DaVinci Resolve Studio 17 HDR Grading Breakdown Node tree Excessive saturation in the shadows can be unflattering to the talent and clothing and objects in the surroundings can be distracting if left untreated. Reducing saturation is often the preferred method for eliminating unwanted color artifacts in the shadows resulting from extreme color corrections. However, you don’t want to desaturate colors all the way to zero, as the finished look can appear unnatural. Color correction is accomplished using the vectorscope and Hue vs. Hue curves. Although colors like cyan will be undersaturated, increasing saturation can aggravate noise and artifacts and is best left alone. The Color Warper simplifies creating stylized looks by changing aspects of selected areas of the image. The Color Warper makes it easy to simultaneously modify two different color attributes, either saturation and hue, or lightness and hue. This gives the Color Warper a distinct advantage over traditional curves, which only let you adjust one color characteristic at a time. Adjustments are smooth and artifact-free. Found in the ResolveFX texture category, Film Damage is used to recreate the look of poorly maintained vintage archival footage but the temperature and tint controls can also be successfully used to add warmth similar to that of film projector bulbs; vignetting helps to focus attention on the subject; and blur takes off the digital edge while flattering the talent. We disable scratches and dirt specks. Log mode is the home of the RGB Offset/Printer Points color balance and master controls that adjust the overall signal in a linear, film-oriented way. When you drag one of the Offset sliders up or down, you raise or lower that color channel in its entirety. This can be useful for adjusting color channels that are particularly problematic, but it’s also the way you impose the kinds of traditional linear color adjustments that color timers of film have employed for decades. In fact, many colorists consider the simplicity of these controls a virtue, and embrace the slight shadow or highlight contamination that can result from color balancing in this linear way as a creative hallmark of traditional cinema color adjustment. We use Offset to stylize the look of our footage. Leave a Reply Cancel reply Enter your comment here... Fill in your details below or click an icon to log in: Email (required) (Address never made public) Name (required) Website You are commenting using your WordPress.com account. ( Log Out / Change ) You are commenting using your Twitter account. ( Log Out / Change ) You are commenting using your Facebook account. ( Log Out / Change ) Cancel Connecting to %s Notify me of new comments via email. Notify me of new posts via email. Δ This site uses Akismet to reduce spam. Learn how your comment data is processed.