1.5

Stage 1: Correcting Errors in Color Balance and Exposure
Frequently, images that are acquired digitally (whether shot on analog or digital video,
or transferred from film) don’t have optimal exposure or color balance to begin with. For
example, many camcorders and digital cinema cameras deliberately record blacks that
aren’t quite at 0 percent in order to avoid the inadvertent crushing of data unnecessarily.
Furthermore, accidents can happen in any shoot. For example, the crew may not have
had the correctly balanced film stock for the conditions in which they were shooting, or
someone may have forgotten to white balance the video camera before shooting an
interview in an office lit with fluorescent lights, resulting in footage with a greenish tinge.
Color makes it easy to fix these kinds of mistakes.
Stage 2: Making Sure That Key Elements in Your Program Look the Way They Should
Every scene of your program has key elements that are the main focus of the viewer. In
a narrative or documentary video, the focus is probably on the individuals within each
shot. In a commercial, the key element is undoubtedly the product (for example, the label
of a bottle or the color of a car). Regardless of what these key elements are, chances are
you or your audience will have certain expectations of what they should look like, and
it’s your job to make the colors in the program match what was originally shot.
When working with shots of people, one of the guiding principles of color correction is
to make sure that their skin tones in the program look the same as (or better than) in real
life. Regardless of ethnicity or complexion, the hues of human skin tones, when measured
objectively on a Vectorscope, fall along a fairly narrow range (although the saturation
and brightness vary). Color gives you the tools to make whatever adjustments are
necessary to ensure that the skin tones of people in your final edited piece look the way
they should.
Stage 3: Balancing All the Shots in a Scene to Match
Most edited programs incorporate footage from a variety of sources, shot in multiple
locations over the course of many days, weeks, or months of production. Even with the
most skilled lighting and camera crews, differences in color and exposure are bound to
occur, sometimes within shots meant to be combined into a single scene.
When edited together, these changes in color and lighting can cause individual shots to
stand out, making the editing appear uneven. With careful color correction, all the different
shots that make up a scene can be balanced to match one another so that they all look
as if they’re happening at the same time and in the same place, with the same lighting.
This is commonly referred to as scene-to-scene color correction.
Stage 4: Creating Contrast
Color correction can also be used to create contrast between two scenes for a more jarring
effect. Imagine cutting from a lush, green jungle scene to a harsh desert landscape with
many more reds and yellows. Using color correction, you can subtly accentuate these
differences.
14 Chapter 1 Color Correction Basics