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Primary Corrections

Secondary Corrections

Best Practices

From slight adjustments for contrast / saturation to fixing serious color balance problems... we can help you. This task is frequently called 'primary color correction'. Under the banner of primary color correction fall many common tasks:
  • Matching between cameras
  • Matching takes
  • Matching scenes
  • 'Riding Levels' from an automatic aperture
  • 'Rebalance' under- or over-exposed images

Whether mutating a red car to blue or making high noon look like early dusk, secondary color correction dives into the realm guiding the audience to desired emotions and creating subconscious connections.

Remember: Your shooting format and quality of exposures will dictate how radically images can be pushed during color correction.

Tell A Story

The colors within the frame of your image have an emotional impact on your audience. We can help you manage and manipulate your colors to support underlying themes and narrative arcs.

Create A Look

After doing a primary color correction pass to use as a base, we can dial in a look that matches the emotional content of your programming.

And there's a direct correlation between the number and complexity of the Looks you want and the size of the budget you'll need for Finishing.
Choices made early in the production of a show or film can dramatically expand or limit the range of our color corrects. Here's a running list of 'best practices' (in no particular order) to enable you to get the most production value for your money:
  • Less Compression = More Range
    When evaluating shooting formats or codecs for postproduction, opt for the least compressed format your budget allows.
  • 4:2:2 is much better than 4:1:1
    With twice the number of color samples, 4:2:2 formats allow for more dynamic corrections. Another explanation of subsampling.
  • Protect Highlights
    Don't allow the brightest objects in the room clip out to white. Those details will never be recovered.
  • Protect Shadows
    It's okay not to let the shadows go black. By preserving those details at the dark end of the spectrum you preserve our choices in the color correct.
  • Turn off the auto-iris
    An obvious tip, right? Experience suggests otherwise.
  • KILL THE GAIN
    Shooting in low-light? DON'T turn on the video gain. This is the single best way to ensure we can't do anything with the picture. Gain = noise. And the only thing worse than noise is noise made brighter!

Color with Fini