In the first example, from Black Hawk Down , the blue is much more saturated, and the brightness is turned down, with the highlights lowered as well. The effect is a great look for sci-fi footage. In the next example, below, is a landscape shot which also comes from a Ridley Scott film, The Martian.
It looks like, well, Mars. The color correction process is to make the footage look exactly the way that the human eye sees things. While color grading is where you create the actual aesthetic of your video, the right color grading helps convey a visual tone or mood. As a result, George became famous for his highly stylized films and innovative use of color.
Today, color correction and grading can be completed digitally by one person instead of by a team of painters, which allows even novice editors to improve their video content simply by learning the basics of color correction and grading. Color correcting is the process of adjusting the exposure, white balance, ISO noise, and contrast of an image to fix mistakes in the camera settings and enhance information from flat profiles.
Basically, you are digitally altering the raw footage to match how the human eye perceives it. Once the footage has been corrected, the next step in the process is color grading. Matching the color between different shots, changing the color of one specific part of the image, or enhancing the specific tones to pop on screen are all part of the color grading process.
These adjustments result in a more stylized look that sets the mood and tone of your video. With technology advancements and visual dependent platforms like Instagram, Snapchat, and YouTube, people expect high-quality visuals.
Here are a few reasons why color correction and color grading make your video content more dynamic and professional. No matter how fancy your camera is or how skilled your cinematographer is, color correcting and grading is the best way to get the highest quality image. Many digital cameras have the option to shoot in a RAW camera format, which captures the flattest possible color spectrum.
The color may look dull while you are filming, but RAW footage enables you to further manipulate the image in post-production. Color correction is an inexpensive way to increase the production value of all your content.
As digital content creators, we all have to find ways to increase the production value without increasing the budget. In fact, our favorite color correction software to use, DaVinci Resolve by Blackmagic Designs , is free to download.
Strong color correction and grading help separate professional content creators from amateurs. This generates gradual changes rather than big extreme changes. You can always zoom in and add another drag point to make a small adjustment. Color match allows you to choose a reference image that will then be analyzed and applied to your target image. This is an automatic calculation, so it is important to check your scopes and use your judgement as to the quality of the color match.
Some people even like to use popular film clips as their reference image, and their own personal footage as the target image. If you do, it will completely throw off the value of your colors and ultimately make your life a lot harder than it needs to be. Often, you could just copy and paste the effects from your previous clip onto an adjustment layer, or through the use of bins, but if your footage has lighting and exposure discrepancies, it may not work very well.
Three-way color correctors are a useful tool for many colorists in professional entertainment, but they have their pros and cons. The three-way color corrector lets you balance the shadows, midtones, and highlights of an image using color wheels. You can set numerical values, or use the control drag point to set your value based on hue.
Color qualifiers give you the chance to change a particular color, or range of colors, without changing the rest of the picture. You can also use color qualifiers to identify colors that you want to fix in place so that they won't change when you adjust other colors and elements in the picture.
In the DaVinci program, color masks are called Power Windows. These work a lot like masks in Adobe Photoshop. You can designate a shape to isolate its colors. If you are shooting in RAW format, you will have a large amount of control over the characteristics of your image. Beyond general quality, this is one of the attractive advantages of RAW, but it eats up a lot of storage This is because RAW images, captured unprocessed by the camera with no set parameters, are uncompressed.
If you are not working in RAW, chances are that you will want to record in a flat picture profile, or Log profile, to give yourself more opportunities when it comes to coloring and enhancing your footage.
A picture profile refers to a set of parameters that determine the characteristics of your footage. Your picture profile can be whatever you want it to be, but generally if it is more "flat" it will give you the best chance to pull out some extra steps of dynamic range, and keep your footage out of trouble.
These are essentially neutral picture profiles but not RAW! Color correction methods have changed since entertainment production switched to digital footage, but it is still just as important for professional images. Color correction refers to adjusting white and black levels, exposure, contrast, and white balance to give you an image with accurate, unprocessed-seeming colors.
The other purpose of color correction is to create visual consistency for your footage and scenes. You want them to match for better flow. If you go rogue, something that looks good to you may look odd to someone else. Color correction eliminates visual inconsistencies.
If your color profile is flat, desaturated, and has less contrast, it will allow these additions to have a more positive outcome, and give you a bit more control when coloring your footage.
It also helps you to squeeze out some extra information in between your maximum and minimum values. Think how easy it would be to color the art at the museum if it was flat, desaturated, and had less contrast. This means that we intend to send our footage through this predetermined adjustment so that we may accurately adjust colors during our correction and grade phase, but ….
You output LUT if you choose to apply one is intended to achieve a cinematic look, or sometimes a "film" look. The Rec. Check out this video for a quick primer. When you make coffee in the morning, you pour hot water over ground up beans to get … coffee! Applying a LUT is also an opportunity to white balance your footage, either via the Auto White Balance or manual temperature adjustments. Not yet. You just want to get as close to true white as you can so that each step works correctly.
Unless your footage was shot in a way that the tint helps, chances are you should avoid it altogether. The best way to attain visual consistency across a bunch of footage is to look at your clips and to find one that has average exposure and levels when compared to the rest of your footage. That way, you can try to match everything to a place that is, at the very least, able to be achieved with all of your footage. If you pick a clip that has an extreme exposure when compared to the other footage you got on the day, you may not be able to adjust those clips to match one another, thus eliminating options from your cut.
Adjust the colors and levels to find true black or true white. Make your video look properly adjusted for white and black using any number of tools.
Here's how to do it with Adobe Premiere's Lumetri Color tool:. This is where you adjust each section of your image, which includes the highlights, shadows, and midtones. Again, at this point we are still in the color correction phase and not stylizing or grading phase.
Later, when we get to color grading, you can crush your blacks and blow out the whites, but during this phase you just want to make them coordinate with one another. In primary color correction, you adjust and correct the entire image. Secondary color correction involves isolating specific parts of the image, or objects within the video frame, and correcting only those. These are colors that everyone knows, and will expect to register if say … you have a stop sign in your footage.
This means that skin tones need to look like real skin tones, blades of grass need to look like blades of grass, and the world has to appear real. That way, when you do adjust something later you can be sure that it works correctly so that you achieve your intended look. Your imagery also feeds the willing suspension of disbelief so crucial in narrative filmmaking, all because you followed the "rules.
This is where you begin to adjust specific colors toward your desire, while still keeping in mind that they still need to be "correct. You might want to boost the yellow of a bright-yellow sports car.
We still want things to look the way they should, but you can begin to use your taste a little more during this section. Just know that you may bump values later in your color grade, so do so accordingly to avoid backtrack. When you begin color grading, you will of course need to start with some software.
It's also likely you'll be using the same platform to color grade as you used for your color correcting — but many video color correction and color grading pros like to use different software for each process. Color grading refers to the stylized color scheme of your footage. This can be super extreme like you see with many popular films, or it can be rather subtle so as to achieve color fidelity like with nature documentaries.
Every piece of footage that has ever been recorded has a color grade, regardless of any adjustments that might be applied. Using the same tools you've used to color correct, now you can add another layer, and paint your masterpiece. This is the moment where we have to explain that the process of coloring video is additive.
That means we are adding color information to something that already has baked in color values. We are not changing the digital values of color, but rather adding values on top of the existing values. You can also enable a creative LUT to your color corrected footage, which will apply your entire color grade literally with a single click. You can see right away how these creative output LUTs make your life much easier, and if you create your own custom color grade you can export it as an export LUT, and apply it to the rest of your scene.
Color grading is something professionals consider before they step on set.
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