All language subtitles for Procolor_C08_L3b_Sat_Tools

Now that we have a general idea
of what saturation is, let's take a look

at some of the tools for adjusting
saturation in the color page of resolve.

So here we are
still at chart 24 with our color

space transform set up and we're
adjusting our colors in this first node.

Right click and reset our node
green and switch back to our color reels.

There are a couple of different ways
to adjust saturate in the color page.

One of them, probably
the easiest one would be the saturation

slider here
at the lower part of our primary wheels.

I can grab this and drag it left to right
to increase or decrease my saturation

as I bring it to the right, boost up,

and as I drag it to the left,
it takes it down again.

Any adjustment that I make here

is going to be ran through our color
space, transform and so something that's

overexposed under our transform
might look just fine without it.

And what this saturation control does
is it increases

the strength of all of the colors
throughout the image.

And this is fine most of the time,
but there will be some times

where you want something
that is maybe a little less saturated

to become more saturated,

and you want to keep the more
saturated stuff kind of where they are.

Well, a good tool for
that is the color boost,

which is in the lower left
hand corner of our color wheels.

And this works very similarly
to the saturation control,

but it's kind of boosting
the less saturated stuff first.

So I can boost this up a lot before
we really start blowing out her face here.

So I'm that I'm at 75 on the color boost
and our background is getting really nice

and saturated whereas if we used
the saturation she's starting

to look bad and the background
is still relatively desaturated.

It's a difference of boosting them all
at once or just kind of the weaker colors.

And you can use these kind of in tandem
or you can boost the color, boost way up

and then bring the overall saturation down
just to kind of level out things

in the shot that'll kind of make
all the saturation more uniform.

We can get a really good idea
of how this is happening.

If we switch over to our vector scope,
which again is our hue

for the direction

and the saturation for kind of
how far away things are from the middle.

Let's make this big
for the seats in the back

and I'll reset everything here.

If we grab our saturation
and we boost that up, we can generally see

the entire cloud is moving up and down.

It is getting limited here a little bit
and that's because of our color

space transform.

If I were to take this off
and it isn't kind of morphing

or doing anything weird, it's just growing
bigger or smaller.

It's kind of just scaling up or down.

Of course,
this would be a little bit easier to see

if we have a lot of saturation on there.

So I'll just boost saturation up a lot.

And now as we see that
all it does is kind of grow big or small,

and that's what saturation does
for color, boost the less saturated things

scale a little quicker
than the more saturated things.

So even if I were to make this cloud
about the same size,

if I boost up the color boost
and then bring down the saturation,

we're going to have kind of a fatter
signal here because it's saturating

the less saturated things
more than the more saturated things.

If that's confusing,
I would recommend playing around with this

a little bit
and taking a look at the image

and seeing what the color boost does
versus the saturation, see the saturation.

This pink part stops at our limit.

Really quickly, whereas the color boost,
it takes quite a while for it

to get back up there and we end up
with a much bigger kind of cloud

here at the bottom than we do
when we have our saturation pumped out.

The other thing you'll see colorist
do from time to time is

go into this
other palette back here, this Agip mixer.

Without getting into all the details here,
this really kind of allows you to mix

the color channels
and use information, say,

from the Green channel
and the red channel and vice versa.

You probably don't
have to worry about this much

unless you're doing some advanced
kind of tricky color things.

But what people will often do
instead of grabbing

that saturation slider is grab
these sliders here for red output,

green output and blue output and boost
each slider respectively.

And I think the idea here is that
it gives you a cleaner image.

But in my experience, this is the exact
same thing as using the saturation slider.

In fact, if I were to right click and say
grab still,

that's going to take a screenshot of this
and throw it into my gallery

so that I can look at it later,

I'm going to go ahead and right click
on this node and reset the node gray.

And in this node we'll just take this
and punch our saturation all the way up.

And if I right click on this
still and say, play still,

that's going to give us a still frame

that we can wipe back and forth
with on whatever shot we want.

Right?

And so if we go to the shot
that we're working on, guess what?

We move it back and forth.

It's the exact same thing.

There is no difference on the panel.

We have two knobs that are dedicated
to saturation, both the saturation knob,

which is the same thing as adjusting
saturation in the primary color wheels

and you can tap to reset or
the color boost, which is the color boost

in the primary color wheels.

What's cool about using a surface is
you can do something like is lower

the saturation and boost the color boost
at the same time to really kind of dial

in where you want your saturation
without having to go back and forth.

But those are the major saturation
controls and the color page of Resolve 17.