Axis-based Color Grading in DaVinci Resolve – Hue & Saturation Compression

This is what I needed all this time. I was experimenting with the RGB mixer trying  to figure out how to finally update my Simple   Mix DCTL. The old version isn't really relevant  anymore after DaVinci added normalization into   their RGB mixer. Plus, it was too inconvenient  to use. So after tinkering with color bars,   I found a result I liked the most. Then  I took a pause and realized a few things.   There's no intuitive way to recreate this  adjustment with precision for any hue angle.   It's time‑consuming if you don't know exact  values. There's no built‑in tool to recreate it.   You could use the Chroma Warper. It's  intuitive, but there's no convenience   and no precision due to manual work. And the  Color Compressor? Sounds like this is it, but   actually not at all either. So with  the help of linear algebra I made it. 38 mixer‑related parameters from the previous  version replaced with only two sliders:   Squeeze and Axis. Using Squeeze we push  colors the shortest way toward the Axis line.   Under the hood it's basically an  RGB mixer with normalized values.   To extend functionality and be a logical  successor, I added offset parameters – Shadows,   Mids, Highlights, and Global – which shift  colors along the Axis based on source luminance, and the Orthogonal slider shifts all  colors perpendicular to the Axis. Since squeezing and offsets can drastically change  skin tones, I added a Skin‑Tone Recovery slider.   It blends skin tones from the source image  over the squeezed and offset result. It   uses a slightly wider hue range for  masking than the ColorSlice tool.   You can see the mask using the dedicated checkbox. Again, to be a successor, I included my  open‑source non‑destructive saturation   functionality with seven different saturation  logics – described in more detail in a   previous video. The regular Saturation slider is  non‑destructive. There's also Saturation Boost,   which affects muted colors more than vivid ones.  Boost works using the same selected logic, but may   produce artifacts if the source image has values  outside the zero‑to‑one range. Unfortunately. The Monochrome checkbox has been updated with four  different grayscale calculation types. Squeezing   and offset don't affect the BT.709 black‑and‑white  look because those adjustments preserve luminance. And of course, it has UI tooltips. If  you forget what any parameter does,   just hover.