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Entries in color correction (39)

Monday
May142012

The Color Run

You'll notice in the before and after shots below how many times the sky was not blue when I started. Changing the weather is challenging enough as a colorist but when you add in clouds of colored chalk pitching back and forth across the sky, it introduces a whole new set of problems. There are lots of different ways to tilt an overcast sky. The simple route is to select it and push everything to blue. But when the sky is white and the balloons are white like in one of the shots, you've got to play with how far to push before it gets really really noticeable. Honestly the biggest thing you're doing when changing wheather is working as many corrections as it takes to cover your tracks and make it as natural as you can without drawing attention. 

It doesn't always work as well as you'd like it to. Often you end up pulling it back farther than youd like to keep edges clean, but overall it turned out well and gave it the vibe it needed. Enjoy.

 

Friday
May042012

Entrada 

Most of my recent work has been on projects yet to be released, but in the meantime here's some work you can see. I did the color grading as well as the fire, sparks, and smoke for the indoor welding shots on both of these.

The Ads are now live and can be viewed on the Entrada website.

Tuesday
Apr032012

Mr. Bellpond's Masterpiece wins 2 Student Emmys!

Hi folks! 

It's always thrilling to do great work. Bellpond was only my second project in DaVinci Resolve. It was exciting for me because it would be an opportunity for me to really take some artistic liscense with the images.

The director, A. Todd Smith contacted me early describing the look he wanted with some samples from films like Jean-Pierre Jeunet's "A Very Long Engagement" which uses color in specifically stylized ways to excentuate the production design and build on the emotional performance.

Color is usually imperceptable. Like great sound work, it ties together the constructedness of a film- the clips and lighting, and varous moments that all come together to make this cohesive fictional moment the audience buys as playing out presently before them. It should be invisible... yet it can profoundly influence the emotional beats in the story. That made it both the challenge and the joy of working on this film

Here's a BYU News report on it!

Wednesday
Mar142012

Luminance First

Have you ever been blown away by the cinematography in old movies?

I have.


We're so used to little color screens on everything it just seems natural, but back then, what you saw through the camera wasn't what the movie would look like. You saw color. There weren't any electronics. You were looking through a series of mirrors and through the lens at the people on set in front of you. Cinematographers had to translate in their head what sucking the color out would do to the image... and they were GOOD at it!

They had to think in terms of luminance. 

How to use luminance to sculpt your images

before

after

This is a good example of what I'm talking about. The raw image is pretty flat and uninteresting. But switching to black and white to work with luminance saved it.

I worked with eye first.


That's not good advice. Its just where I like to start because its usually my focal point and I always find it most interesting. I painted in light highlighting the bright points in the iris all the way around the pupils. the left eye is out of focus so I needed to mirror that with my brush strokes. If its blurry, use bigger brushes.

With that same light I went ahead and highlighted the highs in his features beginning to sculpt the face more. Then I countered that with the shadows painting darkness in around the iris and back out to the rest of the face. I finished with a few separate passes on the image as a whole to direct the light subtly across the eyes to add some feeling.

 

By this time I was getting it where I wanted it, but I decided to add the color back in.

I liked it. I compared the two a few times and yeah, I liked it.

With just a quick adjustment to tweak the color, it was done.

When I first started doing this, I'd spend all my time shifting the color around and maybe ten seconds on a quick contrast tweak at the end. More and more I find that working to get the lighting right first makes all the difference. Your eye can be fooled by color contrast and saturation. Taking it back to black and white helps you focus on what you're actually doing. Then, any color work just adds to that. This isn't a hard and fast rule, just a suggestion. So next time you've got something that's just not getting there, consider switching to black and white!

 

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