Can we have another shitty hollywood color grading thread? top is original bottom is fixd
It's been proven light blue and orange are attractive to peoples eyes. Which is why all superhero movies essentially have a blue filter over them with a bright orange sun rise/sun set.
You realize why they did the heavy orange when you see some of the un-graded scenes where all the digital splicing stands out even more than it already did, looking completely terrible.
Exclusively practical effects (read: the original mad maxes) don't need extensive color grading because, holy shit, shit is actually real and actually in the same place as all the shit on screen, subject to the same lighting, thus it doesn't need a filter to make everything look similar.
>its bright and sunny
>its fucking freezing
>its dim and overcast
>I already know its cold so I prepare accordingly
Of course they could just pander to their current demographics and have a little "weather" icon on the screen at all times to tell us that is is, in fact, cold. And make sure the characters check their phones to find out things like "is it cold."
Then you know you can color grade those specific things to make them blend in more rather than slapping orange all over everything. In all honesty if you're going to color grade it that much just go balls deep and make the whole movie monochromatic orange.
Colours are used to empahsise something, like in OP's example, coldness.
The grey washed out one that was in Edge of Tomorrow (an example used in an earlier thread), was to emphasise the lack of hope, and general bleakness of the situation.
A better example of this second example is Saving Private Ryan. It would be odd if they were all looking natural with red rosy cheeks.
Is it the way things work in real life? No, but movies aren't real life, so deal with it.
That's basically what they did in fury road, though.
Everything is hyper orange because basically everything in a shot came from different lighting source, so instead of trying to match everything, they just went full orange. Mostly because they'd have so many people working on the separate digital effects they needed some sort of per-arranged color grading scheme in order to keep the color grading from just being random.
>blue is a cool color so that means it looks good to smother it in blue because it's a winter scene.
>nevermind the fact that it kills the contrast and makes everyone look like corpses
>I literally just learned what color temperature is but I'm going to link you to it and pretend you don't understand.
i think in this particular case the graded colors add atmosphere to the movie. the people look more dehydrated and tanned from the sun. the orange/blue contrast gives it a nice fata morgana feel.
>and makes everyone look like corpses
the entire purpose of that scene was they were pushing themselves to the very limits of human endurance, so they should look like walking corpses.
they didn't though, they made it all orange and teal. Which clash in a really awful-looking way. The only scenes in the movie that were actually monochromatic were the night scenes.
Top is better desu familee.
Bruce is in a major state of depression and self loathing at the time. The blue color grading reflects that. Also the same reason that the narrows are a gross yellow, green and black to represent the dingy, seedy, underworld there.
It's pottery nigga.
The Grey was edited in a major grey filter to represent hopelessness and the neutrality/indifference of God in regards to their situation.
Autists like OP don't understand the pottery of visual cues....
No it's not an autism thing it just looks terrible. Do you honesty look at this and not want to gouge your eyes out?
Yeah, compare that to the hundreds of blockbuster shit that have been arbitrarily adding a teal and orange filter to films since the beginning of this century. Color grading has its uses but most of the time it's abused by studio execs as a cheap way to make the films look "good"
Ugh, jeez, orange and blue, unnatural much? Here's the superior natural color version ;)
>It is another, "no one has ever been outside in real life" thread
Blue and Orange apologists get REKT.
Here. I modified this still from spartacus to make it look truly cold!
DVD EE vs BD EE
Notice the literal blue filter they add in the BD release
More. Can't beleive there's people that have bought and watch the bluray over the DVD
>color grading doesn't match
Mann is a hack
>he actually is so pleb he thinks layering everything in Cyan makes it look better.
Even then if you wanted to make things look "cold" you'd fucking use a cooler blue, not Cyan
No, the original bluray is normal, but the extended editions (which most people buy, for the extra runtime and additional content) are all blue-greenish. DVD EE is normal, however, but nobody watches DVDs it seems
>tries to prove a point
Is there any good Cosmic Horror TV shows?
Idiot. Everyone knows red makes things look colder
>color used to signal emotion since '20's
>since monochromatic film
Thanks for letting me know. I still watch my EE DVDs every winter and refuse to get Bluray unless they fix it. The upconversion when watching on a Bluray player isn't as bad as I feared it would be.
They actually used colour filters back then to set a mood
For example the surviving version of the 1910 Frankenstein has the originial filters.
The more you know.
while i agree with OP that grading is often misused, in the dark knight series, its used mostly appropriately.
that top shot is perfectly fine.
