Entries in color grading (46)


If You're Gonna Wear the Uniform

 If You're Gonna Wear the Uniform from Dusty Hulet on Vimeo.


Here are a few before and after stills you can click through to see the results. 

 The main shot in this short film is an extended take of the sun rising over Mt. Everest. The quality, color, and intensity of light is in a slow, continous change throughout. So I used a pile of windows and keyframes to control the ways that light and color spread throughout the shot. This video breakdown helps to explain how I got it there.


New Reel

Special thanks to Scott Winn and Brendon Bytheway along with Christian Busath, Kevin Winzeler and Vanilla Bikes, A. Todd Smith and all the great artists on his crew, Fullscreen, Devin Graham and his crew, Cameron Manwaring, Derek Pueblo, Gavin Bentley,  Jordan Harker and Joey Daniel at Robogo, Anthony Peirce and Una Jo Blade, Ralphie May, CR England and the Utes, Uri Westrich and The Maccabeats, David Carillo and the team at Magnetic Creative, as well as every other artist, tecnician, operator, performer and crew member that did such stellar work to bring these things to life, and last but not least my brothers Joel and Aaron for their feedback on my work all along the way and in the compilation and composition of this reel. 


Clash of Clans 

Directed by A. Todd Smith 

Here are some of my favorite before and after stills from the project. I've also created a short grade breakdown below. The grade needed to add drama and gravity to the footage. I referenced stills pulled from the movie 300 to try and build contrast and tension. The shadows were pretty crushed. In a few cases like with the dark hair of the maiden clapping at the tree and the dark furs on the giant's shoulders, I needed to track some selections to lift the detail back into the shots. 

Image #4 is very very blue as a result of being shot so late in the evening. They're riding the very last ounces of light in that shot and hopes weren't too high that I could get much out of it. So I tried to warm it up, but it just wasn't working as well as I'd have liked. A lot of times you can resurrect data that looks lost in a shot, but low light situations are trouble because there just isn't anything hitting the sensor. So you can brighten it, you can warm it, but it stays colorcast and it doesn't retain the contrast information you need. The only way to get it to work is by selecting specific elements of the frame, tracking them to the image, and building it up artificially. Numbers 18 and 19 are also a good example of building up color and contrast artificailly. 




Vanilla Bikes

This project from Kevin Winzeler was really fun to work on because the final output was black and white. 

The fun of finishing in B&W is that you can use the color channels to remap the luminance. Basicly in B&W, different colors apear as lighter or darker shades of gray.

You can see in this little chart what it looks like when you suck out the color. Magenta turns almost white. 


 So by tilting the hue of a particular color channel, you can darken or lighten elements in the image. Lips for instance, can be darkened by making them blue.

Black and white hue-bending can best be seen in the shot(numbers 12 and 13) of him holding a frame where you can barely see the paint job in the plain B&W. The light green paint on the front of the frame wasn't showing up. In color it really popped, but in B&W it looked white. The shot right after is a silver frame which also looks white. The two shots would appear as a jump cut in the middle of the same shot of him holding a white frame. So to fix it, I tilted the hue of the green toward blue to darken the paint so it would have the same contrast as the color version. 


The Craftsman | Sacha White with Vanilla Bicycles from Kevin Winzeler on Vimeo.



Virgin Mobile

Directed by Derek Pueblo, and shot by Jeff Yeats, This piece required special attention to create the different worlds of each scene. It's a little different, but here are some before and after shots of the work I did on it.