We’ve all seen films and shows with an eerie green or dramatic warm tint/ theme—something that drives home the tone, look and feel of the story.
These different atmospheres, and many more, stand as monuments to the film and video colouring process. In the postproduction process, colour is done through colour correction or colour grading, but colour correction and colour grading are, in fact, different.
The basic science of colouring, though, lies in effectively colouring your footage keeping in mind three main interconnected tasks: establish picture profile, colour correct footage, and colour grade footage. These steps come with their own sets of microtasks, and with their own specific orders.
The result of a finished video or film comes from a combination of both colour grading and colour correction, in tandem with one another. It’s all about the way they are concocted to generate the required vibe. It’s the difference between ‘add sugar’ and “add 50 grams of sugar in the pan, heat it till golden brown, add water and let it chill.” Getting the drift?
Colour correction refers to the process where each clip of footage is altered to match a consistent standard of appearance. Basically, correcting problems of the underlying image by balancing out the colours, making the whites appear white, the blacks appear black, and making sure that everything is even. The goal is to match the video footage to a standard that would be an accurate portrayal of how the human eye would view it.
An example of this is when you’re shooting outside over the course of the day. During the day, the quality of the sun is going to change, and certain shots of your video will not match up. That’s why colour correction is important, as it will make your video look like it was all shot at the same time.
The basic science of colouring, though, lies in effectively colouring your footage keeping in mind three main interconnected tasks: establish picture profile, colour correct footage, and colour grade footage. These steps come with their own sets of micro-tasks, and with their own specific orders. The result of a finished video or film comes from a combination of both colour grading and colour correction, in tandem with one another. It’s all about the way they are concocted to generate the required vibe. It’s the difference between ‘add sugar’ and “add 50 grams of sugar in the pan, heat it till golden brown, add water and let it chill.” Getting the drift?
Colour timing is used in reproducing film elements. ‘Colour grading’ was originally a lab term for the process of changing colour appearance in film reproduction when going to the answer print or release print in the film reproduction chain. By the late 2010s, this film grading technique had become known as colour timing and still involved changing the duration of exposure through different filters during the film development process. Colour timing is specified in printer points which represent presets in a lab contact printer where 7-12 printer points represent one stop of light. The number of points per stop varied based upon negative or print stock and different presets.
Continue reading your story on the app
Continue reading your story in the magazine
Convergence India 2021 is back with its phygital version
Sony's OLED reference monitors honoured with Emmy Award
Sony Electronics has been named a recipient of The National Academy of Television Arts & Sciences’ (NATAS) 72nd Annual Technology & Engineering Emmy Award.
NewTek introduces ProTek; product support tailored to customer needs
NewTek, provider of IP-based video technology, has announced the introduction of ProTek, a new tiered support program that allows customers to choose between four distinct levels of coverage, to include; Basic, Standard, High, and Ultra. Each tier incorporates support elements under Warranty, Software Maintenance, Technical Support, and Extended Services.
Vizrt Newsroom provides journalists to full-power content creation tools
Vizrt, a provider of software-defined visual storytelling tools (#SDVS) for media content creators, has announced Vizrt Newsroom, one of five software Solution Suites made available exclusively through Flexible Access.
Triveni Digital brings localised NextGen TV content to IEEE BTS PULSE
Triveni Digital announced that the company’s SVP of emergent technology development, Mark Corl, presented on how single-frequency networks (SFNs) are empowering ATSC 3.0 broadcasters at the IEEE BTS PULSE virtual conference.
With cyber threats on the rise, security becomes more imperative than ever before
Media Production & Technology Show postponed until May 2022
After carefully monitoring the progress of the vaccine roll out in the UK and abroad, the organisers of the Media Production & Technology Show have announced that the event has been postponed until 2022. It now will take place from 11th to 12th May, 2022, at Olympia and for the first time will be held in the National Hall.
Dolby to be honoured at the upcoming Technology & Engineering Emmy Awards
The National Academy of Television Arts & Sciences has announced that Dolby will be honoured with a Technology & Engineering Emmy Award for its contributions to Dynamic Metadata for optimal high-dynamic-range (HDR) and Wide Color Gamut (WCG) color volume mapping, at the upcoming 72nd Technology & Engineering Emmy Awards.
Kolkata Knight Riders Selects LiveU Solo For Digital Content In IPL 2020
With COVID-19 changing the entire dynamics of sports, the Indian Premier League (IPL2020) was held without spectators for the first time in history.
The World In Your Palm
Live event production has undergone a facelift in the wake of the new normal