All language subtitles for Color Theory in Film — Color Psychology for Direct

af Afrikaans
sq Albanian
am Amharic
ar Arabic
hy Armenian
az Azerbaijani
eu Basque
be Belarusian
bn Bengali
bs Bosnian
bg Bulgarian
ca Catalan
ceb Cebuano
ny Chichewa
zh-CN Chinese (Simplified)
zh-TW Chinese (Traditional)
co Corsican
hr Croatian
cs Czech
da Danish
nl Dutch
en English
eo Esperanto
et Estonian
tl Filipino
fi Finnish
fr French
fy Frisian
gl Galician
ka Georgian
de German
el Greek
gu Gujarati
ht Haitian Creole
ha Hausa
haw Hawaiian
iw Hebrew
hi Hindi
hmn Hmong
hu Hungarian
is Icelandic
ig Igbo
id Indonesian
ga Irish
it Italian
ja Japanese
jw Javanese
kn Kannada
kk Kazakh
km Khmer
ko Korean
ku Kurdish (Kurmanji)
ky Kyrgyz
lo Lao
la Latin
lv Latvian
lt Lithuanian
lb Luxembourgish
mk Macedonian
mg Malagasy
ms Malay
ml Malayalam
mt Maltese
mi Maori
mr Marathi
mn Mongolian
my Myanmar (Burmese)
ne Nepali
no Norwegian
ps Pashto
fa Persian
pl Polish
pt Portuguese
pa Punjabi
ro Romanian
ru Russian
sm Samoan
gd Scots Gaelic
sr Serbian
st Sesotho
sn Shona
sd Sindhi
si Sinhala
sk Slovak
sl Slovenian
so Somali
es Spanish
su Sundanese
sw Swahili
sv Swedish
tg Tajik
ta Tamil
te Telugu
th Thai
tr Turkish
uk Ukrainian
ur Urdu
uz Uzbek
vi Vietnamese Download
cy Welsh
xh Xhosa
yi Yiddish
yo Yoruba
zu Zulu
or Odia (Oriya)
rw Kinyarwanda
tk Turkmen
tt Tatar
ug Uyghur
Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,766 --> 00:00:03,566 would you be able to sleep in a room painted bright red 2 00:00:04,100 --> 00:00:05,266 might be hard right 3 00:00:05,266 --> 00:00:07,433 I'm on no sleep no sleep 4 00:00:07,500 --> 00:00:08,533 you don't know what it's like in there 5 00:00:08,533 --> 00:00:10,099 colors elicit emotions 6 00:00:10,133 --> 00:00:12,166 and have a psychological effect on people 7 00:00:12,166 --> 00:00:13,833 so unless you're shooting in black and white 8 00:00:13,833 --> 00:00:14,333 in which case 9 00:00:14,333 --> 00:00:16,366 definitely review our video on tone 10 00:00:16,500 --> 00:00:17,900 this is the video for you 11 00:00:17,900 --> 00:00:19,633 because today we're going to show you 12 00:00:19,633 --> 00:00:21,599 how colors can be used to create mood 13 00:00:21,833 --> 00:00:23,733 but you can go beyond placing a blue tint 14 00:00:23,766 --> 00:00:25,233 over an entire sequence 15 00:00:25,300 --> 00:00:26,700 you can determine specifically 16 00:00:26,700 --> 00:00:28,300 what type of blue you want 17 00:00:28,433 --> 00:00:30,466 there are three factors in determining 18 00:00:30,700 --> 00:00:31,733 they are Hu 19 00:00:31,966 --> 00:00:34,966 which is the color itself saturation 20 00:00:35,033 --> 00:00:36,333 the intensity of the color 21 00:00:37,300 --> 00:00:38,166 and brightness 22 00:00:38,400 --> 00:00:40,200 how light or dark the color is 23 00:00:40,866 --> 00:00:41,566 with just hue 24 00:00:41,566 --> 00:00:42,899 saturation and brightness 25 00:00:42,900 --> 00:00:44,366 HSB for short 26 00:00:44,466 --> 00:00:47,333 you can create a complex color scheme rather simply 27 00:00:47,700 --> 00:00:49,766 and go from being just another director 28 00:00:49,800 --> 