Archive

Entries in color grading (48)

Wednesday
Oct032012

United We Ball

Here's the first two spots in a new University of Oregon campaign I've been working on. 

The Clapper

The Sceamer

Before and after stills. Shot on the Red Epic.

 

Tuesday
Jul172012

Dr. Fubalous Episode 2

Here are some of my favorite stills from Episode 2. The one of Maude Cakes, played by Glozelle Green, choking to death isn't explained in my video but was accomplished using the same techniques. I could see they'd made her lips bluer with makeup. I showed Scott Winn some samples. He liked it. So I went ahead and turned her skin pale blue all through the choking scene.

You can watch the entire video below the stills.

 


 

Saturday
Jul072012

Entrata Braveheart Spot- artificial lighting techniques

Vignettes have the power to direct the eye more dramatically than any other method- 

until they're noticeable. 

Then they're shlock. 

 

example of bad vignettes: Wherever You Go

I shot this through a canon AE1 camera body with a badly vignietted focusing screen.

 But with the ability to track windows (attach them to elements within the shot) and animate opacity, a good colorist can make them invisible. This is one of my favorite features in DaVinci Resolve. 

 To get the look right in this spot, I needed some power windows to bring down the background and focus the shots. With a static camera on a tripod this would be really simple, but some of these are handheld. So as soon as the camera bumps around organically it looks like somebody's smudged ink on the lens. 

 To marry them to the shots I had to track the backgrounds, but the default tracker sets points inside the window you've created. If an arm moves across any point, it starts tracking their hand instead of the background and you've lost it. So I needed to set my own points on the background where no arms or heads would cross. 

Once the windows were tracked to the background I feathered off the edges and opacity to hide them. Whenever you start creating artificial lighting, subtlety is key. I always end up lowering my key mixing gain(or opacity in english) once I've got an effect working the way I want through a shot. Its how I lower a node's impact without messing up other settings.

I've also got highlight punches pulled on most of the character's faces to draw attention to their reactions in the wider shots and to make the overall blue gray look match without effecting skin tone and hair color. 

Here's one of the referance shots to compare

 

Wednesday
Jun272012

Still I Strive

I just recently finished coloring this beautiful story about children in a Cambodian orphanage and their journey to perform before the royal family. This was a touching project to work on. Cambodia has suffered a cripplingly violent past. There are many orphans. Working on something so important is pretty humbling.

This project was colored on a limited budget. The director told me that since it was documentary it didn't need to be perfect. Mainly he just wanted the night segments to be visable and for the narrative portions to be as polished as I could get them in such a short amount of time. But as I started working through the images I was struck by how good the story was. I couldn't see the subtitels or hear the audio, but I could feel it. So I went ahead and did as much extra matching and polishing as time would allow. Its at that level where I forget what I'm doing and just focus in on the work. When its that good, you can't not make it your best work.

The trailer below was cut before I worked on it, so I've included some stills to show how I got things looking. This was really special to be a part of. I don't think I can take much credit for polishing something that already shines.







Here's the Trailer:

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.