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Gelber Filmlook - aber weiß soll weiß sein

Gelber film look - but white is white



Frage von mleko:
Februar 2009

Hello
I'm just tinkering s.Filmlook for my film.
Today I heard Benjamin Button in movies seen, and I liked this yellow scenes in film ... So I downloaded the trailer and tried with AE as the colorful style ..
Here is a sample photo:
zum Bild
above the bottom of my movie trailer ..

with the color, I am almost happy (maybe even little green off)
BUT: when you see the man below, that his shirt is white - and the rest yellow - so how do I like the frame of the photos in the top image so that so that they are white, but the rest a bit yellowish?
in my film plays another type with a white shirt with that but now is yellow - there is a trick, as we know it knows synonymous, but the rest einfärbt something? perhaps with a Colorkey?

thank you - greetings and love
mleko



Antwort von MarcBallhaus:

With AE badly because there are no 3-way correction there. Normally you would just push the middle to yellow and ready. With Color is a breeze, but synonymous with each other 3W correction. Get Colorista times of Magic Bullet, then go into AE synonymous easy.

In AE you can really only do with a Tontrennung, is much more complicated. In principle, a Luma Key, the middle soft extracts, this area will be colored yellow and by multiplying with the original composed.

But your picture is missing one more thing: Bleach Bypass. The video brings the look out and make sweet video pale skin, cinematic skin. In AE with 2 effects about to accomplish: First Curves for anknacksen of contrasts, then CC Compose mode with "Color". Then synonymous pointless drawings in the black away.

MB



Antwort von mleko:

I got me a demo of magic bullet looks loaded ...
How do I set the bleachbypass properly?





Antwort von MarcBallhaus:

Bleach a right exists in AE not to proceed with the CC composite is rather a workaround. Natress Film Effects Bleach has a right, it costs 69 USD or so, but the workaround does it actually synonymous.

So again, Levels: 1 Effect, then you crack a bit depths, so that the black is no longer distinguished. Highs only so far that light sources 100%, not more, from the looks cheap. Next Effect is CC Composite. Here the mode to "Color" are. Done.

MB



Antwort von mleko:

thank you - I'll try ...
we have so much invested in the film, as do 60usd "of a herbaceous ned fat";)

hab mal den neg.bleachbypass of magic bullet looks made, but I desaturated the image only - because the money is completely lost.

werd mal work around the sample.



Antwort von MarcBallhaus:

Nothing else makes a Bleach, you have the colors bleach drauf AFTER the pack, not before. But it looks from filmic, organic. Poste doch mal the raw image ...

MB



Antwort von mleko:

the raw data are in the office - today is not more - will post tomorrow ...
thanks for the help



Antwort von mleko:

Soda!

Here are the images: zum Bild



Antwort von Chezus:

took place in the top of her yellow tinge but better synonymous wenns was only yellow.

Würd more purely yellow pack



Antwort von mleko:

"Chezus" wrote:
took place in the top of her yellow tinge but better synonymous wenns was only yellow.


the last image is the original image, because marc ball home meant that I should have time to post.

that with the money to pack is a matter s.sich - I have 3 monitors and an old tube monitor - and the picture looks different - the monitors have farbkalibriert but it always looks different from



Antwort von domain:

With a normal Dreiwegefarbkorrektur is how MarcB. said, quite simply. First Saturation to zero, then the middle of the SW-blue image by minus and plus red and green where the yellow-green field move up suits. Lights and shadows remain neutral.
Then again very subtle saturation, so add color.
And not for each individual clip, but for an entire sequence, otherwise yes you crazy.



Antwort von domain:

"domain" wrote:
With a normal Dreiwegefarbkorrektur is how MarcB. said, quite simply. First Saturation to zero, then the middle of the SW-blue image by minus and plus red and green where the yellow-green area to move it suits. Lights and shadows remain neutral.
Then again very subtle saturation, so add color.
And not for each individual clip, but for an entire sequence, otherwise yes you crazy.




Antwort von mleko:

haha - I'm moving now.
The film lasts 30 minutes and I have about 300 tracks in AE;)



Antwort von domain:

Yes then stop playing him at first with the correct colors and make the final color correction for the entire video. The style is probably yes for the whole video are maintained does not it?



Antwort von mleko:

yes yes ..
to a new: (



Antwort von MarcBallhaus:

replace the post, please look through original size ...



Antwort von MarcBallhaus:

"domain" wrote:
With a normal Dreiwegefarbkorrektur is how MarcB. said, quite simply. First Saturation to zero, then the middle of the SW-blue image by minus and plus red and green where the yellow-green area to move it suits. Lights and shadows remain neutral.
Then again very subtle saturation, so add color.
And not for each individual clip, but for an entire sequence, otherwise yes you crazy.


Not so lazy, please. Always per clip, everything else is Stümperei! ;) But as I said, only by 3W get the feeling no video out. But not in AE, AE is not worth for Fabrkorrektur, nimm dir was correct, such as Color.

