Pratique du Shadowing: Stop Using Color Boost Like Saturation in DaVinci Resolve - Apprendre l'anglais à l'oral avec la vidéo

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All right, I wish this was a clickbait, but this actually happened to me.

I don't remember when they came out with Color Boost, but I was working on a gig.

This was a brand new feature, and I absolutely just abandoned saturation in your primaries, and I just went all in on Color Boost.

I turn in the project.

The DP comes back screaming at me, and he's just like, what happened?

And I'm like, what do you mean what happened?

And he's like, this does not look anything like what we envisioned and what we asked you to do.

And I just couldn't understand what he was asking for, and they didn't even want to do the back and forth because they just felt like I missed the mark so hard.

And it's genuinely one of the most embarrassing things in my

career just to not even have a dialogue where somebody just literally goes, this guy has no idea what he's doing.

So I decided to do a video on it

because I don't want anyone to go through what I went through 10 years ago.

So in this video, we're not bashing color boots.

We're gonna get under the hood and try to understand what is happening.

What is its unique selling proposition against, say, regular saturation and resolve and other saturation techniques?

And then how can we use that to our advantage?

And there's going to be a cheat sheet, which is going to be super helpful if you're working on future gigs.

And if you just forget which saturation technique to use when, then you should download it.

It's going to be in the description.

And let's get into it.

For those that don't know me, my name is Kazi.

I've worked with brands like Adidas, Amazon Prime, Universal Studios, and I make no straightforward color So this is what we got going on here.

We have these four shots that we're going to go through, but we're going to start off with our SMPTE bars right here.

And this is really going to help us understand the main differences between saturation and color boost.

So we're going to start off doing something very, very simple.

I'm just going to go right here.

I'm going to take my saturation knob and I'm going to crank it to 100.

All right, max it out.

And this is what happens.

And if we look at our vectorscope and you're seeing what's happening now, what right now is the same thing.

And you're seeing what's happening.

Now, what regular saturation does is it is what I call a dumb saturation.

It doesn't have a brain of its own.

It doesn't understand which color space you're in.

It's just blind.

And it's just sending saturation signal everywhere.

It's basically increasing chroma on every single hue.

And you end up with this nasty digital nuclear colors, right?

Like, look at how it was dark before and like what it did.

It just lifted everything as it added saturation.

So let's actually go ahead and save this version.

Okay.

So now this version is saved.

And now what I want to do, I'm going to reset this.

And this time we're going to do the same thing, but with color boost, we're going to just crank it to a hundred.

Okay.

So I'm going to keep going, keep going, keep going a hundred.

Okay.

So what is different now?

If I do before and after something very interesting is happening.

You see like how heavy it is on the greens and the reds and the magentas, and it's kind of taking it easy on the blues and then on the yellows, right?

So what does that really mean?

And how does it pair up if I just literally bring in our regular saturation

and then this is our color boost and you're seeing something, right?

That's popping up.

So what color boost is doing different than saturation,

what makes color boost so smart is that it actually reads every single pixel on the frame,

every single pixel on your screen and it takes the areas that are getting no love, like the lowest end areas,

and it just boosts saturation in those areas, okay?

And it tries to leave the top end alone.

It tries to leave like the stuff that is very saturated already just kind of alone.

And it does like a nice taper off, okay?

So then you end up with something like this because look at RGB is sending saturation everywhere, right?

Like the regular saturation.

And look at how these colors are getting nuclear.

Whereas Color Boost is so smart that it's saying, dude, these colors are already really bright and poppy.

I'm going to go easy on that.

I'm going to give love to this stuff right here.

Because if I do before, you see how it's doing it?

It's very much like a slope, right?

Like it's the most saturation here and then it kind of tapers off.

Whereas if I just bring in our RGB saturation, it is just like straight line.

Again, blind, right?

Like it's just a straight line saturation.

So then you would go, well, what's the problem?

Then why did you get fired?

Because this looks amazing.

This is great.

Excellent.

So it's great on this one example.

This is just telling us 40%, 30% of like what's happening.

But if you genuinely want to dig deeper and really understand what's happening under the hood, we have to put your boy's rapid grade on here.

I'm going to go under input charts and I'm going to turn on enable input charts.

I'm going to turn off exposure ramp and I'm going to change the chart size to full screen.

And now this has taken over.

We're going to go up here under our color space primaries.

We're going to change that to rec 709 transfer function.

We're going to change it to rec 709 OETF.

As soon as we do that, this happens.

Now we are ready to go to see the actual positives

and negatives of each saturation and color boost and we're going to pin it against each other.

And this is going to tell us the whole story, the entire story, and we'll make it black and white, which one is superior or which one to use when.

So this is our vectorscope, right?

This is where the colors are sitting right now.

