How to Shoot Your Film For The Grade (Or commercial)
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- Опубликовано: 8 сен 2024
- How you shoot on set will greatly effect the color grade you see in the bay. Here are the top ways to make sure you get the most out of what you shoot.
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Cullen Kelly consistently delivers content rich in knowledge, never failing to impress with his video clips.
I would bring up the need for beginning DPs to underestand KEY TO FILL RATIO (which schools don't seem to teach much these days), as well as the need for an EYELIGHT for the actors -- especially in dark scenes -- and when possible, a RIM LIGHT or a backlight to help separate the actors from the background. We can't fake these things in post -- they have to be done on set. Great DPs know all this already. But I deal with far too many young DPs who just "light the room" and don't light the actors IN the room. It's been a problem for 10-15 years now.
Bit more info about this comment. Lighting the room and not the actors is a fantastic way to film if you're shooting an easy scene with minimal blocking, like a bar, dining room or restaurant scene. It means you can move fast without having to relight every time you change slate. Constantly relighting is the easiest way to waste time on set (the whole crew and cast's most precious resource) and never get hired again. You do need to tweak things here and there, bring the key, diff or neg a bit closer. But it is absolutely the correct way of doing things if you're on a tight budget, tight crew, or tight schedule.
Most DPs that I know, myself included, hate a back light if it isn't naturally coming from the scene. In most cases it completely kills the believability of the scene. Three point lighting with key, fill and back light on digital looks like video. Most DPs will shoot, at least on digital, with just one key and something acting as a fill light, extending the key and wrapping the face, like a bigger diff or a bounce if needed. Actor placement blocking relative to the light sources is more important.
If you're shooting correctly, ie into the shadow side, you'll naturally get an eye light, but yes that is important. You'll most likely need a separate light for it if you're doing a Gordon Willis top light or forced to shoot light side
The point of the post was "how to shoot for the grade." From that standpoint, what I said was correct and I stand by it. I've worked in TV for 50 years -- I pretty much know the drill by this point.
I 100% agree with the exposure part. I’ve done editing and color grading from a lot of camera operator a lot of them don’t even shoot in LOG. Often time they underexposed the shoot to save the highlight but then didn’t consider where the skin exposure sit. Once I adjust the exposure often time then skin gonna look super flat.
Awesome video, I was a bit critical at first #fixitinpost lol. But now I see the purpose of monitor luts and the realization that contrast will always increase in post, these two points are golden. Thank you sir
Love this! Especially the gold everyone should walk away with is: “you’re contrast is typically going to go up”
Every video from Cullen Kelly is a new upgrade for me 💯BTW bought the Voyager pro pack and I'm learning to integrate them into my color grading workflow in DWG Node based CM.Thank you so much for the work and effort you put together to help amateur/enthusiastic Film makers/Colorist like me and others 🙏🙏🙏.It would mean the world to me see you grading my footage on I shared on your email in your next video.Thank you.
I would like you to expand on this topic even more. What colorist should communicate with the director , DoP, production designer at the pre-shooting stage to make his work easier in the post-production stage and avoid gross mistakes during the shooting. This is a very interesting topic!
Very good video here esp on the exposure part 2 cameras that come to mind that you can basically mess up the exposure horribly and still be saved is the V- Raptor (X) and the Alexa 35
Would love to see a video exploring the creation of luts meant to be used in camera from resolve for this very purpose. Great video!
I love seeing the progression of the darker videos to this very nicely lit and graded uploaded video. Not that it really mattered based on the content (which is incredible) but I just like that the "set" has evolved over time. Cheers.
Thanks for the love Nicholas!
I know it’s been a while since you put out a video like this, but man, this was amazing! I got a lot out of this video as I am a filmmaker and now I have some really solid foundational elements to focus on so that I can shoot for the grade. More content like this please!
I talk to so many cinematographers that don't consider creating a monitoring LUT and just shoot for exposure, to the point that I thought I might be wrong about the importance of defining the look and making sure the lighting complements the grade on set. It is good to hear from a colorist that this is a better way to shoot and have a consistent images that is more likely to work for the grade.
This was so useful, because I have been running into that with the Voyager LUT pack, where I always thought it was getting too dark, but I think I should take it into account when filming.
