Hue vs. Lum is an HSL-specific curve in color grading (e.g., DaVinci Resolve) that selectively raises or lowers the brightness of a targeted hue range.
"Hue vs. Lum" (Hue versus Luminance) is not a light or grip equipment, but a tool from digital color correction (Color Grading). It is one of the so-called HSL custom curves, prominently featured in DaVinci Resolve and in a comparable form in other grading applications (e.g., Adobe Premiere Pro via Hue/Saturation curves).
The curve allows for selective adjustment of the luminance (brightness) of a specific hue range, without altering the hue itself or affecting other colors in the image. The horizontal axis represents the color spectrum (Hue), and the vertical axis represents the luminance of the respective hue.
One or more control points are set on the curve for the target hue and then adjusted:
The difference from the related "Hue vs. Sat" curve lies in the property being manipulated: Luminance describes how much black or white is mixed into a hue, while Saturation indicates how pure or how much gray is mixed with the hue.
Control points can be set either via the Hue icons below the curve (broad, coarse selection) or more precisely by clicking a pixel directly in the preview image, which creates a sharply defined point on the exact hue.
Hue vs. Lum belongs to secondary color correction and is used in post-production, not on location. Typical applications:
Practical tip: Since the tool isolates only a narrow hue range, strong adjustments can result in visible noise or an unclean look. An HSL qualifier with a luminance channel limit often serves as an alternative.
| Curve | Effect |
|---|---|
| Hue vs. Hue | Shifts a hue to another hue |
| Hue vs. Sat | Adjusts the saturation of a selected hue |
| Hue vs. Lum | Adjusts the luminance of a selected hue |
| Lum vs. Sat | Adjusts saturation based on luminance |
| Sat vs. Sat | Adjusts saturation based on existing saturation |
Ich nutze False-Color-Monitore, die Hue und Luminance getrennt darstellen – Zebra-Pattern zeigt mir Überbelichtung bei 90-100 IRE, während Waveform-Monitor die tatsächlichen Helligkeitswerte anzeigt. Bei gemischtem Licht stelle ich Weißabgleich auf dominante Lichtquelle und korrigiere Hue-Shifts der Sekundärquellen später in der Post, um maximale Sensor-Latitude zu erhalten.
Ich entwickle Hue-basierte Farbpaletten für verschiedene Handlungsstränge – warme Töne um 30° für Familienszenenen, kalte Cyan-Töne bei 180° für Bedrohung. Die Helligkeitsverteilung im Frame lenkt den Blick: helle Gesichter vor dunklem Hintergrund fokussieren Aufmerksamkeit, während gleichmäßige Luminance Ensemble-Szenen unterstützt.
Hue-Correction kostet 15% weniger Postproduktionszeit als komplette Farbkorrektur, da keine Render-intensiven Masken nötig sind. Kamera-Tests mit verschiedenen Lichtquellen spare ich 2-3 Drehtage, wenn der DoP Hue-Shifts einkalkuliert. HDR-Deliveries erfordern zusätzliche Luminance-Passes, was 20.000€ mehr Color-Budget bedeutet, aber vier verschiedene Auslieferungsformate ermöglicht.
1. Zu welchem Department gehört „Farbton vs. Helligkeit"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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