondering why my saturation adjustments looked so 'cheap'. Now I know!

[@RavikantRai21490]

I am having difficulty in understanding what would turning up the gain vs gamma vs lift does with the S channel of HSV.

[@redrosscovers]

So this is how it's correctly done. I've been trying to achieve this by increasing the saturation knob and decreasing the overall luminance. This really helps. Thank you!

[@willgavillan]

Awesome video! This process gets me closer to what I do on the photo side, where I create a saturation mask before manipulating saturation to affect the lower saturation parts of my image more. Thanks for sharing your knowledge, Cullen.

[@antoninodurante779]

Thanks Cullen! Those are the small tweaks that make the difference when grading! I love your way of teaching btw!!! Keep it up man!

[@xchris4596]

one of the best tutors out there at, actually, explaining what he is doing

[@shahbazalishaikh3526]

Thank you so much for this and now i know whats the difference between bronze and gold..Thank you so much ...Its like opened a whole new dimension of color grading

[@mauroangst]

Thanks for the easy but pro way of doing it. I just watched a 20min add that made this with a much more complex set of nodes separatin the values and then subtracting form the origianl image and then adding it again, also using the qualifier to chose wich color to saturate more o or less, to achive more or less the same results, and ending the video with "this looks great but its REALLY complicated, thats why we recomend this U$D100 plugin to make it all inside one node" ...

[@mcjayred]

Hey Cullen, thanks a million for this tip, the difference to the image is phenomenal and definitely more cinematic.

[@LeeDunbar]

Thank you for sharing this technique. Exactly the result I knew that I could get from my 10 bit footage but was having trouble getting it there. Huge improvement!

[@durachok69]

wow... man, this is just incredibly helpful information.

[@aleclyons5755]

you are THE BEST at explaining tools in Resolve. Thank you.

[@sramosmedia]

This is great! I will start using this new saturation method. Thanks!

[@PalmTVNigeria]

This tutorial is a gold mine. Can you please direct me to the episode of grade school where you talked more on this?

[@moviegeek1111]

ahh the classic hsv trick, love it but fr you are a goldmine here on youtube

[@tothmatetamas]

I am very grateful for your advice, definitely a much better way to adjusting saturation! Thank you Cullen!

[@arjunan.b4072]

Enlightened brother, you got a subscriber here... gonna follow you from now on. Keep educating us. Thankyou for this wonderful info.

[@arjunan.b4072]

@@CullenKelly Was exploring your channel, it's so helpful 💯🔥🤝

[@tsmith2126]

Love the knowledge you are sharing!! Only issue is could not see the custom curve you made in the HSV node.

[@fade2nada]

Another great video by the technical wizard that frees your creativity. Using science and sound methods - more of this!!!

[@Magickman93]

Friggin' brilliant! Just love the idea of custom saturation curve! Thank Cullen!

[@robertulrich3964]

I am so glad you brought up custom curves for saturation. a very little discussed topic.

[@jarrodbarker]

Based on your definition/explanation, I would say this is a good approach to implementing vibrance control, as opposed to saturation (using the gamma wheel)

[@karliemorris7318]

first off sir, your Log color transfer from the base image, is immaculate , and second of all thank you, i love learning new kung fu

[@brendanclark.8059]

Wow! Fantastic tip! So many possibilities. Looking forward to Friday (as usual). Take care Cullen.

[@rahulsgrafix]

Very useful information! However, the adjustments that you were doing were overlapped by your video. For a relatively new user like me, it helps to watch the adjustments being made. Thank you!

[@davidluisfilms]

I am learning so much with your videos. I love the way you kind of explain the maths involved. Thank you so much

[@alex_montoya]

Great lesson, Cullen!

[@hafeezdop]

Hey Cullen Can you please make a video about how do you use your own 2382 LUT, using the layer mixer technique “combination between color\contrast” in such a template Node Graph, where you exactly put the LUT with the layer mixer in front or after the parallel !! How and Why !! Thanks in advance

[@antoninjelinek2088]

Thanks for these videos, it’s incredibly valuable source of information.

[@Thejohnnyoshow]

holy crap, I just tried this, its so much better this way, I have been trying to bring out the blue sky in my off road videos and the normal situation makes everything else way to vivid, like tree and clay etc so I just kind of gave up with it except for a very mild boost, this is exactly what I was looking for

[@IskenderAliev]

So glad I found your channel - the best learning materials on youtube i've seen! Thank you for sharing your knowledge!

