Before you start colour grading: Moodboards and Colour Palettes | Film VFX | Skillshare

Before you start colour grading: Moodboards and Colour Palettes

Film VFX

Before you start colour grading: Moodboards and Colour Palettes

Film VFX

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2 Lessons (30m)
    • 1. Introduction

    • 2. MoodBoard & Colour palettes

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About This Class

Welcome, in this class you will learn the very first steps you need to take before you start colour grading.
You will learn two techniques and how to apply them to go beyond inspiration and create the look for your film. This is not a colour grading class, this is what needs to happen before.

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Film VFX


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1. Introduction: welcome In this class you will learn the very first steps you need to take before you start color grading, you learn to techniques and how to apply them to go beyond inspiration on create the look for your film project. 2. MoodBoard & Colour palettes: Where do you start with low grade in? Well, it all starts from the very, very beginning. In the beginning is the mood board and the mood board happens before filming. Okay, so it's something that you're going to receive from the director, or it's something that you are going to work together with the director on. If you have been given the creative task off, coming up with a bone with a mood for the film or the person that you're working on based on existing projects, existing films that have been taken as references. So it's something whether it's your project or somebody else project and you're doing that with the dark for, then this is what you start with before filming. Okay, so this is in terms off sequence of events. It's This is not in postproduction. It's too late to even talk about it in postproduction. Okay, right. This is before filming. What do you do if you are involved in this? And obviously, if I tell you you received from the director, I'm gonna move on to something else. What if you have to do it on your own like it's your own project? Well, simple. You just go to you have an idea for you want to go with the with the film? Then you just go to those films to those projects. Those looks that you have in mind and just grab iconic frames from them. I just show here by iconic frame this frame. You remember this Did this image is like one of the most famous images. You just look at this and you know exactly what what film? Who did it? It's It's like, this is what I mean by iconic by iconic. I do not mean this, which is just taking the posters of films. This is very lazy. So this is, you know, a mood board. I know their coordinates. Mood boards. Somebody has posted this stuff in slash share. Doctor, this is not a mood port. This poster is no something you can use for a mood board for Phil. Okay, Uh, opposed to is a poster. You go to your iconic frames and then you start grabbing them together because it's not about the look for 11 scene. It's the overall Look off the whole film. I don't want you to get to technical about the mood board. And don't listen to those APS that call themselves film board ups or film or mood boards. Right? Mood board, APS or mood board software, mood bowed websites, drug here stuff. We're going to make that for you. Don't waste your time with these things. Just have it as a spontaneous photo collage. Grab and drop it there. And also please. I know this is not really it's not the subject. But when you take images from Internet, um, some free images have money where? So what I recommend you do is just show you. Yeah, well, I recommend you do. I've got my snipping tool. So if I'm interested in anything, I'm just moving to decide. Let's say I'm interested in an image and I want to search for its say I Look, I want to have something like Harry Potter, something like this, and I'm going to get images from that. Well, I don't want to have the image off the poster. Let's say I Yeah, I like this. Look, this is what we want to see. Then instead of saving it because some of them may have some malware, you just simply use your snipping tool and you cut and paste it somewhere on a power points or any any, any page. Just drop it spontaneously, please. Okay. This is not the time to be very precise with those borders and stuff. Okay? Yeah, Well, this tells you the reason why I'm using the doctor. Go. We don't store your business before we don't follow you around. We don't track. You ever Thank you very much. Good. Okay. So, having talked about this, have you finished about this? Good. You need to start with the mood board. Now, the mood board is only gonna tell you that much is just the direction. What do I do with it? In color? Correction. Wait, let me just move to the site. Now, remember that mood board? What films have you used because Depends on the genre. What I need you to do is to the following. Those films have been used for the mood board or other films similar to them because you can only fit so many pictures in a mood. You're going to go and grab the film, Preferably the highest quality you can or grab a trailer. Okay, So what did I do? hear Media has got t media pool and show. You hear what I have? I have grabbed film trailers like the