Join Simon Walker for an in-depth discussion in this video Introducing fresco and Early Renaissance, part of Color Correction: Artistic Color Grading on the Timeline.
The technique known as fresco, which originated in the early Renaissance, was a way of painting onto wet, white plaster, of which, the most famous example is the ceiling of the Sistine Chapel of the Vatican in Rome, which was painted by Michelangelo. We can see this effect by having a look at the painting itself. Included with the course, there is a PDF which contains online links to the paintings I am going to be talking about. So, I encourage you to open up the PDF, follow the links and have a look at them.
So, in this section of movie is about the early Renaissance, as well as looking at details from Michelangelo's Sistine Chapel. I'll be talking about Fra Angelico's the Annunciation and the famous The Birth of Venus by Botticelli. Looking at frescos can help us see how the artist of the early renaissance were aiming to produce an image with vibrant color, but with a muted look, which often enhances the religious nature of the images. So how can this help when preparing to shoot video.
Well, shooting flat with even contrast and lifted shadows, we'll give a perfect base to then apply color correction adjustments. Flat contrast gives you more options when grading. You can, of course, adjust your camera settings to shoot with lower contrast, but some cameras are set up to increase the contrast automatically when you shoot, creating darker shadows and brighter highlights. You can switch this off in the camera settings, but even if you've shot with high contrast, or your dealing with footage that you didn't shoot yourself, you can still adjust and smooth out the contrast as part of the grading process.
Over the next three movies, we'll have a look at what sort of moods are suggested by low and high contrast, how to simulate shimmering light, and how saturation can have an impact on the story you're telling.
- What is a grade?
- Starting with contrast and color
- Observing Michelangelo's approach to high and low contrast
- Accentuating highlights in the style of Fra Angelico
- Working with Leonardo da Vinci's limited palettes
- Using chiaroscuro to increase tension
- Changing the mood of a scene with light and shade
- Applying colors to complement skin tones