@@AustinGarcia-Color 0:13 Sony “VEENUSS” ??? Lmfaooo do you refer to the town in Italy as Venus as well like the planet? It’s VENN-ISS not Vee-nuss lol
Color warper in hsv works too, and you can target areas of different luminance, so you can keep the highlights as is and deepen the darker areas, works especially well for red, green, yellow, and blue
That last technique is really cool! I have seen Cullen Kelly using HSV too but not in this way. But instead of copying node 2 to make the effect intenser, I think you could make it simpler if in the right click menu of node 2 you de-select Channel 1 and Channel 3. Instead of the RGB mixer you can now use the Gain and Offset wheels to control the saturation. Without being limited by the max value of the Green Output channel from the RGB mixer.
Actually Cullen is against using an Offset or anything that can change the Lift value which can cause an image breakage. You always want to use the Gamma or Gain wheel or equivalent.
@@soraaoixxthebluesky that is true in a normal color space but not in HSV as far as my understanding. When you change your node to HSV the Primaries wheels won’t respond the same way as, for example, DaVinci Wide Gammut/Intermediate. Hence also the reason to de-select Channels 1 and 3.
@@brndblm No I’m talking specifically about HSV. HSV will break if you alter the black point. Black point = No color data. Try it yourself in Davinci. Cullen has shown it on his recent video.
Great technique! But the last one did not working under Davinci color management (project level). It's working well in node level color management anyway.
I dont really understand whats going on underneath these techniques, but it really adds more options into my pool. thank you for that. maybe i can add some technique on this topic. you can also use the colorwarper tool to get more dark dense colors. just select the outer rings of color you wanna darken and reduce luminance/increase sat in HSV mode.
Next time I will do a better job at explaining what everything does. I didn't create a script or edit the video so it's all over the place. You can use the color warper, however, it can only be pushed so far. I always like to have different techniques in my arsenal that might work better/more efficiently. I'm a big believer in experimentation. So I would suggest comparing the color warper to my technique and see if one is darker than the other or if one creates banding and the other one doesn't.
couldn't get your last method working within a resolve color managed timeline (DWG), is there a way to get that method to work there? or is it limited to un color managed workflows?
I'm curious to know, how is the last technique different from changing the node's color space to hsv, disabling channel 1 and 3 and adding gain. (not a rhetorical question)
Because you’re only affecting the luminance. You can do all of this with one node select composite mode to luminance and go in RGB and adjust green channel.
Hi! Am I missing something? I'm trying to follow the steps in the last method but end up with a really desaturated image. What's going on in node 3? I have my color management setup in project settings instead and didn't do the film lut thing, but the principle should still work right? Thanks
The top half is luminance while the bottom half works on chrominance. You can use this to your advantage by applying CST and LUTs to either side to get interesting looks.
@@MountUpMedia Yes! I can make a tutorial covering LAB color space as well. Try experimenting with LAB color space using the above technique and see what happens. I find that when I experiment I get interesting results.
It’s just separating chroma and luma that’s essentially why I’m using a layer mixer. You can do all of this in one node by changing the composite mode to luminosity.
Why can your video cst make the color very thick, very similar to the feeling of a movie, after the texture, but my fx3 cst after the texture is very poor?
@@AustinGarcia-Color I usually shoot 4k 25p using slog3. My project is usually 1080p 25p, but the texture of my video looks a lot different from yours. What lens do you use?
Can't you just create the layer mixer (just two layers), change both color spaces to YUV, then uncheck the appropriate channels for each layer (deselect channel 1 for chrominance and channel 2/3 for luminance)? In this case it would be even easier, just change the color space of one node to YUV and deselect ch2/3 (since you're not actually using choma).
Thanks for the reply! Never tried it but sounds like that would work. I think with the most recent update you can change the composite mode on each individual node which in theory could reduce the node tree.
@@AustinGarcia-Color ahh I got confused and didn't take into account that you need to use the add blend mode, but yeah, with the update, it should work with one node!
Add a single node, select its color space to HSV, disable channel 1 and 3 then finally increase the gain. Boom! The same output. why messing up with tons of layer mixers?!
Not the same output. You don’t have to disable any channels. Instead change color space to HSV change composite mode to luminosity and adjust green channel in RGB mixer. The method I’m showing was before the update and where I needed to separate luminosity and chrominance.
I'm no expert. I just experiment with different techniques to see if I can create unique images. I'm still learning as well! My recent video will show how you can do the last technique in one node!
Dude, you're a mad scientist!! Thanks for the tutorial.
Was just thinking about this right now and then see you posted the video. Stoked to see what this is all about! Thanks for making the vid
No problem! Hope you enjoy!
You're the guy not wasting any of our time and just putting out straight up rich info & techniques!
Great video buddy, expecting more!
Thanks!
Definitely don't want to waste anyones time thank you for the comment! Will be putting a video out soon covering advanced matrices!
@@AustinGarcia-Color 0:13 Sony “VEENUSS” ??? Lmfaooo do you refer to the town in Italy as Venus as well like the planet?
It’s VENN-ISS not Vee-nuss lol
@@RustyShackleford9000 haha 😂 you are right. Not sure why I said that.
Color warper in hsv works too, and you can target areas of different luminance, so you can keep the highlights as is and deepen the darker areas, works especially well for red, green, yellow, and blue
I have been looking for DCTLs for color density. But now with this I am good
The last one is the best. Thank you!
No problem glad it helped!
That last technique is really cool! I have seen Cullen Kelly using HSV too but not in this way. But instead of copying node 2 to make the effect intenser, I think you could make it simpler if in the right click menu of node 2 you de-select Channel 1 and Channel 3. Instead of the RGB mixer you can now use the Gain and Offset wheels to control the saturation. Without being limited by the max value of the Green Output channel from the RGB mixer.