worst case scenario was feeling trailer. That's what I'm using here. Just because I just need to demonstrate the year. The technique I need you to do is go ahead, grab those films. If you can get the blue equality the highest quality, fine. If not, just grab the trailers and import them in the project. Grabbed him in. Um, take them to separate timelines. Each one of them opened the timelines. Okay, an open timeline, one timeline per film. Okay, So you're gonna have the fulfill or trailer, then you're going to go. Obviously, obviously we're holding them is Obviously we're talking about your jar. So if if you've skipped that story off mood board, that step did not happen. And you go in straight into this, okay? Just talk to him about press production. We haven't done that more reporting. Let's not start postproduction. We're gonna do it next time, but just tell me how to do it now. How to sort out this stuff now in terms of direction, worship one of my go in simple Then you go to the color palette technique in DaVinci Resort . 16. How do you do that? Simple. You're going to get those trailers, at least the trailers, you know, trailers. They get compressed so you don't have to. Same image fidelity. Still, it's just for for getting inspired in terms of fluke. Where you going with that? So you just grabbed those films for your jar? Is it longer? Is it comedy? Is it? Let me just check here for my media. I've got a few of mortal engines, have got it. It is horror. I've got Hotel Budapest. That's a thing on its own. That's like a style of sun. I've got stranger things. Have got Harry Potter. I've got Maze Runner. Got interest? Interstellar. So you've got Cy. If I've got a fantasy, you've got a mix of a lot of things in there and you're going to just grab those are relevant for you. You're not going to do a mix spaghetti mix like I'm doing now. I'm just doing it because I want to show you the technique and I don't want to exclude any jars. I'm to show new older Jones that I could find now and use. So go ahead. A grab bag jar, is it horror movie only take horror movies that you take us a reference. Okay, whether they're old or new, whatever. Grab only the horror movies, okay? And then you come and creates timelines for each one of them. And what I've done here is I have created market. So I go through the field. Let me just make sure I disabled the sound. Now, if I come, that's why I needed to do is just go through the trailer as a starting point and look at those iconic looks that you want to mimic. I have here some markers that help us go straight to to the frames. You have them in mind, So okay, these are These frames are quite iconic. I want them. I want to have something like this. Okay, this is the look off. The face is where I'm going with the film. Obviously, it's not coming just to be one film. You're not going to replicate copy because we're creatives. We do something more than just copy. We get inspired by somebody's work and then take it further. That's what we do. Okay, So what I needed to do is this. And then once you have those films lined up as timelines, all of them next to each other, how do you switch to the timeline? The tab here. You just come here. This one, This is a top one. Okay. All right. And you going to put them all next to each other and go bit by bit? Actually, he continued to save time. Start with trailers ago. Although it doesn't have that much image fidelity. But still, what you need to do is close the media pool, go to the ethics library, and and they're open effects. You're going to find color palette. Take it and drag. It's on the clip. Once you're done, you're going to see something cool. Which is the color palette here for the whole image, as in highlights. Midterms onder the shadows and then you have them split by this one. On the right is the highlights. The one on in the middle is the metals, and this one is the shadows. So you have this. You can you can go ahead and concert, inspector on, go to the open effects and find your color palette. and click here on the properties the perimeters and start tweaking the numbers. Please don't do that. I don't want you to get to scientific about this color palette, OK? Say yeah, but we want to have more coverage. You're going to increase it, so I don't know, like 16 colors birth. We're not reproducing the film, okay? We're just getting inspired by the look off a frame, and we want to know what is the color palette for that one. So hopefully we're gonna stay at eight. Maximum 10 line or 10 But honestly, stay with eight. You can change the shadow threshold. As in defining what is a shadow. The shadow is the lower third, the highlight. His here is the higher third on what in the middle is obviously gonna be the midterms. Um, don't get too scientific about this. Even recommend even open it. Is that okay? But this is how you want to tweak it. If you wanted to make. Now, let's go back to the real fun. Off the off the color palette work. Okay, Once you're here, you have those those capacity. Think? Yeah, OK, fine. I'm done. I can take the scholar parent and apply it. That's not how it works. This is just to give you a guidance. But what you want to do is to make to notice the difference between this on this Well, this obviously is very, very, very stylized. A blue sky is something you only see in mad Max