Join Simon Walker for an in-depth discussion in this video Making sure color is consistent across multiple clips in a sequence, part of Color Correction: Color Grading for Locations and Times of Day.
It's important to have the same color from shot to shot, so that you don't risk…taking the viewer out of the story. But they're also things that can go wrong…when you're shooting. We've previously looked at the effect of…having an erroneous color orange in the background, and how distracting that can be.…And it can also be distracting to your audience if you got the wrong color…balance on your cameras. I'm using the continuity sequence here,…and I've got two shots. One of which was set up correctly with a…correct white balance, and other one wasn't.…So this white has much more of a blue cast.…
When you're shooting indoors with tungsten yellow lighting, and you have your camera…set to be shooting outdoors where the light is much cooler, then when you shoot…indoors on the wrong white balance, you get this blue color cast.…And it's a common production problem. The nice thing is of course that we can…correct this inside our editing software. A great way to see the difference between…colors on shots is to use the Color Correction workspace.…
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/.