Fury Road used orange because the original took place in an already orange Austrailia, how ever fury road had to be filmed in the african deserts so everything would have looked like eye straining blaze white and tan.
the orange had little to do with effects (all though new movies remove orange which HURTS the cgi effects) it had more to do with orange being an eye please color. You can stare at orange all day and not hrt your eyes because the sun naturally gives of orange and yellow coloring to nature.
hell look at a forest every now and then, loaded with yellow tints within those greens.
yeah that one cherry picked shot, then ook at the rest of the film in a mostly white sand desert trying to stare at a GIANT GOD DAMN LIGHT BULB OF A SCREEN!!!
they made it orange to reflect austrailia and also because the actual desert they filmed in was too damn bright.
well now you're grding it the opposite way, skin has natural oranges and yellows in it.
Dark and desaturated to the point the colors mesh into each other. Had to amp the fuck out of vibrance (which tells how different X hue is from Y hue), only then I could color-calibrate it a bit. Then bring vibrance back down a bit.
thank you, anon - that fucking orange hue really bugged the fuck out of me - and i blamed australia and it's shitty outback! While all along it was shitty fucking filters!!! FUCK YOU HOLLYWOOD!
God, I fucking hate it when today's hollywood blockbusters fuck with the image, why can't they just keep it pure and untouched like they did back in the day? The filmmakers of old would NEVER do something like that!
I think it's just that most of the movies that use that color scheme happen to suck, it's a high energy palette that fits well with generic action movies so naturally they're gonna use it the most, so it just looks bad by association more than anything.
Oh right, the classics would never resort to just tinting the whole image, what was I thinking!
I never said anything about photography, tard.
Stop making assumptions.
Color techniques are used in every visual medium to convey feeling. They teach this in 4th grade.
>yeah but war boys are supposed to be painted white you fucking retard.
white is never 100% pure, paint your skin white and put it under sun light sorrounded by what is suppossed to be orange aussie sand and dirt.
that white is gonna look a bit rust colored.
said, needs white balancing, but i think the top orange still looks better since its more relaxing on the eye and makes everything looks more rust and post apoc like.
on one hand the grading for MOS isnt the best, but on the other hand the bottom looks too off. Supes suit being blue is darker than the rest of everything else so your eye is bouncing every where else.
Do they color grade this shit out the fucking ass because peoples eyes adjust to it in cinema?
I dont remember half these shots looking that bad when watching them. But put side by side to neutral ones they look awful.
oh, fine, you didna mention 'photography' - but you DID go off-topic. tard.
fuck off back to a board more to your level.
the point of this thread is that your precious color techniques are fucking retarded, pointless, an eye-sore, and used to cover mistakes. all fails.
>muh my art conveys feelings better than real life
>muh love me plebs i learned this shit in 4th grade
if you rely on simplistic color shadings to convey the mood of your art, your art sucks - get better art!
Shit doesn't 'clash'
>if you rely on simplistic color shadings to convey the mood of your art, your art sucks - get better art!
wish the plebs would get the fuck out
I was just trying to get rid of the orange tinge 2bh. Let me see if I can find a production photo (to see what it actually looked like in there and color grade trying to match that.
>I'll use a painting that is old and unrestored as an example!
guess who the real pleb is
If you're gonna do a fake hollywood color grade at least do it right.
>photorealism is the purpose of visual art
I still have and watch the EE dvds
The housing is seriously ballers, 3 beautiful books with 4 discs of movies and special features plus all the other stuff it came with
Plus the dvd quality is perfect. Yeah, it's not crisp bluray, but it's still good quality while helping mask dated CGI which, honestly, LotR has a fair bit of: mostly greenscreening.
the fuck mate what happened to the image?
This was the closest to "real" I could get it.
Lots of artifact because the original screenshot was already kinda crappy.
Warm fronts bring in clouds in the first place, clouds actually insulate further, sunlight means jack shit in winter because that's how season tend to work, warmed days bring more humidity as well meaning precipitation like snow, etc. If you get past -15C or so it becomes generally too cold to snow, the air will be too dry.
On days when it's -40C it's guaranteed to have not a cloud in the sky, whereas it'll snow the most it'll be somewhere -10C or warmer.
>They actually used colour filters back then to set a mood
It wasn't so much to set a mood, but to represent the situation. Blue tint means it's night, since shooting at night was still complicated in those times. Yellow would have been used for day scenes, green for mystery, and red for situations with fire. You only had those basic tints available, since the labs couldn't just tint in dozens of colors according to every filmmakers whim, so there wasn't really that much mood to set.
