Colour Theory, Colour Correction V. S. Colour Grading
1. Colour Theory Colour theory plays a crucial role in video production by guiding how colours are used to evoke emotions, set moods, and enhance storytelling. By understanding concepts like color harmony, contrast, and the psychological effects of different hues, filmmakers and colourists can create visually compelling scenes that support the narrative and influence the audience’s perception. Effective use of color theory helps establish atmosphere, highlight important elements, and create continuity throughout a film, making the visual experience more immersive and impactful.
2. Colour Correction Colour correction is the first step in post-production, used to balance raw footage that is often oversaturated or improperly exposed. The primary goal is to make the visuals appear natural, closely matching how the human eye perceives real-life scenes. 5 basic steps to colour correct:
1. Normalise the footage 2. Adjust saturation 3. Correct brightness and contrast 4. Set white balance 5. Check skin tones
3. Colour Grading Colour grading is the next, optional step where one creates the video’s aesthetic. While not always necessary, especially for realistic films, it helps set the mood and enhance the story. For example, darker tones suit horror, while inverted colours work for sci-fi scenes.
Rearrange the footages of Lalin in correct sequences, inserting Edit the final cut to 35 seconds sharp.
Process
Firstly, I downloaded and imported all the footages provided by Mr. Martin to Adobe Premiere Pro. Then I rearranged the footages in the timeline so they follows a correct sequences, I referenced to the original Lalin short while doing this.
Figure 3.1 Footage rearrangement
I trimmed all unwanted clips (clapperboard footage, the director’s action and cut calls) to ensure seamless transitions between shots and scenes.
Figure 3.2 Trimming
I inserted all the audios and graphics in the timeline. Then, I applied cross dissolve effect to make the character slowly fades and disappear.
Figure 3.3 Applying cross dissolve effect
I finished up by adding the caption: "- Astronaut Nut is Logging Out -".
Figure 3.4 Adding text
Final Outcome
Figure 3.5 Editing practice: Lalin (Final Video Outcome)
2. Week 7 Colour Correction and Colour Grading Practice
5. Adjust Basic Correction: Exposure, Highlight, ShadowRight click and select Display Mode→ Comparison View to see Before & After 6. Refer to waveform during adjustment. Use the 1st adjusted clip as reference to work on the rest.
7. 1st try eyedropper for colour correction. Balance with Temperature & Tint
8. Refer to RGB Parade and Vectorscope during adjustment. Use the 1st adjusted clip as reference to work on the rest.
9. Can use the colour wheel for advance colour correction 10. Then do colour grading
Process
I practiced colour correction and grading following Mr. Martin's instructions.
Figure 3.7 Colour Correction Process in Adobe Premiere Pro
Outcome (After Colour Correction)
Figure 3.8 Video Outcome (After colour correction)
Final Outcome (After Colour Grading)
After applying the teal & orange grading technique / style.
Figure 3.9 Final Video Outcome (After colour grading)
3. Colour Correction and Colour Grading (Lalin)
Instruction
Do colour correction and color grading for Lalin (tutorial:https://www.youtube.com/watch?v=Cmve0PAv24c), colour correction for all shots, colour grading ONE adjustment layer on Video track 3.
Process
I started by selecting Waveform (Luma) in Lumetri Scopes to guide my adjustments. I adjusted the exposure, highlights, and shadows under Basic Correction. I used Comparison View to check before and after, and referred to the waveform for consistency, using the first adjusted clip as a reference. For white balance, I tried the eyedropper tool first, then balanced it with Temperature and Tint, while monitoring the Parade (RGB).
Figure 3.10 Matching colour to reference clip in comparison view (Colour correction process in Adobe Premiere Pro)
Figure 3.11 Colour Grading Process in Adobe Premiere Pro
Outcome (After Colour Correction)
Figure 3.12 Video Outcome (After colour correction)
Final Outcome (After Colour Grading)
After adding one color grading adjustment layer on Video track 3.
