![]() Certainly can be overdone but contrast can not only be created in a shot but from scene to scene. Therefore the point is, these colors not only contrast chroma wise but tonal wise (brightest/darkest) as well, making them the best colors to create contrast or doubly accentuate the skin tones. What is the whitest/brightest color and what is the blackest/darkest color? Yellow(orange) and blue (teal) respectively. Let's look at the color wheel as greyscale. But let's look at the color wheel for a moment, but in a different way then what you are used to. Of course you're like duh! I said that already. I think the mark that everyone is missing (with respect) yourself included is that colorists are creating contrast with the skin tones by pushing blues into the shadows. They pay for the services of the colorist, and that's what they're given, but ultimately it's their show. I think it's a mistake to blame the colorists for the look most of the look is determined pre post and even if things are exaggerated in the DI process, I've seen plenty of DPs/Directors get into the suite and turn into kids in a candy store. In some cases, the DP gives the show a look and then the director comes in and gives the show a completely different look, which you can bet makes no one except for the director happy. I only know of a couple of colorists who are in love with this sort of look and don't try to work the image into something less stylized. Reply DeleteĪctually, having been a DI producer, I can attest that in almost all cases, the colorist does what the DP/Director requests and usually tries to do things incrementally, if he/she feels it's going too far in any direction, to try to curb colors disappearing into what most of them refer to as the "video" look. I'd love to hear from other people about their favorite examples of effective, unique grading looks. ![]() Imagine purples, greens, and reds! It definitely jumps out from the pack. Kid Sis - I'm so glad we stuck to our guns with our 70's bright and glowy look for The Commune. Greg - I love the example of "Traffic" - to me that is color grading used to enhance the themes and impact of the movie - not just to be a slave to fashion. That to me is sad.Īlso, I have noticed that art directors and set designers have been sucked in as well - just notice how many clothes, sets and props are teal and orange. To me, the whole emotional language of color is being side-swiped by this trend. It just doesn't look like bright orange at nighttime in a dark room! If the director/colorist had some aesthetic argument for making that choice (other than, "I wanted his face to pop"), I'd love to hear it. Stu does a great job writing about "memory colors", and I understand that we have a picture in our minds of what flesh tone should look like, but in reality, flesh tone is completely dependent on the lighting conditions of each environment. The real issue for me is not that these colors are used, but the super-exaggerated ways in which they dominate all other choices. Now, obviously I was exaggerating to make a point, and yes, I may have been able to find better examples than say, Tron, but the reality is I spent less than 10 minutes looking at trailers on Apple's Quicktime site to find these examples - I just barely scratched the surface. Wow - looks like I touched a nerve - I thought it was just my own pet peeve. ![]() (By the way, filmmaker and tech guru Stu Maschwitz does a great job of explaining the nuts and bolts of how this is done on his blog, ProLost.)įrom this seemingly innocuous supposition was unleashed a monstrosity that would eventually lead to one of the worst films ever, and one of the worst examples of unchecked teal and orange stupidity: I mean, people are really important, aren't they? So, since people (flesh-tones) exist in almost every frame of every movie ever made, what could be better than applying complementary color theory to make people seem to "pop" from the background. And anyone who has ever taken color theory 101 knows that if you take two complementary colors and put them next to each other, they will "pop", and sometimes even vibrate. You see, flesh tones exist mostly in the orange range and when you look to the opposite end of the color wheel from that, where does one land? Why looky here, we have our old friend Mr. This screenshot from the excellent color theory and exploration site, kuler, shows what happens when you apply complementary color theory to flesh tones.
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