furry here. You can see it anywhere else. I mean, sorry, blue sky in the night. This is supposed to be night and disguise blue All right, so it's stylized. Look, the idea is here ago. This is This is totally sile ized. I get something. Obviously they're not. I mean, the shadows are not very saturated that quite dark but not saturated. But still, you're going to find those frames that are iconic and then notice some things. We're going to look at that some of these films and then notice. The idea is to know how to work with the court palate. It's not just yet drag and drop it. See, I have the colors. Let's follow these colors. It's about is it an exterior shot? Is that until your shot is it a normal activism? Is there something going on or is there say, for example, here you will notice this stuff you're going to notice. It's in several fills when the action gets halter, the colors water. Okay, so the more the action, the more vivid the colors. So much that you confined, even some saturation in the shadows. Notice this is very saturated. Okay, but this is like the one of the big action moments. All right, so the more action, the more saturation, the more of it. Let's just look for do we Do we even have a moment? Come moment in my max 40. I don't think there's a calm moment. So it's it's most of it is just Yeah, maybe it's something like this. It's not that saturated. It's a bit calmer, so you don't have them. A situation so saturation an action. Go hand in hand. Don't mess with your shadows. We're gonna talk about that. It doesn't mean going saturate the the shadows. You can have a little bit saturation, but not much, Okay? And then we talk about exterior shots like these when you have, um, when you're showing landscapes Now, this is not really landscape, but it's a exterior short, and then you start getting the flavor off the color palette. You remember this one? We're going to look at that once we look at OK, this is a lot of action going on. Then it's saturated, even in some shadows. Okay, let me take you to another from because the fun off the Color Planet is in the comparison between the film's. That's why I said, Bring all the film. Well, not all the films, but those reference films in your put all the films in your portfolio as reference and put them next to each other here and start looking at the comparison. Look at this model in jail. Let me take you to some shots here for comparison purposes. This is interior. I'm not interested. Oh, obviously need to drop my color palette. Look at the colors here. Let's go back to mad Max. Furry. Not this one. These colors here. Okay, let's go back to what legends? Mortal engines. Find another one, which is exterior shot. I have a beautiful exterior short. That's that's not the one I have in mind. This one. Okay, so you've got Look at this. They have eggs. It's like a copy paste between these two I mean, not exactly the same colors, but you can tell it's exactly the same mood that's in there. Well, in this one, you Seymour Rocky Mountains, and in this one you Seymour sand in the ground like modern sound. But these are This is what you would want if you are making a film that has a similar turn . These are the colors that you would want to see in a similar shot, not in an interior shot. This is a landscape wide white angle escape shop. OK, then you come for the mortal engines and you come to interior shots. Then you see that when the action is starting to move on, it's starting to get more saturated until we get to moments where, okay, this is not. This is exterior, and you see when there's a green, it's quite muted colors. Can we get muted colors in nature? There aren't that many things that are oversaturated. Just book outside. Go outside stop is no oversight saturated stuff. You find them in advertisements on store fronts, prince of material, but he go outside. It's not very saturated, so it should drive your look as well. Okay, so this is This is how you want to deal with the look above the clouds below the clouds. It's It's just a matter off looking at those things. And this is the peak. You're going to find the beak generally, except for Mad Max, where you have a lot of action everywhere. Are you going to find the peak around the third, Um, the fourth, The beginning. OK, the end off the third quarter or the beginning of the fourth quarter, which is basically the beginning off the third in the field. OK, this is where you would find you will find the highest actions. It will start here. So this is a very saturated look. Remember that story of Saturated? We got it back in Mad Max. Very. I'm just sick. I don't remember. Actually. Which one? Yeah. See this one? And also there is my friend, the guy who say is what a lovely day. Yeah, This guy says, What a lovely day. Some iconic were from off praise from that guy. Um that Yeah, it's very saturated. Very, very saturated. Just look for that other one. I made markers just to, um yeah, oversaturated over centuries like excessively saturated mortal engines. Same story. You start getting the idea once you have this. Okay, Now let's go back. Now let's go to another, which is horror and start dropping. This one's I don't think that I I did. I did. I did. B. It's a, um a mood board for that. Yeah. Sorry, I did create a your frames. Okay, let's look at this. This is somewhat the