Announcement

Collapse
No announcement yet.

A Study In Colour, Contrast & Saturation - blog post

Collapse
X
 
  • Filter
  • Time
  • Show
Clear All
new posts

  • A Study In Colour, Contrast & Saturation - blog post

    I decided to finally write something about the whole idea of creating an image that feels like a film image, as opposed to digital. These are my findings anyway

    I wish I had my own BMDCC footage to show, but I've used the colour grade I did on an Afterglow frame by JB as my example.

    http://www.nickbedford.com/blog.php?id=80

  • #2
    Great writeup Nick.

    And yeah, I found the same rules.
    What you call logarithmic curve, saturation vs luma ramp and slightly tinting shadows and highlights is exactly the way I treat my material since years, and became sort of my "signature look".
    You can see that on the country fair/carnival grabs I posted.
    I love how rich and fat the material gets when you lower the mids. Sometimes I use cool in lights and shadows and warm in mids. Yellow highlights give a nice retro look though. It all depends on the scene.

    Frank
    Blog: http://frankglencairn.wordpress.com/

    Comment


    • #3
      Originally posted by Frank Glencairn View Post
      Great writeup Nick.

      And yeah, I found the same rules.
      What you call logarithmic curve, saturation vs luma ramp and slightly tinting shadows and highlights is exactly the way I treat my material since years, and became sort of my "signature look".
      You can see that on the country fair/carnival grabs I posted.
      I love how rich and fat the material gets when you lower the mids. Sometimes I use cool in lights and shadows and warm in mids. Yellow highlights give a nice retro look though. It all depends on the scene.

      Frank
      Thanks Frank. Yeah I've noticed from some videos on YouTube that Kodak 5218/9 500T has about 4% blue in the mids and highlights and about 2-4% orange in the shadows. It also has a deeper contrast and brighter highlights. It'd be great to go through a bunch of gorgeously shot films (on film) and work out what's going on in the image.

      I may not have the chance to shoot anything on film, but I LOVE the look of movies shot on film.

      Comment


      • #4
        Nick, how much was Snow White & The Huntsman shot on film and not Red Epic? Is the particular frame you chose one of the scenes shot on film? Haven't seen it yet.

        Same question posted on your blog, sorry.
        https://www.facebook.com/media/set/?...3301810&type=3

        Comment


        • #5
          Ok, found the answer. Red was used on select VFX shots. So, mostly shot on film.
          https://www.facebook.com/media/set/?...3301810&type=3

          Comment


          • #6
            I'm not actually sure. I read that it was shot on film, and assumed the whole thing was! Was some of it shot on the RED Epic? If so they did a great job with matching the two.

            Comment


            • #7
              interesting
              Facebook - Angelis Digital Studio

              Comment


              • #8
                Good post.

                However, since everything from Hollywood goes through a digital intermediate and digital color grading, surely the colorist would have a greater influence on the final image than the film stock? Would subtle tint differences in film stock really survive today's grading processes?

                Before DIs were common, the choice of film stock would have been more important, but now... I'd be surprised. Happy to be surprised, though.
                Iain Anderson, Apple Certified Trainer
                http://trainingbrisbane.com

                Comment


                • #9
                  Originally posted by nickjbedford View Post
                  Thanks Frank. Yeah I've noticed from some videos on YouTube that Kodak 5218/9 500T has about 4% blue in the mids and highlights and about 2-4% orange in the shadows. It also has a deeper contrast and brighter highlights. It'd be great to go through a bunch of gorgeously shot films (on film) and work out what's going on in the image.

                  I may not have the chance to shoot anything on film, but I LOVE the look of movies shot on film.
                  Kodak has always ran into the blue while Fuji is noted for it's pastels.
                  Go to my site to see my current Production and Post Production Gear
                  http://www.daydreamersproductions.com/

                  Comment


                  • #10
                    I observed that modern films always have rich contrast in lows and mids but have very soft, almost flat highlights.
                    Is that correct or did I misinterpret this?

                    Frank, when you lower your mids, how do you keep the right exposure?
                    BMCC - Sony HVR-Z7 - Nikon D7100

                    Comment


                    • #11
                      Besides all the lovely analog colour in films, there's something so magical and charming about gate weave. I've tried to emulate it many many times and it's always somewhat of a fail on my end.

                      Anyway - damn nice grade on the brawley frame - I'd call that the perfect grade for that material!!
                      director reel

                      11 Blocks, debut feature on Netflix

                      Comment


                      • #12
                        Originally posted by funwithstuff View Post
                        Good post.

                        However, since everything from Hollywood goes through a digital intermediate and digital color grading, surely the colorist would have a greater influence on the final image than the film stock? Would subtle tint differences in film stock really survive today's grading processes?

                        Before DIs were common, the choice of film stock would have been more important, but now... I'd be surprised. Happy to be surprised, though.
                        Yeah, it's hard to comment completely without knowing exactly if the film stock was only colour timed and not DI'd and then colour graded.

                        If anything, Christopher Nolan and Wally Pfister are known not to do DIs as much as they can. I'm a fan of their movies and the image of course too.

                        Comment


                        • #13
                          Originally posted by Matthew Bennett View Post
                          Besides all the lovely analog colour in films, there's something so magical and charming about gate weave. I've tried to emulate it many many times and it's always somewhat of a fail on my end.

                          Anyway - damn nice grade on the brawley frame - I'd call that the perfect grade for that material!!
                          Thanks Matthew. Once I receive my own Blackmagic (haha), I will probably do up a post with my findings on grading the footage (and shooting it).

                          Comment


                          • #14
                            Thanks, Nick.

                            Do you know of a way to get the luminance v. saturation curve to happen in Photoshop?
                            Filmmaker - Author
                            https://jgiambrone.wordpress.com/

                            Youtube

                            Comment


                            • #15
                              Originally posted by Joe Giambrone View Post
                              Thanks, Nick.

                              Do you know of a way to get the luminance v. saturation curve to happen in Photoshop?
                              You could use Blend If (part of Blending Options) to limit the effect of an Adjustment Layer to just the shadows or the midtones? Probably not exactly what you're looking for, but certainly a way to limit any adjustment layer to just certain tones in the image.

                              If you haven't used Blend If, here's an article about it:

                              http://www.macprovideo.com/hub/photo...stand-blend-if
                              Iain Anderson, Apple Certified Trainer
                              http://trainingbrisbane.com

                              Comment

                              Working...
                              X