How to take a picture like a movie, or how to adjust it later?

How to take a picture like a movie, or how to adjust it later? modify

Personally, I am not inclined to sum up a set of methods for this problem. To tell the truth, I can't understand the article "Thinking and Practice of Color Matching in Film Style" reprinted by @ Liu. For a landscape photographer, the understanding of color in this paper has not reached the passing level, let alone film photography. Either way, the former is better than the latter.

But unfortunately, our photography forum is full of this so-called color matching technique. What is even more outrageous is that we have been praised by website editors or photographers, which always makes people feel helpless to close the door.

For scenery pictures like this, please refer to the website 500px/Popular Photos. Although it is not a film photography website, it is the most popular online communication website for photographers at present. I believe that the subject's question about taking photos with film effect is definitely not just a question of color.

The previous answers are all about analyzing the photographic styles of some films horizontally, so I will say something else. I remember that the best photography and visual effect in the last Oscar was "The Fantasy Drifting of Pi" (hereinafter referred to as "Pi"). I will briefly talk about my visual understanding of this film, hoping to give the subject something helpful for thinking.

Juvenile school is not a movie made by ordinary cameras, but a 3D movie. Here we only discuss the visual color style of the feature film.

The film was first introduced by Paijia Zoo. Judging from this frame, the highlight is degraded. With LR, the values of R84.5, G86.9, B89. 1 are obviously blue, and the deepest part of the dark area is not less than R5, G5 and B5. That is to say, from the situation of this frame, the dark part is pure gray with no color tendency, while the bright part is cyan, which is in line with the supplement that the human eye is not sensitive to cyan, and there will be many such tones in the future. For graphic photographers, this color is obviously not in line with their impression of the so-called blockbuster. If I were a beauty finger in a magazine or website, I might design photos like this:

What's the difference between this photo and the movie picture? First of all, exposure value is different. The cinema is almost completely black, so the exposure value of the movie picture must be lower than that of ordinary photos, otherwise the picture will be too bright. Secondly, this photo has been stylized, not the original scene, but the artistic treatment. Generally speaking, what a movie needs is to express the overall picture style, adapt to the picture environment, and do not need additional artistic treatment. Printed manuscripts and websites often have bright colors, and dark areas also have color cast, forming a unique visual style. The dark part of this picture tends to be blue, not as yellow as the movie picture, and the saturation and dark angle are appropriately increased in the red part.

In contrast, if the movie screen is adapted to bing's home page,

In contrast, I personally prefer the taste of movie pictures.

This is the stills from the shooting. We see that pi's trousers are almost pure white (dark is blue) and the hull is white. In the final film, the director's treatment is biased towards green, and the value of green is 4% higher than that of red and blue.

As for why it is green, there are many factors, which may be related to the Kinofolo lamp group of that era. If Kinofolo is used for a long time, it will turn green ("seven deaths and one life" is the initiator), or it will connect people with the night view of TV news (the night view of TV news will be shot with night vision goggles, which is green), which will make people feel real, or the human eye will be more comfortable with green. In short, the current style is like this, and it is green.

Comparing the screen shots and stills of the feature film, we find that the highlights of the film are very low, as if a cyan filter is added, the sky is filled with green, which reduces the saturation of red, and the details of dark parts are highlighted, and the contrast between dark parts and bright parts is not so obvious, which is equivalent to increasing tolerance and allowing viewers to see more details.

Although the scenery is synthetic, we can still see the designer's artistic attainments, the dark parts are rich in details, the highlights are still blue, and the white balance has never tilted in the direction of warm colors. Let's not talk about composition here.

In general indoor scenes, the highlights outside the window are still relatively depressed. Pay attention to the details of the dark part of the room, not missing a detail. It looks like adding a dark corner, but it's actually just an illusion caused by the highlight in the middle. The white balance is still tilted like blue and green, and the overall exposure is degraded. The white clothes on the pie are very cold, so the photographer tries to reduce the influence of ambient light on photography. The outdoor light looks white, and the curtains are not polluted by the outdoor color. (the real situation may be that outdoor light will cause blue, and it will be modified later. )

Indoor general complex scenes. The light here is complicated, and it is easy to dirty the picture if you don't grasp it well. The chef's face is full of light and the background has ideal light. This scene is beyond the understanding of ordinary photographers. Under normal circumstances, according to the movies I have seen in Hong Kong, Taiwan or Chinese mainland, it will be very difficult to correct the color of this complicated light photography. I usually see this style.

I won't say any more.

The indoor scene is extremely complicated. This kind of picture seems simple, but it is actually very difficult to shoot. The difficulty lies in the contrast between background light and face details. From pi's eyes, we can perceive the layout of the light box. Because curtains, pillows and clothes are all white, the difficulty of post-processing is reduced. White curtains, pillows and clothes are all green, which is in sharp contrast with the gorgeous saturated color of the sea in the film.

There are many scenes in this film for photographers to learn from. After all, I got the best photography, and what I said is only a tiny part, which may not be correct. The question of the subject is actually very easy to answer. After all, it has nothing to do with movies. It is purely a matter of photography knowledge. In the final analysis, it is basic skills. In my opinion, composition is far more important than color style. Composition determines what kind of photos you take. There is no such style in the so-called film style. I don't know if I will be scolded for saying this, but it is. I believe that if you make a photo with impeccable composition, correct color reproduction and simple ps decoration (just a little skill), I believe you can create a so-called film effect photo.

Attach pictures of favorite movies. I really don't like the so-called fashion blockbusters shot in fashion magazines, but I prefer the tone of this movie.