Great video! I know you've mentioned also mentioned in other videos exposing the the right and keeping the ISO low. Can we get a long list of more or every factor that we can control in camera that effect the grade? And types of lighting which are favorable to better grades?
Love hearing a colorists perspective here. Great stuff!
So true - my go-to BlackMagic camera LUT is based on your CKC 2383 LUT for DWG, and it works great! Not only does it help with exposure/lighting ratio decisions, but also elevates the shooting experience with a pleasing image on the monitor:)
Absolutely LOVE your videos and by far my favorite colorist. But, I have done work both as a DP and as a colorist separately and I can tell you, you won't ever convince a DP to not use tint to get a better image in camera or keep from getting the gaffer to dim a hot light source in camera. If they suggest the colorist fix it, guarantee they look like an amateur DP to the producers or director. From the colorist perspective, everything you said was spot on. However, when you're on set, all the clients (commercial) or director (narrative) care about it what they see in monitor. They don't have the ability to see what a good colorist can accomplish. So, they 100% will take the time to do all this on set and in camera. "Fix it in the grade" will get your name taken off their freelance list lol
I would be interested in how a Monitor LUT is created. I mean the process between director/producer/camera & colorist. And of course the technical process. 😊
I'm not sure we would be able to answer that question properly in this format, but the short answer is through testing and good collaboration. Bring this over to Grade School and we'll see if we can dive in a little deeper!
Very important topics covered in this video . Thanks for this one .
This one is really valuable!! DP - Colorist relationship is vital to the final look, glad to know some tips on where to focus our attention and what can be safely be left for later.
Fantastic topic Cullen.
Thanks for covering this topic.
As a DP/Colorist the relationship between the two is one of the least discussed, and most important topics because, for me at least, this is where the Colorist’s journey begins..
Looking forward to this one.
So useful!! thank you for sharing this insight.🙏
Hi Cullen, can you make a video about camera tests and camera viewing LUT creation in relation to exposing for middle grey vs. faces vs. artistic choice -- i.e. how moodly films are light and exposed with a certain contrast ration and then pulled down in post? Basically how the viewing LUT is used in relation to contrast rations for lighting and expose and protecting shadows and highlights. I know this is kind of a DP question but integral to color grading.
great advice and insight into the partnership between DoP and Colourist...thank you for passing in your vast knowledge and experience
Solid. The kind of well thought thru info that informs your theoretical and technical decisions.
Thanks Cullen. Dropping more gold nuggets of info.... Good stuff. This topic should be out in front when stepping into film making/content creation/editing world. In shooting live events (weddings), interesting to find a direction prior to the event. Thinking: you should shoot for the most latitude in post. Meaning... I can shoot 2 different weddings at the same location, within a week of each other and the weddings are completely different in vibe, look ...feel.
I think an underappreciated aspect of this is how DP's have been cut out of the grade. I work on mostly commercial projects and while I am sometimes asked to give insight or guidance, i am rarely (if ever) in the room, or on a video call, when the grade is happening.
With this in mind, and with the fact that clients/ agencies tend to want to be excited by "new" looking footage, its a significant problem where you end up grading AWAY from the DP's original intention and what was actually shot. I've seen this time and time again. Of course a good colorist will respect the original footage, but the chain of hierarchy and control has changed significantly over the last 10 years, and agencies will often see the grade as an opportunity to make something new, and with the colorist being hired directly by them, the loyalties are not always with the DP's original intention.
Just a perspective from the other side!
I also want to add that color temperature difference on lighting is something that can be adjusted but for best results should be done on the set. And probably show lut would be really good for that.
Same goes for set design, and especially contrast. If you light the subject with harsh lighting you can't make it look soft with grading. Palette is also something best done on set.
I was going to chat to you about this on Saturday! Couldn't have come at a better time!
Cullen Kelly is my hero
hey Cullen, can u pls make in depth video about exporting from resolve related to color management, tags and everything we need to know about not to have color and gamma shift ?
