If you google it, most websites talk about how to make video look like film, which I have already researched, and it's all good to know, but if you want your film to have a certain look, what do you do? For example the picture quality on United 93 (2006), is a lot 'fuzzier' looking, than the crystal clear picture of 3:10 to Yuma (2007). The color also looks totally different in both as well. If you want your film to look like a certain movie, than another, are there any good sites for that, and use movies, to teach you?
How do you give a film a certain look?
- Thread starter harmonica44
- Start date
Canon T2i, editing with Premiere Pro and After Effects so far, but am open to editing with something else. Most of the short is already shot and only have one scene left.
Look up "how to colour grade" on Youtbe. My latest film EXPERIMENTAL used three types of this effect(to portray a certain effect). Different films are graded different, actions are usually grainy and blue eg Bourne triology. Film with off reality are green eg. Fight Club and Matrix. Horrors are blue usually too. It's up to your own taste really
Thanks that helps a lot. What about how some movies like they were shot on film from the 80s, or just older looking film? Like for example in United 93 where there is shadow, the shadow itself has sort of a murkier look than most modern films. Is this done with color grading as well?
you can't really achieve look by just applying some color correction and grading. That type of the look needs to be planned way before you begin shooting and carried through the shoot. Post production just spices it up a bit.
Wardrobe color choices, set deisgn, LIGHTING(!!!), etc all will come together in post production, and help you with good color grading.
Pay attention to the backgrounds when you'll be watchin big budget movie. All colors in the shot has the matching "theme". And from there - you could start applying color grading.
Wardrobe color choices, set deisgn, LIGHTING(!!!), etc all will come together in post production, and help you with good color grading.
Pay attention to the backgrounds when you'll be watchin big budget movie. All colors in the shot has the matching "theme". And from there - you could start applying color grading.
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True the lighting does. I'm not talking about the actors wardrobes though. I originally had a DP but he left just before production, and I had to shoot it myself, and with some friends help. But I would like to salvage what I can of a desirable look in post. It's kind of hard to describe but some movies just look like older film, as oppose to the newer looking more extravagant movies.
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If you're in premiere, then search for RGB Curves in effects, and adjust curves for whatever look you're going for.
In after effect choose "Curves", and select color curve that you want to adjust.
Thats pretty much the only thing you could do.
I repeat, this should be the very last step in your color grading process. If you've skipped on color set design and lighting - you'll get half ass result, amateurish look.
But hey, next time when you'll think about shooting next video, if there is a certain look you want to apply - you'll know what you need to do
In after effect choose "Curves", and select color curve that you want to adjust.
Thats pretty much the only thing you could do.
I repeat, this should be the very last step in your color grading process. If you've skipped on color set design and lighting - you'll get half ass result, amateurish look.
But hey, next time when you'll think about shooting next video, if there is a certain look you want to apply - you'll know what you need to do
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Yeah I know... I told the DP I wanted something like the United 93 or Green Zone look, but more blue-ish. He said 'done', but then had to leave on a personal emergency. I do have an amatuerish look and would like to fix what I can.
You can't really do anything about it right now.
nor your DP. Here is a screenshot from united 93
![BDRemux_[Source]_1080p_5829631047.png](/proxy.php?image=http%3A%2F%2Fscreenshotcomparison.com%2Fimages%2FBDRemux_%5BSource%5D_1080p_5829631047.png&hash=34db366f6a735078c89bf6b80c104002)
notice colors on a shirt sleeve, left side of the frame. Green, and black. Notice the airplane carpet, and overhead storage bins: black and green. Coincidence? Now, imagine during editing room director says "Meh.. i want the color grading to be red-ish". He will be screwed, because this frame will look like sh*t.
From my personal little experience, there must have been a meeting with editor, wardrobe, set design and a director. Question: what color are you going for? Director says "eeeh, i want it to be a bit blueish/green tint". Boom, set designer gets you blue seats, green carpet. Wardrobe person starts coming up with clothes of similar colors (notice what people are wearing in the shot).
This is what gives you the look and final proper color grading, but without all of these carefully planned choices you will end up with mixed colors, and quick curve adjustment will only give you crap.
I figured this out during my currect shot film shoot. I knew I wanted to have dark/brown/green look because we were shooting in the fall, so I asked my friend actor to bring brown jacket, we used black worn out car with chipped paint, house had dirty white/green walls etc.. and the color grading looks a bit better from my previous shorts.
Keep making films, don't be stuck on your first one for too long. There is only so much you could fix, aftera while it just becomes frame-cutting color-adjusting masturbation (pardon my french)
nor your DP. Here is a screenshot from united 93
notice colors on a shirt sleeve, left side of the frame. Green, and black. Notice the airplane carpet, and overhead storage bins: black and green. Coincidence? Now, imagine during editing room director says "Meh.. i want the color grading to be red-ish". He will be screwed, because this frame will look like sh*t.
