How did film directors/cinematographers control their color palette during filming? How much of it was done in post/printing?I've just started with film photography and am fascinated by how differently colors are rendered on film compared to digitalDid they shoot stills with the film stock during pre production to check the color rendering?Are there any good books on the subject?[EXIF data available. Click here to show/hide.]Camera-Specific Properties:Camera SoftwareAdobe Photoshop CS6 (Windows)Image-Specific Properties:Image OrientationTop, Left-HandHorizontal Resolution72 dpiVertical Resolution72 dpiImage Created2024:12:19 14:01:55Color Space InformationsRGBImage Width640Image Height448
When set design wasnt enoughOriginally a complex series of transfers and filtersLater computers
>>4393257Film stocks & developing had different color ranges. Sensor makers try capturing a much more even spread of hues and intensities than film did. Instead of capturing, for instance, a wide range of yellow hues from orange to green and shades ranging from nearly white to nearly black, instead film chemistry might capture & preserve a really narrow range of yellows, so the sunlight & lights of the era don't overpower your shot, leaving a great deal of space between the yellows it does capture and the also somewhat narrow band of Greens before hitting a wide range of blues (useful bc blue is a structural color) etc... a fucking mountain of scientists work went into formulating every stage of those looks over about a century.All out the window when we went to sensors and digital post processing.
>>4393345This plus literally coordinating colors of costumes etc
>>4393257>>4393505I think we cannot underestimate the importance of lighting here too. With the right light sources you can make magic happen
