there is so much you can say with each image but how do you make the most out of it? we often talk about layers in a film and color is a powerful storytelling tool that can completely change the look and feel of a piece. in this tutorial we look at color in camera as we go through white balance, white shift, picture styles along with some tips and tricks on how to use them to say something with your image straight out of the camera.
there is so much to say about color so we decided to split it up into two tutorials, in camera and in post. all footage shown in this tutorial is straight out of the camera with no post color work. check back soon for part two of the color tutorial, color in post, later this month.
brought to you by the Canon digital learning center. check out more tutorials there at usa.canon.com/dlc
want to learn more? we have two education workshops coming up.
// event cinema workshops
oct 3-4 chicago
oct 6-7 boston
join kevin, joe and patrick for two days of discussion and hands-on filmmaking. it’s a great place to learn about their different approaches to event cinema work and help you discover one of your own.
nov 14-17 san fran
come hang with the sm crew as we share, shoot, learn and grow together about all things cinema — from the technical to the philosophical, it’s three intense days of filmmaking fun.
the soundtrack is 'the leaves' by cars & trains, licensed through withetiquette.com
This was a project for my lighting class. Each shot had specific details on which to follow, which are explained in the video. In more depth, here are the ten shot assignments.
1. A three-quarter or waist-high silhouette of 1 or 2 people perfectly exposed for the background
with the foreground ﬁgure(s) completely dark. There should be enough distance between foreground
and background that the spill of one area does not interfere with the other.
2. Invert the lighting in #1, using exactly the same pose and framing with perfectly exposed
foreground ﬁgures at 4:1 key/ﬁll (two stops) and completely dark or just barely visible details in the
3. A waist-high person in soft (diffused) side light, no ﬁll light, and a specular edge light from the
opposite side with the background as dark and unlit as possible. An incident reading of the edge light
should be about the same f/stop as the key light if the subject has light features, or one stop brighter
if the subject has dark features. Expose for the diffused key light.
4. Identical pose and framing to #3 but with added light and shadow (using barn doors, or other
shadowing material) shaping and highlighting the background (think of it as painting the background
with light and shadow).
5. A scene with a standing or seated person, a candle (either held by hand or on a table) seemingly
lighting the person but actually enhanced with additional light, and a circular glow simulating the
effect of the candlelight on the background.
6. A person reading in bed by lamplight at midnight (implied by light, shadow, framing, ratio,
composition, and a “practical”).
7. A person sleeping in bed at 3 am with shadows implying moonlight coming through unseen
foliage or blinds onto part of the scene. You may want to gel the moonlight source or the ﬁll light
with a blue or other color gel.
8. A person in bed at sunrise (implied by light, shadow, color, and composition).
9. Simulate the pose, surface tones, and light of a speciﬁc frame from a ﬁlm of your choosing. If
possible, also turn in a still image of that frame.
Shoot an interior still with at least one person in it using whatever light sources already exist in
the location (lamps, overhead lights, windows, etc.), but without showing any of those sources in the
frame. Now, turn off/cover those sources and replicate, as nearly as possible, that scene using only
artiﬁcial lighting. Also shoot wide shots of both the “natural” lighting sources and the artiﬁcial
Since it is available in video, instead of using gels, I white balanced off of different color swatches, for a greener look, I white balanced off of a magenta tone, blue look, orange tone, etc...
I also lowered the blacks and raised the mids in Color, to give the video a more filmic look.