Balance Colours in Video

Until a few years ago, color correction was considered an expensive stage in post-production, which only high-budget projects could afford. There are many color programs and applications available today, but there are a number of important details to consider in order to use them competently and save resources. If you've ever taken a video, you probably involuntarily compared it with professional options, in which the colors always seemed richer and juicier. Many authors believe that it is a matter of higher quality and more expensive equipment or operator skills, but this is not the case (or, at least, not only that).

At the same time, one should not count on miracles either: 90% of the quality is laid at the stage of operator's work, and only the remaining 10% - during processing. However, these are very important percentages. Color correction is bringing the frame to the correct colors and shades, where white is white, gray is gray, and so on. And graing, i.e. painting is already an artistic vision of the editor, colorist, the one who paints the video and gives it a mood. And after painting, blaming the video for a green tint in a scene with a hospital, for example, is wrong. Because, most likely, it was planned to specifically enhance the oppressive mood.

As a result, Log allows you to make the picture the one that was conceived, to give it a mood. If you pay attention, in comedies, for example, a yellow-pink tint of the picture predominates, and drama or horror goes green or blue, blockbusters are painted in teal and orange. It is precisely this giving of the necessary shades to individual fragments of the video that is called its painting or color correction. In other words, a movie or TV series does not initially have the image that we see in the end. In addition, you need to understand that video color correction implies not only painting, but also the addition of some artistic elements that were missed at the preproduction stage (to the best of reason, of course).