Grain, shadows, highlights—getting the right film look hinges on how these three elements are handled. Last week we explored how to build film looks in DaVinci Resolve; this week we’ll look at the same process in Adobe SpeedGrade—an excellent color grading tool that’s particularly user–friendly and intuitive. Joining Rich and me again this week is colorist Patrick Inhofer, who’ll walk us through his personal techniques for achieving a film look in SpeedGrade using footage from a recent music video shoot.
Posts Tagged ‘Color Grading’
It’s very expensive to shoot with film, but there are ways to create a film look in post–production. DaVinci Resolve and Adobe SpeedGrade are two popular apps you can use to color grade, and create film looks for your footage. Join Robbie and me along with our special guest, colorist Dan Moran, a London-based expert in DaVinci Resolve, as we demonstrate different ways you can use Resolve to transform your digital footage into a stylized film look.
Feeling left out with our recent episode on creating film looks with Apple’s Final Cut Pro X? This week Rich and I will switch apps and show you how to use Adobe Premiere Pro’s color correction and effect features to give your video footage that dramatic “film” look. And just like before—it all starts in post-processing.
This week, we launched Color Grading for Locations and Times of Day, the second course in Simon Walker’s The Art of Color Correction series. As we were recording this course, a few brilliant pieces of wisdom fell out of Simon’s mouth that I want to share with you. These topics also come up in the course, but I want to bring extra attention to them because they really got me excited. I can’t wait to put some of these techniques into practice on my own projects.
Last week, I wrote a blog post explaining why I find color correction so exciting, and why it’s often overlooked. Now it’s time to dive into the Art of Color Correction.
Simon Walker’s new course The Art of Color Correction: Artistic Color Grading on the Timeline looks at color correction as a storytelling tool and asks the question: How can color corrections help you communicate an emotional message? To answer it, Simon turns to people who built their life’s work around studying color, light, and shading—artists like Renoir, da Vinci, van Gogh, and even Edward Hopper.
Taking inspiration from some of the best painters in history, this course offers tips on deciding which color palettes and lighting schemes to apply to your video or film. Find out, for example, what you can learn from Rembrandt’s chiaroscuro technique to create tension in a scene.
The course starts with early Renaissance frescos by Michelangelo and Botticelli to demonstrate color saturation and contrast. Next it jumps to the heart of the Renaissance to learn how to work with limited palettes as da Vinci did, and create rich theatrical looks like Rubens. Visit with Impressionists Renoir and Degas to play with sunlight and shadow, and then create some romantic color styles. Finally, consider the work of colorists Picasso and Hopper to see how colors can affect your story.
We think you’ll enjoy how this course explores the history of visual art to help you make strong, effective decisions about your video and film production style.
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As a video editor, I find color correction one of the most exciting areas of video post-production. I consider it an invisible art—vitally important, but most viewers have no idea that it happens at all.
So what is color correction, and why is it so important? The easy answer is that it’s a manipulation of the color in an image during post-production. Usually color correction is performed to maintain a consistency in color tones throughout a film or video. But very often, manipulation of color can also be used as a storytelling device. Films like The Matrix, Traffic, and O Brother Where Art Thou? are great examples of films that used a unique color treatment as a major storytelling element. Color correction is a standard process in filmmaking and video production, and easily as important to a production’s quality as sound and lighting. The lack of color correction is a common reason that amateur video can look low quality or unfinished.
Like most tasks in video production, color correction requires practice and planning. How do you learn it? First, learn to color correct for consistency across your project. Chances are, you didn’t shoot all of your scenes at the same location, time, or with the same lighting setup—and as a result, the color tones in your shots may be different. I recommend starting with one of the many courses on lynda.com that cover color correction and editing applications (listed below).
Next you should learn to create specific creative styles with color correction. Although the courses listed below get into stylistic topics, they focus mostly on software tools and correcting for shot-to-shot consistency. So I’m pleased to announce that next week we’ll be launching the first course in a new series titled The Art of Color Correction with author Simon Walker. Simon brings along some high-profile teaching partners: Da Vinci, Van Gogh, Renoir, and Hopper. I hope I’ve piqued your interest. I’ll post again when that course releases; until then, check out one of the courses below to prime yourself for The Art of Color Correction.
Avid Media Composer users:
• Color Correction: Creating a Polished Look in Avid Media Composer
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