Why Great Movies use the 60-30-10 Percent Color Rule

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[@wolfcrow]

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[@OnMars3D]

Fantastic breakdown on color theory in cinematography. I teach digital rendering and always refer my students to your work because of the way you clearly present the importance of cameras, composition, color, etc Thanks for all you do!

[@jmor3969]

I can't stand it, but obviously films are designed to target to the majority so it makes sense, I'm probably part of a very small percentage that finds it to be distracting as a general rule anyway there is a time and place for it I believe but it's not good when entire movies are saturated with it imo, it should fit in naturally, not just be utilized for the sake of adhering to it.

[@maxmagnus777]

I have almost finished my 10 sec latest mograph. Will be changing colors and adding complementary light.

[@harry1178]

Almost all this video sounds like dogsh*t, man

[@cagneybillingsley2165]

first of all. these are not great movies. secondly, there are tons of examples of great films that don't follow this rule or principle. this video is pure sophistry

[@fernandofaria2872]

@@737simviator lol

[@lanasartlife]

Even though I get the theory, I think current films go too far in this. Films feel really departed from reality when every scene only has 2 or 3 colors.

[@mackychloe]

I agree, it's a fine balance.

[@onistag]

Agreed, the "cinematic" look is being brought to the extreme in modern film, especially in superhero films. They could learn a lot by studying films like Amelie, which holds back when needed and is bold when appropriate.

[@RecklessFables]

Color grading is a pox in the movie industry that has been dominating the last couple of decades. I wish it would just run it's course and go away

[@sandyjust]

Now a days most of the movies are really lazy. From cgi to acting

[@yeah493]

@@RecklessFables *bad color grading. Color grading is necessary to display any digital image. Even film processes that never touch digital are still manipulating what the world looks like and are creative choices. Sorry to be penantic, I also hate the trend of overgraded movies. Color grading is in its infancy and hasn't reached the maturity of other elements of filmmaking. Thankfully I think we are past the worst of it.

[@themovieaudiomashupproject18]

Title: Why GREAT movies use this rule Thumbnail: Red Notice 👀

[@themovieaudiomashupproject18]

@James Veldey That's the point I was making, it was good popcorn fun but not an example of high artistry

[@alejandromedina1019]

came here to say that, see you later

[@Kiyoone]

Agree... WTF

[@99rollo99]

Right?

[@TheMikadoOfLondon]

@@alejandromedina1019 I also came here to say that, haha

[@Ryanin2D]

This carries over in literally every kind of art. Big, Medium, Small in shape design. 1,2,3 value reads for painting. Etc. This even applies to music theory. Really great videom

[@ulengrau6357]

A lot of cherry picking though. Many films that don't follow the rule were left out. But hey! Whatever, right? Isn't that how badly written essays work to begin with?

[@cavemann_]

@@ulengrau6357 I like how you completely missed the point.

[@canucklehead28]

I've been a subscriber for some time now but have never left a comment. I'm a photography enthusiast mostly, but your videos about film can be so easily applied to a photo. You make me look at things in new ways and that's why I think your channel is brilliant. Great job!

[@Rwdphotos]

Gotta interject and say a lot of the examples shown during the part where you're talking about staying away from grading, that most of the scenes were actually graded pretty heavily. You can tell because the shadows and highlights had strong color influences, and most actually used the same color as a wash over both. Shadows always take the color of light that is absent in the key, so the dominant color of the light should be absent in the shadows unless the fill is the same color, but that doesn't happen in those scenes. Like in Django, the shadows had a warmth to them when they should've been cooler due to the blue sky filling in where the sun isn't hitting; there was a warmth across the entire tonal range of the scene. Same goes for Inglorious where there is a cool, somewhat cyan, spread throughout the tonal range. In the Blade Runner scene, the white walls/highlights have a desaturated green/yellow color applied, and the shadows/jacket color were closer to cyan, quite obviously done in post because if they used yellow-green light to color the walls, the jacket would also be the same color due to how light bounces around in a room like that. It's the most obvious in Amelie, where a heavily saturated warmth was swathed over everything- you see it in the highlights as well as the shadows, and it surely wasn't done on set. They could've played with white balancing to achieve this effect rather than color grading, but considering the way the colors shift on highlights and shadows in other scenes, it just screams post-processed. Also, our eyes are most sensitive to green. We have twice as many green cones than red or green, but green cones help to see yellow. High-vis jackets tend to be a green-yellow because they stand out more in the daylight.

