Shot Grouping (07:14)
Sam Buchanan discusses his biography including directing "The Lion," shorts, and commercials. "The Storm" is about a family who is trapped in a sandstorm in Great Britain. Ollie Kenchington explains how audience members will realize when images do not match and distract from the narrative of a film; group together all the shots that are similar: wide shots, medium shots, and close-ups.
Master Shots (09:49)
Buchanan describes how lighting communicates the story of "The Storm." Kenchington demonstrates how to start by achieving the correct contrast. FirstLight is an excellent tool in DaVinci because it causes no destruction on RAW footage.
Image Wipe (14:17)
Make a snapshot of the clip in DaVinci resolve in order to compare shots side-by-side. Kenchington demonstrates how to match wide shots as closely as possible using raw values and performing a primary grade using RGB curves and graduated masks. An outside node inverts the alpha channel.
Split Screen (02:43)
This view allows colorists to see thumbnails of different groups or versions for a side-by-side comparison and apply changes. Kenchington believes alterations need to be made on the wood paneling behind the actors.
Comparative Adjustments (10:01)
Kenchington demonstrates how to apply corrections so that an object in different shots has similar brightness, color, and saturation. Compare wide and medium shots to establish continuity. DaVinci Resolve allows colorists to apply grades that affect an entire group of shots.
Simultaneous Contrast (03:07)
Colorists need to have a calibrated reference monitor and understand how to use scopes and apply corrections. A human's brain changes its perception of a color based upon the colors surrounding it. Kenchington explains how occasionally he needs to make a shot look technically wrong.
Buchanan describes the inspiration for "The Storm." Pigments in the eye can become fatigued if they are constantly bombarded with a specific frequency of light. Kenchington describes how he made a shot greener to combat the photoreceptor weariness.
Matching Cameras: Primary Grade (23:16)
Philip Bloom describes his attempt to match a Sony, Canon, and drone cameras without a colorist. Kenchington demonstrates his process using a color chart to help balance a C200 and FS7. Canons are noticeably better in color science than other manufacturers.
Matching Cameras: Tweaks (12:59)
Brett Danton uses the color charts in stills and when he incorporates both HMI and LED lighting. Kenchington adjusts colors to the frame to match a C200 and FS7 camera. Continuity requires consistency.
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