Color Correction Comparison
So, I was thinking more about my last post and how color correction changes the intent and meaning of a scene. And I thought a visual example might help here. Below I've posted a side-by-side comparison between the original footage and the color corrected version (keep in mind that these are taken from a low-res copy of the film, as the editor has been sending them to me; since he's based in L.A. and I'm in Texas, he's been sending me files via sendspace.com). Anyway, see the image below:
So, you'll notice that the footage on the left is significantly more colorful than the one on the left. Now, I will say that we're in the process of 'dialing back' the effect you see on the right, which is sort of a bleach-bypass look (not familiar with that term? Read about it here - though keep in mind that the link refers to the traditional way of doing it, on film). I think we just went a little too far with it.
Anyway, it was always my intention that this segment of the film would have this look, in part to keep it separate from other parts of the film, and in part because of the bleak nature of the character's outlook. What's interesting to me is how hard it is for me to let go of the original footage. It's too pretty for the character and the story -- but because it's so pretty, so pristine, it's kind of hard to let go of it. The color corrected version is more raw and, well, "ugly" isn't the right word, but it ain't pretty.
However, "not pretty" is right for the film. Sometimes you have to go through "pretty" to get there.
So, you'll notice that the footage on the left is significantly more colorful than the one on the left. Now, I will say that we're in the process of 'dialing back' the effect you see on the right, which is sort of a bleach-bypass look (not familiar with that term? Read about it here - though keep in mind that the link refers to the traditional way of doing it, on film). I think we just went a little too far with it.
Anyway, it was always my intention that this segment of the film would have this look, in part to keep it separate from other parts of the film, and in part because of the bleak nature of the character's outlook. What's interesting to me is how hard it is for me to let go of the original footage. It's too pretty for the character and the story -- but because it's so pretty, so pristine, it's kind of hard to let go of it. The color corrected version is more raw and, well, "ugly" isn't the right word, but it ain't pretty.
However, "not pretty" is right for the film. Sometimes you have to go through "pretty" to get there.
posted by Chris Hansen at 8:23 PM
4 Comments:
yeah -- let it go, man. the image on the right looks awesome. all the warmth is gone. just like in chris' cold, cold heart. gag. but seriously, I like it.
No argument here - I like it, too. It's just funny how you get used to the clear, clean image that you shot...
I wouldn't know. None of the images I've ever shot have been very clear. I think the best camera I ever got to use was a Canon GL-1!
It's partly clarity and partly the color and lighting (both of which are, yes, impacted by the quality of the camera...)
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