[@dinoschachten]

You're absolutely right about those (newer) films being graded heavily. I think the message was not to stay away from grading, but rather to not rely on it to create your colour palette from scratch. There are absolutely scenarios where it's easier to shift colours to your desired palette in post than say paint a whole building that is not yours to paint, and you might do things in post that you can't do in camera (such as treating shadows as you mentioned). And if you know to which extent you can alter colours in post, that can absolutely be a smart thing to do. I believe the point he's trying to make is that newcomers may think they can just go and shoot anything and then create the colour palette in post, regardless of the starting point. With that kind of viewer in mind it's a valuable lesson to do as much colour (and lighting) work as you can in camera, and especially think about the colour palette you want to achieve before choosing costumes etc. - I'm quite sure that's obvious to you personally, but I think some may learn the hard way that you can only push hues so far before the luminosity rolloff, undertones and borders between differently coloured areas are affected in unnatural looking ways (which happens often enough on high budget productions, and I myself am certainly guilty of trying).

[@Rwdphotos]

@@dinoschachten Well I was really more making a comment on how his chosen scenes didn't align with the philosophy he was trying to get across. I agree with what he was saying (ala the "get it right in camera so you don't have to fix it in post" philosophy), but every single scene he chose was showcasing the opposite of what he was saying, so I felt like I should say something about it so people won't get confused.

[@Ildskalli]

@@Rwdphotos I think it was quite deliberate - the whole Tarantino showcase was put right when he was talking about two-color grading, and made it obvious as to how much Tarantino relies on two-color contrasting schemes. I found it a great series of counter-examples to 60-30-10 color distribution. I think the subtle message is: "if you don't have Tarantino's budget to pay people to grade stuff, then pick the cheaper route".

[@MaxIronsThird]

I don't think he ever implied those scenes weren't color graded, guess what, nowadays every scene is color graded.

[@esecallum]

THEY LOOK CRAP. soft fuzzy blurry dark grainy muddy. total crap. everyone watch Bleeding Steel with jackie chan on how to do PROPER PHOTOGRAPHY DAY AND NIGHT. AMAZING PRODUCTION

[@Aleczanderm]

I'm a set painter for the movie industry and we often paint the set walls certain colors depending on the actor in the scene. Its all up to the production designer however.

[@surveyor1515]

Wow, really cool. I bet you’re treated with lots of respect by everyone in the movie industry...

[@hounamao7140]

what are the most used color ? I often see green/blueish greens

[@UteChewb]

Thanks, really appreciated this. I know next to nothing about movie making, but recently I was watching the TV series of 12 Monkeys and noticed that their use of colour was so interesting. In almost every scene there are three colours: blue symbolising the future, yellow symbolising the past, and red standing for both Now and the Army of the 12 Monkeys. It took me a while to see it, but once I did, I thought I must be imagining it, so I looked at some other series and found nothing. Fascinating concept, I'll keep a look out for it in movies now.

[@drmatthewhorkey]

This is intense, thoughtfully crafted, and jam-packed with information. Thank you so so much.

[@salvamando1]

Great explanations of color theory! My favorite director’s work to watch SPECIFICALLY for the use of color is anything by Pedro Almodovar, most notably his latest work - they are simply an interior designer’s wet dream - down to the clothes, seemingly random objects - his set designers are masters of color! Watch any of his movies and the dominant color he consistently uses is the color red, which fits with his passionate/desperate/extreme characters that make up his storytelling.

[@Mersilos]

Its not him, its the priduction designer. The director does not choose colors.

[@salvamando1]

@@Mersilos That was obviously implied in my statement…lol…hence “interior designer’s wet dream.” Also, Almodovar is known for being a set control freak and is absolutely involved in color choices, even to the point where he uses his own furniture from his personal collection to make the scene work. So your statement is factually incorrect.

[@nostaticatall]

I'm a photographer, not a film maker but I found this very interesting and helpful.

[@robertpearson8798]

Interestingly, Kubrick was a still photographer before he became a film maker and applied what he learned in that field to his movies, so your statement is spot on.

[@larrystuder8543]

in all my years, and all of my design classes, nobody ever mentioned this concept. shame on them. It's one of those underlying principles that's almost universal, and can be used on anything.