color that have gone with when things are starting to get scarier, like it's the beginning. Okay. And then you have the same color palette here. Similar then this is kind off normal day, All right, normal day. And to create the contrast, especially working on on horror, it's very important to create the contrast between very calm and beautiful and extremely scary. And look at this how rich the colors are. I'm not saying saturated. Yes, there is red, but that's how a balloon is, how beautiful the colors are, and then you come back to this. They are muted, dark and muted because there's no saturation with horror except when you want to create the , uh, contrast. So you don't have a horror moment with saturation or with beautiful colors like greenish stuffing. You don't do that. I'm saying no, as in you're not allowed to do that. You should not do that. It just doesn't fit. It doesn't. It's not creatively. It's not artistically. It's not aesthetically correct. Okay, so there's this muted stuff on the blue is almost always there, even in the shadows. And then there's this comb. This is this something going on, but not really calm and relaxed. There's this one. And let me just check Which one was that? This one and this one? Exactly the same color palette. Shockingly similar. See? Same one. Why it's because the same place and it's the same mood of that moment. It's somewhere between it's like and then you have the dark, it's and the weird things. Okay, so this is how you would deal with horror films. Muted dark for the horror bits. Very beautiful when you want to create the contrast and somewhere in between you have things that look like this. Okay, so it could do the same thing. But let's say you have in mind to go with something as crazy as the Hotel Budapest film, which is absolutely unique in terms off the choice of colors. It's a free it's You have free choice in terms of that, because you know what you're doing. This is very saturated. Clearly iconic. Lee. It's like it's it's hotel Budapest is colors like they have a pallet. Why? Haven't played sorry. You just place the Salafist and you can see what colors they playing with. All right, It's mostly saturated. Except when Sometimes you have dark interior. Then it goes like when it's not yet when it's outside the hotel, then this is It's kind of muted. Kind of muted. Okay, um, this is this color palette technique is quite useful, actually. Um, images supplies here. We're gonna look at some few examples because I want you. Okay. This is my all of this decision. All of this except from this guy. All of this is here. CD. Um, So what do we do with that? Like, have a film that I want to mimic in terms of turn and stuff? I wanted to look the same, but these things are CG. Even if they are cg, the C G guys have received the mood aboard. So whatever you're seeing here is has same fidelity in terms of what you want to copy. Copy Get inspired from. Okay, so same story here. Look at these colors from exterior shots. Let's go back to our mortal engines in this shot or this one. Maybe this one. Check Elita and mortal engines. Very, very similar. So you want to be creative, but it doesn't mean going to push things off board and start coming up with colors that don't exist in nature. And you come up with a color palette, but it's not there unless you have something similar to what we said. This one. But still, you exaggerate the existing colors in terms off instead of coming up with something that's not there. Because people know what is the color of hair. People know what is the color of grass. People know what is the color of sky. Um, yeah. In this case, clearly they have decided to ignore this fact. They wanted to take it that extreme, which is fine, But you want to be careful with where you going with your Would you call it? Okay, Braveheart. Just a few more examples just to look okay. Most of Braveheart is happening outside, so the same color palette. Similar. So all I'm telling you actually is you're going to do this exercise and you're going to end up with. Even if you take any films, you're gonna end up with five or six. Okay. Somewhere between four and six. Four on six unique general pallets to apply. And these other ones you want to be true to is like you just want to use them. This is again the same one as this. Sorry. I am coming back. Come, come back to stranger things. Same one. Is this Where were we? Braveheart? See, it's exactly the same. And what Legends? Bravehearts. Exactly the same similar. That's why I mean okay. And then you have SciFi SciFi needs colors that are not known to most people in terms of we don't know what the colors wood look like inside the spaceship because there is no spaceship as in spaceships that we see in these films. But we know what industrial environments look like. You know what metallic things look like? You can push them, but in this look, for example, it's muted mostly sometimes when it's bright, then you are going to use blue most of the time. You want to go? You want to go blue with SciFi? Okay. The blue is everywhere. It's like, Fine. OK, good. Uh, the maze runner is another one where I wanted to show some. Yeah, same story, our exterior shots. I think he already have your color palette now for exterior shots, no matter what the film, Gianaris Because everybody knows what exterior