Blackhat is an experimental film. This point may seem obvious, but in many ways this experimentation is at the heart of Mann's attempt to capture his idea of reality primarily through a heightened visual expression and attention to atmospheric detail rather than through only narrative information or psychological verisimilitude.
It seems as if every moment wrestles against the modern viewer’s hunger for narrative clarity and character identification.
But does that mean it’s a bad movie? Or does that mean an audience weaned on information-focused TV shows and movies is trying to force the viewing habits they’re comfortable with onto an experimental movie that challenges them?
It begs a grandiose question: What is cinema?
What are movies? Well, at the most basic level, cinema is audiovisual art. And we should always keep in mind that stories and characters are not the only filmic way to explore the human condition – just the most common.
Film is not about storytelling or character development; these are merely tools, ways for a filmmaker to express his or her vision and ideas, just like visuals, music, setting, dialogue, editing, or any other part of the medium.
A film’s story should not be what we, as viewers, focus on any more than we should only focus on an actor’s performance or a composer’s score. We should focus on the whole package, analyze what that package means and says, examine its components, and und'r-stand it on its own terms.
>Color correction is an integral part of filmmaking.
So is cinematography, etc, but many still get that wrong. And "correction" is hardly an appropriate word when they go overboard and entirely change the palette, mood, and even realistic lighting in the scene. Your post is stupid.
Can't we all just get along? at least we talking about televiosn & film for once.
Also stay tunes I'm uploading the whole trailer of this >>65125270 on webm.land
>A filter is okay sometimes, but they went full retarded this time.
They actually did it for a reason, it was a response to too many people in the audiences unable to recognize which scenes from the first Matrix took place in the real world and which took place in the virtual world. So Wachowskis heavily tinted in-matrix sequences green and real-life sequences blue. It actually has purpose.
They also retroactively added this kind of grading to the first Matrix's late dvd and blu-ray release.
that actually looks fucking great like technicolor; imagine if they actually went in that direction, a tongue in cheeks 1950's nod to superman, still had viable action but with a 1950's mentality and aesthetics
>people who think hollywood color timers just slap a colored tint on the picture
Just because it looks like shit half the time doesn't mean they didn't put the work in. You can call hollywood color grading misguided but rarely is it lazy.
You want to see some shit color grading look at mid budget movies and TV shows, they just crush the shit out of the colors to make it look "punchy" and "vibrant" while degrading the overall image quality. Pay attention to the blue tones in most mid budget action flicks and you'll see what I mean, they always crank those blues way the fuck up with no regard for context or blending.
every criticism you have of color grading still applies. its a stylistic choice to only use certain colors and omit ones that break up the unity.. the goal is not to be realistic, it is to unite figures in the foreground with the background so they are not self-sufficient entities. you are crying like a baby because these images are not realistic. and what's not complex or nuanced about film color grading? there are endless possibilities.
>still using unrestored paintings as an example
top fucking kek
Still sucks that movies look so fuckin uniform these days. Seriously – how many "mainstreamish" directors are there that actually have the balls to have a movie look "different" in that they just choose their own color scheme. Christopher Nolan might be one. Otherwise I can only think of people like wes Anderson in that regard and he's "arthousy".
But heck, blue-and-orange and turquoise-and-ochre have become so fuckin boring in the last ten years or so.
You know why this board is so shit ? Not only because of the 'tards which you answer, but because peoples like you respond to other 'tards even when it is clear that they have no idea what they are talking and arent willing to know their wrongs, they don't contribute to anything in a conversation, and then they are the only who responds to well construct criticism
>turner used a piss filter
not me, but it's our current common perception of how those works of art should be regardless of their original look. we also prefer greek statues to be colorless, if somebody restored them to their original colors we would think they look like awful kitsch.
It looks like the game, and the game looks much better than Fury Road
On what do you think they base their colors ? On randomness ? Or maybe the pigments in the paint are an actual indicator of the original color. Or maybe there is still large shades of blue and orange in the "restored" picture. In this thread people have also used old movies as indicator of color use to convey emotions on image, except saying they are old pictures, you don't add anything to the lot, neither do you explain why a restoration of color in your mind equal to a differents use of theme..
Old paintings were very rarely the kind of washed orange like you are trying to make them out.
You keep using unrestored paintings that just show strong yellowing from aging.
