Join Simon Walker for an in-depth discussion in this video Composing a day-for-night shot, part of The Art of Color Correction: Color Grading for Locations and Times of Day.
Crafting a day for night look really is an extension of the early evening look.…Where we are reducing the ambient light and we're adding in some blue into the highlights.…This is the shot we're going to correct. Here is the untreated look which was…obviously shot during the day, and this is where we're going.…This is the shot which now has much more of a feeling of night time to it.…So let's just jump back to the first shot, select the clip and open up Looks.…
So the first thing to do is to adjust the colors and the brightness settings.…I'll drag a three way color correction from the subject section.…And I'm going to reduce the ambient light, or simulate reducing the ambient light,…using the LUMA control on the midtones. I'll also reduce the highlights a little,…and I'll reduce or deepen the shadows. So the loomer levels are becoming much…more we would expect. But this is a low-light situation so I…need to add some desaturation. I'll grab a desaturation tool or a…saturation tool and then desaturate. And I will drop the midtones even more, I…
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.
- How our eyes see color
- What colors tell the audience
- Making sure color is consistent
- Applying adjustments in the correct order
- Understanding how warm and cool colors frame emotion differently
- Isolating and adjusting skies
- Changing the time of day with color
- Designing interiors like an office, a hospital, or an interrogation room
- Creating fake depth of field
Skill Level Appropriate for all
Q: Do I need any plug-ins or additional software to perform the color grading work shown in this course?
A: This course demonstrates techniques that will work in any color grading software, including the built-in 3-way color corrector tools in Premiere Pro, Final Cut Pro, and Avid Media Composer. However, the author uses some plug-ins for Premiere Pro in this course. While you can still get similar results with other tools, you may wish to try the same tools used in the course. If so, you can install Colorista II and Looks by Magic Bullet. There are free trial versions of these plug-ins available at the Red Giant website at https://www.redgiant.com/downloads/trial-versions/registration/magic-bullet-colorista-ii/.