There are a million ways to create cinematic looking colour grades, but this has to be the quickest I’ve seen. All it requires is a single colour adjustment layer set to exclusion blend mode. In this two minute video from Phlearn, we see just how quick and easy it is to do.
Colour grading seems to be the buzz term for video these days. It didn’t really exist until O Brother, Where Art Thou? but it quickly became standard practice. Colour grading helps to set the mood and feel of your footage, as well as make it more pleasing. When you’re using multiple cameras, colour correction and colour grading is almost a must just to help them all look like they belong to the same project.
But how do you do it? In this video, Matti Haapoja goes through his colour grading workflow in Premiere Pro. He explains why you need to do it, and how, with some great timesaving tips, as well as the reasoning behind his choices, along the way.
Colour grading is such a complicated and in-depth topic. Sure, you can cheat and buy some preset pack from somewhere, but you gain so much more when you learn to understand colour and its nuances. Then you can create your own grades and get them just the way you want.
That’s the point of the Look Creation & Color Grading series from RAWexchange. The whole course is four hours of video training that covers digital colour theory and principles in both Capture One and Photoshop. It’s a paid course, but there is also this free bonus videos, which shows us how we can analyse and reverse engineer a colour grade, and then apply it to other images using curves adjustments.
Shooting with real film is the dream of many filmmakers. Often, they actually get their chance, and fall in love with it. But these days, even more so than in the past, film is very expensive. Unless one is independently wealthy or wins the lottery, it’s just not viable for every project.
Simon Cade at DSLRguide has discovered this, too. Having recently started to try out Super 16 film, he knows he can’t justify the expense to use it for all his projects and ideas. So, he set out to recreate the look in post using DSLR footage. In this video, he talks about analysing the Super 16 format, and how to reproduce it digitally.
As you probably know, I am a bit obsessed with colors lately. While I was obsessively looking around and searching and asking people until they didn’t answer my requests anymore, something popped up and I have to share it because it’s simple and brilliant:
Color Grading using luminosity masks.
Zoë Noble just released a 10-minutes tutorial on Youtube, explaining the process on a very nice beauty-image.
Grading and Coloring are part of the creative workflow that any piece of video goes through (or at least any fully produced piece of video). It controls the overall ‘feel’ of the movie. When I started doing movies in addition to stills this is one of the things that got me on the first few times. It is a very similar concept to using curves, hue/saturation and other tonal and contrast tools on a photograph.
Colorist Rob Bessette of Finish Post gives a great introduction into coloring a video (hosted by Rule Boston Camera). It covers everything from what coloring actually is, through basic principles, setting a monitor up and ends up with a spectacular demo of coloring a commercial. If you are unfamiliar with coloring, you would be surprised at how different a movie looks once a colorist is done with it. [Read More…]