You are correct! Instead of being constrained to the RGB mixer you could utilize the gain wheel and push the saturation channel more.
Actually Cullen is against using an Offset or anything that can change the Lift value which can cause an image breakage.
You always want to use the Gamma or Gain wheel or equivalent.
@@soraaoixxthebluesky that is true in a normal color space but not in HSV as far as my understanding. When you change your node to HSV the Primaries wheels won’t respond the same way as, for example, DaVinci Wide Gammut/Intermediate. Hence also the reason to de-select Channels 1 and 3.
@@brndblm No I’m talking specifically about HSV. HSV will break if you alter the black point. Black point = No color data. Try it yourself in Davinci. Cullen has shown it on his recent video.
Thanks for this, they are effective 🙏
Thank you for this amazing tutorial
Amazing! Thanks😍
No problem 😊
it's so cool technique. Thanks bro
No problem!
Man i have never heard of that. thank for new approach, let me try.
Glad you found it useful!
NICe technique man...
I recognise that Venice footage from anywhere
Это эпично. 👏👍👍👍
That's the Sony Venice, like 'Veh-Niss' not the Sony Venus.
This is amazing thanks for this truly a genius this but i cant help but wonder how'd this look if you color space transfron to ARRI first
please make more tutorial on color grading
Great technique! But the last one did not working under Davinci color management (project level). It's working well in node level color management anyway.
Sony Venus? I think it's Venice.
You are right someone already commented on that.
I dont really understand whats going on underneath these techniques, but it really adds more options into my pool. thank you for that.
maybe i can add some technique on this topic.
you can also use the colorwarper tool to get more dark dense colors. just select the outer rings of color you wanna darken and reduce luminance/increase sat in HSV mode.
Next time I will do a better job at explaining what everything does. I didn't create a script or edit the video so it's all over the place.
You can use the color warper, however, it can only be pushed so far. I always like to have different techniques in my arsenal that might work better/more efficiently. I'm a big believer in experimentation. So I would suggest comparing the color warper to my technique and see if one is darker than the other or if one creates banding and the other one doesn't.
Hi, Were you still gonna upload the powergrade?
couldn't get your last method working within a resolve color managed timeline (DWG), is there a way to get that method to work there? or is it limited to un color managed workflows?
You might need to change each individual node to work in rec709 opposed to whatever colorspace you’re working in.
Hope that helps!
I'm curious to know, how is the last technique different from changing the node's color space to hsv, disabling channel 1 and 3 and adding gain. (not a rhetorical question)
Because you’re only affecting the luminance. You can do all of this with one node select composite mode to luminance and go in RGB and adjust green channel.
Hi! Am I missing something? I'm trying to follow the steps in the last method but end up with a really desaturated image. What's going on in node 3? I have my color management setup in project settings instead and didn't do the film lut thing, but the principle should still work right? Thanks
Just attached the powergrade! You can apply the same effect in one node! Project settings should be set to rec709a or scene.
@@AustinGarcia-Color Thank you for the reply! Yeah, maybe I have my color managment setup differently. Thank you, I'll give it a try :)
What about the bottom half ? What would adjustments in those nodes affect?
The top half is luminance while the bottom half works on chrominance. You can use this to your advantage by applying CST and LUTs to either side to get interesting looks.
@@AustinGarcia-Color okay perfect! I love your approach! I’ve been trying to learn more about LAB color space ! Any experience with that?
@@MountUpMedia Yes! I can make a tutorial covering LAB color space as well. Try experimenting with LAB color space using the above technique and see what happens. I find that when I experiment I get interesting results.
@@AustinGarcia-Color Yeah! I'd love to hear about the LAB!
Last technique looks great but I’m not sure why you added the bottom layer to -1? What did that do to the image?
It’s just separating chroma and luma that’s essentially why I’m using a layer mixer. You can do all of this in one node by changing the composite mode to luminosity.
Why can your video cst make the color very thick, very similar to the feeling of a movie, after the texture, but my fx3 cst after the texture is very poor?
Hi! What picture profile did you shoot in with your FX3? Did you shoot in the highest codec? Also, what are your project settings set to?
@@AustinGarcia-Color I usually shoot 4k 25p using slog3. My project is usually 1080p 25p, but the texture of my video looks a lot different from yours. What lens do you use?
Can't you just create the layer mixer (just two layers), change both color spaces to YUV, then uncheck the appropriate channels for each layer (deselect channel 1 for chrominance and channel 2/3 for luminance)? In this case it would be even easier, just change the color space of one node to YUV and deselect ch2/3 (since you're not actually using choma).
Thanks for the reply! Never tried it but sounds like that would work. I think with the most recent update you can change the composite mode on each individual node which in theory could reduce the node tree.
@@AustinGarcia-Color ahh I got confused and didn't take into account that you need to use the add blend mode, but yeah, with the update, it should work with one node!
Add a single node, select its color space to HSV, disable channel 1 and 3 then finally increase the gain. Boom! The same output. why messing up with tons of layer mixers?!
Not the same output. You don’t have to disable any channels. Instead change color space to HSV change composite mode to luminosity and adjust green channel in RGB mixer. The method I’m showing was before the update and where I needed to separate luminosity and chrominance.
I’m new to DR and none of this made sense. HAHA how long did it take you to actually understand all this?
I'm no expert. I just experiment with different techniques to see if I can create unique images. I'm still learning as well! My recent video will show how you can do the last technique in one node!
I think you lost the beginning of this video....
I don’t know what that means
It starts at mid sentence, like the beginning was cuted in editing