By the way, rapid grade, amazing tool.

This is just one of the 10 trillion different advantages that this tool has.

If you look at the screen right now, proof is in the pudding.

I mean, these guys that we're taking two to four days to work on a project or turning it in within hours.

And look at our customers who they're working with.

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So they're not nobody.

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And rapid grade is integral part of their workflow.

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They don't see themselves grading without it.

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So we have a little love for our YouTube fam that is for a limited time only.

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The link is in the description.

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You guys should definitely check it out.

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Let's get back to the video.

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All right.

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So now that I'm here, what I'm going to do is this.

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I'm going to go back and do the same thing.

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Let's go to saturation and crank it all the way, 100%.

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And what is happening?

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It goes everywhere, right?

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But the thing that we weren't seeing with the SMPTE bars that we can see right here is look at this, dude.

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This is the problem.

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Look at the drift that's happening on our hue and our brightness.

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It's not just bringing up the image and making it nuclear, but it's actually taking your hue and it's shifting it.

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Because look at this, where the green was sitting, like just keep an eye on this guy right here.

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And if I undo this, look at where it has gone.

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This right here tells you why you cannot,

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you should not, you should try to avoid using this saturation as much as possible because it is blind, it shoots in the dark,

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it just goes everywhere, and it has so much spillage, and it's just pure nasty.

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Let's save this, let's grab this still.

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Let's undo this, and now try to use our Color Boost.

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Crank it.

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Okay, now what color boost is going to do that's going

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to be a little different is i just want to make sure

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that we don't apply anything else

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so now we're at 100 color boost right okay what makes it

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so much better than our rgb saturation this right here look

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at the drift the drift is not as crazy the drift

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is happening it's not as crazy what our rgb was doing

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because this is our rgb our regular saturation look at this to this.

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So the drift is not as crazy.

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Okay.

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Plus like if you look at the colors, they don't go as nuclear because once again, the colors that are already saturated, color boost just basically goes,

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Hey, I'm going to go take it easy on that.

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Whereas like, look at this, right?

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Like, so look at this entire lane with our regular saturation.

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It just, it gets nuclear and then look at it in color boost.

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It is pretty controlled, but there's something that is very nasty happening under the hood that I don't like it at all,

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where I almost at times prefer regular saturation over color boost.

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And this was the reason why I got fired from that job.

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And that all is happening right here.

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Keep an eye on this area right here.

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And you know what that is?

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It's this right here.

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Hopefully my editor is going to zoom in and kind of show you what's happening.

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This cancer that's growing right here, that's not happening with our regular saturation.

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And look at this, okay?

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This stays clean in our regular saturation.

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Look at how much nasty, gunky colors are being introduced in our highlights and shadows basically the areas

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because what is the purpose of color boost it is taking the least saturated areas

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and giving it color right so when you overdo it look what it does

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and look at how this is expanding right

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because these colors just don't even exist and it's just grabbing that and it's just like pulling it apart.

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And if you just, I mean, the margin of error is very thin, very small, you can mess it up any second, anytime.

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And that's exactly what happened here.

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I mean, oh my God, this is so nasty.

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I would rather take this, okay?

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And see this, the other SMPTE bars were not giving us that.

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So you have to look at it like this, pin it against the next thing and see which one is better.

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So now, am I saying don't ever use color boost?

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No, bro, you're not gonna be cranking it to 100%.

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So this should not apply to you, but you should be aware of it, what happens when you overdo it.

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So now what I wanna do is, I wanna go right here, I wanna pull up my clips, I wanna go to this shot right here, and we already did the transform to Rec.709,

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shot on Sony FX3, and beautiful, right?

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So now, this is pretty tough.

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We have neon lights.

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We have crazy neon lights going on.

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And if I go through it and then the colors are changing, right?

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So what do we do?

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Colors are changing, neon is too much, too heavy on the nose.

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Like what are we supposed to do?

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So if I go right here, the normal way to attack it would be what now?

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Like if I were to ask you, well, what are you gonna do to bring back the saturation?

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Because this might be just too much on the nose.

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You're gonna say, oh, Kazi, didn't you just say saturation, color boost is better than saturation?

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So shouldn't we use color boost here?

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But think about it.

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Color boost doesn't really do much with the most saturated areas.

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I mean, it will have like a little bit of effect, but that's not its strength.

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Its strength is to add juice where the juice doesn't exist.

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So color boost is the wrong choice here.

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So then what is the right choice?

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You will say, well, what about a regular saturation?

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Because look at this, bro.

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Like it looks so cinematic.

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It looks amazing.

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Like, look at this.

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Like it just like made it so less digital.

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And I agree with you.

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This is amazing.

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So you're right about that.

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But here's the problem.

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If it was just this light, I would say do it because it's doing exactly what we want.