[@channelzero5269]

THANK YOU FOR THIS VIDEO! genuinely game changing for me. I hate what the saturation knob does, especially on 8bit & 10bit footage... and you've just set me free. I am forever grateful

[@channelzero5269]

@@cicolas_nage sorry man, i don't understand what this has to do with my comment?

[@channelzero5269]

@@cicolas_nage nah homie, i dont think you understand my comment or the video. No one said anything about footage breaking and also the way saturation methods react mathematically and visually with different bit depths is very much a thing. You may want to refer your comment to Cullen then, because In essence you're saying he did something wrong on his 14/16bit footage and thats why he doesn't like using that tool 🤣 - it's all just tools of preference bro

[@joas162]

Ooh that is interesting. I'm going to experiment with that for sure!

[@directorserge]

Thank you for the explanation - never understood what HSV is and now I do!

[@Tarek_Abdelhafez]

Hi Cullen. Thank you very much for sharing this new 'patent'. Extremely awesome. Before watching your video, I saw someone else put it on KZbin too. It is obvious the difference between gold and brass. Love your channel! 👏👏

[@hernandeztakes]

My favorite moment of the week, thanks for keep sharing this info Cullen!

[@vernemattson3300]

Great tip - going to try this! I really like how you explore different ways of using the tools in Resolve.

[@JosephFutsum]

Eyeopener! You're the GOAT.

[@outdoorsinontario3037]

Really gr8 results…. I am loving your series on cold dude! Deep diving and I’m not coming up for air unless necessary. (;

[@alfred4449]

This is such an ingenious tip and one I will be adopting for future work. Thanks for sharing your knowledge, Cullen!

[@JesseSchroeder]

very informative! excited for grade school this week

[@amswil3232]

Lovely 😍 👌 u just change the way i think about grading

[@GurjeetSingh-fh5xx]

very helpful and new technique. Thank you

[@luketurnermedia3774]

👏🏻 👏🏻 Thanks again for great content. I know I’m always going to take something away every time I watch your videos!

[@justindingle]

I have been looking for this information for years. Thank you!

[@carboomtv1479]

Thanks Cullen, that was very helpful.

[@LeeHarris]

This is one to rewatch for sure. Working as a photographer I tend to avoid saturation controls like the plague (though Capture One Pro is bearable for a quick fix). When I started out with Resolve I notice that more often or not if I was experimenting colour boost was was often preferable. Due to bugger all work lately, or real projects, I have not used DR much so can't remember why!!

[@MarcDeAcetis]

You're the best Cullen! This was another amazingly insightful video.

[@franzmathauser]

Thanks, for sharing. Love to learn about all those other color models and their benefits for grading 👍🏻

[@albertorambaudi6055]

Golden tip about sat, thanks 🙏🏼

[@devincorboy8638]

Love this! I'm looking forward to Friday...

[@satyamdograreallife]

Every time I pull up a Video of yours & learn something new out of it. Realizing I'm learning from the God of Page 6 on Resolve. Can't Thank You enough Man. Also you told me to check the Wide Gamut Workflow series which I did & now I operate the same way like you taught. It really makes the workflow easier.

[@nanomartellvideo3299]

Big thanks to share this technique 🙏🏼

[@dkhart]

That’s amazing! Can’t wait to play around with that technique!!! Thanks a lot for sharing 🙌

[@melpignanofilm]

Really awesome material!

[@minhbinh6654]

It worked for my 64-bit PC. Thanks a lot.

[@windh]

Informative thanks! Very dark video 😅 not shocking the colorist's sensitive eyes!

[@fillipeaullivie3087]

Really great video ! I hope we will talk about bleach bypass and how it affects colors in the next grade school !

[@owwteebee]

This is truly next level… Thanks, CK.

[@rich8037]

That's a really brilliant idea - something that, once it's been explained clearly, seems really obvious but which most of us simply hadn't thought of at all. Nice one! I must also compliment you on your presentation style, which seems to me to strike the perfect balance between putting the information across and not patronising the target audience. Making videos is a sideline for me but I like to do things properly and I'll be making a point of watching more of your material in the very near future.

[@PetersSavoryCuisine]

As always, this is a great tutorial. Thank you for sharing

[@inspyremusicnl5826]

Exactly what i was praying for thanx. Im gonna watch right now

[@ameramdouni3584]

This is huge for me. I used to love sat vs sat and sat vs lum / hume vs lum , it served quite well in different situations , but curves tend to break the image easly , Gotta try HSV out 🔥🔥

[@robertdouble559]

There's a sat vs sat curve in Lumetri. And sat v hue, and sat v luma. All very, very handy.

