What camera would be best for me when it comes to color grading?

[Ryan Elder]

Oh okay thanks. When it comes to drawing a mask wouldn't you have to track the mask around the actors' face and arms and wherever skin is showing, and track frame by frame though?

Also, if I shoot at a time of day when the sun is not in the background so much will that really be enough to separate the skin tones?

It was said that I should shoot against grey backgrounds in order to do that. However, where I live so many buildings are white and brown though, along with interiors being mostly white. Is it possible separate skin tones from white, without getting noise issues? Or would I have to use masking for that?

[Brian Drysdale]

Reflectors are the way to go if you don't have large enough lights.

Programs like Resolve allow you to do secondary colour grading like this, however, you should ensure that you're using low compression media with good chroma sub sampling, otherwise you risk artifacts..

Unless you really know what you're doing, I wouldn't get too involved in attempting this in a low budget film. You'll probably put more effect into doing this than making the rest of the film.

Since you don't have a Gareth Edwards level of knowledge ( I remember his visual effects work on TV programmes in the 2000s) to do this nor the funds to pay for a good colourist, I would avoid painting yourself into a corner and do what creative people do with limited resources, come up with a new way of doing things, think of new ideas, alternatives.

Again, this is what directors do.

[Ryan Elder]

Okay thanks. How about this for an idea. What if I lit the actors so bright, that the walls were dark enough that maybe I can separate the skin tones, without the program being confused, because the walls are dark enough that the skin can separate easily, cause it's lit so much more bright than the walls. Would this be better?

Perhaps don't light with a fill light at all, or a very dim fill light, much more dim than the key light? Doing this may be create a very dark shadowy film noir type look though, but maybe that's good for separating skin tones, if the walls are white in so many locations?

[Brian Drysdale]

Who is doing this colour correction work work? You or someone else?

[Ryan Elder]

I was hoping I could do it to save money. But if not, and someone else should do it, then I would want to shoot it correctly for them. I can talk to a DP and see what he says to, rather than thinking that I'll probably end up shooting it myself.

[Brian Drysdale]

As is usual with these things, download Resolve, shoot some tests and see if it works. This is even more important if you're planning to do this yourself, because you won't get a definitive answer on if you personally can do this on a forum.

If you aren't going to do it personally, ask the person who is going to do it before you start filming. This is because they are going to dig you out of any holes they you end up in.

Regarding Lighting, it's the DPs job to balance the lighting so that everything works the way the scene needs.

[Ryan Elder]

Oh okay thanks, I downloaded resolve and ran tests in trying to separate skin tones, but I've tested footage where I did not have control of the lighting, and there was noise. However, in some projects I won't be able to control lighting such as a live event for example, so how do you separate skin tones in such events, where the lighting is uncontrolled? Or do you not, and cannot do that in resolve for uncontrolled lighting or outdoors?

[Brian Drysdale]

You need a better camera, using a higher quality codec than your current DSLR camera uses for this type of work. Until then you're just playing around, because you need to test with the camera being used on the shoot/

In live situations you often have to go with the flow, using what looks good. "Correct" flesh tones may look unrealistic, however, using a key light with the correct temperature is the quickest way of doing this. There are battery powered LED units that can do this job.

[Ryan Elder]

Oh okay, when you say correct temperature, what would be the correct temperature? In my opinion I like the look of the 3200 color temperature cause the skin tones look less pink-ish, but that's just my opinion.

[Brian Drysdale]

The correct colour temperature will depend on the type of lighting being used at the location. 3200K could look wrong if the location has 3700K, 4500k or 5000K. You have to use your eyes.

[Pete Cofrancesco]

Like all of Ryan threads they start with a simple question and then expand out in multiple subjects.

You should rent a pocket camera, film similar things that you intended to use, then play around in resolve instead of asking us what if questions that we can’t answer.

Your other questions reveal that you don’t have good working knowledge of professionally lighting in different situations. I get the feeling you want to use color grading to avoid the time and expense of properly lighting a scene.

[Paul R Johnson]

Aha! Exactly what I thought. Ryan is always looking for technology to get him out of messing up the basics. I cannot think of a single circumstance in the past 40+ Years where I had a problem separating skin tones. Have I totally missed some kind of real problem?

What I have learned is that some video roles I'me actually pretty poor at. While I can operate things like resolve, and have lots of plugins for LUTs in Premiere. Sadly, I just don't have the eye, so this is one Ryan topic I simply cannot add to.

[Ryan Elder]

Originally Posted by Brian Drysdale

The correct colour temperature will depend on the type of lighting being used at the location. 3200K could look wrong if the location has 3700K, 4500k or 5000K. You have to use your eyes.

Oh okay, but we are not using the lights in the location are we? Wouldn't we just be using our lights entirely, to get the color temperature we want instead of switching on the lights in the location as well? Or are you saying it will look awkward if there are lights in the location but they are not switched on? Do you think maybe the audience will pay attention to the story instead hopefully, and not think about whether the lights in the location are on, if the movie is already lit by lights they cannot see?

But if the audience needs the lights on though, I could put gel over the lights, to change the color temperature, but would they see the gel?

[Brian Drysdale]

Your knowledge seems rather limited.

You can change the colour temperature of your light(s) to match that of the location, you can mix the colour temperatures, if that gives the look you want. Other colours can be added to your lights. You can just use some of the practical lights at the location ort all of them or none of them.

The only limitations are your and your DP's; imaginations and the requirements of the story. People here can't give you answers because they don't have the full information and it's something you should be discussing with your DP.

[Ryan Elder]

Oh okay thanks, but instead of matching my lights to the locations lights, shouldn't I rather get the location lights to match mine, if my lights have a better color temperature?