[@sifux]

How can sich a short and simple video be soooo informative!! You earned yourself a subscriber!!!🙌

[@dinoschachten]

Perfect lesson. Do it in camera. Do it uncompromisingly. Indeed so relatively easy to get a high-budget look if you just know how to use your resources. It's not even a problem if you only have one lens, one talent, one set.

[@truefilm6991]

Very informative as always! Thanks also for the practical tips so low budget filmmakers can achieve a coherent color scheme in camera. I think that most great films borrow heavily from paintings. As unlikely a movie as it may be, I first spotted an artwork rule being applied in Rambo III. It's basically all yellow beige (the color of the desert). What is the complementary color? Yep: blue. That's the exact color of that fluorescent light stick. It only occurs in a couple of scenes and it's even mentioned in dialog. This is the equivalent of a color splash in a painting and it should be repeated in a smaller splash in another place (in film that would be time).

[@Jarvice]

The next step would be to pick the right shades as well! If you want to offset red with blue you need to pick the right shades or it will still look bad.

[@AvizStudio]

wow !!! such useful information. I never heard about the 60-30-10. It's make so much sense. The last advice about the room = priceless!!! thanks you so much

[@AvizStudio]

@WaveDesign Production&Management It's true for every rule

[@lanycera]

Really appreciate this video as a photographer! I think the colours, light, lenses + modifiers like filters that get used in film are truly a goldmine for the art direction of photography as well. The only thing that would even elevate the video further would be recommendations for books that touch more on the subject ❤

[@catfdljws]

This is actually also a great inspiration for app design and 'branding' (when you're a small company or single developer and don't have a full-out branding and design team with this kind of experience already). One thing of note is that even 'red' as a highlight can be complimentary or contrasting. There are many shades of red and some work better with some backgrounds and some clash to the point where it ceases to be a highlight and instead becomes a distraction. The web has lots of color palette generators where you can set some base colors and it'll pick out the best highlight shades to use.

[@RobertWF42]

Thank you, very good explanation! Or in the case of Denis Villeneuve's Dune, the 98-1-1 color rule. ;-)

[@007arek]

True filmmakers brake the rules.

[@veradragilyova3122]

This is video is so beautiful and piercingly useful, and genius, that it made me cry! Colors, too, have foreground, middle ground, and background, just like composition, regardless of where they are placed. And their relationship to each other, where the 30 is half of 60, and 10 is one third of 30, reminds me of the algorithms that pervade all nature! Somehow, this pattern in color distribution, I see as the analog of the Rule of Thirds in composition! It is! :D This is amazing! :D

[@esecallum]

stop this crap blue filiter rubbish.THEY LOOK CRAP. soft fuzzy blurry dark grainy muddy orange/teal total crap. everyone watch Bleeding Steel with jackie chan on how to do PROPER PHOTOGRAPHY DAY AND NIGHT. AMAZING PRODUCTION

[@AANasseh]

Now this was a super smart way to sun up the whole art direction in a movie! Well done! 👍

[@trnygbl23]

This is like the best video I’ve seen about color in film! Super helpful! Thank you so much!

[@judichristopher4604]

WOW.... EXCELLENT VIDEO Even though I already Knew all of this ... studying it for years... Your video explained better than I have ever heard or seen. Thank YOU so much for sharing this video

[@androogalt]

"Great movies" thumbnail is Red Notice

[@filkearney]

I really appreciate this breakdown! I don't see any color, so I'm always trying to find ways to simplify my palette so i can trust the process over my eyes! :) have never heard this rule!

[@HunGerMovies]

I don't know, colorful movies just worked very well in the 90's, this whole colorgrading stuff just came in later with the digital cameras... of course the design of the scene, the furnitures etc. made a difference, but new movies really look like there are just a couple of colors while 90's movies - which looked the best in my opinion - were really vivid, rich in colors and awesome the same time, except for some very artistic movies like Seven, but general movies looked cool with more colors too

[@737e7dhs4]

Can you recommend some movies from the 90s list which looked vivid

[@HunGerMovies]

@@737e7dhs4 Basically any romcom, or comedy (Something about Mary), teen horror movies (Scream, I know what you did last summer, etc.), any action movie with Schwarzenegger or Van damme, etc., or the Mask, etc.

[@HunGerMovies]

@@737e7dhs4 Oh, and Scifi of course, Independence day, Jurassic Park, etc.

