An Introduction to Color Concepts and Terminology

Oliver Peters breaks down some of the history behind color correcting and grading and the basic terminology.


All of our concepts stems from the film lab processes known as color timing. Originally this described the person who knew how long to leave the negative in the chemical bath to achieve the desired results (the “timer”). Once the industry figured out to manipulate color in the negative-to-positive printing process, the “color timer” was the person who controlled the color analyzer and who dialed in degrees of density and red/blue/green coloration. The Dale Grahn Color iPad application will give you a good understanding of this process. Alexis Van Hurkman also covers it in his “Color Correction Handbook”.

Electronic video color correction started with early color cameras and telecine (film-to-tape transfer or “film chain”) devices. These were based on red/blue/green color systems, where the video engineer (or “video shader”) would balance out the three components, along with exposure and black level (shadows). He or she would adjust the signal of the pick-up systems, including tubes, CCDs and photoelectric cells.

RCA added circuitry onto their cameras called a chroma proc, which divided the color spectrum according to the six divisions of the vectorscope – red, blue, green, cyan, magenta and yellow. The chroma proc let the operator shift the saturation and/or hue of each one of these six slices. For instance, you could desaturate the reds within the image. Early color correction modules for film-to-tape transfer systems adopted this same circuity. The “primary” controls manipulated the actual pick-up devices, while the “secondary” controls were downstream in the signal chain and let you further fine tune the color according to this simple, six-vector division.

Digital Films | Read the Full Article

10 Films That Can Teach You Everything You Need To Know About Filmmaking

Watching film is key to a good filmmaking education. Dave Biggins lists ten films and what you should study to get a head start on your film education.

The Master (2012) Blu-ray Screenshot

Filmmaking isn’t about just pointing a camera at talented actors. It’s a collaborative medium employing the use of sound, music, lighting, cinematography, mise-en-scene, editing, special effects and screenwriting. Every now and then a filmmaker will use one of these filmmaking tools in a style so deft and so innovative, that it inspires, delights and influences all filmmakers that come after it. While not all of these films are equally influential, they each clearly illustrate at least one filmmaking practice that teaches us an invaluable lesson in how films are constructed.

1. Citizen Kane

What it can teach you about: Camera Movement, Camera Angles, Focus, Editing.

While most people enjoy Citizen Kane, many are left scratching their heads as to why it’s often considered to be the greatest film ever made. The reason is because Orson Welles broke all of the rules by placing the camera at never-before-seen angles, and moving it in strange and exciting new ways. He also made great use of a deep focus technique that keeps both foreground and background easily visible.

While the film may not have caused much of a stir in the nineteen-forties, it’s considered by many to be a pioneer of now commonly accepted filmmaking techniques.

Scene to examine: A young Kane is seen throwing snowballs on a picturesque winter’s day. Instead of cutting to another scene, Wells lets the action continue by pulling the camera inside and through a cabin window to reveal the parents discussing the boy’s future. As the camera follows the parents through the scene, Kane is always kept in the background; distant and unconsulted. It’s simple, ergonomic, and (for the time) revolutionary.

Taste of Cinema | Read the Full Article

The Sound of The Hobbit: The Desolation of Smaug

In this exclusive SoundWorks Collection sound profile we visit Park Road Post Studios in Wellington, New Zealand to talk with the sound team of Director Peter Jackson’s The Hobbit: The Desolation of Smaug.

Featured interviews include Re-recording Mixer Michael Hedges, Re-recording Mixer Chris Boyes, Re-recording Mixer Michael Semanick, Re-recording Mixer Gary Summers, Composer Howard Shore, and Producer & Co-Screenplay Writer Philippa Boyens.

Hard-Working Hollywood Extra Jesse Heiman Hopes For Bigger Roles

NPR interviews Jesse Heiman, an extra that has worked on all kinds of big productions but got his break on last year’s racy GoDaddy Commercial.

Jesse Heiman

By his own account, Jesse Heiman is one of the hardest working actors in Hollywood. It’s easy to believe he might be right, as Heiman has appeared as an extra in more than 100 films and television shows, including The Social Networkand Knocked Up. But his big break came during Super Bowl XLVII, when he starred in a racy commercial for domain name registry GoDaddy.

Heiman moved to Hollywood in the early 2000s with high hopes of becoming a star. “I had the dreams of being like Michael J. Fox in Back to the Future, or Indiana Jones. I really wanted to work with Steven Spielberg,” Heiman tells NPR’s Rachel Martin. “I thought he would be my key to everything.”

Sure enough, within just a few months of living in Los Angeles, Heiman was an extra on the film Catch Me If You Can. “Spielberg himself actually came up and gave me some direction,” telling Heiman to stick his face further into a book. Sure, it meant he wanted less of Heiman in the shot, but, says Heiman, “he must’ve found me, and that’s great. From then on, I feel like my career just took off.”

NPR | Read the Full Article

The Ultimate Guide To Getting Your Start In Stock Video

Want to make money with your gear? Consider creating and selling stock video – Ryan E. Walters breaks it down in a 7 part series about the realities of shooting stock.

Stock Footage

In 2006, I joined as an exclusive contributor to iStock and entered the world of creating stock footage. My journey over the last seven years has had several twists and turns. It is my hope that, by following this guide, you can learn from me and make your journey shorter than mine, while attaining profitability in a much more quick amount of time.

When people find out that I shoot stock footage, often times they comment about how “easy” and “freeing” it must be. Other content creators want to know how to get their start and make easy money. Before we get into the nitty-gritty of stock footage, it is important to dispel three myths around stock footage.

“It’s Easy Money”
Stock footage predates the internet, so it isn’t anything new. The increasing speed of the internet, however, does make accessing stock footage easier, and there are more places to sell your footage every day. So, on the one hand, it is easier today to get your content online and selling than when I first began in 2006. But, on the other hand, the ease of submission, and the massive libraries that have sprung up over the last 7 years actually make it harder than ever.

The people who got in at the start and created large libraries are well ahead of the curve. They will continue to generate more income due to the size of their library. That doesn’t mean that it is impossible for you to get involved; it just means that you have an uphill battle. It is going to take time and effort to get noticed. This endeavor is not one for someone who is looking for easy money.

Zacuto | Read the Full Arcticle

Part 2 – Exclusive or Non Exclusive

Part 3 – Who Should You Sell To?

Part 4 – How to Drive Sales

Part 5 – What Content Should I Be Shooting

Part 6 – 5 Crucial Steps For A Successful Stock Shoot

Part 7 – Maximizing Your Post Workflow

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