This channel just breaks the internet with such huge information and knowledge. it's basically a masterclass for free. thanks

THIS is how Color Grading Tutorials should be done! Thorough explanation of how Things Work and why you do what and compare different methods and explain the effects of the techniques on the footage. Great channel

Hello, a big thanks to everyone who has pointed out that subtractive saturation can also be created with a single node set to hsv and then changing the gain of just the green (saturation) channel. We're calling that method hSv. It's a great tip and our apologies for not including that in the video. It doesn't change the fact that HueShift is a great tool that adds value to the process and speeds up your work! Thanks once again to everyone who has watched and commented. We appreciate you all!

I'm two films in with Kaur, Jason, and Stefan Ringelschwandtner's DCTLs and I'm never going back to the "old ways" that involved complex node trees. The bang for your buck is a no-brainer.

I knew I could trust this guy because his video has very good coloring. No bright red and blue LED lights blasting out the background like most of the KZfaq How-to crowd. Thanks!

Invaluable information, that's so cool! Especially compositing of color nodes and layers explanation. Huge thanks for sharing knowledge! The irony is that one video interview about advanced color techniques in 4 bit color with banding and like shoot on a potato... 🤣

Welcome DaVinci Resolve 19, where you can do it with one slider. Awesome update, and awesome content from you. Cheers!

I'm only 3 mins in and already feel blown away by how well this information has been presented and explained. Subscribed!

Thank you as always for the nuanced run through and explanations - the interviews were a great addition too!

You guys are till heavily under appreciated. I hope you gain the traction you deserve. Always top-notch quality. Thank you!

Mind blowing! Bless you and your team for this info!

You Guys are soooo informative! What an amazing channel!

As the beginner colorist,this channel is very helpful for learning about colorgrading. Thank you very much for making this content

A phenomenal video! I learned a lot, thank you!

Yea this is insane. Color is insane. Thanks for overloading my brain. I'm having to replay this 42 times to get the message in my thick skull.

The knowledge you shared for us is another level.Thank you so much

Seeing these videos of you, feels like i did not miss and cinema school. Huge respect and a huge thank you.

Great ! Thank for your Work!

So much great information, delivered in such a clear way!

Loved this. Thank you!

I cannot like this video enough. Great info and expertly presented!

I met an editor/colorist a few weeks ago and this video is spot on. He also talked alot about great DCTL is and owns several plugins for it.

Awesome 👍👍👍

Thank so much for this! I was having big trouble making my skin tones looking good and not so orange, this fixed my issue! Keep up the good work mate!

Waow mindblowing!

Really interesting - I know both Jason and Kaur - really helpful and smart guys. I proposed the question to Cullen of why we tend to not fix the saturation in footage first, then decide on the amount to apply? My opinion is pretty much what Jason and Kaurs tool actually does. I don't believe that saturation is something that can be a one knob fix in regular sat tools using any color space. I also have the opinion that camera manufacturers, and pretty much every job on set is to nail skin tones - especially in camera, the digital saturation and how it is used is to push the best ( what they think is the best ) skin tone in their saturation decisions. Camera manufactures know this, and will target skin as a selling point. Now because of that fact - a lot of the rest of the image may, or may not have the correct balance in saturation, and become either too saturated or undersaturated. Where as I mentioned - one knob isn't going to fix it. The filmic aspect - the fact that light is being pushed through the film - you want something redder or greener - a film camera can't just add saturation - they need to increase the amount of color in the process, by adding density ( literally ) which of course will let less light through and it becomes darker. Keep up these great videos - you are going to get a large following really quickl and the sucess will be well deserved. cheers

❤ This video was awesome 👏 Thank you 🙏

Great video, thank you!

Guys! This knowledge is changing my life!

This is incredible technique, thank you so much!

This is experience❤

love the content!!

Wow. This is a lot of knowledge shared. Thank you! Subscribed.

Such more information! Thanks

Thank You!

Thank you for sharing knowledge.

Best overall explanation ever....

My brain melted!! Amazing tutorial!! Thanks for sharing it!!! :)

It’s very amazing … great videos

Sweet Jesus who sleeps with Mary in heaven!!! Tried this on a recent grade and it's like next level film-like! I always knew the saturation knob had something "off" about it. Always increased saturation with great misgivings

Incredible! Thanks for sharing.. I've bookmarked this for future reference :D

Very helpful video. I learned alot. Thank you!