Figure 3.13 Final Video Outcome (After colour grading).
We were required to recreate some scenes from Everything, Everywhere All At Once as a team and each person will take on a role in a production crew.
Figure 3.14 Storyboard
Figure 3.15 Crew list
Since I'm taking on the role of Art Director, I consulted with the team to ensure each costume was appropriate and present on set, and compiled a costume list to share with the producer and director before the actual shooting day.
Figure 3.16 Costume List
Figure 3.17 Shooting in studio
Editing Process
I imported and renamed all of the footages based on the storyboard so I could easily rearrange them in the timeline, in Adobe Premiere Pro.
Figure 3.18 Rename footages according to storyboard
Then, I synced the audios recorded by audio recorders with the footages.
Figure 3.19 Syncing audios manually
Figure 3.20 Syncing audios (Merge Clips)
After trimming the unwanted parts and rearranged the footages in timeline, I begin to add effects to my trailer.
I created a low shutter effect by adding the 'Echo' and 'Posterize Time' effects to an adjustment layer. I adjusted the Echo Time, number of echoes, decay, and echo operator. Then lowered the frame rate using the Posterize Time effect to give a dreamlike, slowed-down feel to the moment when Waymond looks at Evelyn at the grand ball. In the clip placed in between, the combination of the low shutter effect and B&W grading creates a sense of a memory being recalled from the past.
Figure 3.21 Low shutter effect
Figure 3.22 After adding low shutter effect (Clip)
Then I added caption between scenes in the trailer and applied a scaling effect that gradually enlarges the text to create a dramatic and impactful look.
Figure 3.23 Caption between scenes
To shape the mood of the trailer, I chose two royalty-free BGM tracks. The first half features a calm, ambient track to build emotional tension and set the tone. As the trailer shifts into its second half and action scenes kick in, I switched to a more intense, drum-heavy BGM to create a strong sense of climax.
I also looked up bass drop SFX on freesound.org and added them right before the caption and production studio logo appear to give those moments more weight and punch.
To wrap things up, I went back to check the audio quality. I noticed some background noise in a few of the recordings, so I applied the 'DeNoise' effect to clean them up and make the dialogue audio clearer.
Figure 3.25 DeNoise effect
Outcome (After Colour Correction)
Figure 3.26 Video outcome after colour colour correction (sight greenish tone)
Then, I colour graded the trailer following the instructions.
Figure 3.27Colour grade task
Figure 3.28 Bluish (Cold)
Figure 3.29 Brownish (Warm)
Figure 3.30 B&W (High Contrast)
Figure 3.31 Original (Without colour grading)
Figure 3.32 Greeenish (Cold)
Figure 3.33 Teal & Orange
Figure 3.34 Desaturation 60%
Final Outcome (After Colour Grading)
Figure 3.35 Final Video Outcome (After colour grading)
REFLECTION
Through this project, I took a significant step in applying the knowledge I’ve gained so far, especially in executing a photoshoot by recreating scenes from Everything Everywhere All At Once. Although my role as Art Director didn’t involve designing or purchasing costumes due to budget constraints, I learned the importance of resourcefulness, borrowing and sourcing costumes through coordination with others. This process made me appreciate the behind-the-scenes logistics and collaborative effort required for even the smallest visual details.
When it came to editing, prior experience with the Lalin editing exercises helped lay the groundwork for a smoother video and audio assembly process. However, I initially struggled with determining a clear direction for the trailer cut. After referencing a few sci-fi trailers like Interstellar (2014) and Everything Everywhere All At Once itself and analysing their structure, I gradually refined the tone of my trailer: starting with emotional beats and building up toward a more epic momentum. Seeing everything come together, from costume curation and filming to audio recording, lighting setup, and finally colour correction and grading was incredibly rewarding. It gave me a sense of growth and reminded me how every small decision along the way contributes to shaping an overall cinematic experience.
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