Colour Correction Summary

Richard Jones wrote on 12/18/2008, 6:45 AM

Because of the complexity of the subject I've tried to summarise the essentials of colour and colour correction to serve as an aide-memoire. This can be found on Edward Troxel's jetdv site at:-

http://www.jetdv.com/tts/Colour_Correction_Summary.doc

I know this is a vast subject and that such a summary can never hope to be complete but I hope some of you might find it of use. I also hope it's correct as far as it goes but shall be happy to put anything right and to have any suggestions for its improvement.

The summary was compiled on Word and incorporates a number of tables. It is designed to fit on two pages of A4 paper - I have mine printed back to back and laminated so that I can refer to it easily while working on a project.

Best Wishes and A Very Merry Christmas,

Richard

Comments

JackW wrote on 12/18/2008, 9:46 AM

Handy summary, Richard. Thanks for the good work.

Jack

GlennChan wrote on 12/18/2008, 10:33 AM

Link:
http://www.jetdv.com/tts/Colour_Correction_Summary.doc

Infinite5ths wrote on 12/18/2008, 10:35 AM

Nevermind...the link is fixed now..
--
Mike

John_Cline wrote on 12/18/2008, 10:47 AM

Richard,

Since not everyone has Word, I converted the .DOC file to a .PDF. I can host the PDF on my site, or can send it to you to place on Ed's site. Let me know if your interested.

John

jetdv wrote on 12/18/2008, 11:36 AM

Here's an updated link to a PDF file:

http://www.jetdv.com/tts/Colour_Correction_Summary.pdf

Rory Cooper wrote on 12/19/2008, 12:42 AM

Thanks Richard and jetdv for this

All related stuff most welcome, learnt a lot from your site too

Rory

Grazie wrote on 12/19/2008, 1:00 AM

Rory, and others, what always needs to be asked is "Why?". Why do we colour correct? And again knowing the "why" can often illuminate and direct us to the tool sets we need - or NOT!

I'm always wanting to know the "motive" to do something. Richard's table is terrific, and have given him feedback and on more than one occasion, what would be an additional thingie is the "why". Touched upon in the table, but further pictorial examples of "why" would be a mind-blower.

Grazie

Rory Cooper wrote on 12/19/2008, 1:24 AM

That’s a good suggestion Grazie

I always print the relevant stuff out from many suggestions over here and periodically read through it over again
So hopefully this will be added

Richard Jones wrote on 12/19/2008, 3:42 AM

Thanks for the kind words.

Glad the PDF issue is sorted - thank you John and Ed.

Grazie is right but it would not be easy to compile a "why" chart and I'm not sure I have the resources (or sufficient knowledge either) to produce one anyway.

Richard

farss wrote on 12/19/2008, 5:49 AM

"Why do we colour correct?"

I'm amazed that anyone here would ask such a basic question, what's wrong with these Vegas users, don't they even understand the Queen's English?

You correct something because it's wrong, obviously.

Now if anyone believes what I just typed please stop reading now.

That's the most banal answer and I've made that point because I wish it wasn't called Color Correction because it is way, way more than that. Colour Correction / grading / timing is only a part of a much bigger topic because colour is perhaps the most potent force in an image, it sets the stage on which the story plays out. Yes, we use colour manipulation in post to affect that, we can / should also use colour in front of the lens.

Hullfish covers this well, I'd also highly recommend The DV Rebel's Guide. There's an excellent section on the use of colour in front of the lens to set that stage for the action. Stu Maschwitz explains how limiting the number of colours can change our response to what we feel about the image, by selecting opposing or adjoining colours we can control that response further. This is before the light gets to the lens. Of course then further trickery can be used under the misnomer of colour correction to further shift the viewers emotive responses.

Bob.

lynn1102 wrote on 12/19/2008, 6:17 AM

Although I do very little color correction in normal use, it does come in handy, like in the church when the sun comes out of the clouds or goes behing the clouds. Those blue stained glass windows can be brutal.
My main use is when I do film transfers. A lot of the older film has changed colors over the years. People's faces look like pumpkins and snow is bright blue or purple in the middle of the day. Color corrections make a world of difference and has earned me many praises from clients, especially the ones who saw the original.

Lynn