All language subtitles for Procolor_C08_L3c_Sat_Techniques

Now that we've explored several tools
for adjusting saturation

in the color page of resolve,
here are my recommendations.

I would go about it
honestly, this one's pretty easy.

Most of the time

I reach for the saturation knob,
which again is the exact same thing

as this slider here in the color page
in our color wheels.

And generally you want your saturation
to do a couple of things.

You want it to look good on your monitor,
obviously,

but you also want to check it
on the scopes.

Now, this vector scope
has a few little targets here

and each letter corresponds
to kind of a side of the color wheel.

So are as red and as magenta, B as blue

C is cyan, G is green, Y is yellow.

And these represent
like the super pure as saturated

as you can get in this color space, color
of that hue.

In fact, with our color space transform on
if we were to boost up the saturation,

it won't really let us go all the way
to those targets.

It's going to kind of squish

the colors together at the outer edge
of what our transform will allow.

And if I were to rotate this hue,

you'll notice that it actually lets
more of certain colors in.

Like you can have a lot brighter purples,
then you can kind of reddish magenta.

And as we go through,
the blues can only be so saturated

cyan, you can actually go pretty crazy on
and so forth.

But generally

when you're talking about saturation,
if you want something to look natural,

you're probably not going to want it
to come all the way to the edge

of your limits anyway.

Anything that comes close to these boxes
or a line that you draw in between them

is going to look pretty unnatural
unless it's literally like a neon light.

So even in this scene where we have this
really strong pink light on our talent,

we're probably not going to want to go
a whole lot more saturated than we have

right here just because if we do, it's
going to go from looking

like there's a light on her
to looking like she is radioactive,

which is not exactly what we want.

And just like you can make something too
bright, you can make it too saturated.

And it's really the same problem.

The signal is so strong that you can't
really see it on your monitor.

So when we have this too saturated,

you can see this cloud on our graph
kind of squish all together.

And that means that it's

making a lot of the colors the same,
which means that we're losing detail,

which unless you have a specific reason
for it, you don't really want to do.

So if I were going to test the upper
limits of how saturated I want this to be,

I might pump this up until I see this
edge here start to squish,

and then I might back it off a little more
just so we keep all the detail

that we can.

And if we really need this
to look punchier,

it's probably a better idea
to start thinking about contrast

rather than saturation,
which we'll get into in later lessons.

But those are my thoughts
on adjusting saturation.