I first started learning the art of color correction for one simple reason – I needed to give my digital SLR lenses more production value by imitating the look of a high-end movie camera. Soon after I started learning the craft, I realized how much value color can add to any project, and how important it is for all filmmakers to understand color.
Although my biggest day-to-day focus now is directing, I came into the industry through post-production (with a heavy emphasis on color grading) and still handle a lot of color correction work, both on my own personal projects and on client projects . As a result, I’ve had the opportunity to conduct countless color sessions with DPs of all types – from amateurs just starting out in the industry, all the way up to established cinematographers shooting major national television shows and feature films.
One thing I’ve discovered after working with such a wide range of DPs for many years is that the best cinematographers I’ve worked with also seem to have the best understanding of color, regardless of the level of their work.
When I say this, please remember that I am not necessarily saying that the best DPs know how to operate the da Vinci system. But their understanding of the value of color correction and the technical principles behind it is much greater than that of the average new DP. Obviously there are two reasons for this:
1. They have more experience with color kits and therefore gain more working knowledge from the colorists they have worked with.
2. They are able to stand out in their field by understanding and, in some cases, mastering aspects of technology that many of their peers simply don’t pay attention to.
What’s really important for this article is the second point.
It may sound cliché, but the idea that photographers make images, not cameras, couldn’t be more true. A great cinematographer will be able to pick up an iPhone and capture beautiful shots with the right lighting, framing, camera movement, and color combinations. That doesn’t necessarily mean that photos taken with Alexa won’t look better, but it does mean that cameras like Alexa shouldn’t be used as a crutch.
One of the most frustrating things for me when working with some inexperienced DPs is their inability to understand the potential of their skills and their over-reliance on camera choices…and that’s me as a camera obsessed person!
There is no doubt that every camera has its own look and therefore its own advantages and disadvantages. Alexa will always look different than RED, 5D or Blackmagic, but that doesn’t mean they can’t look stunning in their own way, or that they can’t be color graded to match very closely.
Take the Sony A7S II as an example. I personally don’t like colors straight out of the camera because, at least to me, they don’t look very organic or natural. Will this prevent me from using the camera at all? Absolutely not. It just means I need to be more careful with the color process than when shooting on a camera like the Arri Alexa (which has near-perfect color science) and develop my own techniques for processing the footage For example, my customized A7S II LUT.
I often hear amateur photographers say they only want to shoot on such-and-such a camera because they don’t like the “look” of the other cameras available to them. That’s all well and good, you should definitely be picky about your camera choice… But when you’re first starting out, you need to learn to work with what you have. You need to understand that an old Lumix GH2 can look just as good as an Alexa if there’s a better DP lighting the GH2 footage, operating the camera, and directing the color sessions. It’s entirely possible to match two very different cameras in a color kit if you know what you’re doing.
It is this problem that prevents many talented filmmakers from entering the industry as a director of photography. They have not learned to appreciate color processing and are overly reliant on their camera of choice as a means of capturing the best possible image.
In an ideal world, you want to have both the best camera and the best working knowledge of cinematography and color correction. But the reality is, you can’t always have it all, especially when you’re just starting out. The more you can compensate for the lack of craftsmanship, the less dependent you will be on camera choice and budget.
Today’s digital cinema cameras are extremely powerful and capable of producing stunning images – even the lower-cost prosumer models. So if you’re struggling to get the right look with your 5D, Blackmagic, GH3, or whatever camera you might be using… don’t look for another camera. Take a look at yourself and try to see where your skill gaps are, you may find that you lack color knowledge.
If this is the case, do yourself a favor and at least start learning the basics of the craft. You don’t need to learn enough to become a professional colorist, but you do need to learn enough to be confident in your decisions on set and understand what any camera is capable of under the right conditions.
Keep in mind that it’s common for even the biggest Hollywood features to be shot in a hybrid format. Some major feature film parts were shot on 35mm film, Alexa, RED, etc. The DPs behind these films aren’t afraid to mix and match formats because they understand color processing. They know they can make them match in post and any camera can look great if done right.
So if you’re listening – I don’t want to hear why your RED Scarlet isn’t good enough for your next project, or why your C100 doesn’t have enough of a cinematic look. Anything can look good with the right color, so work on improving your craft and then upgrade to a more sophisticated cinema camera as the project allows.
There are countless resources online to help you learn at least the basics of color correction, so if you want to take things to the next level, there’s no excuse.
That’s it for now! Check back soon for more articles like this, filmmaking tips, gear reviews, and more.