From my personal little experience, there must have been a meeting with editor, wardrobe, set design and a director. Question: what color are you going for? Director says "eeeh, i want it to be a bit blueish/green tint". Boom, set designer gets you blue seats, green carpet. Wardrobe person starts coming up with clothes of similar colors (notice what people are wearing in the shot).
This is what gives you the look and final proper color grading, but without all of these carefully planned choices you will end up with mixed colors, and quick curve adjustment will only give you crap.
I figured this out during my currect shot film shoot. I knew I wanted to have dark/brown/green look because we were shooting in the fall, so I asked my friend actor to bring brown jacket, we used black worn out car with chipped paint, house had dirty white/green walls etc.. and the color grading looks a bit better from my previous shorts.
Keep making films, don't be stuck on your first one for too long. There is only so much you could fix, aftera while it just becomes frame-cutting color-adjusting masturbation (pardon my french)
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Okay thanks, but can't you just change some colors using color correction if you wanted? One of the problems with filming though is that I used real locations and not sets. I wasn't allowed to paint the locations to the colors I wanted so how do I deal with that for the future, if not post color changing?
It's not just the color though. Notice how the actual picture of United 93 looks different than say the picture in Transformers (2007) by comparison. If you play both movies in Black and white, you will still notice a different look in picture.
It's not just the color though. Notice how the actual picture of United 93 looks different than say the picture in Transformers (2007) by comparison. If you play both movies in Black and white, you will still notice a different look in picture.
Nice example Dima!
If you rotoscope every item in every frame, yes you can change the color in post. Even then though, the shadows won't look right, color won't interact with each other the way it's supposed to, etc.
You can't do an extreme wash across the whole image because the one thing you can't alter is fleshtones. The audience immediately sees something is off.
Color grading begins in production design.
In the future, you work around not being able to paint sets like any other low-budget work around. Do the best you can, or write for what you can get. You can probably shoot in a park or other greenery if you want green, etc. Chances are you probably won't be able to change everything in public or by 100 green and black knick knacks to decorate a room, but you do what you can.
As far as the picture itself sharpness contrast and saturation play a lot of it. Saturation and some contrast can be tweaked mostly in post. Other contrast is achieved through lighting and production design (black against white, bright against dark) and sharpness is mostly equipment. Lenses will play the biggest role for you here. If you like that soft, color washed look a vintage lens is probably your best bet, versus a much sharper L series or Zeiss lens. Though filters and massive amounts of rendering you can slightly tweak this in post, not much though.
The big boys shooting film also have film stock to help craft a look. Different types of film looks different. In the digital side, the camera makes the difference. A 5D looks different form a crop Canon camera looks different from a GH2 looks different from an EX3 looks different from a HV40 looks different from a RED looks different form an Alexa and the list goes on and on and on...
Camera + Lens + Lighting + Production Design + Post = Look
Ignore any element and you loose a portion of the control of your look.
Sound design and score finishes setting the tone, then actors and writing tell the story.
If you rotoscope every item in every frame, yes you can change the color in post. Even then though, the shadows won't look right, color won't interact with each other the way it's supposed to, etc.
You can't do an extreme wash across the whole image because the one thing you can't alter is fleshtones. The audience immediately sees something is off.
Color grading begins in production design.
In the future, you work around not being able to paint sets like any other low-budget work around. Do the best you can, or write for what you can get. You can probably shoot in a park or other greenery if you want green, etc. Chances are you probably won't be able to change everything in public or by 100 green and black knick knacks to decorate a room, but you do what you can.
As far as the picture itself sharpness contrast and saturation play a lot of it. Saturation and some contrast can be tweaked mostly in post. Other contrast is achieved through lighting and production design (black against white, bright against dark) and sharpness is mostly equipment. Lenses will play the biggest role for you here. If you like that soft, color washed look a vintage lens is probably your best bet, versus a much sharper L series or Zeiss lens. Though filters and massive amounts of rendering you can slightly tweak this in post, not much though.
The big boys shooting film also have film stock to help craft a look. Different types of film looks different. In the digital side, the camera makes the difference. A 5D looks different form a crop Canon camera looks different from a GH2 looks different from an EX3 looks different from a HV40 looks different from a RED looks different form an Alexa and the list goes on and on and on...
Camera + Lens + Lighting + Production Design + Post = Look
Ignore any element and you loose a portion of the control of your look.
Sound design and score finishes setting the tone, then actors and writing tell the story.
Ah, Paul, you post it before me 
ignore this post...
ignore this post...
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Very much enjoying all the recent topics and posts on achieving a film "look..."
But I'm wondering:
- From the perspective of an audience member watching d's clip above, why *would* a director want a black/green palate in this scene? What good does it do the story? Why do this instead of a more normal, natural plane interior? Will watch this flick and pay close attention to all the scenes.
