what actually is) Film look (of the depth of field apart, or what is so special s.den colors? I see many movies, but can see no common denominator in the colors, because the films are now in color very differently. Is there a "rule" that determines when the film corresponds to a color look, or is it just a feeling?
Antwort von directorpfphotography:
So: The best you invite to you so that the famous "film look" plug-in for your NLE. Then you can straight to Hollywood ...
But in all seriousness: Check a list of your question again and you'll probably realize that the article is rubbish. "Film look" (I hate that word and it should never have been put into circulation in order to protect us from such problems to ...) is to identify not only s.der Color. Surely you realize right away if you compare your home videos with a purchase'DVD, right? Of course, synonymous Farbstimmung used to achieve a desired effect in the film, but this is only one of dozens score ... By a suitable camera, well-posited light, talented actor, accurate Kadrage, the precise and perfectly timed cut, the reduced depth of field so because they (will) and so there are more decisive points in the eye of the beholder a sense, a "film 'cause see, and not a "video" to.
Well, so much to do so. To your question: There is no obsolescence for THE "film look". In principle, the color tone should be just one of many means to convey a particular feeling.
In other words: Typical colors for THE "film look" are yellow, brown, orange, green, blue, black - white, lilablassblau should be pink pig, or indeed any other color that you (in your "film" it for one and not a home video With cool Cineflair ...) feel about as suitable to give you the choice of impressions.
Antwort von deti:
I think this article describes the thing with the colors very well: http://www.slashcam.de/artikel/Basics/Basics-Color-Grading.html
Antwort von pardalis:
Thanks for the advice.
Antwort von mmohl:
A few "rules" already exists. Look at this s.besten the following video tutorial: http://www.redgiantsoftware.com/videos/redgianttv/item/23/ And this article: http://www.slashcam.de/news/single/Farben-die-man-kennt---Memory-Colors-8218.html
Also remember that not only the film (ideally!) 256 levels of brightness and has 8-bit video and also get a larger aperture size. Long story short: video veer towards the left Pisa tower version, film tends to the right (here, HDR, High Dynamic Range). zum Bild
Zum Verständnis: Mit großer Wahrscheinlichkeit wäre die korrekte Belichtung für den Turm eine Aperture 5.6, die des Himmels eine 22 gewesen. Heißt, der Himmel ist um ein Hundert- bis Tausendfaches so hell, and um das noch halbwegs aufzuzeichen dürfte die Aperture nur noch 1/16tel Licht durchlassen. Auf eurem Computermonitor (8-bit vermutlich) ist er trotz - was weiß ich - 1:10.000 Kontrastumfang lediglich etwas heller. Die Gradation wurde skaliert, die Zeichnung ist geblieben.
Schlimm synonymous bei Video : Überbelichtung. Im Film wird´s einfach weiß, die Color. Im Video ist synonymous Weiß, aber Suddenly, it's not a bright color, it is NOTHING, mas blanco no se puede, to put it with Ariel too. Exposing such that all image areas are within the spectrum, so that the asphalt, the jeans, face the cloudy skies and no extreme brightness values and thus in the video drawing all still have (the Picture and has low contrast), has been in the postpro degrees of freedom to the extent that this is closer to their own video s.der Bond DVD. How does it work? Lighten dark areas and bright areas darken (shade or ND)-graduated filter.
Also: White Balance, making for optimization of the color.
Also: No digital sharpness (camcorder menu: sharpness) completely out.
Saturation is also below the average values (if it's a bit too pale looks, is it correct) precisely.
Effectively posited light, expressive set, good costumes, masks, performers with charisma, but neither shallow depth even blockbuster Grading: Still Hip!
No light concept, uncaring or not recognizable Mise en scène, but DoF and Magic Bullet: But Shame!