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feature request: Hue and Sat curves
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I’m more or less in the same situation. I’m not in the “high-end” game. Nor do I have a panel, not even a Tangent Wave! Ever since I started with Color I’ve used two tools: A Wacom tablet and a ShuttlePRO2 (it was replaced with a Logitech G13 just recently – and it WORKS!)
I do various stuff for local and international cinema ads, short films and music videos.. Do I get the job done with these primitive ‘caveman’ tools? YES! Would I like a panel? Oh yes, please.. Even though there’s some “panel exclusive” tools, it’s far from impossible to work your way around DaVinci. And I agree, the interface USED to be cluttered and less intuitive. What I’ve seen of videos or screenshots pre Resolve 7 made my eyes spin.. NOW is the time to get Resolve.
I guess you already have the hardware in place, so why not ?
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Hello,
I don’t care about your fight. It’s not very constructive…
What we need, is to be able to do the same things with a mouse or a Wave that we could do with the 30k panel. Even if it’s slower. Because, personally, even if I don’t doubt about the quality of the 30k panel, I can’t afford it… but I need to be able to use HSL curves.
All the best
Robin
réalisateur, scénariste, monteur
http://www.robinerard.ch -
[jake blackstone] “First of all, you would never want to use 6 vector HUE to fix the color temperature of the shot. This shows basic lack of understanding the theory of color grading.”
Dude, are you on drugs or what???
Who said that vectors are for primaries?
Besides, that function is coming for people WITHOUT a DaVinci panel, you can activate it in the menu bar.
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Example scenario
Lets say you have an image that was balanced for daylight and then exposed to tungsten. Super yellow. If you shot it on say 5D, there’s not gonna be much info to play with…In resolve:
You’d “balance the image” by pulling out yellow and adding blue till it looked neutral. At this point you’ve thrown away half of your image data (lets assume 411 colorspace for simplicity- The blue channel contains 1/4th of the pixel data of that green channel, and the image itself has very little blue in it. You’re throwing away the yellow green which is the strongest channel, and stretching out the blue which is the weakest) So your image starts to look like crap.
Or..
You use the qualifier to select yellow hue only, and you desat and hue shift it before grading a second layer. The result is dirty. Don’t know why but I’ve compared it.In Color:
You’d open a secondary curve, notch the yellow and green sat down, blue magenta sat up. Then you’d nudge the oranges towards red, and the blues away from magenta. You’re not throwing away pixel data, you’re just reshaping it.When an image is exposed too warm or too cold, the colors exhibit a non-linear hue shift. The reds might be in the right spot, and everything else may need to shift exponentially.
Also curves are super fast. I can make trees the right color green, or fix skintones, or fix a sky in a matter of seconds. Waaay faster than pulling a qualifier that doesn’t suck, and definitely cleaner to paste across many shots.
Read and weep:-)
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It would be helpful, if you tried to use something else, beside Color and Resolve, before you claim my bias. I currently work with Lustre, FilmMaster, Scratch, Baselight and, yes, Resolve. Yes, all those grading solutions are much more expensive, than Resolve, but it was, after all, positioned and priced very recently in the same price range. So, go ahead, widen your horizons a bit.
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It would be helpful, if you tried to use something else, beside Color and Resolve, before you claim my bias.
Well Jake I have worked on Pogel, Da Vinci from 888 to Resolve, Luster, Scratch, Color, Mti color, Truelight onset color and I have demo Baselight, but this isn’t about what we have worked on as colorist it’s about learning and understanding a color corrector before one comments that it can’t do something that it can and putting it down and saying it is no good.
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Ok, let me dig out my experience with Amiga and Sunburst, if it would be pertinent to this discussion, which it isn’t.
Color grading software, that can’t truly color grade isn’t very useful.
Yes, we all used the wonder tracker, the very same tracker, that is used in Lustre and FilmMaster. What about something simpler, like Pan and Scan in side by side mode with offline material? How about Film or Brightness/Contrast mode? Levels and transfer modes? HLS curves and selective color saturation? Multilayer AAF import and multilayer grading? Noise, scratch, dust, grain removal? Compositing? OMF plugin support? How about something more substantial, than the most basic keyer? A useful group grading? And don’t get me started on a need to restart Resolve, every time I assign the new drive.
Do I need to go on?
And aren’t they spelled LUSTRE and POGLE?
I get it, you’re happy with state of Resolve now, I’m not. Papering over Resolve’s shortcomings doesn’t help anybody. -
Well, its not bad for 1000 bucks 😉
I think we have the same sort of discussion on the other boards, Scratch lacking the tracker, Lustre the timeline, Speedgrade clarity and so on.
But I was able to finish projects with most of them, heck, i even graded a short movie in Fusion once.
So what about an honest wish list ?
Something we can set up, manage and compare and the MB people can see what they can do about it.
Right now more and more clients tend to stay in FCP or AVID and use grading plugins to not loose the flexibility of their editing environment.
Thats my biggest worry right now. Not some tracker missing..
I use Monet if i need a really good one. -
funny you should mention the fcp plug ins…they have been great for my business. everytime an editor uses them in final cut i always end up being hired to redo the job properly in color….editors edit and shouldnt be messing with color…but i’m glad they at least try so i can get more work from them when it all goes wrong! hahahaha
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I see the same thing here on tv. Some editors edit. Use preseted plugins and it all goes sideways.
Finally it gets aired. Horrible.—
Margus
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