Understanding Color (without all the theory)

Color is emotion Feeling Intuition A tool to convey meaning Consciously... ...and unconsciously. a man looks in a mirror lies down near a TV  stands in a sunlit room drives a car looks   at a book we have no context or explanation  for these seeds yet we hinted at a Feeling   or emotion behind them using Color Guided  by intuition but explained with a minimal   amount of theory breaking away from basic  Theory and even the image itself we're left   with the essence of the feelings color can convey  color itself can mean many things to many people   and emotional responses and judgments towards  certain colors can be dependent on culture life experience and Universal connections to color with this in mind using  color in our work can not only   be based on generally accepted theories toward color but also our own learned responses to color  we focused on lighting the sad seems green as it's   represent ative of what green reminds me of in my  own life and I feel very close to this character   or even our characters learned responses to color  and he was there watching hiding under that stupid   being C on another level color can be used based  on our own intuition if it feels right it's right however we arrive at the decision to use a  particular color in our work utilizing it   in ways honest to ourselves and the  story we're trying to tell can go a   long way to imbuing our images with  the emotion we want our audience to [Music] feel to like the red tone bathroom scene  we started with a pavot tube 15c 2 set to a red   Hue and directed at the back wall we then used a  boom arm pavos slim 12C attached softbox extended   and Grid in place for a controlled pool of light  we set this to the bar bulb effect also in a red   Hue with the parameters tweaked to the intended  look this was raised above where our character   stood and reorientated so we had a good amount  of light reflected from the mirror and onto his face the light on the back wall helps  our image to not fall into total   darkness when the bad bulb effect  on our key light goes to minimal brightness for the scene lit by the blue light  of a TV we again used the pavos slim 120c on a   baby stand angled down softbox extended and grid  attached this was set to the TV flicker effect   with our preferred dimming range speed and  blue hue the light was placed to the left   and slightly above our character emulating  the glow and flicker of a TV the blue hue   we decided to use setting the mood of the  image we also used the second pavos slim   12C with softbox and grid bounced from the  ceiling set to an orange [Music] Hue this   adds a Touch of warmer fill light into  our shadows which blends with our third   light a pav bulb 10c placed in a practical  lampshade in the scene also set to an orange Hue this brings two complimentary colors into  the image leading into the following orange   ton scene we use just one fixture to light this  seam after attaching some gray sheer curtains in   between our existing curtain we used a nanlite  Forza 60c with its compatible fl1 for an L set   to flood raised up and shot through the window  blinds and shears and with the color temperature   set to an extremely warm 2500 Kelvin we create  the look of an early morning or late evening   Sun partially silhouetting our character a fog  machine was also used and dispersed into a haze   lowering the contrast in the scene and showing  our sunlight shining through the [Music] blinds   in the green toned car shot we used a light  camera setup on a suction Mount to film from   the hood of the car and we taped a pavot tube  15 C2 near the dash aimed partially down so   as to not blind the driver which also provided  a little extra bounce light from the interior   surfaces we set the Pabo tube to a slightly  warmer Hue than the ambient street lights and   in the color grade pushed the image toward  green the slightly warmer light from the   tube allowed us to maintain some warmth in the  skin whilst pushing the overall image toward green the shot of our character looking at the  yellow book was simply shot with natural light   this came from the window to the left with  a 4x4 negative floppy flag blocking light on   the right helping to shape the existing light  on the face for the closeup of the book itself   we shap this light further closing more of  the curtain by the window and adding some   more black material behind camera this helped  to keep the light in the room and on the book   from getting too flat helping the already  saturated yellow to stand out even further   while there are objective ways to mix and combine  color for effect the usage of color itself can   often depend on your own preferences and feelings  towards certain Hues and how those feelings align   with the story you're trying to tell with an image  strictly adhering to the generalized connotations   of color isn't always going to be the best way  to tell your story you may need to balance it   with your own subjectivity or intuition to stay  true to your ideas Direction and creative process

Channel: Rob Ellis

Views: 10,160

Keywords: cinema, cinematography, filmmaking, lighting, lighting for cinema a - z, rob ellis, nanlite, nanlux, 60c, evoke, forza, how to, tutorial, lighting tutorial, guide, cinematic, photography, recreate daylight, cineamtography, film tutorial, lightning, 500B II, 720B, subtle, 60B, upstage, short light, cinematic tip, fresnel, color, colour, color theory, complimentary color, pavotube, flimmaking, cinmeatography, bulb, intuition, abstract, pavoslim, 120c

Id: 2PUB0zk_Wls

Length: 9min 20sec (560 seconds)

Published: Tue May 21 2024