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But here's the problem.

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When we go here now, like look at this.

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When we go here now, it's also saturating this area.

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And I don't want that.

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See, when we go here, I actually want this color to come through.

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And now it faded everything equally because it's just desaturating everything altogether.

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So what is our option, our best option here?

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Well, it's pretty simple.

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Let's go here.

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Our best option here is resetting this.

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And what we do is we just go right here in our hue versus saturation, HSL curves.

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And we just genuinely go magenta.

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I'm gonna be using my panel.

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So if I just go under magenta and I start dropping it, look at what's happening so I can bring it up.

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I'm just looking at her shoulder, how hot that is.

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And I'm going to go under blue and I'm going to drop it and I'm going to go.

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All right, this is amazing, right?

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Let's just say this is where I want to park it.

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Look at how smooth this is and what I just did.

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So now when we go here and if I do this, there's barely any change because we did a local adjustment on a vector level, okay?

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And that's the right solution here.

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Now we're looking at this shot.

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So what are we supposed to do here?

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This is the place where we use Color Boost.

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Why?

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Because the area that should have saturation is pretty flat.

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And we want to get in there and we want to see what's in there.

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And we want to pull that out.

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We want to give it some life.

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Because if I now go under saturation and just do overall saturation, that is going everywhere.

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And then look at this.

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This is what makes it look so cheap and nasty.

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We don't want that.

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And it even brought in the saturation right here, like in the low end areas where there shouldn't be any saturation.

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And if I were to just save this and then reset that, this is where when we go under color boost and I just go and do this, right?

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So like I go too much and then I keep coming back.

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And I'm just like looking at his forehead right here.

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And if I park it somewhere around here, even something like that.

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And now I put our regular saturation, RGB saturation.

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Look at what's happening under his nails, right?

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Because this was like a more saturated part, right?

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Or this area right here.

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And look at how it was just going crazy.

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Or even this blue right here, like it was going nuts, right?

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And it becomes distracting because you're just like, oh, I don't know where to look.

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Whereas here, it did such a mature job because look at how it expanding.

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It's going underneath and it's expanding it out like that.

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It's just literally going in and expanding it out like that.

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Whereas with regular saturation is just like going like this.

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It's just pretty simple operation.

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Whereas this is just like ripping it from inside out to get saturation into our image.

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Okay.

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So color boost here is a win and just be careful.

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Don't overdo it.

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Like where I'm parked, like this is where I would want to go.

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Okay.

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What about this shot.

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What we want to do is we want our smoke to be very clean, as clean as possible, like bleach bypass clean.

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Okay.

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What happens if we just take our regular saturation and pull it back?

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Well, now the image is black and white, like everything is gone.

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We don't want to do that.

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So what did we learn?

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We did learn that color boost affects the lowest saturated areas

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and the smoke and like the clouds are the lower side of that spectrum, right?

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Like saturation wise.

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So instead of boosting saturation, how about we inverse it?

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We subtract that color boost and we actually make the smoke cleaner.

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So if I go here and if I just start moving it back to something like that, and then I come out, let's go back and I'm just going to pull it back a little bit.

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And even like with something like that, it's still leaving a lot of color in because there is color, right?

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But it's already the way it's shot and it's backlit and it's like clean lights.

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It's pretty monochromatic.

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But even then, you can actually see it in a vectorscope.

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It's leaving a lot of color in there.

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But like if we just go to the main area, it made that white.

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We can actually just go and select.

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What should we select.

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So if we go to waveform and we look at it, you'll see, let's go here.

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Let's do, it is colorized, right?

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No, why?

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So look at this.

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This is before, this is after.

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You see this right here, how it cleaned it up.

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See?

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And that's another use for color boost.

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So I gave you multiple examples where we have to add color boost, where we have to subtract color boost.

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and there's like specific areas to like when to use it.

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And then there are times when you don't want to use it and you want to use a more controlled approach.

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Like, look at this.

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It's so much better.

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This is like so crummy now.

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And this is so controlled.

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And you can't achieve that, especially because we have a bunch of different things going on.

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And this is not as intrusive as the magenta.

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So I don't want this to be equally affected as my magenta.

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And that's where you would be using something similar to this.

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This is one of the many videos that I want to do on saturation

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because I feel like so much that we consume that we consider top-notch or clean or not good enough.

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Saturation has so much to do with all of that.

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So if you guys have any specific thing that you want to know about saturation, drop it in the comment section below.