If you look at properly restored paintings you'll see that typically accurate and nuanced color was striven for, in part because this showed painter skill
For me the main problem is you can actually see the sky here. Seeing that it's a clear day undermines the blue filter. When you can't see the sky I think it works, though. Makes it feel like a very cloudy day, even like a storm is rolling in.
Do that to some Bierstadt
this guy's pooter exploded as he uploaded the image apparently.
>not getting the point
It's not about a natural, pleasing combination of colors. Sure, if you go around town aorund christmastime, in a cold winter night you will actually get an all-natural blue-and-orange theme.
a) Not every movie needs to look like Christmas
b) Not every movie needs to look the fuckin same for that matter
c) Movies as an art form MAY actually employ color schemes to convey atmosphere and emotion. Emotion apart from "oh look at them pwetty colors"
Pic related, I'm pretty sure since miller wanted to do it in black and white but he wasn't allowed to, it was a big fuck you
You sound like one of those crime drama tv shows talking about enhancing images. You can't uncrush the blacks once you've crushed them. The original is too dark and graded that by your "correcting process" you introduced fucked up splotches of tones in Leo's jacket and added a slight magenta to the low-lights. I still don't see the point of these threads. Things can't always be unfucked and even if you do get a scene just how you'd like it what are you going to do with that? Are you going to apply this to an entire film, scene by scene, and upload it somewhere. What is your endgame, OP?
OP thinks his vision is better than that of pros,and he wants to be recognised.
Like I get and agree that sometimes filters make something look worse than what it originally is through a camera lens but OPs picture and >>65124160
are good calls on when having a slight colored filter works
The Mad Max one gives an impression that appeals sandier as if the sun is being reflected off the orangish sand color. Not only that, it makes him look like he's covered in dust, a bit
These are just disgusting
I'm actually really thankful that the EE DVD release is mastered so well. The LOTR EE is one of the few DVD sets I own that hold up really well even when viewed on a HD screen.
Case in point:
Above you see an (upscaled) DVD screengrab, below there's the same shot from the BD.
Now, apart from the occasional color banding in dark scenes (which also happens on the BD in some places, mind you!) I'd say that it still holds up pretty darn well.
But does it fit the tone of the movie? Does it need that extra vibrance and intensity? The film is about the FBI, courtooms, beaurocracy, espionage, it works with the more muted, even palette they've employed.
Thay's the first question you need to ask when you grade an image, not whether it looks natural, not whether it looks "good", but whether it helps communicate the tone of the story, the setting and the events taking place in the scene.
Speaking of DiCaprio I just watched The Aviator and that's a good (if sloppy) example of shifting color palletes (not just in set design, there is really obvious and deliberate grading all over the place) to ellicit different moods and messages.
Dark reds and light blues for the airplane construction scenes ellicit a very upbeat, "retro american" vibe to reflect that Hughes is full of energy and in his element. Sickly greens and yellows are used to show his distress and discomfort. Reds have sort of a double edge of danger and passion to them, blues in particular always signify progress and positivity, even when they stand out against otherwise dark and dreary scenes.
Yeah, some of it is set/costume/lighting design but a lot of it is straight up grading (grading pushed a little too far in some cases if I'm being honest, but it gets the job done), and it wasn't just used to make the movie look "good", it was used to enhance the stodeep.
It's not even the really subtle stuff they do nowadays, like dropping highlights down just a bit to make a scene a little gloomier, or isolating someone's face and making it more vibrant and red to make them more empathetic, or highlighting a specific part of a frame to draw your eye (which is done a fucking lot) there's little things like that all over the place in movies now.
I wonder if he got to keep the panties Kidman used
is it bad that I still prefer the one of the left with the filter
I hate to admit it but that house shot looks so much better with the bluish hue.
I agree it does not look as good on the people
add a dot to "vid"
Are you actually working with curves or just turning Hue and Saturation for individual colours up and down?
That being said, Colour correction Fury Road just makes it seem like a documentary on the average day in the Australian outback and its inhabitants
Well actually it depends what type of blu ray version you buy. There are currently 2 versions, the normal blu ray and the blu ray with digital version
The normal blu ray is already gone but doesn't have the blue tint
This is the best I could do, I almost got it as good as yours, But I dont get how to get those trumpets as non-orange as you do
>almost got it as good as yours
Lmao, did you even look at your picture before posting it?
You realize it's not the exact same frame, right?
That's just how the flame looks in the movie.
I work with a lower-resolution video and tried to get A: the sky a bit bluer, B: The cars more apparent, especially in the distance, C: the yellow-ness out of the frame.