![]() ![]() Sometimes you might want to give your footage a more vintage or nostalgic feel, and bringing up the black levels could be the right choice. With that said, there is a time and a place to lift the shadows on your black and white footage. The second image clearly looks more like desaturated video, where the final image looks more filmic. This once again, is because many black and white film stocks tended to have more contrast to them, and we have replicated that more accurately in the third image of the series. Take a look at the shot below as an example. The number one piece of advice I give when coloring black and white footage is to embrace your contrast curve. Many old black and white film stocks were actually very high contrast. In fact, many of them also didn’t have a ton of dynamic range, and as such footage from these stocks were known for crushed blacks and bright highlights, creating a very punchy expressionistic sort of feel. But I’ve already tackled this on a different article. ![]() Personally, I don’t like when this look is overdone – for film or black and white, as it is more based in a nostalgic memory of what film used to look like, as opposed to what really good film stocks are able to reproduce. The idea is that lifting your shadows will emulate the look of old film stocks, which sometimes had lower contrast qualities to them. This look is achieved by lifting the black levels on shots so far that sit far above true black (or 0 IRE). In recent years there has been this push towards the “milky black look” on color projects. Keep in mind that while I am using DaVinci Resolve to create these looks and demonstrate some of the techniques, you can apply these principles in virtually any basic editing software too. ![]() In fact, many of the techniques that help color footage look more organic or filmic, can actually have the opposite effect on black and white footage, making shots appear dull or video-ish.īelow are a few of the biggest considerations to take into account when coloring your black and white footage. Many filmmakers use virtually the same grading approach that they would use for color footage on their black and white projects, and more often than not wind up with less than stellar results. While in some respects, grading in color does add an additional layer of complexity, achieving a filmic B & W look can be just as complex for different reasons. Selecting a region changes the language and/or content on ’s a big misconception that color grading black and white projects is easier than grading in full color. Ensure that you are following the new process. Putting LUTs directly into the application package has been common hack in the past but doing so can have serious side effects, including the LUT not being rendered at export or an entirely different LUT getting rendered without warning. The shared LUT location in the new version of Premiere Pro is the recommended way to manage LUTs. For more information, see the new features summary of the Premiere Pro documentation. A common location is available for LUTs to support anyone regardless of who is logged into the computer. A different location exists for creative LUTs, such as day-for-night transformation or film stock emulations. LUTs that go into the technical folder are input LUTs, which are used for transforming log footage. ~\AppData\Roaming\Adobe\Common\LUTs\Technical ~/Library/Application Support/Adobe/Common/LUTs/Technical Put a LUT in that location and it is available to any Adobe application with Lumetri support. The new release of Premiere Pro enables you to manage LUTs effectively as there is now a central location for LUTs. If you are shooting in Cinema RAW Light and Canon’s log gammas, you must be familiar with look-up tables (LUTs).
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