Why paint? The answer is simple, in order to better match the expression of film content in form.

The expression language of a movie is basically composed of pictures, sound effects, synchronous sounds and dubbing. Among them, the picture is the most important basic element, and the different expressions of the picture will greatly change the content of the film. In order to enrich the content of the film, the details of the picture, such as tone, composition, exposure and perspective, should be carefully arranged to form a perfect expression suitable for the theme.

Take hue as an example to briefly understand its important role in film production.

In the original video material, the picture is mainly neutral so-called "standard" primary colors. Pre-shooting mainly controls the exposure, white balance, composition, angle of view, motion and other basic indicators of the picture. As for the color tone, there is often no adjustment and setting in the early stage. Try to provide "standard" shooting in the early stage, because different scenes and atmospheres may use different picture materials in the later stage, and it is impossible to judge all the requirements and operations of post-processing in the early stage. Therefore, it is more important to grasp the more difficult links in the later stage, such as composition and exposure. Only when the white balance is accurate can the color tone be provided. Of course, white balance such as night scene simulation and sunset rendering is also preliminary work, and the color temperature of hue can be changed appropriately to make it meet the requirements in the later stage. Do what you can in the early stage, but don't change too much, because it will bring trouble in the later stage.

After the shooting of the previous material is completed, in the later computer room, the producer will understand the director's intention, determine the tone style according to the film style, and make primary and secondary color correction on the previous material, with the aim of making these "dishes" into different flavors, which depends entirely on the cooking skills of the "chef". If a dish is composed of color, fragrance and taste, then the color matching in the later stage of film and television is one of the visual elements, and the rhythm and montage editing techniques of the film are the taste of the film. Color matching can arouse the audience's mood and even change the style of a movie, which will play a decisive role.

Physical properties of color

If a movie doesn't have color matching, or the color matching is incorrect, it will be greatly discounted visually, and the picture that could have affected the audience's mood will also fail because of the dull color.

Or, the color scheme is too exaggerated and casual, which makes the picture that should be peaceful appear abrupt and artificial, which is also not allowed.

Qualified color matching should be completely in line with the theme of the film, tepid, not exaggerated and not showing off.

The film without color matching is a rough semi-finished product, the film with incorrect color matching is half waste, and color matching is also a double-edged sword. Too much is not enough, just right.

The first step in color matching is to have a deep understanding of the properties of colors.

Color is the result of reflection of light on different media. Different materials have different chromatographic absorption of light, which leads to different color performance. In essence, except for the sun, lights and other illuminants, general objects are colorless, and it is the different reflection ability of light that produces various color feelings, and the physical properties of these colors will also change with the intensity and angle of light.

Although we can change the color by white balance shift, it is not a good way. The change of white balance is obtained by the incorrect restoration of colors by the machine, and its side effect is that the restoration deviation of some colors may be too large in real environment, and even serious noise may be produced. The color distribution should be arranged reasonably in the early stage of illumination, and the physical properties of light should be changed by means of different illumination angles and intensities, increasing or decreasing different color temperature filters and so on. , so that the camera can be in the standard main color temperature range.

Light is determined by hue, saturation and lightness as a whole.

Hue is an attribute that distinguishes color from other colors. Although the colors in nature are extremely rich, the media we watch movies are far from restoring so many colors. In the early stage, the camera can record a very high color gamut, while the TV and other media can only accept 8-8bit colors, which means that the hue in the early stage is very rich, but in the later stage, it only provides more controllable range, and the color gamut that can really be appreciated by the audience is compressed a lot.

Saturation, simple understanding is the size of color density. The saturation is too small, the color is dim, and it lacks enough color impact. If the saturation is too large, it will show obvious color visual stimulation, making people feel the power of color more strikingly. But if the saturation is too high, it will produce obvious noise to the dark color. This noise interference is the bottom line of video color matching. In the process of dealing with saturation, we should not only maintain a certain saturation, but also approach the threshold of no noise.

Brightness is a kind of purity and transparency of color. Brightness makes the color clean and accurate, while low brightness makes the color a little confusing. In color matching, there is no need to pursue all the colors with high brightness. When the subject needs high brightness, it is inevitable to compare it with the low brightness of other auxiliary objects. Light plays a key role in color brightness, including strong light, high brightness, weak light and low brightness. We must make full use of the lighting and change the brightness.

Subjective function of color

Besides its physical properties, the subjective role of color is more important in video production.

The so-called subjective function is what kind of influence a color can have on the audience's vision in the picture, thus affecting the audience's psychology. Color is sometimes a psychological illusion, which has a deeper influence on the audience after visual stimulation.

In reality, we often see different business environments and different colors, similar to film and television production. For example, we feel that most hotels and restaurants use warm lighting to create a safe, warm and relaxed feeling. In a hotel, it can stimulate the appetite of diners. In cold drinks shops and other environments, cool colors are mostly used, emphasizing refreshing and calm subjective feelings.

Generally speaking, warm colors will announce that the picture is heavy, reliable, full and calm. Cool colors will present a quiet, empty, distant and clear visual experience. In this way, in terms of color matching, it is necessary to adopt appropriate cold and warm tones according to the film's style, and even through the contrast and contrast of cold and warm tones, to further strengthen the subjective visual experience, so that the audience can be subtly influenced by the film's tone, thus effectively conveying the film's ideas.

For example, the cold night is quiet, and the snow returns to people at night. Suddenly, a warm light appeared in the picture. No matter how small the warm color is, it is still very conspicuous in a large area of cool color, and the audience will be attracted immediately. In this way, the warm colors will continue to expand. Finally, when entering a completely warm room, the warmth, attraction and desire of a family will be greatly enhanced, and the role of cold and warm colors will also be greatly enhanced.

We must be good at using cold and warm colors, general news and the like, which can be restored by standard and objective natural colors instead of subjective artificial colors, so as to better reproduce the truth. Documentaries and feature films can adopt a color scheme based on one color tone according to the overall style of the film. Whether it is the nostalgia of warm color system or the observation of cold color system, it must be determined before post-production. Appropriate addition of cold and warm contrast can highlight the theme, but it is still necessary to give priority to one color tone, and cold and warm colors should not appear repeatedly, so it will be too late, and it must not be used repeatedly by a means, so that the role of theme tone as the commander-in-chief of the whole film will be lost.

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