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The right color pallete helps tell the story Color Correction and Color Grading will give your production a professional polish. Exposures can be evened out and distracting variances can be removed. Color affects us on a subliminal level: dramas sometimes rely on intense color palletes that help heighten the action, whereas documentary films are usually best served by natural looking images, although lately we've been seeing a number of beautifully graded documentaries. Color Grading can add textures or EFX to alter a scene, or give video a warm, film-like impression. Color Correction and Color Grading are crucial steps in the DI Mastering process A Modulus Color session includes an experienced colorist and powerful 32-bit, 4:4:4 calibrated color system. Throughout the process clients can review the work on an evaluation-grade 900-line 20" Sony CRT tube, or a 27" color-precise LCD screen that displays up to a billion colors. Final assemblies are "screened" at 1080p in the lounge on our "dot for dot" 50" Kuro plasma screen. Our video post suite handles a variety of standard and high-definition file formats, including ingest and output to D-Beta and HDCAM tape in Sony CinéAlta, 4K Red Camera, and Hi-Res video in either Final Cut Pro or Avid project files. Color sessions at Modulus are approached with four goals in mind:
The following are some examples of available Modulus Color Correction and Color Grading services. Please note that the examples below are still frames (not motion pictures).
RESTORE NATURAL COLORRaw film footage, transfers and especially video footage need enhancement to show color accurately. The example below shows a color cast removed from a 35mm Ektachrome blow-up transferred to a DigiBeta master. The mid-blacks have been slightly raised to bring out detail in the backlit subject.
Stlll frame from RIVERS OF SAND by Robert Gardner COMPENSATE FOR UNDEREXPOSED AREASUnderexposed areas can be brought out or ‘unblocked’. Similarly, areas with too much light can be ‘toned down’. Smaller productions dealing with 'run-and-gun' footage will be quite pleased with what we can pull out of an underexposed image once it has been up-res'd to 32-bit resolution and 4:4:4 color space.The Noam Chomsky video interview below was shot verité, on DV, in a cramped office with existing interior light. The original has poor detail in the dark areas and purple skin tones. The color corrected version has healthier skin tone and better realism in the sweater and background.
Still frame from Jeff Silva's BALKAN RHAPSODIES
FILM EMULATION FOR VIDEOThe image below was enlarged from footage from a one-chip miniDV camera. The image was de-interlaced and a film emulation effect was added. The film grain evens out some overexposure problems, removes some of the "jaggies", and lends a kind of 'vintage glamour' to the piece. Note the examples below had been adjusted for color prior to film emulation being added.
2x enlarged detail from Juliana Hatfield music video "This Lonely Love"
VISUAL EFFECTSMore examples, the possibilities are almost limitless.{3 before / after examples}
SECONDARY COLOR EFFECTSAn item, or whole section of a scene can be tracked and have it's color altered.{3 before / after examples}
COLOR PALLETE AS STORYTELLING DEVICEManipulation of color pallete in film has become an important device in storytelling. Yellows give a kind of 'modern vintage' warmth to the Cohn Brothers' OH BROTHER WHERE ARE YOU?. Countless recent crime thrillers use a bleach bypass technique that gives a 'spooky blue look' to urban scenes. In the case of Guillermo Del Toro’s PAN’S LABYRINTH, the color pallette helps orient the viewer to two separate storylines - the main one and the lead character's fantasy. The best results occur when a comprehesive color workflow is spelled out in pre-production. If you'd like to consult with Modulus prior to shooting your next film please contact us.
PROPER BLACK LEVELS FOR VIDEO VS. FILM VS. DVD VS. BROADCAST |
