Color Space Node

Fusion works natively in RGB. All the color correction nodes operate on R, G, B values. Color Space lets you switch the image into another space where the channels represent something else - for example in YUV, the Y channel = pure luminance (separate from color).

In this alternate space, the other nodes still treat the channels as RGB (without knowing they are actually Y/U/V). After editing, a second Color Space converts back to RGB.

• Effects Library: Tools > Color > Color Space
• Quick add: right-click in the Node Editor → Add Tool > Color > Color Space

• Input (orange) - required. The 2D image to convert.
• Effect Mask (blue) - optional. Limits the conversion to an area.

Typical sandwich workflow:

MediaIn → Color Space (To Color = YUV) → [editing on Y/U/V] → Color Space (To RGB from YUV) → Saver

None

A transparent node, no effect. A "paused" state.

To Color

Converts the image from RGB to the chosen color space. From this point, the R/G/B channels actually represent the components of the new space.

To RGB

Converts from the chosen color space to RGB. Connect it at the output of the sandwich, after editing.

HSV

Hue, Saturation, Value. Handy to work on hue and saturation separately from value.

YUV

Luminance (Y) + two chroma channels (Blue chroma, Red chroma). The analog PAL broadcast format. Lets you edit pure luma without touching the color, or process the chroma separately.

YIQ

Luminance + In Phase + Quadrature. The NTSC format (US analog broadcast). Technical/legacy use.

CMY

Cyan, Magenta, Yellow. Useful to think in print terms or in complementary colors.

HLS

Hue, Luminance, Saturation. Similar to HSV but with a different handling of luminance.

XYZ (CIE)

The CIE 1931 perceptual space. It contains the full range of colors the human eye can perceive. Used for science and for gamut matching across displays.

Negative

Inverts the channels (the equivalent of a negative matrix). Quicker to set up than a Color Matrix.

BW

Black and white conversion with per-channel RGB contribution sliders. Allows a custom B&W (red dominant for a skin look, blue dominant for a technical look).

The classic setup to make the most of Color Space:

Input (RGB)
   ↓
Color Space "To Color" (HSV, for example)
   ↓
Color Corrector or Brightness Contrast
   (but the R/G/B channels represent H/S/V)
   ↓
Color Space "To RGB" (from HSV)
   ↓
Output (RGB restored)

Practical example: isolate saturation to change it cleanly without touching hue or value:

1. Color Space To Color = HSV
2. Brightness Contrast in the chain → uncheck the R (hue) and B (value) channels, act only on G (saturation).
3. Color Space To RGB from HSV → back to normal.

Warning: between the two Color Space nodes, the viewer still interprets the channels as RGB → the image looks distorted/psychedelic. That is normal, it is an intermediate state.

• Edit Luma only (contrast without a color shift) - YUV sandwich: add contrast to the Y channel without touching U/V. Cleaner than an RGB contrast, which can slightly shift the colors.
• Edit Saturation or Hue alone - HSV or HLS sandwich: shift or compress the matching channel without touching the others.
• Denoise on chroma only - YUV sandwich: blur U and V (chroma) without blurring Y (luma). Reduces color noise without softening the edges. A classic cinema technique.
• Controlled B&W - BW Color Type with custom RGB sliders to dial in each channel's contribution → artistic B&W (e.g. lower the blue for more dramatic skies).
• Quick negative - Negative Color Type, quicker to set up than a negative Color Matrix.
• Legacy broadcast matching - YUV/YIQ conversion to preview a PAL/NTSC render.

• The viewer does not display correctly between the two Color Space nodes - the channels are interpreted as RGB. If you view an intermediate node, the image looks distorted. Normal, ignore it.
• The R/G/B buttons of the following nodes get relabeled - if you are in HSV, the "R" button becomes "H" in the Inspector of downstream nodes. Fusion knows it is in an alternate space.
• The alpha stays intact - the conversions only touch the RGB channels. Alpha passes through unchanged.
• A Color Space pair is mandatory - you must never forget the second Color Space (To RGB) at the end of the sandwich. Otherwise, everything downstream (viewer, saver, compositing) interprets the channels as RGB and the result is wrong.
• For simpler per-channel operations, Color Curves directly supports several color spaces without needing a sandwich.
• The chroma denoise workflow (YUV + Blur on U/V) = a pro technique used in mastering to reduce color noise without affecting perceived sharpness.