MB



Antwort von mleko:

zum Bild

Here the original image



Antwort von Chezus:

If he always says that he has dozens of tracks, go I'll assume that he is on top of each other are synonymous, effects and crossfades druff, maybe even slow motion, etc., then he will surely be crazy if it exports must prepare for Color .

A simple workaround is available because, unfortunately, not yet, because you have each cut, the color does not predict rausrendern tastes.



Antwort von mleko:

I have no slow motion or any games this - this is a classic film. just stop yellow;)



Antwort von Chezus:

well, then go with the thing in color. This will be your target (with bissl Incorporation) reached!

Then there is Kaas bissn!



Antwort von mleko:

ok - then look at the uni-drive, and color to my mind lead ...
something tells me that there is still a laaaanger tag is;)

thnx



Antwort von MarcBallhaus:

"Chezus" wrote:

A simple workaround is available because, unfortunately, not yet, because you have each cut, the color does not predict rausrendern tastes.


What kind of a workaround? Color does not need a workaround, only proper handling. The classic color correction works s.fertig cut film, not with the slices of the film. You should here the supposed integration of Final Cut and leave aside to reflect classical works, and it looks like this:

1. Film rendering, s.besten after ProResHQ, not animation codec, which paralyzes the whole system

2. Export File in Final Cut Pro

3. New sequence with export file, codec synonymous here ProResHQ without modification of something

4. Intersections and find exactly frame set

5. Send s.Color

6. Color correction in Color

7. Make sure that color is the same codec is set Deinterlace from - unless it is needed. Broadcast Safe on. Resolution16 bit.

8. In Color Rendering

9. Send s.Final Cut Pro

10. You're on Cinemascope? Then in the Color of the sequence sent here until the cache scope drauf pack

11. In Final Cut Pro Final rausrendern film.

If you then make changes name, you can at any time in the absence of color slices and render directly to point 11 on the go without re-send, as every time the render files will be overwritten.

With this way of working feels incredibly Color "easy" to slow it will be balanced if you want a cutting project in Final Cut Pro s.Color sends and Color to multiple source files must be accessed. Also the rendering time in the second case x times longer, because color is not only renders the required areas, but everything.

MB



Antwort von MarcBallhaus:

and so I would probably do .... happened

1. Bleach
2. Increased focus
3. Diffusion in the highlights
4. Lamp lighter
5. Light direction with Vignette Supports
6. Yellowish light cone in the middle, blue in the highlights
7. Outside of the cone turquoise
8. Contrasts slightly

Duration: 5 min;) ... Common, I know, but over time you can also effect a few trees, which are universally applicable. But what you need is a color monitor, the times you should at least> 1,000 EUR account, but rather the double.

MB



Antwort von mleko:

nice nice.
thanks for the tips - with the blurring is so ne sache, because I've moved kamera ... naturally look blurred in the image always good - only for the whole film constantly mask - bläääh ..



Antwort von MarcBallhaus:

That with the blurring is only one example, but you need to mask anything anyway, each snippet - at least when it should be decent. Only in this picture are 3 vignettes. None has claimed that there is no work, except for domain;)

MB



Antwort von Chezus:

learned something;)
I did with Color yet not too often because I worked the last few months almost exclusively to work with After Effects, without videos.

However, now cut back to working on me and since I will be the workflow times assume 1:1

Thank you in advance for this!

Apple advertises like to stop in the same way as Adobe: 1 production line, without rendering. Easy "send to" and the world is intact.

So we tried this workflow obviously desperately in reality, since the film is obviously not appropriate rausrendern will eventually advertise for that which you do not need ...

To point vignetting and blurring: style is a nice way personally I like unsharp masks, however, less. A matter of taste ...



Antwort von PowerMac:

My attempt:



Antwort von B.DeKid:

Hui a photo ;-)

..................

Original
parse - Brightness and Contrast set somewhat high - hue saturation s.passen - blank Ebbene - hue of the face using radial course with transparency at the lower right corner basket --
Radial course weaken - both Ebbenen together - adjust hue saturation - finished ;-)

MfG
B. DeKid



Antwort von mleko:

hey hey!
it is enough already!

just wanted to know - as I know keep on building!



Antwort von domain:

For no good from your picture B.deKid. You notice immediately that since some of the Lighting and the Color ago can not be true. The same lamp is blue in the background and images on the gelbgrünliches woman. Easy to forget, what a pity for the effort.



Antwort von domain:

..



Antwort von MarcBallhaus:

I think the picture of the trailer is not really good, honestly. The sharpness is great, clear, comes probably of celluloid and 4:4:4 sampling. But in the grading because what is wrong, because the woman has red spots, which is very next time I find ...

@ B. DeKid ... äh näääää;)
PowerMac @ ... something unmutes to German!

MB



Antwort von mleko:

In the movie's perfect!



Antwort von domain:

Forgive the first price s.MB, the picture has really s.meisten mood and message. Generally interesting, so everything is possible, I do not know yet synonymous.
But damn it all, so much so post cost far too much time because I would rather have something with the recording of specific work.










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