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Color Correction: Make People Look Normal [ I am deeply indebted to long conversations with Alexis Van Hurkman for many of the ideas expressed here, as well as his excellent book: The Encyclopedia of Color Correction. ] If you ask a colorist what they do to make actors look good on screen, they’ll tell you that they just watch the monitor and make them look “right” for the scene. While truthful, that advice doesn’t help the rest of us that don’t have their experience at seeing and adjusting color. The purpose of this article is to give you some guidelines you can use to fix color problems to help your actors look “normal.” While every actor looks a bit different, if you have a color problem, these guidelines will help you fix it. Just as actors wear makeup to look good on camera, we can use these guidelines to help our actors look as good as possible in post.
Color film was built for white people. Here's what it did to dark skin. by Estelle Caswell on September 18, 2015 For decades, the color film available to consumers was built for white people. The chemicals coating the film simply weren't adequate to capture a diversity of darker skin tones. And the photo labs established in the 1940s and 50s even used an image of a white woman, called a Shirley card, to calibrate the colors for printing: Concordia University professor Lorna Roth has researched the evolution of skin tone imaging. She explained in a 2009 paper how the older technology distorted the appearance of black subjects:
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Lighting dark skin for the screen News BBC News Navigation Sections Previous Next Media player Media playback is unsupported on your device Here's a Look at How Color Film was Originally Biased Toward White People Here’s a short 5-minute video by Vox that tells the story of how early film stocks in photographer were designed with light skin as the ideal skin standard, and therefore sometimes had problems rendering darker skins — especially in photos that showed both darker and lighter complexions. One of the earliest color reference cards in the still photo industry featured a woman named Shirley. After that card became an industry standard, many color reference cards began to be known as “Shirley cards.” These cards generally showed a single white woman dressed in bright clothes, and color film chemistry at the time was designed with a bias towards light skin. The bias towards skin with higher reflectivity meant that there were often exposure issues when shooting mixed-race photos.
The Art of Lighting Dark Skin for Film and HD Here are some practical and artistic tips from a working cinematographer on how to ensure dark skin "drinks in colors" on camera. Every shade and hue offers its own unique challenges and glorious opportunities for the cinematographer to create art. Anyone with a basic knowledge of lighting can get a decent exposure when filming non-white skin. But I want to discuss the art. Your narrative will dictate how a character should appear, whether ashen, vibrant, healthy, exhausted, apathetic, or enlightened.
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The Art of Lighting Dark Skin for Film and HD - African Artists' Association Every shade and hue offers its own unique challenges and glorious opportunities for the Cinematographer to create art. Anyone with a basic knowledge of lighting can get a decent exposure when filming non-white skin. I want to discuss “the art”. Your narrative will dictate how a character should appear: Ashen. Vibrant. Healthy. Moonlight Cinematography: Bold Color, Rich Skin Tone, High Contrast There’s an inherent visual tension in the look of Barry Jenkin’s “Moonlight.” Set in the harsh realities of Liberty City, an impoverished section of Miami where Jenkins and co-writer Tarell McCraney grew up, the sun-drenched neighborhood is filled with bright pastel colors and lush, tropical green trees and grass. “Tarell calls Miami a ‘beautiful nightmare’ and I think what we’ve done is paint this nightmare in beautiful tones,” Jenkins told IndieWire in a recent podcast. “We wanted to embrace the tension of that beauty, juxtaposed with the very dark things that are happening to the characters in the story.” READ MORE: Filmmaker Toolkit Podcast: ‘Moonlight’ Director Barry Jenkins Reveals the Unconventional Way He Cast His Three Leads (Episode 10)
The Art of Lighting Dark Skin for Film and HD Every shade and hue offers its own unique challenges and glorious opportunities for the Cinematographer to create art. Anyone with a basic knowledge of lighting can get a decent exposure when filming non-white skin. I want to discuss “the art”. Your narrative will dictate how a character should appear: Ashen.