[@oanshee2462]

In 70s films looked even better than in 90s, though anything is better than blue-orange picture like they make these days

[@HunGerMovies]

@@oanshee2462 I agree with the second part, but in my opinion, late 90's movies were the peak picture quality wise, including color and everything.

[@KatyAdelson]

Whoa! I just learned a bunch of things I didn’t know were a thing in film….😮 I had noticed the coloring vibe that a lot of films had, and how it impacted the mood, but I didn’t realize it was just the 2 or 3 colors - that’s so interesting!

[@wolfcrow]

RAW vs Log vs LUTs vs Compression | A Primer kzbin.info/www/bejne/oKasq2yeYruAack

[@tt-nc2wh]

You should use better movies as examples, Red Notice had worse more generic cinematography than marvel movies

[@merriammerkabah408]

Great video as always but I completely lost my shite when you said not a lot of things in nature are blue, like how about 70% of the earth being covered by water or the sky for that matter?

[@PrefoX]

the funniest part is, you say "great movies" but then presenting only average movies xD

[@enndee9353]

@@merriammerkabah408 But besides that you dont find many blue things. And in some cases, things are not even blue because of the color of their pigments, but because of their microstructure as the example of the blue butterfly (Morpho menelaus). That's why humanity had long time no clue about what blue actually is. There were not enough artificial examples to teach it and since there was no way to colorize anything in blue (cuz of the lack of a blue pigment source) you won't find many old drawings that utilize blue color.

[@Michael_Bialik]

@@PrefoX Greatness is an opinion, and opinions are relative to a point of view. There is at least as many points of view as there are people on Earth. Now that that's behind us... It doesn't matter whether it's a highly awarded title, a popular blockbuster, a "hiddem gem" or run of the mill straight to streaming (or straight to DVD for older folks here) kind of movie. You can find great things in each, even if they are just a single well lit scene in a 90 min runtime for example. Success requires a lot more than that, but greatness is highly relative.

[@370kiran]

I'm simply blow away by these simple facts of color. I find this information on why I could not digest my first visit to US felt quite different from what I have seen all my life in movies and tv shows. I knew it was something to do with dresses but this simply cleared my confusion for decade

[@HeathcliffBlair]

Thanks for the video. I do sometimes grow weary of films and TV productions that have been art directed to death. Real life, in most human experience, comprises a chaotic jumble of forms and colour tones. It would be a brave filmmaker who eschews the over-familiar, prescribed notions of colour coordination in favour of something closer to the lumpy aesthetics of reality, allowing the situational truths of a drama and its characters to fend for themselves. It may not always be pretty, but that's life. Thanks again..

[@bobc.6419]

Amen. Enough already with the color palette chichés.

[@brainwavestobinary]

What do you consider to be the "over-familiar, prescribed notions of colour coordination"? What color coordination scheme(s), contrary to the conventional wisdom of color theory or otherwise, do you want to see? "Real life, in most human experience, comprises a chaotic jumble of forms and colour tones." Do people generally want to see TV and film that are just like "real life"? I don't think so. TV and film are artistic forms, and even when people try to make something realistic, utilizing color theory to make the visuals more appealing (or otherwise effective) is what happens because that is what audiences respond to. Just as an audience would be bored to tears by dialogue in TV and film that possesses the banality we come across in real life, they're more interested in color coordination than whatever design-challenged visuals they might experience in their own lives - who wouldn't find their own homes, workplaces, or clothing more appealing with some color coordination? You can, as an artistic choice, go for a "chaotic jumble of forms and colour tones", and that might work in some scenes or genres where that amplifies some emotional effect you are trying to convey, but it is not generally going to appeal to people outside of perhaps a few use cases. I'm not saying everything has to be 60-30-10, but whatever might be successful with a "chaotic jumble" would probably be more successful with less chaos and more application of color theory.