looks like. Okay, so it's the same as again mortal engines as again. Where were we? Braveheart. It's the same one. I actually Yeah. And then you have those SciFi related things, As in scientifically advanced to advance beyond what we already have. They're gonna have some blue. For some reason, you couldn't have them in a different color. You could absolutely go with green like, um, with them aliens or something. You could go with green blue. You could, stylized. You don't have to follow what? The heart of the others that have been doing. Okay, this is taken out a lot of time. But I really want you to have a good start, because unless you have a good start, you will not. No, I was good. Which one is this? You would not know which. Okay, this is a bit stylized. It's the same look. But all of this SCG, obviously. But they still have remained within the the same color palette as this, which is also C g, by the way, um, Harry Potter. Quite an old one. A typical look. Still, this is an interior. So this is for an interior. So we using the exterior palette for an interior one. Okay. And the typical, um, orange until Okay, you notice that across the whole film, almost the same palette has been applied. Whether interior or exterior, sometimes for the night. The blue is added. We'll do that. Why have exterior? This is exterior. Okay, so it's the same. So this is one of the films where you find a unified color palette like one has been applied to all the film. Most of it Where, at least for the frames after zone. Van Kirk, A beautiful masterpiece. Um, let's apply the carpet. And that's the last one. Okay. Um right. Okay. What did we say? Exterior shots. They need to have ah similar things. Look at this and look at Dunkirk. And why did I bring dunker? Because This is an exterior shop. It has sound and these they have changed the color of everything. Why? Because it's done car. It's not any film. It is not normal time. It is the most catastrophic time in the history Off the British army, they have undocked. Quote me on the number. I don't know. It probably wasn't 500,000 people. 500,000. Maybe I don't number from film. Um, soldiers stuck and need to be rescued. Otherwise the whole arm is gonna be white wiped out. This is from the Second World War. This is true, Stoff. Do you want to convey its with lovely colors like these? Or do you want to convey it with really and such a rate like de saturated look? So you take whatever colors you have and you bring them as as low as you want in terms of the saturation until you get something dramatic. This is this is really beautiful, beautiful distortion off colors. Now they've taken exterior colors that everybody knows, and they said, we're going to do that. We're going to something else, and you gonna love it because it's dark times. It's dark times. Okay, Um both and the sky. You can very common. They didn't do that for the sky. What's still it's mostly muted. Okay, so yeah, just looking around for some additional shots again. See here Look, I can't see the brown like the lovely brown you see from I can't see it. Andi, Even in Braveheart this brown I can't see it just bloody dark times. Separateness de century. It's like a monotone, actually. Just shades off black and shades of gray and shades off lights. Um, yeah, just white. And that's it. That's that's beautiful. This is a beautiful use for which jar for historic movies you can use that will obviously not historic, as in some corporate thing. This is dramatic Folder for the room four. Okay, so this is how you use it. And then I think, OK, I have this color palette. What do I do? It is when you can export this thing, I can go anywhere like that. XKE, please keep this call apartment. Beautiful one. Actually, it's not that beautiful. Eyes just like to see. We know the color of the water. We know the color of everything. This it's just amazingly de saturated. It's beautifully. The saturated. Okay, I need to stop talking about that right. And could get carried away. Okay, let's take this one easy. You can just take the whole frame, come to the color page, and then you're going to open the gallery. Right? Click already made some pictures here. Okay, So something like this, this is what you're going to do. Let me just breezes that you see what done? Okay, just take the whole frame. You just right click on this. Grab steal. We're gonna get that still. This is it. Okay. This is your steel you're going to, right? Click and exporters, PNG or JPEG. And these are your images. It would be great to keep the image with the color palette. It just helps to know as well where it came from and why it was like that. If you were have any creative discussions with the team and you have been challenged on the Where you going with the film? Is that okay? This is where we come from. These are not normal times. Stock time. Cool. Okay, So starting point is mood board before even shooting on the color palette. You could I mean, the corporate stuff you could do. It's obviously before he even should, because you also want to have some, the camera, the lighting to be. Adjust to that. I mean, all of this stuff happens before, but you could also, once you have roll footage, you can also take your footage in the post production to another direction with the color palette from those films that you have taken as reference.