Cullen can you make this a series? I have been waiting for a topic like this and I am always wondering about the best way to "Shoot for the grade" because I want to shoot with intention. A " Shoot for the grade" series would be very helpful for those of us trying to marry what we do on set to the post process. Especially in situations in which you don't have that much control, so any tips that you can provide on that front would be helpful as well.
Also, in terms of coming up with a look for a project prior to shooting is something I'm sure many people would be interested in. I always here Directors and DP's talking about talking to their colorist ahead of time to create the look of a show/film. So anything you can talk about on that topic would be useful as well.
But yes, more of this topic specifically, please. I don't see other "Pro Colorist" with youtube channels (Not youtubers who talk about color grading) addressing this topic with any amount of depth. Just casual mentions here and there.
Man this is such valuable content, Cullen. Found it very thought provoking, and made me wonder how a DP would interpret this information. What would be really cool, is if you could get your hands on some Roger Deaken raw material (Blader Runner 2049 / Casino Royale at the forefront of my mind here) and see how you'd tackle them with your grading process. Idyllic I know. Loving this content mate!
This is gold. Thank you 🙏🏾
Exactly what I was looking for, thanks a lot ❤
I see the new look
💯
Been a fan for so long. Keep it up
Excellent
Really interesting to hear those points! It'd be interesting to know if you think contrast in the grade is inherently better than contrast being created fully on-set (and therefore not needing any contrast adjustments at the look-dev level). Do you think contrast is better done in the grade because it's easier to shape?
Great video!
Im gonna send this video to my dps from now on the amount of super under expounded images I get is insane
banger as usual
Did you touch on making a 'thick' exposure. which is noise free. Many DPs go for a moody look on set and are actually captureing moisy trash. Moody on set should only be created using a non burned in LUT.
One thikng about these shots.. is how do they fit in a sequence. The 'bottom right' light leak maybe simple to 'cure' in this shot.. but what about the next one in the sequence. In moving from stills to video over the years I find that what I could 'fix' in photoshop from light leaks to fire extinguishers is a bit more tricky to smoothly eliminate over a whole sequence of moving images.
Fix it in post is not my motto. On the contrary: the more things I can do on camera, set, when I’m shooting… the less chance some DIT or colorist will mess with it!
We are the Directors of Photography, you try to stick to grade our images the way we want you to and not go over the lines.
Thanks for your perspective! Though I'm not sure I follow your logic...can't an unskilled or uncollaborative colorist mess up a beautifully shot image just as quickly as a poorly-shot one?
This is why it is better for the director or DoP to be with the colorist to give him precise instructions on what exactly they want. Now, if the colorist has his own creative and artistic desires to satisfy, he can always take a camera and make his own images. (Some directors of photography even have RUclips channels where they teach the different techniques related to this profession).
@@jmbaillard7015 Definitely agree on the importance of having the image authors in the room during the grade. It’s a great way to help ensure your creative intent is realized…which is of course the theme of this video.
2:12 how did you made that circular window into a linear window.?
“My suggestion” and “Watch next” videos in the end titles aren’t showing
What if the last shot given was shot in log? Do you still need to expose darker if you want that vibe? Probably a dumb question and maybe shoot log but apply a lut and use that as your template for post.
the DP could use the same contrast ration or even lower the ratio so the shadows have more information, thus easier to make fixes.
Hello
I just started color grading and I know the basics to some extent
But after the color correction, it is somehow difficult for me to portray a certain look and I stop there
What do you suggest for me?
If I may offer some advice (I know you’re asking Cullen here), I would say that a good place to start is using reference images to define the look you are going for, then you can try to mimic the elements that you favor in those references.
It is difficult to provide someone direction if they can’t imagine where they want to go. References are a great place to find tangible examples of your visual goals.
@@J_HNP thanks for your guidance
Can the Voyager LUT be used in any NLE?
Hey Cullen I bought your Out pack but Didn't receive the Link To download it or does it take days? Help
Iam have been waiting
Pro Lut PAck
❤
guys you have image bending on video lol, just add some grain on top damn
I feel like this could have been even easier in prep to just remove that item from the shot all together lol
With a DIT on set, these shots would not happen in the first place.
Exactly, he’s basically telling people we’ll fix it in post. A good dp will get the correct white balance in camera
The juiciest videos on youtube. CK DONT MISS