This is above my skill level, but still, what a beautiful tutorial. Thank you for such elegant teaching.

Absolutely amazing advanced tutorial here! I find it very difficult to find expert knowledge in this field because the rise of influencers lately.. I am curious if you have a paid course in this format? Also I would love some help in the realm of sharpening! There are many ways to tackle it but most leave me feeling with gopro like footage. Thanks again!

να σαι καλα, φιλε μου!

Thanks for these jewels 💎 man! 👏🏼👏🏼👏🏼

Great video, subbed!

I saw some guys use the second method, but instead of using nodes to separate the V-Channel they disabled these channels in the nodes drop-down menu. I'm not entirely sure if this approach has any differences, but it is way easier as you only need one node and it gives you subtractive saturation and similar results.

Brilliant! Thank you ! I liked and sub'd.

You can do this easily with one node in davinci without the plugin. Create a node in HSV color space, deselect channel 1 & 2 and increase the gain.

One of the greatest tutorial channels for DaVinci! Remarkable job! One little correction i must mention because I am shooting on film a lot. 3:26, The density on a film is not coming from the saturation or the color richness on a negative film. The density is coming from the exposure. More overexposed the negative, the dense (thick) it will be. Underexposed means less dense (thin). Again. GREAT GREAT job guys. thanks for this wonderful video!

I'm a beginner but I understand how this is really useful, thank you! I know it's a completely different argument but I would really found something so polished and simple for colour animation of the subtitles like auto highlight the current spoke word...

damn!

So I've played around with this and found out that setting a node to HSV and just raising the green channel yields the exact same result. When set to luminosity on a single hsv node it's identical to the presented node tree when just raising y gain. What I experimented with is splitting HSV and feeding Saturation into the Value channel and subtracting it that way. Beforehand I multiply the Value channel with the Saturation channel to avoid ultra saturated colors at the very extremes of the luminance ranges. The result is - in my opinion - the most flexible and the most pleasing looking. The corresponding node tree can easily be saved as a power grade and just needs one or two nodes to be touched to get nice results. It also has the benefit of lowering the gain of saturated colors, without adding saturation you don't want. Just my 2 cents. Cheers!

Amazing tutorial Leon! What is your keyboard model?

Thanks for the video! Remembers me to the Technicolor Nodetree by the German channel Farbkanal. Does this have issues in a color managed DWG or aces project? I got this to work in rec709 timelines only jet :/

Mononodes is a game changer, great tools which speed up the grades as well. It’s weird that Davinci hasn’t incorporated his tools yet.

Thanks very much for an interesting and informative tutorial. Do you think that DR will add this kind of functionality natively to a future update?

I use colour density DCTL from mononodes.

I think for someone like me who personally don’t like film grain or halation when emulating a film look, sub sat is the best way I can make my modern digital video look filmic combine with proper contrast curve that never hit true black at the bottom and true white at the top of the curve. I personally will not 100% staying away from Sat vs Lum in HSL it’s sometimes can work as complimentary knob for HSV color space achieving that deep rich filmic look. You don’t want to over do it tho.

Very nice explanation, makes me NEED to try the demo tool in my underwater footage, where color is often a big mess :) and a ton of nodes to work with ... thanks Question: how is the response of the tool regarding Noise on the image ??

Excellent tutorial, thank you! I have just one question - is it not easier to switch the node to HSV, turn off channels 1 & 3, and apply Gain/Gamma to the same node instead of creating the layer mixers?

is this the same way the new color slicer works in 19? i was trying it out last night and noticed the scopes were lowering when i increased the sat, which was confusing me. if so , do you still see a reason to set your nodes up this way or will the channel slicer work ?

great video!! curious if there are any subtractive saturation for adobe plug-ins

Thank you very much for the video. I have one question. How does the “hard way” 5:35 differ from switching the node to HSV color space and then manipulating the S channel, i.e., the Green wheel and/or curve? I ask because I learned this very same technique from Cullen Kelly’s TouTube channel and it does appear to yield better results than additive saturation. Thank you again and congratulations on your excelent videos.

🌟🌟🌟🌟🌟

Thank you for the helpful insight on DCTL. Are the DCTL parameters mapped to the Blackmagic Mini Panel?