[@HeathcliffBlair]

@@brainwavestobinary Audiences, the public, want a lot of things, but a large proportion of those things are not necessarily good for them. However, with repeated exposure and marketing, a conformity begins to form and harden. Before you know it, people are eating chocolate covered popcorn for breakfast. Great news if you're a cardiac surgeon. With movies, the science and art of colour theory seems to have been manipulated, or has slipped, into another kind of "received wisdom" about how films should/must look. It's probably based on the success of previous movies that adopted similar palettes. So, they're chasing money. Deviation or the simple exercise of innovation is becoming quite rare. There's now a pretty relentless reproduction of this oversaturated, over-systematic, painstakingly painted "look" that's crossed the line into cartoonishness, imo. It's darn near gaudy. As you say, audiences might be uncomfortable with alternative approaches... and that's why it should be tried. Wean them off the chocolate covered popcorn! To be fair, I don't think the style should be banished. Just dialed down to begin with, and I'm not saying that everything's got to look like a documentary. BUT imperfection can be beautiful too. It takes plenty of art directing/photographic talent and planning to recreate and perhaps wisely augment the subtle beauty of reality in order to tell your story. Let's give a few of those cardiac surgeons a break. 🙂

[@brucekuehn4031]

I’ve been enjoying clips from the old Ed Sullivan Show lately on YT. The singers and the bands that came on his Sunday night shows in the 60s into the early 70s often were amongst a riot of colors. The sets and the outfits speak so much of that time - they scream! Nothing too subtle but just a whole lotta fun.

[@esecallum]

THEY LOOK CRAP. soft fuzzy blurry dark grainy muddy orange/teal total crap. everyone watch Bleeding Steel with jackie chan on how to do PROPER PHOTOGRAPHY DAY AND NIGHT. AMAZING PRODUCTION

[@arctic_haze]

This is something which will be difficult to unsee after watching this video. Great job!

[@wolfcrow]

How Great Films Use the Color Red kzbin.info/www/bejne/g2ralqWQftKoo6s

[@ANISHMEDIAINTL]

The last 1minunte of the video is the best advice anyone has given me as a low budget filmmaker. Thank you so much for this video.👍

[@filmstuff6781]

1st is the dominant colour. (60%). The dominating colour of the scene. You decide what the dominating colour is based on the mood and tone of the story. 2nd one is the dominant colour.(30%) The colour that constitutes 30% of the frame is the complementary colour. Its purpose is to support the dominant colour. The reason to have a complementary color is to give the scene more depth and some realism. 3rd is the highlight colour (10%) (optional).

[@jimdigitalvideo]

I didn't even know about the 3-color rule but you certainly proved it with all the examples you gave. What I had heard of (because the teachers told the students and myself this when I did a short film production course many years ago) was to get as many of the people, objects and sound into the picture while filming because it saves a lot of time AND money in post production. You said something similar around 2:30 (to buy a red jacket, don't make a jacket red later). The only things you add in post production are the things that are too hard to put into the original shot, such as special effects.

[@Dj.D25]

I've been paying more attention to the use of color in movies since getting into photography. One reason I enjoyed 007 No Time To Die was it's use of Teal and Orange, which I sometimes like to use in my own photos, especially urban photography. 300 which I just watched, I noticed it had a distinct look in it's color palette and style.

[@b.n.production9036]

Well explained

[@esecallum]

no wonder it looked crap and had zero impact

[@Jdshald]

I'm about to paint my apartment so this color video theory is a godsend. thank you!

[@andreapotzy]

Great video as usual! Yours is one of my favorite channels, thank you for all the science you drop 🤙

[@thesaint7380]

I'm a composer/producer and found this very interesting, as it's also applicable on music writing and mixing...thanks a lot !

[@wolfcrow]

Why filmmakers shouldn't care about film reviews kzbin.info/www/bejne/n6TZlpVvhNiKhdU

[@johnstrawb3521]

Talks about the great films observing x color rule while featuring in the thumbnail a sloppy stupid mess of a film. What a choice.

[@MegaMacReal]

Do you have a genocidal supremacist in your thumbnail

[@Cryptonymicus]

If only the stories were the equal of all the technical details we might be seeing an occasional good movie.

[@Rezurcblack]

If good stories are the only thing you are looking for in a movie then just go read a book, not everyone looks for the same thing in movies.

[@ChocolatesAndChai]

This video breaks down colour theory so clearly that I watched it twice!

[@brittacurkovic]

Thank you! This is a truly practical and usable colour guide, will be using for my upcoming work!

[@reidflemingworldstoughestm1394]

1:50 I see four colors there: red, white, green (as you show in your color band), and a lot more yellow than either the white or green. Most of the yellow acts as a frame for the rest of the image, but there is plenty of yellow within the main image. If the sidebars weren't yellow you could ignore the yellow within the main image, but as it is, I have to call that a four color image.

