Production film FASHION X ART

DaVinci Resolve: A Different Perspective on Saturation

2. The HSV method: targeted saturation correction

The alternative approach consists of creating a node with its color management profile set to HSV. Within this node, the H (Hue) and V (Value) channels are disabled, leaving only the S (Saturation) channel active.

It’s also recommended to set the tonal processing of this node to linear mode, in order to prevent any influence from a non-uniform response curve.

Then, adjust the saturation level using the Gain wheel in the Primaries panel.

An even more precise variation involves using the curves panel: by selecting only the Green channel (which corresponds to saturation in this profile), you place a fixed point in the lower range to stabilize shadows, and adjust the curve in the midrange. This allows you to increase or decrease saturation mainly in midtones, without affecting highlights or deep shadows.

3. A matter of visual sensitivity and qualitative perception

Saturation is among the fundamental parameters of an image, along with exposure, contrast, and color balance. It is a powerful tool that directly impacts visual perception of the final render.

Precisely because of this, it should be used judiciously.

An overly saturated image often feels artificial or “cheap,” as our eyes instinctively associate it with exaggerated results from entry-level cameras or smartphones.

In the demonstration video above, saturation was deliberately exaggerated in both methods to clearly highlight the differences in behavior. This exaggeration is purely for demonstration purposes and does not reflect the recommended real-world usage.

In actual practice, a much gentler approach is advised: just a few points more or less saturation are often enough to transform an image, without ever overwhelming it!

DaVinci Resolve: A Different Perspective on Saturation

The standard saturation slider in DaVinci Resolve can quickly go too far, especially on red and blue hues. Here's an alternative that we now use almost systematically: a node configured in HSV mode, active only on saturation. The difference is clear.

How does the standard saturation in the Primaries panel work?

In the DaVinci Resolve Primaries panel, the Saturation slider attempts to preserve the luminance (luma) of the image while modifying saturation values. This makes it a so-called luma-preserving model, working directly on RGB channel ratios.

This means that when saturation is increased, the relationships between the red, green, and blue channels change, impacting the pixel's overall luminance as well. This dual impact often leads to noticeable shifts, especially in skin tones: they can become brighter or more colorful than intended, causing the original tonal balance to be lost.

2. The HSV method: targeted saturation correction

The alternative approach consists of creating a node with its color management profile set to HSV. Within this node, the H (Hue) and V (Value) channels are disabled, leaving only the S (Saturation) channel active.

It’s also recommended to set the tonal processing of this node to linear mode, in order to prevent any influence from a non-uniform response curve.

Then, adjust the saturation level using the Gain wheel in the Primaries panel.

An even more precise variation involves using the curves panel: by selecting only the Green channel (which corresponds to saturation in this profile), you place a fixed point in the lower range to stabilize shadows, and adjust the curve in the midrange. This allows you to increase or decrease saturation mainly in midtones, without affecting highlights or deep shadows.

3. A matter of visual sensitivity and qualitative perception

Saturation is among the fundamental parameters of an image, along with exposure, contrast, and color balance. It is a powerful tool that directly impacts visual perception of the final render.

Precisely because of this, it should be used judiciously.

An overly saturated image often feels artificial or “cheap,” as our eyes instinctively associate it with exaggerated results from entry-level cameras or smartphones.

In the demonstration video above, saturation was deliberately exaggerated in both methods to clearly highlight the differences in behavior. This exaggeration is purely for demonstration purposes and does not reflect the recommended real-world usage.

In actual practice, a much gentler approach is advised: just a few points more or less saturation are often enough to transform an image, without ever overwhelming it!

Improve the sound of the built-in microphone
with a simple solution

On hybrid bodies as well as on compact cinema cameras like the Canon C70/C80 or the Sony FX3 to FX6, built-in microphones are often overlooked. They're considered a necessary evil—present by default, but rarely used. Their sound quality is indeed limited, and yet… they can be surprisingly useful.

In post-production, audio captured by the internal mic can prove very helpful for audio synchronization, especially in cases of timecode loss or error. It can also serve as a stereo reference track, or even as a backup solution when the main recording fails.

On one condition: the sound must be usable.

And that’s exactly where things get tricky—outdoors. The slightest gust of wind is enough to overload the internal capsules and make the recording unusable.
Yet the solution is within reach, and well known: simply protect the built-in mic’s input area with a windscreen.

The windscreens typically used for lavalier microphones (such as Bubblebee's The Invisible Lav Covers – Fur Outdoor or Rycote’s Overcovers) work perfectly in this context. Once placed on the camera body, the windscreen stays in place throughout the shoot, without affecting handling or adding noticeable weight.

The sound is slightly dampened in the mid and high frequencies, but it remains perfectly usable for sync or backup purposes.
This small addition—affordable and easy to implement—can save a take in unexpected conditions. Even if it’s not needed on every shoot, it definitely deserves a spot in any camera operator’s or cinematographer’s toolkit.

Canon C70 / Built-in microphone without/with windscreen

Nicolas Schöffer (1912–1992)
Chronos 10
Kinetic sculpture installed in the Tino Rossi Garden, Paris

The Arri Look, without an Arri camera?

The aesthetics of ARRI cameras have become a benchmark in the world of cinema. But not every project has the budget to shoot with this type of equipment.

Fortunately, Arri's Color Library, available for free for Arri log files, can be used with a simple trick... on log videos from any manufacturer (Canon, Sony, Panasonic, even iPhone).

Why use an Arri LUT?
Because they offer a more natural rendering than most equivalent solutions offered by other brands. If you only have a short time for color grading, a good LUT can already give a convincing result. And if you have time to refine, you'll start from a much more solid base for your grade.