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That Black and White Look
You know that look with the black and white footage except for one color, like someone’s hair, is red? Has anyone done that without having to rotoscope? Seems like that’s the only option to have it really come out well. Just wanted to check with the boards here though.
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7 Replies
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Suggestions;
-Appropriate production design
-Appropriate costume design and makeup
-Where possible do to let the colour go too dark or too light
Shoot and DI on a 444 10b or higher format (makes qualification easier/cleaner)
-Shoot with good colour separation (match lighting temp to sensor temp, no strong casts, 3200k on most digital formats probably not best if possible)
-Combine windows and HSL qualificationsGood luck (-;
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I agree that the difficult part is on the set.
In grading you just would make lets say parallel node one with one node for the bw
and other with key to red only and there you go.Should be relatively simple if the on set material is good.
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Margus
https://iconstudios.eu
https://vimeo.com/iconstudioseu/videosDaVinci 10, OSX 10.8.5
MacPro 5.1 2×2,93 24GB
GUI 4000 / GPU GTX 780
DL 4K
Eizo Color
Scope Box -
Yes, that is one of the jobs I would like to be included in the design phase and will politely say good luck and god speed when they just shot it without any of the planning mentioned.
A slice of color…
Resolve 10.0.0.073 , Smoke 2013 EXT
Colorist / VFX / Aerial footage nerd
https://vimeo.com/saschahaber -
Even then, with reflections, and fine detail in some shots, i would be prepared for some roto work, but certainly not on every shot.
Glenn
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[William Edwards] “You know that look with the black and white footage except for one color,”
Forests have been felled (electronically speaking) discussing what is known as the “Pleasantville” effect. Argue the semantics of “look” vs. “effect” among yourselves… You can spend a few days reading all about it with a simple Google search (3,420,000 hits). Different grade and NLE systems have different approaches. Of course the big challenge after roughing in your secondary qualifier is cleaning up the garbage around it, and hoping that the block compression artifacts aren’t so big that all the edges chatter like St. Elmo’s. Then you are into a tight roto, which should be avoided. Roto in Resolve is cruel and unusual punishment, even after conceding that Roto, in general, is itself cruel and unusual. One word: MochaPro.
To improve qualification in Resolve, we sort of need a chroma-blur node like we used to have with one click in SHAKE, and for sure, the kind of hooks that attach to a Mocha-track and shape like they do in Nuke, FCP, AE, Shake, … etc. Inside/Outside blur/erode only goes so far, and you don’t have to look far afield, even in this forum, to find individuals who are not fans of the Resolve keyer anyway. If you have worked with Keylight or Primatte, or a variety of others enough, you begin to appreciate the difference. Yes, masking is more efficient and it is easier to build and track spline shapes in Version 10… parenting them or assigning track hierarchies… while sharing a correction… not so much. But then, you really are into an FX application, not a grading solution per se, and that is where Resolve is currently teetering.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Hi Margus!
I am a film student taking on an exciting project. We plan to make the film black and white but there will be selective color.
“if the on set material is good”
Could you elaborate on that? (or point me to a good resource)
I’d appreciate it,
Mau -
What i meant was that your set design needs to have good separation with colors that will be left out and the color you intend to keep so not much problems in post.
Also with black and white good contrast levels are needed so after going BW all looks good and contrasty
if you are after that.—
Margus
Resolve 11
BMC 2,5k
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