[@Krwler]

This was a brilliant video. So much to learn from such a simple concept. It really provides a great building block for constructing a scene or movie.

[@JimRobinson-colors]

Nice job on this one. Three colors is a great way to break it down. I think people understand the Teal and Orange and forget about the highlight or accent colours. A great point in your video is the production and art design as a more budget friendly approach. Great job. On a personal note ( question ) Do you ever get flagged for copyright when using all that movie footage? Or is there a length of footage you can use, that gets past any of that? Especially when using it for educational purposes. Just wondering.

[@LimitlessLins]

Typically it falls under fair use, because he is using it as an example and not bootlegging whole movies and uploading them as is for views. So, he should be fine. Of course, perhaps occasionally someone may try to make claims, but if he able to prove fair use, the claim should be removed.

[@meghanadganapule3194]

What a wonderful knowledge of colour palette as a ratio , Hats off to the masters who studied deeply for this industry . No doubt , That is why cinema industry is very powerful and creates impact for years . Waiting for upcoming videos which will be full of knowledge and study .

[@jennyhohmann4384]

I hate the dark, monochromatic, de-colorized look modern film has. It’s way overdone. I miss the classic Technicolor.

[@stevelandon100]

I also hate this trend which seems to have started when Hollywood changed over to using video cameras or scanning an entire movie into a computer. one of the first i believe to do this was The Cohen brothers "Oh Brother, Where Art Thou." in 2000. 'colorists' are just tweaking the image to their liking.

[@SPIRE_FAN]

Killer analysis! I appreciate how genuine the video is, it's for sure going to help out a lot of film makers in the future.

[@thebluriam]

Allow me to further blow your minds and add to this wonderful color theory breakdown... 60-30-10 of course equals 100 (percent). The reason why it's 60-30-10 is related to the golden ratio. Between 0 and 1, you have 0.618 and 0.382, two sub-divisions of the phi within a length descending. Here's the mind-blowing part. (0.618 - 0.018) = 0.60 (0.382 - 0.082) = 0.30 (0.018 + 0.082) = 0.10 Or in other words 60-30-10 You are welcome!

[@davidcipolla4036]

Ahhanh you beat me to it! I was going to comment that 60% is extremely close to the .6180339 of the golden ratio, and that the golden ratio is found literally everywhere in nature, the proportions of the human body & animals, geometry in nature, proportions of trees; branching & the roots, in fruits & vegetables, physics- the dielectric field/inertial plane, and soooooo much more. Therefore since the basis of physical realty is constructed on the golden ratio, human eyes are in turn attracted to things of phi proportion, whether it be how color laid out in a movie or how space/physical objects are positioned, phi creates the centripetal compression for focus/attention of the viewer.

[@sleepyd]

@@davidcipolla4036 can u explain this to me like I'm five lol. I'm trying to learn film making and trying to gather as much info as possible

[@thebluriam]

@@sleepyd I wish KZbin had a direct message feature to make linking up easier. Wait... Does it? If it does, hit me up and comment here when you do. I can explain it more simply (lvl 5yo), but in a KZbin comment, not so much. I'm down to link up in real time off KZbin if you can think of a way to share our contact info without the world spamming us.

[@azursmile]

Amazing content about a subject I knew little about until I saw your 2 colour video. Thanks for the great intros..

[@SEALCOOL13]

ah yes, "The Red Notice", the classic masterpiece, revered by everyone for it's immaculate writing and characters that feel so real you can almost smell them... *sniffs gal gadot's armpits from the screen*

[@treasey8655]

"Why GREAT movies use the 60-30-10 percent color rule" ... has red notice on the thumbnail 😐

[@aemediainc]

Exactly, I was going to comment this verbatim

[@bdk8833]

This is weird 😂🔫

[@gristlevonraben]

thank you, this explains why so many newer movies visually suck. I appreciate this more than you can know. Very much, thank you.

[@nyanko2077]

Great movies in title and showing red notice, an average to mediocre film. Interesting.

