Prática de Shadowing: Stop Using Color Boost Like Saturation in DaVinci Resolve - Aprenda a falar inglês com vídeo

Escolha um modo de prática

Cada modo abre uma sala de prática em tela cheia.

299 frases

Se as frases estiverem muito curtas ou longas, clique em Edit para ajustá-las.

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.

100

So they're not nobody.

101

And rapid grade is integral part of their workflow.

102

They don't see themselves grading without it.

103

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

104

The link is in the description.

105

You guys should definitely check it out.

106

Let's get back to the video.

107

All right.

108

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

109

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

110

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

111

And what is happening?

112

It goes everywhere, right?

113

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

114

This is the problem.

115

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

116

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

117

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

118

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

119

This right here tells you why you cannot,

120

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

121

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

122

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

123

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

124

Crank it.

125

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

126

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

127

that we don't apply anything else

128

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

129

so much better than our rgb saturation this right here look

130

at the drift the drift is not as crazy the drift

131

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

132

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

133

So the drift is not as crazy.

134

Okay.

135

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,

136

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

137

Whereas like, look at this, right?

138

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

139

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

140

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

141

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

142

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

143

And that all is happening right here.

144

Keep an eye on this area right here.

145

And you know what that is?

146

It's this right here.

147

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

148

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

149

And look at this, okay?

150

This stays clean in our regular saturation.

151

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

152

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

153

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

154

and look at how this is expanding right

155

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

156

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

157

And that's exactly what happened here.

158

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

159

I would rather take this, okay?

160

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

161

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

162

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

163

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

164

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

165

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,

166

shot on Sony FX3, and beautiful, right?

167

So now, this is pretty tough.

168

We have neon lights.

169

We have crazy neon lights going on.

170

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

171

So what do we do?

172

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

173

Like what are we supposed to do?

174

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

175

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

176

Because this might be just too much on the nose.

177

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

178

So shouldn't we use color boost here?

179

But think about it.

180

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

181

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

182

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

183

So color boost is the wrong choice here.

184

So then what is the right choice?

185

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

186

Because look at this, bro.

187

Like it looks so cinematic.

188

It looks amazing.

189

Like, look at this.

190

Like it just like made it so less digital.

191

And I agree with you.

192

This is amazing.

193

So you're right about that.

194

But here's the problem.

195

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

196

But here's the problem.

197

When we go here now, like look at this.

198

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

199

And I don't want that.

200

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

201

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

202

So what is our option, our best option here?

203

Well, it's pretty simple.

204

Let's go here.

205

Our best option here is resetting this.

206

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

207

And we just genuinely go magenta.

208

I'm gonna be using my panel.

209

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

210

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

211

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

212

All right, this is amazing, right?

213

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

214

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

215

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?

216

And that's the right solution here.

217

Now we're looking at this shot.

218

So what are we supposed to do here?

219

This is the place where we use Color Boost.

220

Why?

221

Because the area that should have saturation is pretty flat.

222

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

223

And we want to pull that out.

224

We want to give it some life.

225

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

226

And then look at this.

227

This is what makes it look so cheap and nasty.

228

We don't want that.

229

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

230

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?

231

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

232

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

233

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

234

And now I put our regular saturation, RGB saturation.

235

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

236

Because this was like a more saturated part, right?

237

Or this area right here.

238

And look at how it was just going crazy.

239

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

240

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

241

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

242

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

243

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

244

Whereas with regular saturation is just like going like this.

245

It's just pretty simple operation.

246

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

247

Okay.

248

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

249

Don't overdo it.

250

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

251

Okay.

252

What about this shot.

253

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

254

Okay.

255

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

256

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

257

We don't want to do that.

258

So what did we learn?

259

We did learn that color boost affects the lowest saturated areas

260

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

261

Like saturation wise.

262

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

263

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

264

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.

265

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

266

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

267

It's pretty monochromatic.

268

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

269

It's leaving a lot of color in there.

270

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

271

We can actually just go and select.

272

What should we select.

273

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

274

Let's do, it is colorized, right?

275

No, why?

276

So look at this.

277

This is before, this is after.

278

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

279

See?

280

And that's another use for color boost.

281

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

282

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

283

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

284

Like, look at this.

285

It's so much better.

286

This is like so crummy now.

287

And this is so controlled.

288

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

289

And this is not as intrusive as the magenta.

290

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

291

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

292

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

293

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

294

Saturation has so much to do with all of that.

295

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

296

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

297

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

298

and you guys get some love for 72 hours

299

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

Baixar aplicativo

Tudo o que você precisa para falar fluentemente

Pronúncia com IANota em cada frase

Prática de IPADomine cada som

VocabulárioMonte seu banco de palavras

Jogo de vocabulárioAprenda brincando

Escaneie o QR

Download on theApp Store Get it onGoogle Play

FOR YOU

Vídeo recomendado

223 frases

Vocabulário e dicas de fala para esta lição

Esta aula de conversação de nível C1 usa o vídeo “Stop Using Color Boost Like Saturation in DaVinci Resolve”. As palavras que mais se repetem: color, saturation, boost, happening, regular. Este vídeo tem 299 frases e 3243 palavras para praticar shadowing. A fala dura 16:58. O falante fala rápido, cerca de 191 palavras por minuto, então espere sons ligados e reduzidos. 87% das palavras estão entre as 3.000 mais comuns do inglês; vale a pena estudar o restante antes de começar. 52 das 299 frases são perguntas, por isso é um bom treino para a entonação de perguntas e respostas curtas.

