Color Theory: Color Relativity (Why you need a bias light in filmmaking)
Vložit
- čas přidán 25. 06. 2024
- I'll prove it. Our eyes are lying to us. If you want a free digitized version of the violet example find it at the resource link below. The printed one in the book has minor inaccuracies that I was able to fix.
RESOURCE LINK: resources.revolutioncontent.c...
VIRTUAL COFFEE: bit.ly/2ZtqyyP
0:00 Intro to the subject
0:17 Example: Gradients
0:43 Example: Deceptive Purple
1:09 Practical Application
1:48 Bias Light
Follow on Instagram for behind the scenes content / barrett_kaufman
If we haven't met, my name is Barrett! I am a professional colorist based in Chicago and providing gorgeous color with clients all around the country.
Barrett Kaufman
Film Colorist
Instagram: / barrett_kaufman
This channel is criminally underrated. Thank you for this
Very interesting!
This was very helpful, thanks Barrett!
Totally man!
Solid advice! As someone who currently works facing a window I think I might change up my setup
Natural light is beautiful! But also problematic when accuracy focus
Best explanation of bias lighting I’ve found! Thanks!
Sure thing!
D65 has always bothered me to be honest. It’s very straining after several hours. This is where I admit my heresy as a filmmaker 🙈 I usually set my TVs to the warmer color balance and turn all the lights off to watch. (Not when grading, just when watching Blu-rays.)
For casual viewing it's not the biggest deal in the world. If my memory is correct traditional film projectors had a D55 white point so it's not out of reason to watch things a touch warmer
@@BarrettKaufman that’s going to be my excuse from now on. “Back when movies were projected on film…” Now that I think about it it’s probably because they couldn’t make a reliable filament combo to burn that hot consistently and not be replacing all the time.