[@adamethancrow]

Red notice sucked balls

[@TeddyCavachon]

I apprenticed with a Zen master photographer / teacher in early 70s who distilled effect composition into this simple statement: What contrasts with the background in the frame the most will attract and hold the most attention. Contrast comes in many forms. In nature contrasting MOVEMENT entering the periphery is what first catches our eye because the rods cells than line that part of the retina are 3000x more sensitive to light than the RGB cone cells concentrated in the 2° of the field of view around the optic nerve. Our eyes subconsciously flit around our environment in saccades until some contrasting thing triggers conscious awareness and then our brains ‘tunnel’ in on the signal coming from the color sensing cones. The eyes still ‘see’ what is happening in the periphery but the brain filters it out! That hair trigger detection of movement is an evolutionary trait because detecting threats is the key to survival. Movies can take advantage of of that in ways still photos don’t. In stills the most effective photos in terms of viewer reaction and long term retention are those which holistically use contrasts in tone, color, focus, relative size, pattern, and movement depicted with blur to attract and hold attention. What my mentor did when critiquing my photos was ask what my intended focal point was, then took a pair of L-shaped mat board cropping guides, pulled in tight on it then enlarged the crop outwards. It became painfully evident that way how many contrasting distractions I had let enter the frame by allowing myself to get ‘tunnel’ vision on the focal point. I got the job as his apprentice because I went home and cut down all my matted Zone System print to eliminate the contrasting distractions which when then so very obvious. The 2° “tunneling” FOV is about twice the width of a thumb held upright at arms length 👍 and that is actually a good way to mentally crop a scene from the intended focal point outwards asking yourself what could be done with clothing, lighting, focus, movement, etc. to make it contrast more while spotting distraction which contrast more which need to be cropped out or blended into the background tone and colorscape.

[@censorshipsucks9493]

Batman and Robin is a perfect example of what happens when you don't follow the color rule.

[@chrissimmons906]

LOL!

[@john10minutesago15]

AS AN ARTIST, THIS TAUGHT ME SO MUCH MORE ABOUT THE COLOR RULE THAN ANY OTHER TUTORIALS IVE SEEN OMG

[@HondoTrailside]

It was confusing to use the word "complementary" in a color theory video, outside of it's meaning where green is a complement to red, etc... At least that seemed to be what was going on. Light and dark skin tones are different, though less than one might imagine. This is both true in value (light/dark) and in hue. When painting skin tone, one uses basically the same brown mix with red showing through for both white and black skin, with an obvious value (light dark artspeak) difference. But particularly in interiors where there are a lot of shadows, the value range is a lot more compressed than one imagines. Basically you have blood, melanin, and flesh, expressing themselves in different proportions. White is all the colors of the light spectrum at once, and black is none of them. So the argument goes on as to whether either is a color at all.

[@AllThingsFilm1]

Your videos are not only instructional but also inspirational. This is a fantastic video.

[@shadowmihaiu]

Interesting discussion. But to be absolutely honest, in 30 years of feature film & TV from no-budget indies to megabudget flicks like Ali and other, I can count on one hand anyone used 30-60-90, and still have 5 fingers left over.

[@vidadvocate9522]

Well, that makes sense...because yours adds up to 180%, so I suspect that trend will continue...

[@iamthedevilsadvocate]

@@vidadvocate9522 lol

[@KPM8801]

This is so difficult. Proves why cinematography is pure art.

[@lovelie1477]

Great movies : Red Notice xDDD

[@tylerismyname]

This is such a fascinating concept I don't know how I've never noticed it! Now I can't stop seeing it! Great video!

[@danieluher4973]

Talks about "great movies"... Uses "Red Notice" as a thumbnail... Wonderful video though, thank you!

[@FF-kc7fc]

Gal caught my eye, and I clicked for the title. Now I'm subscribed.

[@Hahahahaaahaahaa]

Weird to use one of the worst movies of the year to open as an example of "great movies"

[@mixonXD]

The world is a better place because of people like you, a very helpful video for this filmmaking student :D

[@matthewboulter]

Bold of you to call Red Notice a great film

[@sensagrav2902]

Looking for this comment

[@Soin3000]

@@sensagrav2902 same

[@artmarina-q9n]

Isn't it fascinating how, after 500 years of artists using the same principles of color distribution-namely, the dominant color, secondary color, and accent color-those old tricks are suddenly 'reinvented' for cinema with the new and groundbreaking formula of 60-30-10? It's almost as if centuries of painters were just waiting for a modern twist to validate their methods!.

[@duncanidaho75]

well, not a great movie...

