All language subtitles for Procolor_C10_L1a_Concept_Emotion

Welcome to chapter ten.

In this chapter, we're going to start
getting a little bit more creative.

The next lessons are going to be an image
or working on it technically

and a lot more about a feeling
that you want to put into the image.

One of the big things to understand
about color is that it affects emotion.

There's a reason why a picture of a lady
holding her face like this

or rain on a window
is kind of this desaturated gray

because we just kind of associate
those kind of color tones with that

more sad, somber feel.

Same thing with brighter colors.

These both look happy
because all the colors are brighter.

They're more saturated.

There's a little bit of yellow
and a pops of color.

And we associate that with happy
with good feelings with comedy.

So it's important to understand
that any type

of creative color decision
we make has these kind of implications.

And this isn't just the hue of the colors,
but this has to do with

saturation, has to do with contrast.

It has to do with brightness.

All of those things kind of go together
to make a scene feel a certain way.

You can explore the visuals of a ton

of different movies on a site called Film
Grab.

It's just film, dash, grab com,
and they have all kinds

of still frames from tons of movies.

So it's nice to look at
if you're looking for inspiration

or to just kind of cleanse
your palate of whatever you're thinking.

But there are a couple of things to notice
here.

Right now, I'm in the genre of action,

and we do have a few shots
that are kind of bright and saturated.

But a lot of the action movies
have this kind of

bluish teal
tone has the really dark shadows.

John Wick has a lot of blue
kind of dramatic colors,

day breakers, same thing, Jurassic World.

Again, there's some green,
but a lot of blue, A lot of kind of blue,

darker, deeper shadows,
very kind of dramatic feeling.

It's also pretty dependent
on when the movie was made.

Some movies have really heavy
color grades.

Some of them were produced
before we had digital color grading.

But you'll see there's kind of this color
palette for a movie, and it tends

to at least have similar feelings
to other movies in the genre.

For instance, if we go to a different
genre, we go to sci fi.

We're going to see a lot of this
kind of dramatic bluish gray,

a lot of high contrast. Right.

But if we go to comedy,
you see everything's just a little bit

brighter, a little bit more colorful,
and definitely a lot less contrast.

Now, not all of this has to do with color
grading.

In fact, I would say most of this has
to do with production design and lighting.

But it's important to realize
that these colors and decisions,

whether they're made in post or during
production or both, are made for a reason.

Here's a shot at the beginning of War
of the Worlds, where everything is going

relatively good and it still feels like
it's part of the movie.

But there is some color here,
there is some saturation,

whereas as we get through the movie,
things kind of get more

and more desaturated
as stuff gets worse and worse.

So all this goes to say that whatever

color decisions you make, you generally
want to make them for a reason.

We don't just add a bunch of contrast
because it looks cool.

We do it to invoke a certain feeling.