Mononodes has a great density dctl

Having watched your great tutorial, and played with it a bit, and looking a lot ... I'm now frustrated that I can't work out how to replicate this in Photoshop! 🤣

Thank you for the high quality instruction on saturation! I have a question, however, on the comment that Resolve Does not use subtractive saturation. When I use the HDR color wheels to saturate by pushing the Sat slider to the right. The waveforms move in what appears to be the same manner they move when using the node setup "shenanigans" demonstrated in The Hard Way (or the one HSV node technique that others have already pointed out, which does the same thing). Am I missing something? It appears the HDR wheels saturation IS subtractive. Thanks again for the time and effort to put this tutorial together!

I am total new to DVR, got the Studio version though. I got one question: What is the difference between the native DCTL tool and the HUEShift tool? Sorry if this may appear a stupid question, as mentioned I am new to these kind of things. Thank you already.

What colour space are you using for your timeline on min 7:20? And have you already transform the log footage with a LUT? I cannot make it work on my project.

Thanks for this video. I copied your node tree a few times, but I'm having some issues. The first layer mixer does not cause the image to black when I set composite mode to Subtract. When I click the last color node between the two layer mixers, that is when I get a black image. Any idea what might be off?

Is there a difference between the Pixeltools DCTL and the one from Mononodes ? I dont know which one came first, but they look like a perfect copy of each other. They are even using both emojis to label the sliders.

In case i use the middle method on my grade, on what position would you advice me to put it, in the beggining, middle or end of the tree node??

I always asumed saturation compensates for luminance, such that if you want to saturate your reds, the red color is added but a little bit of blue end green are subtracted to match the brightness. Wouldn't this be ideal.

Do you know how I could apply the subtractive saturation look to still images? Ideally using Lightroom CC on iPad?

Targeted adjustments, non-breaking, comprehensive scope of the tools: the way of the future?

Great video, I'm hoping you can answer a question I haven't seen answered in Cullen Kelly's video or this one: how do we implement this feature with higher compression footage? I shoot Sony cameras (FX3 and FX6) and while both cameras color holds up very well in grading, as soon as I try to implement these subtractive color tricks, the footage completely falls apart. Macroblocks appear every where, colors get ruined, skin tones, flickery pixels, etc. It seems to be an issue with compressed footage, and much less of an issue with high quality prores or RAW. I figure there must be a way to use this trick with sony footage or other h264 based footage without completely breaking the colors. Do you know anything?

I've simply been using the green gain channel on an HSV node to emulate film density on the advice of a few professional colourists. Can you explain why that much simpler method is different from your four-node solution? As far as I can tell, increasing Saturation in the HSV color space only lowers luminance values on my waveform, and renders the deeper, richer colours you get with your method.

What is the spherical colour model that Kaur mentions at the very end? The gen, zen, jen...couldn't catch it.

Perhaps it will provide a little more clarity when considering the Cullen Kelly 1 hSv node solution, considering that he often balances the saturation on this node with gamma AND gain.

Where is the best position int the node structure to bring in hue-shift tool ? After the first CST or after the last?

you can do HSV subtraction with only 1 node.... change it to HSV color space, disable Chanel 1 and 3, use gain to saturate colors. done!

Would you be kind to share a Power Grade version of method 2 with us?

Resolve says "Unable to copy", when I try to install the demo. WIth option two: how can you grade two different colors? cheers Tom

And it ends up looking like it was shot with a polarizer, which I think essentially cancels out reflected white light, achieving richer saturation. Is this fundamentally related? I'm grasping.

does anyone know if it’s possible to do the same sort of thing in photoshop? i’d love to use subtractive saturation in my photo editing, and im not quite ready to fully switch to a davinci workflow for photography.

Is your version any different then mononodes version besides that yours is cheaper. Just curious

Damn your videos are good (although the constant beeping over the interview with Jason was really distracting ☹️)

Which is better? Hueshift or Colorshift? 2 different DCTL's but they seem to do the same thing....

Is this applicable in photography

Isn’t the issue the same in photography ? I wonder if lightroom supports substractive saturation or if there are workarounds / plugins for better film look emulation. (NOT shitty presets)

how can i do this in premiere pro?

Hi guys. Did PixelTools offer a discount code?

This tool is kinda like using the printer lights?

do you have a discount code????

8:30 I don't understand what is the difference in just changing to HSV and increasing saturation (S), skipping all the other "doing/undoing" nodes.

The vanilla saturation tool😂

Is there not a demo? I just see buy option