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Color is a powerful signal in video; it can subtly project emotion, mood, time of day, and location. Learn to manipulate these visual elements in a variety of shots, from interior spaces to outside landscapes, with color grading. Filmmaker, colorist, and experienced editor Simon Walker shows how to simulate a light source and different types of light, and choose an evocative color for your footage to tell the story of a particular location. Plus, learn techniques to change the time of day, the type of room, and the overall mood of a location.
Simon works with Adobe Premiere Pro and the Magic Bullet Colorista II and Looks plugins, but these lessons can be applied to any color correction workflow.
Technically, there's not a lot of difference between the sort of light you get early evening after sunset to the sort of light you get early morning just before sunrise. We seem to have a more romantic connection to early evening and sunset, though. Maybe that's because, most of the time, we're still asleep before the sun rises. But the corrections for both are remarkably similar. Here is the Venice clip of the gondola. And let's launch the looks builder and add a 3-Way corrector, and reduce down the ambient light using the Midtone corrector.
And then, also push the light towards blue because, in the early evening, just like in the early morning, the light is much bluer. We can also bring down the highlights slightly because the highlight are a little less bright. And, instantly, you've got a much more convincing scene. Here it is, before and after. This is a much later time in the day. (SOUND) A finishing touch to this is to desaturate the color slightly because the less light we have, the less color we see physically.
And then, you can continue to just slide down the Midtone luma adjustment to make it later and later and later in the day. As you're doing this, the more you're sliding it down the more you need to compensate by adjusting the Saturation. And another little tweak you can make is that you can change the mood or you can enhance the mood by moving the Midtone Color adjustment over to start to go into blue as well. This is, again, to do with the fact that our eyes see blue more readily than they see red or other colors in low-light conditions.
It's not necessarily that we see things as brightly vivid blue at this time of day. But it is a suggestion to the audience that you are telling them that the scene was shot at that time of day. Here's the original, and here are the combined corrections, which give a really convincing look of early evening. I'm going to press finished and here is what the whole clip looks like. And you correct stuff with match able looks although you work with one single image in the preview frame the effect is, of course, applied to the whole clip.
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