![]() ![]() Memento, for example, employs a black and white color to communicate a separate timeline while Schindler’s List uses no color on screen. The absence of color is an equally capable mechanism employed to convey different emotions. Some directors like Wes Anderson have embraced the entire spectrum of color, making their work a visual treat and an easily recognisable trademark while others like Fincher depict their work in grittier tones. The colors used in films are also designed to enhance or define the characters and their dramatic needs.Ī color wheel is a visual representation of colors arranged according to their chromatic relationship.Īlthough music and onscreen action have long been considered the more powerful components of the cinematic experience, the use of color to depict characters and film sets is an equally compelling, if not more nuanced, tool in the right hands. It reflects the underlying emotional undercurrents that run beneath the surface of the narrative. While not a new concept - the ancient Egyptians studied the effect of colors on human mood and emotion - it wasn’t long before filmmakers were using color psychology in movies to aid storytelling.Ĭolor psychology in films is the exploration of the world of images and how it affects human perception. I follow this by adding contrast with a curves adjustment layer, and sometimes use the different curves color channels to further manipulate the colors if I think it may be needed.The introduction of color in motion films in the early 20th century was set to enthrall audiences like never before. I find that the whites, neutrals and blacks have the most effect on mood, and the red and yellow channels affect skin tones the most. When I grade my images, my usual approach is to make exposure and white balance corrections in the Camera RAW photoshop plugin, and then take the converted TIFF image file into Photoshop and use a selective color adjustment layer and make adjustments in each of the different color channels. I think another important aspect of color grading as well is to practice restraint and subtlety it's very easy to "over-cook" an image by applying too much of an effect on it. I agree that color grading is very important in conveying mood and feeling, alongside lighting and composition. This is coming from the perspective of a still-shooter, not a moving film creator. Thanks for the article! Always glad to see an fstoppers write-up that doesn't alienate any particular group of the site members. ![]() Why do we want to start with a lifeless image? We want to spend time really being able to affect a particular look in post production, where we have dedicated tools (hardware and software) that allows us to do so much more (an analogy might be playing with a Raw file, compared to just accepting what your JPEG looks like, straight out of camera). Often, a 'flat' image that comes out of the camera looks lifeless - but this is the intent. This is just as true for a still image as for a moving one. Aspects like sharpness, contrast and color saturation are typically elements we don’t want to define too strongly ‘in camera’ and there is a good reason for this, but let’s look at color specifically.Ĭolor is so important because, like lighting, it affects a mood and feel of a piece, and therefore how we interpret the final image. ![]() By 'flat', we mean we shoot with a profile type that tries to avoid 'baking in' too much information into the compressed video file. For years, DSLR videographers have been 'shooting flat'. ![]() If you're in any doubt over the power that properly grading your work can have, you have to check this out.Ĭolor grading in motion is nothing new. The film was graded by Taylre Jones at Grade, and he's demonstrated brilliantly how the original footage stacks up against the color graded footage looks compared to it. This little-over-two-minute-long video shows excerpts of the independent movie, 'The House On Pine Street'. ![]()
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