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On that note, do not forget to check out RapidGrade, powerhouse of a tool best look development tool for davinci resolve period comes with a seven day money back guarantee

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so it's an absolute no-brainer link is in the description

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and you guys get some love for 72 hours

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so check it out i'll see you guys in the next video much love peace fam

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Vocabulaire et conseils d’expression pour cette leçon

Cette leçon d’expression orale de niveau C1 s’appuie sur la vidéo « Stop Using Color Boost Like Saturation in DaVinci Resolve ». Les mots qui reviennent le plus souvent : color, saturation, boost, happening, regular. Cette vidéo contient 299 phrases et 3243 mots à répéter en shadowing. La partie parlée dure 16:58. Le locuteur parle vite, environ 191 mots par minute : attendez-vous à des liaisons et à des sons réduits. 87 % des mots font partie des 3 000 mots les plus courants en anglais ; le reste mérite d’être vu avant de commencer. 52 de ses 299 phrases sont des questions : un bon entraînement pour l’intonation interrogative et les réponses courtes.

Vocabulaire clé de cette vidéo

Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :

Mot	Prononciation	Sens
saturation nom		saturation
saturated adjectif		saturé
magenta nom	/məˈd͡ʒɛntə/	magenta
crank nom	/ˈkɹæŋk/	manivelle
overdo verbe	/ˌoʊvɚˈdu/	en faire trop, trop cuire
neon nom	/ˈniˌɑn/	néon
reset verbe	/ɹiːˈsɛt/	remettre à zéro, réinitialiser
subtract verbe	/səbˈtɹækt/	soustraire
taper verbe	/ˈteɪpɚ/	rétrécir
undo verbe	/ʌnˈduː/	annuler, défaire
pixel nom	/ˈpɪk.səl/	pixel
backlight nom	/ˈbæk.laɪt/	contrejour
colorize verbe	/ˈkʌ.lə.raɪz/	coloriser, colorier
embarrass verbe	/ɪmˈbæɹəs/	embarrasser, gêner
envision verbe	/ɪnˈvɪʒn̩/	envisager

Les verbes à particule que vous entendrez

Mot	Prononciation	Sens
go through verbe		traverser
come back verbe		revenir
go back verbe		rentrer, retourner
bring back verbe	/ˈbɹɪŋ bæk/	ramener, rapporter
bring up verbe		élever
check out verbe		mater, regarder
come out verbe	/ˌkʌm ˈaʊt/	sortir
go ahead verbe	/ˌɡoʊ əˈhɛd/	vas-y, allez-y

Des phrases à répéter

Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :

And I'm like, what do you mean what happened?
I'm just going to go right here.
Because if I do before, you see how it's doing it?
Then why did you get fired?
You will say, well, what about a regular saturation?

La grammaire de cette vidéo

Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :

Structure	Dans la vidéo
Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait	is saved · are already saturated · being introduced
Present perfect have/has + participe passé — une action passée qui compte encore maintenant	I've worked · has taken · has gone

Prononciation à surveiller

Le locuteur utilise 89 contractions et formes réduites, comme I'm, don't, we're. Prononcez-les sous leur forme courte, telles que vous les entendez.

Les sons « th »: altogether /ɔl.tuˈɡɛð.ɚ/, underneath /ˌʌndɚˈniθ/
Les sons « sh » et « zh »: envision /ɪnˈvɪʒn̩/, bash /bæʃ/, proposition /ˌpɹɑpəˈzɪʃən/
Mots longs — placez bien l’accent: desaturate /diːˈsætʃəɹeɪt/, kinematic /kɪn.əˈmæt.ɪk/, proposition /ˌpɹɑpəˈzɪʃən/, altogether /ɔl.tuˈɡɛð.ɚ/

Les sons difficiles pour les francophones :

/tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: magenta /məˈd͡ʒɛntə/, desaturate /diːˈsætʃəɹeɪt/, spillage /ˈspɪl.ɪd͡ʒ/, bleach /bliːt͡ʃ/, notch /nɑtʃ/
/r/ anglais — langue recourbée, sans frotter la gorge: crank /ˈkɹæŋk/, drift /dɹɪft/, reset /ɹiːˈsɛt/, subtract /səbˈtɹækt/, brainer /bɹeɪ.nə(ɹ)/

Comment s’entraîner avec cette vidéo

Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
Commencez à la vitesse 0,75×, répétez phrase par phrase, puis revenez à la vitesse normale quand cela devient facile.
Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme saturation, saturated, magenta.

Qu'est-ce que la technique du Shadowing ?

Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.

Technique du shadowing : lire le guide complet étape par étape →

Pratique du Shadowing: Stop Using Color Boost Like Saturation in DaVinci Resolve - Apprendre l'anglais à l'oral avec la vidéo

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Vocabulaire et conseils d’expression pour cette leçon

Vocabulaire clé de cette vidéo

Les verbes à particule que vous entendrez

Des phrases à répéter

La grammaire de cette vidéo

Prononciation à surveiller

Comment s’entraîner avec cette vidéo

Qu'est-ce que la technique du Shadowing ?