[@larsickenroth7169]

Interesting. But as a painter I would say: close, almost there... What you are describing here is something very old called ‘limited palette’. Plein air painter James Gurney has a lot of videos about it: working with 3 colors, 4 etc. But also just working with muted tones, grays or sepia. As for depth: that is introduced in a slightly different way. If you want to paint volume (visually, for the eye) you need a complementary and opposite color (one acting as shadow/cold, one as light/warm). Together they create the illusion of volume. But that all said: I think the primary thing is: you’re kind of confusing local color (the color you know the object to be under a neutral, white light) and perceived color (what you see when it is in the ‘natural’ scene before you). It’s not a huge adjustment, but it was a huge adjustment for me when I started live-painting. (And then we haven’t talked about values yet, for some directors like to use desaturated value systems - Wes Anderson comes to mind). Anyway, just my two cents. Cool video.

[@vanyakapetanovic4018]

Great video. I would avoid calling it "highlight" color because highlights are something else in photography and 3D. They are bright light reflection areas.

[@manibun727]

At the end of the video, you asked if we found it useful, to like the vid. I find all of your videos useful and filled with information. Thank you for imparting knowledge on various topics of cinematography for those who cannot attend film schools

[@empathyisonlyhuman7816]

As I prepare to begin posting some videos here on KZbin. I've been noticing that some productions feel really low budget. But for the life of me I couldn't put my finger on exactly what it was that was going wrong with them. Just earlier today I started to watch something on Prime Video and almost immediately I shut it off. I just felt like it wasn't worth my time to watch. Even though the topic and the actors are of interest to me. This is starting to make a lot more sense to me now that I've watched your presentation. Thank you for posting this. I love it when I can learn something new that I didn't even know I would be interested in exploring.

[@FruityFoxArt]

Thank you! Extremely useful!

[@soldatvonzufall2548]

this is one scope through which i view movies: movies have lots of depth, so when i find one i like i watch it multiple times and see multiple different messages in layers

[@danrazART]

probably the greatest video on the use of COLOR DESIGN in the movies or ART!

[@irisgreenwell7237]

Excellent video! Very easy to understand and great ideas.

[@ralphdaub]

As a photographer, this is super helpful!

[@laiqurrehman7195]

It is such a fascinating experience while going through your video. Learning and excitement keep shootin' up at the same moments.

[@adityak656]

Great work brother, thanks for the video ❤️

[@babydemonlab]

Great quality man! Very informative and spot on examples. Gained my sub.

[@StarWarsBuddy]

Thank you very much for this short but very interesting video

[@shadeburst]

Thank you, lesson learned. I haven't looked at your content page: maybe you have something on placement of color. Too many photographers and cinematographers throw away the bottom quarter or even third of the frame. It's filled with undramatic stuff. I see many good examples here where the shot has been framed with either THE highlight or A highlight near the bottom of the frame. This is the new, more dramatic cinematic style. Even an exterior where you can't do much about the bright sky can be made more dramatic by altering the color and brightness gradient. Thank you again and I will include your ideas in my photography.

[@FilthyFloor]

Great video. Just wanna mention : Painting a wall is much more expensive where I live, than buying new furniture.

[@tokyodave6663]

This is really exciting. Enlightening even. As a still photographer I have learned tons just watching this. Thanks indeed!

[@trumanandnoahproductions1159]

Love how u show red notice for "visually distinct"

[@JWMCMLXXX]

Good reminder I'll be using this in a poster Im designing today.

[@uriahocean6968]

A master class in filmmaking...as always.

[@crisbycris4012]

I loved this video. I love movies and I have noticed that they really pic colors carefully to make scenes so amazing and now I know why and how. Tks.

[@henkkaj73]

Most interesting video I've watched in a long time. Thank you!

[@Juguitosdemora]

Finaly understood color contrast, the normal approach through complementary colors always seemed weird to me, but if you combine the two it gives a much more meaningful approach

[@SnakeCakeExotics]

always thought it was more about the grading, interesting to see sets are set up this way!

[@RichardStrong86]

Colour graders will rarely alter colours entirely. They are more likely to adjust what is already there.

[@mr.uncleg5307]

This was an efficient use of 7 ish minutes. Good stuff.

[@gordonwoods1087]

In a way, this is similar to cinematographer Billy Williams' practice of layering light behind dark behind light and so on, especially when working in black and white. This creates depth.

[@EugenethePhilostopher]

Thanks. I'm not a film director or anything, but I'll be mindful of this when making my future thumbnails.