『更新至v3』mononodes – color shift v3 達芬奇電影感色彩偏移dctl調色插件

Hi, I'm Stefan, I've just released version 2 of my ColorShift DCTLs and in this video I will show you how to use them. The main inspiration for these tools come from Baselight U-Shift. This tool is reduced to the 6 main colors, red, green, blue, cyan, magenta and yellow. It allows you to shift hue values to neighboring colors and change saturation and luminance values for those specific hues. I have built similar DCTLs to adjust hue values in broad strokes, which makes these tools very robust and easy to use. The first DCTL I want to talk about is the saturation DCTL. So first I will increase the saturation with the native tools here inside DaVinci. And it looks like this, so this is not very pleasing. And here for comparison I will increase the global saturation slider here. Which gives us a more filmic saturation to our image. And we also have the option to just increase the saturation for certain hue values such as blue and red and green. And this is before and this is after, which looks very nice. So now I will increase the global saturation. And I've integrated a new slider to this DCTL here. Which is the deep slider. And if we increase the deep slider. We can see that we only add saturation to the midtones and the shadow area. But it has no effect on the highlights of our image. So the highlights gets excluded from the saturation. I will demonstrate this on another image. So I increase the global saturation here. And we can see that the highlights getting also affected. And maybe we want more neutral highlights. So we can increase the deep slider. And we can now see that we only add saturation in the midtone range. And less in the highlights. Then this DCTL has another feature. If I increase the saturation for yellow. We can see that it has also an effect on the orange part. And on the green part. So this is before and this is after. And you can see it also in the vectorscope. Now there is a U range slider. At the moment it is at 60 degree. And I can increase the value here. And now it will also affect the red part and the green part. But I can also lower the slider. And now it only affects the yellow part. And less the orange and the green part. So this is before. And this is after. And you can see we only affect the yellow part. And if we increase the range. We also affect the red part and the green part. And this can be very useful. So here is another scene where I want to increase the saturation for yellow. So first I increase the yellow slider. And we can see that it has not only an effect on the yellow skirt. But also an effect on the skin tone. Because the skin tone lies here and is very close to yellow. So this is before and this is after. And now I can decrease the U range. And I'm using the blend mode. And now you can see I'm only affecting the yellow skirt part. But I'm not affecting the skin tone part. If I increase the range. We are now affecting the skin tone. And if I lower the range. We only affecting the yellow skirt. And now I will zoom in. And we can see we adding saturation in this part here. And we also increasing saturation in the highlights. And if I don't want to increase the saturation in the highlights. I can use the deep slider. And bring it up. So this is before and this is after. And now as you can see I only add saturation to the skirt part. And I'm not affecting the skin tones. And it also has no effect or minimal effect on the highlights. So this is before. And this is after. And we have clean highlights. And we protected our skin tones. When we look at film. We can observe deep rich vibrant colors. That are very pleasing to the eye. Here is an example from water drops on burning rocks. And La La Land. Colors captured by digital sensors can often look very garish. So in this example here. I will try to use hue versus luminance. To get deep rich colors. And we can observe that. Our skin tones gets very grayish. And this looks not really good. And now for comparison. I will use a digital. And increase the red density here. So this is hue versus luminance. And this is a digital. And here another example. First I will use hue versus luminance. And I change again. And this looks not really good. And here I will use a digital for density. So this is a digital. And this is DaVinci Resolve hue versus luminance. So the digital gives us much better results. And I found the blue a bit distracting. So I added a second digital. Where I can desaturate the blue. And the cyan part. So this is before. And this is after. So with two DCTLs we can very quickly. Change the whole look of an image. So here is another example. First I will increase the red density. And maybe also the yellow density. So this is before. And this is after. And the density DCTLs also have a deep slider. And if we move the deep slider up. We will notice that the density has less effect. On the highlights of an image. And has more impact in the midtones and shadows. So this is without the deep slider. And this is with the deep slider. So we can see it here. If I move the blend mode up. It has more an effect in the shadows. And less in the highlights. And if I set the deep slider to zero. We can see that the whole image gets affected. And there are two density versions in this pack. So this one labeled with a T is a tetra version. And this is another version. And it looks like this. So this is without density. And this is with density. And we also have a deep slider. And if I move the deep slider up. We can now observe that. If we add density to our image. We are adding more density in the shadows. And less density in the highlights. So here I will show you the desaturation DCTL. So we can desaturate every hue value that we want. And there is a second desaturate DCTL in this pack. Where we can adjust the brightness value. So if I desaturate the red value here. We are now getting 50% gray. And we have a second slider. Where I can adjust the brightness level of the red hue. So I can brighten the red up. And I can also darken the red. So now I adjust the brightness level of red. I can adjust the brightness level of green. Of blue. Cyan. Magenta and yellow. So let's talk about hue shift. Here I will try to shift the blue jacket more towards cyan. And first I will try hue vs hue. And we can get very quickly into the green area here. So something between blue and green. And here I have a DCTL. And I will shift the blue color more towards cyan. And this looks very nice. And if it's getting too bright. Because cyan is brighter than blue. We have a second DCTL. And I can adjust the density for my cyan color. And I can also use the deep slider. If I want to affect more the midtones and shadows. And less the highlights. But I think I leave it as it is. And I think this looks much better. Than the hue vs hue version. It's just a bit different. And if we take a look at the RGB test image here. You can see what happens when I shift the blue more towards cyan. So here we have the blue color. And I shift this more towards cyan. And you can see it's getting green. So you can also see it here. In the vectorscope. And for comparison I now added the DCTL. And I will now shift the blue more towards cyan. And this looks much better. There's also a second titer version of the U-shift. And this is what the titer version looks like. And now the blue color gets very bright. So now I will add a second DCTL. Where I can adjust the density of the cyan color. And you can see we have really smooth transitions here. And I can also show you the deep slider here in this test image. So you can see now I'm only affecting the dark area of the cyan part. And now I'm adjusting the whole cyan color from highlights to shadows. The DCTLs are very useful to fix certain problems with the image. But they can also be used for look development. Here another example. Maybe I just want to add some global saturation. Or maybe more saturation to the red and the yellow. This looks pretty good. If I want to add more density I can do this here. So now I added more density in the red and the yellow. But only in the shadow area. And this gives me an extra punch or an extra pop for the image. So this is before. And this is after. And here's the same. Maybe I want to add more saturation for the yellow. And also the red part. And add a little bit of global saturation. So this is before. And this is after. Maybe this is a bit much. So I reduce the global saturation. Or I can also adjust the deep slider. So the saturation only affects the midtones. And not so much the highlights. So this is before. And this is after. And this is also a very good example to understand density. So first I will select the tetra version. And add more density to the image. So this is before. And this is after. And I can use the deep slider. So it has more effect on the midtones. And less on the highlights. And we can see that this is a very vibrant red. So compared to the original. And we can switch to the other density. DZTL. And when we use this density slider. We can see that this is a bit less saturated than the tetra version. And it also has a deep slider. And we can now observe that if I use the deep slider. The density has more impact in the midtones than the shadow area. And we can also add a second DZTL. And add more saturation in the red. You can explore the features of the DZTLs first hand. By downloading a demo version. Which is available on my website. It's a great opportunity to see how these DZTLs will work with your own footage. Please note that the demo does include a watermark. Appearing as a grid of black pixels overlaid on the image. That's it. Thanks for watching. Have a nice day and see you next time.