COLOR GRADING VS. COLOR CORRECTION

Color correction is a technical process that fixes color issues and makes footage appear as naturalistic as possible. The idea is for colors to look clean and real, as human eyes would see them in the real world.

Color grading is also technical, but it's more of a creative concern. The color grading process adds atmosphere and emotion to shots by coloring footage in new, often unnatural ways.

The result of a finished video or film comes from a combination of both color grading and color correction — so it's not really a matter of one "versus" the other. Rather, it's all about the way they are combined to generate a desired look.

It’s the difference between “add two eggs” and “crack two eggs into a bowl, whisk them for thirty seconds, then chill in the fridge for an hour.”

VIDEO COLOR ESSENTIALS
What is color hue?

Hue refers to the color itself. In simplest terms, it’s the difference between red and blue. Your hue can then be altered by saturation and brightness, which we'll cover as soon as we give you a few paragraphs on hue.

Together, hue, saturation, and brightness are known as "HSB." This combination makes up the basic color concerns of any video image.

Hues don’t always have to be vivid, primary colors.

A skin tone, for instance, might be a brown hue that has very little saturation, and a lot of brightness — giving us a "fair" skin tone.

That same hue can be saturated and darkened to give us a different skin tone, all while still corresponding with the brown hue. Some skin tones will have different jumping off hues, so use your spot sampler to identify.

If you are interested in learning Color correction and Colorgrading in Danvinci Resolve,Premier Pro cc and Photoshop,
You can contact me(call or whatsapp) via 08037041413 or email me at cinecolornigeria@gmail.com

If you wrote that... Wa gbayi
If you plagiarized it without giving credit... A lot of DTV/NLE enthusuast would appreciate the info

Awesome, back in school I was really interested in Color grading and Color correction. I was so obsessed I wanted to make a study based on them as my thesis. But school did not go that way, we were not taught so I switched to continuity editing, my next interest. Would still love to learn it though. I'm a huge fan of Nadine Ibrahim.

ThePreachersSon:
Awesome, back in school I was really interested in Color grading and Color correction. I was so obsessed I wanted to make a study based on them as my thesis. But school did not go that way, we were not taught so I switched to continuity editing, my next interest. Would still love to learn it though. I'm a huge fan of Nadine Ibrahim.

Okay.

As for Nadine Ibrahim, well I don't who he or she is as I don't invest my time with Nigerian filmmakers assuming he/she is, only a good dose Ogidan and Kilani as the rest are just hyped with no real passion for the cinematographic world.

Here's my question:


If you've seen 'Limiteless' starring Bradley Cooper, the director employed this both techniques to distinctify when the drug user is under and out of the influence of the NZT designer drug. Generally, American films are characterized by this particular 'film-look' color that set its production aside from others, I noticed Marvel Studios cared less on it except for the Venom film where it played on the dark theme color setting a lot. My question is this.... Is the actualization of this characteristic Hollyood-like 'film-look' achievable at post-production, solely by editing softwares as they are advanced now or it's technically a subject of highly advanced film processing and settings within pre-production and production?

thecolorist:
..

The above reply was directed to you. I had mistaken ThePreacherSon to be you who replied that to my post.