By Ashley Kennedy | Wednesday, October 22, 2014
For newbies, the process of secondary color correction may be reduced to references to the movies Pleasantville or Sin City.
If you’ve seen those movies, you know what I mean; selective colors emerge dramatically from a mostly black-and-white world.
While this may be easiest to understand with such stark differences in color palette, secondary color correction is actually a great tool any time you want to perform color replacement—and most of the time, you’re dealing with much subtler adjustments.
Simply put, it’s when you isolate a range of color, saturation, and brightness values and make adjustments in only that range—with minimal or no effect on the remainder of the color spectrum.
In this week’s Video Post Tips Weekly tutorials, we’ll take a look at how to perform secondary color correction in both Premiere Pro and Final Cut Pro X.
By Patrick Inhofer | Thursday, July 2, 2015
In the history of the Indianapolis 500, Al Unser is in the top three of career Starts, Front Row Starts, Pole Position, Laps Led, and Wins. But do we refer to him as a driver—or a racer?
As a professional colorist and colorist coach, the question of which term to use—color correction or color grading—feels to me like the Al Unser question.
Over the past few years, the answer to the color-grading-vs.color-correction question has changed among professional colorists. I’ll show you what each term means—and how to color grade like a colorist.
By Robbie Carman | Tuesday, November 11, 2014
When it comes to setting contrast in a shot, DaVinci Resolve has a lot of tools you can leverage.
Some popular tools like curves, the primary sliders, or the 3-Way contrast rings are generally pretty intuitive.
But there are two controls in Resolve that I use all the time to set contrast—and until you’ve had someone explain them and see how they work together, they can remain an enigma.
So let me introduce you to the Contrast and Pivot controls as a powerful way to set and adjust contrast.
By Robbie Carman | Friday, January 10, 2014
Explore DSLR Video Tips at lynda.com.
Feeling left out with our recent episode on creating film looks with Apple’s Final Cut Pro X? This week Rich and I will switch apps and show you how to use Adobe Premiere Pro’s color correction and effect features to give your video footage that dramatic “film” look. And just like before—it all starts in post-processing.
By Jan Kabili | Wednesday, November 13, 2013
You can quickly remove dust spots and unwanted content from your photos with Lightroom’s Spot Removal tool. These tips will help you make the most of the tool.
1. Get help visualizing spots
When you’re viewing a photo on a small screen, you may not see all the tiny dust spots that can show up later in a print. Use the Spot Removal tool’s Visualize Spots option to locate subtle spots, like the dust on this window.
By Jan Kabili | Tuesday, November 12, 2013
Lightroom presets are a popular way to add great looks to your photos with just a few clicks. You can apply any of the presets that come with Lightroom or install third-party presets. When you’re feeling creative, make your own unique Develop presets by following these simple steps:
1. Adjust a representative photo
Open a photo into Lightroom’s Develop module, and adjust the image to the look you want using any of the controls in the panels on the right. For example, I’ve set the controls in the Basic panel to give this portrait a grungy faux HDR look.
By Nicholas Brazzi | Thursday, June 13, 2013
Last week, I wrote a blog post explaining why I find color correction so exciting, and why it’s often overlooked. Now it’s time to dive into the Art of Color Correction.
Simon Walker’s new course The Art of Color Correction: Artistic Color Grading on the Timeline looks at color correction as a storytelling tool and asks the question: How can color corrections help you communicate an emotional message? To answer it, Simon turns to people who built their life’s work around studying color, light, and shading—artists like Renoir, da Vinci, van Gogh, and even Edward Hopper.
Taking inspiration from some of the best painters in history, this course offers tips on deciding which color palettes and lighting schemes to apply to your video or film. Find out, for example, what you can learn from Rembrandt’s chiaroscuro technique to create tension in a scene.
The course starts with early Renaissance frescos by Michelangelo and Botticelli to demonstrate color saturation and contrast. Next it jumps to the heart of the Renaissance to learn how to work with limited palettes as da Vinci did, and create rich theatrical looks like Rubens. Visit with Impressionists Renoir and Degas to play with sunlight and shadow, and then create some romantic color styles. Finally, consider the work of colorists Picasso and Hopper to see how colors can affect your story.
We think you’ll enjoy how this course explores the history of visual art to help you make strong, effective decisions about your video and film production style.
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By Nicholas Brazzi | Thursday, June 6, 2013
As a video editor, I find color correction one of the most exciting areas of video post-production. I consider it an invisible art—vitally important, but most viewers have no idea that it happens at all.
So what is color correction, and why is it so important? The easy answer is that it’s a manipulation of the color in an image during post-production. Usually color correction is performed to maintain a consistency in color tones throughout a film or video. But very often, manipulation of color can also be used as a storytelling device. Films like The Matrix, Traffic, and O Brother Where Art Thou? are great examples of films that used a unique color treatment as a major storytelling element. Color correction is a standard process in filmmaking and video production, and easily as important to a production’s quality as sound and lighting. The lack of color correction is a common reason that amateur video can look low quality or unfinished.
Like most tasks in video production, color correction requires practice and planning. How do you learn it? First, learn to color correct for consistency across your project. Chances are, you didn’t shoot all of your scenes at the same location, time, or with the same lighting setup—and as a result, the color tones in your shots may be different. I recommend starting with one of the many courses on lynda.com that cover color correction and editing applications (listed below).
Next you should learn to create specific creative styles with color correction. Although the courses listed below get into stylistic topics, they focus mostly on software tools and correcting for shot-to-shot consistency. So I’m pleased to announce that next week we’ll be launching the first course in a new series titled The Art of Color Correction with author Simon Walker. Simon brings along some high-profile teaching partners: Da Vinci, Van Gogh, Renoir, and Hopper. I hope I’ve piqued your interest. I’ll post again when that course releases; until then, check out one of the courses below to prime yourself for The Art of Color Correction.
Color correction toolsPremiere Pro and Adobe CS users:
• Up and Running with SpeedGrade
• Color Correction with Premiere Pro CS5.5
• Premiere Pro: Color Correction and Enhancement
Final Cut X and Final Cut Studio users:
• Color Correction in Final Cut Pro X
• Color 1.5 Essential Training
Avid Media Composer users:
• Color Correction: Creating a Polished Look in Avid Media Composer
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