- There seem to be at least three choices: a look because 1) it's "hot" or "cool," 2) fits the story logically, or 3) the director is trying to strike a mood or time period.
- Ironically, I took a cinematography intensive and this topic was not covered a bit.
This "look" stuff is an art unto itself, love seeing it well done. Are there any good sites or books that solely cover "the look?"
Thanks folks, totally appreciate all the experience-driven advice you put on the forum.
But I'm wondering:
- From the perspective of an audience member watching d's clip above, why *would* a director want a black/green palate in this scene? What good does it do the story? Why do this instead of a more normal, natural plane interior? Will watch this flick and pay close attention to all the scenes.
- There seem to be at least three choices: a look because 1) it's "hot" or "cool," 2) fits the story logically, or 3) the director is trying to strike a mood or time period.
- Ironically, I took a cinematography intensive and this topic was not covered a bit.
This "look" stuff is an art unto itself, love seeing it well done. Are there any good sites or books that solely cover "the look?"
Thanks folks, totally appreciate all the experience-driven advice you put on the forum.
well, just like everything else in the movie, like sound, music and camera motion, color sets the mood for the scene.
Matrix has dark green tint and really dark. Sort of early digital green monochromatic color, and gives off the mood of depressing computer age..
but then Tron has really distrinct color is a bit blue and white, and story is set similary to Matrix, in digital world, but only in TRON, unlike matrix, everything is sterile, clean, precise. Like a perfect running machine.
the "natural plane interior" (which is still has carefully chosen color scheme ) that you're referring can be seen in comedies, where director wants us to relate to main characters and see the characters as part of our world..
Thats just my two cents There are waaaay more experienced indietalkers around here who will either agree or disagree.
But imagine if Inception had just plain everyday apartment walls, or typical office settings.. Even spinning hotel room would have those ugly blue/green rugs in the hallways, and crappy paintings on the wall...
But instead you get this
BAM!!! Full on epicness. Black. White. Dark brown. Freaking sexy, thats what that is. It sets the mood like these guys don't f&ck around. This is serious business.. none of this Bob Ross "Happy Cloud" sh*t.
Imagine if you were watching Inception. Bullets flying by, tension is high! Its a dream in a dream in a dream, dreamed by a squirell, and then there is this on the wall:
That would ruin my movie experience. Too distracting.
And thats why studios spend not 10,000 on their movie, but much much more
Matrix has dark green tint and really dark. Sort of early digital green monochromatic color, and gives off the mood of depressing computer age..
but then Tron has really distrinct color is a bit blue and white, and story is set similary to Matrix, in digital world, but only in TRON, unlike matrix, everything is sterile, clean, precise. Like a perfect running machine.
the "natural plane interior" (which is still has carefully chosen color scheme ) that you're referring can be seen in comedies, where director wants us to relate to main characters and see the characters as part of our world..
Thats just my two cents
There are waaaay more experienced indietalkers around here who will either agree or disagree. But imagine if Inception had just plain everyday apartment walls, or typical office settings.. Even spinning hotel room would have those ugly blue/green rugs in the hallways, and crappy paintings on the wall...
But instead you get this
BAM!!! Full on epicness. Black. White. Dark brown. Freaking sexy, thats what that is. It sets the mood like these guys don't f&ck around. This is serious business.. none of this Bob Ross "Happy Cloud" sh*t.
Imagine if you were watching Inception. Bullets flying by, tension is high! Its a dream in a dream in a dream, dreamed by a squirell, and then there is this on the wall:
That would ruin my movie experience. Too distracting.
And thats why studios spend not 10,000 on their movie, but much much more
Okay thanks. When you say rotoscope every item in order to color it, you mean remove the item from the frame, recolor it, then stick it back in, right? If only after effects was smart enough to recognize the color, then just change that color. But I think the look should be fine without certain objects being certain colors. I want blue tints in some scenes though, more so the dark night scenes. Is it possible to create a blue tint coming from a certain direction of the room, in post, without messing up any shadows or anything?
And you say coloring walls can mess up shadows, but since the shadow is darker, shouldn't the same dark shape still remain even though the color is changed? guess not.
So every camera has a different look. Interesting, so that's how it's done in digital compared to film. So different looks have different tones. Should one pick a camera based on tone then?
And you say coloring walls can mess up shadows, but since the shadow is darker, shouldn't the same dark shape still remain even though the color is changed? guess not.
So every camera has a different look. Interesting, so that's how it's done in digital compared to film. So different looks have different tones. Should one pick a camera based on tone then?
Art directors will often create "color palettes" for movies during pre-production. For instance, the art director for True Grit selected a certain color scheme for the film, and then made sure all props, costumes, and sets were colored accordingly. Also, a director's use of lighting is essential for establishing a "look", as some people in this thread have pointed out.
H44, can you upload a clip for us to see where the problem is?
I ve already replied to you in my post #9 what you could do. Why are you keep going round and round the problem? Adjust the curves. Thats it