Vocabulário principal deste vídeo

As 15 palavras mais avançadas do vídeo, com pronúncia e significado:

Palavra	Pronúncia	Significado
saturation substantivo		saturação
magenta substantivo	/məˈd͡ʒɛntə/	magenta
crank substantivo	/ˈkɹæŋk/	manivela
overdo verbo	/ˌoʊvɚˈdu/	exagerar
neon substantivo	/ˈniˌɑn/	néon, neônio
reset verbo	/ɹiːˈsɛt/	repor, restaurar
subtract verbo	/səbˈtɹækt/	subtrair
undo verbo	/ʌnˈduː/	desfazer
pixel substantivo	/ˈpɪk.səl/	pixel, píxel
desaturate verbo	/diːˈsætʃəɹeɪt/	dessaturar
embarrass verbo	/ɪmˈbæɹəs/	embaraçar
envision verbo	/ɪnˈvɪʒn̩/	visualizar
intrusive adjetivo	/ɪnˈtɹuːsɪv/	intrusivo
kinematic adjetivo	/kɪn.əˈmæt.ɪk/	cinemático
saturate verbo	/ˈsatjʊɹeɪt/	saturar

Phrasal verbs que você vai ouvir

Palavra	Pronúncia	Significado
come back verbo		voltar
go back verbo		voltar
bring up verbo		criar
check out verbo		verificar, sacar só
come out verbo	/ˌkʌm ˈaʊt/	sair, partir
go ahead verbo	/ˌɡoʊ əˈhɛd/	vai em frente
go up verbo		subir
pull up verbo	/ˌpʊl ˈʌp/	puxar para cima

Frases que vale a pena repetir

Frases curtas e completas do vídeo que você pode usar na conversa do dia a dia:

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?

Gramática neste vídeo

As estruturas que o falante mais usa, com as palavras exatas do vídeo:

Estrutura	No vídeo
Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz	is saved · are already saturated · being introduced
Present perfect have/has + particípio passado — uma ação passada que ainda importa agora	I've worked · has taken · has gone

Pronúncia para ficar de olho

O falante usa 89 contrações e formas reduzidas, como I'm, don't, we're. Diga-as na forma curta, do jeito que você ouve.

Os sons de “th”: altogether /ɔl.tuˈɡɛð.ɚ/, underneath /ˌʌndɚˈniθ/
Os sons de “sh” e “zh”: envision /ɪnˈvɪʒn̩/, bash /bæʃ/, proposition /ˌpɹɑpəˈzɪʃən/
Palavras longas — acerte a sílaba tônica: desaturate /diːˈsætʃəɹeɪt/, kinematic /kɪn.əˈmæt.ɪk/, proposition /ˌpɹɑpəˈzɪʃən/, altogether /ɔl.tuˈɡɛð.ɚ/

Sons difíceis para falantes de português:

Consoante final — sem acrescentar um “i” depois: crank /ˈkɹæŋk/, drift /dɹɪft/, reset /ɹiːˈsɛt/, subtract /səbˈtɹækt/, backlight /ˈbæk.laɪt/
/l/ final — a língua toca o céu da boca, não vira “u”: pixel /ˈpɪk.səl/, integral /ˈɪntəɡɹəl/
s + consoante no início — sem um “i” antes: spillage /ˈspɪl.ɪd͡ʒ/, straightforward /ˌstɹeɪtˈfɔː(ɹ)wə(ɹ)d/, slope /sloʊp/

Como praticar com este vídeo

Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
Comece na velocidade 0,75×, faça shadowing frase por frase e volte à velocidade normal quando ficar fácil.
Grave a sua voz e compare com o original, prestando atenção a palavras como saturation, magenta, crank.

O que é a Técnica de Shadowing?

Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.

Técnica de shadowing: leia o guia completo passo a passo →

Prática de Shadowing: Stop Using Color Boost Like Saturation in DaVinci Resolve - Aprenda a falar inglês com vídeo

Escolha um modo de prática

Baixar aplicativo

How to Get Smooth, Bright Vocals

Everything Valuable from an MBA in 25 minutes

Build smarter color systems with relative colors

This is how you master cinematography

The DaVinci Takeover: Why Millions Are Deleting Adobe

I've Changed My Opinion On DEVELOPERS Vibe Coding

Color Palettes Worth Another Look

View

Use AI Like a Senior Designer (3 Workflows)

This Scriptless Speaking Style Is Quietly Blowing Up on YouTube

How Chinese Colour Theory Changed My Art Forever (the truth)

how I edit my youtube videos in 2026 (color grade, graphics, & more)

Vocabulário e dicas de fala para esta lição

Vocabulário principal deste vídeo

Phrasal verbs que você vai ouvir

Frases que vale a pena repetir

Gramática neste vídeo

Pronúncia para ficar de olho

Como praticar com este vídeo

O que é a Técnica de Shadowing?