Color grading will give every film you create a unique vibe. At Filthy Look Films, we have been able to leverage our toolbox to create campaigns ranging from a Wrangler Asia-Pacific spot to a music video for artist 360. I believe that having the right tools for the job is vital.
Take the Wrangler Asia-Pacific spot I just mentioned:
We shot, edited and color graded “Worn Across America,” and we knew how we wanted viewers to feel. Color is so important in establishing mood, and I take a different approach than most filmmakers.
The Importance Of Color Grading In Your Film
I color grade before editing. It inspires me, and I often end up going in a different editing direction than originally planned. Red Giant is my number one grading software, but whatever color grading tool you use, try adjusting the color first next time you start post on a project.
How often are you using selective color correction? Isolating a color is helpful when grading with baked-in and crunchy DSLR footage. I find that DSLR cameras have high saturated reds in particular, and by selectively color correcting, they’re a lot easier to adjust.
We did this on an Australian government lifestyle video, “Love Pittwater – The Beach.” We used a Sony F55 and a Sony A7S to shoot and Colorista to grade, and the final cut came out beautifully.
Every filmmaker knows how difficult it can be to get rid of noise from a dark shot, so make sure you find a good noise remover to help clean up low-contrast shadows and blacks. I used a Red Giant Denoiser on a documentary we were shooting with British pop star Robbie Williams.
Shooting backstage in low lighting was definitely a challenge, and it made for a lot of noise. There was also a time crunch, but Denoiser was able to clean it up enough for broadcast in no time. The difference a good noise remover can make in footage is astounding.
Playing around with color in post is so rewarding. We’re all about finding that perfect balance of not only visual perfection, but also viscerally reactive. Keep exploring new effects with every project – some of our best work has been a result of us exploring a new plugin or tool. After all, you never know which effects will work best together until you hit the jackpot, but the only way to win is to keep playing!
About Filthy Look Films
Mick Jones is the founder and cinematographer of Filthy Look Films, an Australian-based production house with an emphasis on professional work, exceptional quality and a great relationship with clientele. It produces television productions, web series, music videos and commercial and corporate campaigns with a no-fear attitude every step of the way and has worked on spots for BBC & 7 Network, The History Channel, Wrangler Asia-Pacific among many other notable names. For more on Filthy Look Films, please visit http://www.filthylookfilms.com/.