[@mikeallenfpv]

I've been using this method and realized just now that it introduces artifacts in shadows that the regular saturation knob does not (at similar sat levels).

[@wakkowarner8810]

I loved this video. I learned something new about saturation.

[@phalanxfilmco]

This is a phenomenal approach -- working with log profiles I often feel like I have to push the image too hard to get proper sat. Just making sure I understand: on this model, gain adjustments will target the more saturated areas of the image, gamma the middle of the image, and lift the lowest sat parts of the image?

[@AlbertKarhuFilms]

Yes! Yes! Yes! Only 1min into the video and i know this will be pure gold 💪💪💪 Question: Does combining HSL and HSV nodes for saturation in similar way have any benefits over only using only HSV?

[@hectorfuentesblanco4434]

It's working thanks my friend

[@ivanguenkov]

Very good lesson

[@lorenzonarwhal]

Awesome video! There is a way to use this tecnique for selectively add this kind of saturation on a specific color? (Ex: only on blues or reds etc)

[@eydok5114]

Great video as always Cullen! Saturation is one area which I really want to explore more deeply, so hopefully you'll get into more detail on the subject of subtractive saturation and other stuff I probably have never heard of yet. I do have one question regarding the different colorspaces and contrast: how do different color spaces affect contrast? Or does the contrast operation yield the same results across all color spaces? Since it affects the saturation as well, it would only make sense to have different results in different color spaces. Looking forward to the next grade school, Dawid

[@raymondlinares8307]

Great stuff Cullen as always.

[@vasilisman78]

great video Kelly. I couldn't understand something . Wha tis the difference of change the gain and gamma wheel?

[@abhipadiya]

07:12 Loved that sense of humor too😄😄

[@richmarino2642]

Excellent, thanks!!

[@natedicksonmedia]

Good info! I do wish your facecam wasn't covering the wheels and part of the UI

[@benjamincorteslyon6777]

This was Amazing!!! Cullen, could you make a video how to "DENOISE", please? That would be very helpful.

[@benjamincorteslyon6777]

@@CullenKelly Yes, I have seen it yesterday! I felt that you had made that video because you had read my comment. Now that I read this answer, the reality is different hahaha but there is some kind of connection.

[@jaykellett7693]

ahhh man this is pure gold, thank you!

[@jonald2010]

Damn! This is so goooooddddd

[@grzegorzporowinski]

What an awesome tip! This is what I needed to make some difficult corrections!!! Thank you! :D

[@grzegorzporowinski]

@@CullenKelly Can I ask you about one more simply thing? :)

[@grzegorzporowinski]

If I have material recorded in camera in 8-bit (because I dont have internal 10-bit). Should I use "color transform tool" for node in davinci to change "output gamma" to cineon before color work or it is better to work without gamma transform, just in plain flattaned as possible footage?

[@grzegorzporowinski]

@@CullenKelly Thx, I will do it! :D

[@ThisisnotTwitter]

Another light bulb moment video! Thanks Cullen! How do you find this compares with a Sat vs Lum curve?

[@JosephChildressPhoto]

Dude you sound exactly like Pye Jirsa from FStoppers 😂 I kept checking who the video was made by because you sound just like him it’s crazy

[@ivanlondon]

Thanks for this! but as someone's already pointed out it would be good to have seen exactly what tools you were using... Any chance of reposting with the full screen of Davinci on? (probably not, but just in case..)

[@ChrisKluepfel]

This is pretty cool I gotta try it out! One question though. Does saturating blue also increase contrast in a sun lit image? I hat that something like that happen to me when I graded and put more of blue in the mids of an image and couldn't figure out why it looked more contrasty. And I heard different colors have different densities. What's your take on it?

[@user-kb4ce7ik6h]

Amazing. Thank you

[@capestranosfilm3047]

Hello Cullen, could you make a color grading tutorial with the iPhone footages? I need it the most right now 🙏

[@capestranosfilm3047]

@@CullenKelly Thanks 🙏 Im waiting for it 🙏

[@ashishjatiani3356]

Take a bow Cullen!

[@xhjupiteria7]

Hi, thanks a lot, very helpful ! I don't know if it's normal, but all yours responses to the comments and questions cannot be seen, that's too bad since I think it would help a lot of people to see them :) Have a great day !

[@JonPais]

This was a really great tip!