This week we'll start with how I correct the color of a typical shot,
And then see the creative application of the effects of color in the cinema.
Learn to make movies.
So, I usually lean for a fairly neutral look,
And the last year I created a predetermined gradient
Which I have used in virtually all projects.
Here's how I do it:
I bring the plugin of Film Convert, I choose the camera,
And the image profile with which he was filming,
And then when I look at the waveform monitor I can see that the skin tones are around here.
So,
When changing the exposure I can find the midpoint between very dark and very clear.
For this kind of thing I probably use between 50 and 70 IRE.
I then use a film material to emulate,
Of which there are many different options,
Then reduce the curve setting until it is in accordance with the contrast levels,
Depending on the scene and the aspect that we are looking for,
Also check the color temperature,
In this case it was a bit warm, and then I added a touch of saturation.
But, we really should not trust our eyes,
The best way to analyze color is to use a vectorscope and a waveform monitor.
I will embed an excellent video on viewers
In the blog, in case they need an introduction.
So, I mask the skin tones and then look at that line that is the indicator of skin tones,
To note that here the skin tones are going too far into the red.
So, I add some green to the high lights,
Until the color just lies on that line.
Now, this is very important if we go by that natural aspect
Means that there are no green or red dyes in the skin tone
And this works for all ethnicities, by the way.
So, most shots, in most movies
Are very precise about that skin color rests right on that line,
And you can watch it for yourself if you bring some movie captures to your editor.
So, with some final touches of color temperature and contrast,
That's my typical process that I use for almost all my neutral shots.
Here are some before and after:
Now, if you have been watching this channel for a while
You will know that I have been using Film Convert for years,
But I do want to make it clear and be honest with you,
That I started paying very recently
When people purchased the plugin with the DSLR Guide code,
For a 10% discount.
So, so you know.
Now, this aspect of light-neutral day of which we were talking,
Not good for all the scenes.
Here's a screenshot of Skyfall, a Bond super-blockbuster movie.
It is quite dark, with blue tones,
For me this time of day looks like an early evening,
While this, from the same film, is clearly earlier in the day.
True?
Well, looking at the differences between the two shots and how they measure in viewers
We see that we can tie them, by increasing exposure slightly,
Warming the color temperature a good amount,
And going to our colored board or color wheel, to add orange in the shadows.
And finally, getting a slightly flat appearance
By increasing the shadows and halftones a little bit.
So, now they are a lot more tied than it looks,
Both could have been filmed at-say-11 AM.
We can make it look like they were filmed at dusk, by taking the original light
Slightly darken it, cool the color temperature and lower the saturation a little bit,
And then we head to our color board to add some blue to the shadows
And now, I think it will bond quite fluidly with the original shot of the movie.
So how far can we take this?
Well, here's a Fight Club picture that feels really grimy,
With dark and damp tones.
But how much of that is due to color correction?
Well, let's try to tie it with this shot, which is completely different.
I start with my standard gradeo that I showed at the beginning of the episode
And then switch to a different film material,
And if I cool the color temperature,
I reduce the exposure and add some more contrast,
As well as much of that fluorescent green dye,
Then, after retouching things and going back and forth a little, lowering the saturation,
We can make the skin tones look quite similar
And the color of the ground is close.
But we can still see those rich green shades of grass,
Which is not as grimy as the almost discolored Fight Club street
Wet with rain.
We also lack fluorescent tubes, containers,
And the obvious thing is that we can totally see through the sky, that I was filming during the day.
So, I really like the color in this shot.
But we can not give all credit to the color correction.
It was the location search, production design, lighting and costumes
Which really maintains the atmosphere of this painting.
However, there are no rules in Cinematography.
For example,
In Matrix use pretty heavy and unreal color grids
In the scenes that take place within the simulation,
Separating them from the more natural and slightly blue aspect of the real world.
Or, at Monsters Inc. they use really cool colors
For the low moments of the movie, where everything goes wrong.
And, again, cold and blue colors at a similar time in The Incredibles.
But then, in another Pixar movie,
The moment where everything is going wrong,
Presents really warm colors and oranges completely opposed to those other scenes.
What that tells me, is that-of course-
There is never just one answer to a creative question.
And it makes sense that visual emotions can not be fully explained with words
Saying that green always means this, and red always means that.
I suppose we have to see the colors in the paintings, films and photographs,
And try to find inspiration in them,
When we are putting together the color palette for our own films.
My name is Simon Cade, and this has been DSLR Guide,
And see you next week.