00:00:51,800 to being a true visual artist 29 00:00:53,300 --> 00:00:54,633 first up hue 30 00:00:55,966 --> 00:00:58,299 some movies choose an affinity of hue 31 00:00:58,466 --> 00:01:00,566 utilizing a monochromatic color scheme 32 00:01:01,133 --> 00:01:02,699 those are just fancy ways of saying 33 00:01:02,700 --> 00:01:04,500 that a movie is mostly one color 34 00:01:04,933 --> 00:01:06,733 or neighboring colors on a color wheel 35 00:01:06,733 --> 00:01:08,799 also known as analogous colors 36 00:01:09,200 --> 00:01:11,300 the matrix is a classic example of a movie 37 00:01:11,300 --> 00:01:13,300 that mostly uses one color 38 00:01:13,433 --> 00:01:16,233 that color green why 39 00:01:16,233 --> 00:01:18,899 well the movie takes place inside of a digital matrix 40 00:01:19,200 --> 00:01:21,133 and we associate green with code 41 00:01:21,266 --> 00:01:22,433 plus the green in the matrix 42 00:01:22,433 --> 00:01:24,599 has a certain sickly quality to it 43 00:01:24,666 --> 00:01:27,399 reflecting the overall state of affairs in that world 44 00:01:27,400 --> 00:01:29,766 welcome to the desert 45 00:01:31,066 --> 00:01:35,599 of the real next up is the s and HSB saturation 46 00:01:37,200 --> 00:01:39,300 this movie used a post production process 47 00:01:39,300 --> 00:01:40,766 called bleach bypass 48 00:01:40,766 --> 00:01:43,066 which has a deeply desaturating effect 49 00:01:43,166 --> 00:01:45,366 the color is drained out of these images 50 00:01:45,666 --> 00:01:47,666 it gives the world of the movie a cold 51 00:01:47,700 --> 00:01:49,466 raw gritty sort of look 52 00:01:49,900 --> 00:01:52,666 it also becomes reminiscent of the faded photographs 53 00:01:52,866 --> 00:01:55,466 the black and white newsreels of the period itself 54 00:01:55,500 --> 00:01:56,966 it takes us back in time 55 00:01:58,200 --> 00:02:00,200 the final of the three is brightness 56 00:02:01,866 --> 00:02:03,133 earlier in this series 57 00:02:03,166 --> 00:02:06,466 we covered brightness in terms of a film's overall tone 58 00:02:06,766 --> 00:02:09,066 but brightness can be used to affect individual colors 59 00:02:09,066 --> 00:02:10,799 as well sometimes 60 00:02:10,800 --> 00:02:13,400 a movie elects to use entirely bright colors 61 00:02:13,766 --> 00:02:16,066 particularly movies from the Technicolor era 62 00:02:16,400 --> 00:02:17,600 back then bright 63 00:02:17,600 --> 00:02:20,266 vivid colors were a reason to see the movies alone 64 00:02:20,600 --> 00:02:21,500 on the other hand 65 00:02:21,500 --> 00:02:23,300 during darker scenes like this 66 00:02:23,466 --> 00:02:26,199 you can almost forget that this movie was shot in color 67 00:02:27,000 --> 00:02:29,566 now let's see what it's like when one movie does both 68 00:02:31,100 --> 00:02:33,566 when the destiny of a great fortune is at stake 69 00:02:34,800 --> 00:02:38,166 men's greed spreads like a poison in the bloodstream 70 00:02:39,100 --> 00:02:40,900 it's using all darker colors 71 00:02:41,433 --> 00:02:43,433 contrast that with this scene 72 00:02:43,666 --> 00:02:45,299 where all the colors are bright 73 00:02:45,600 --> 00:02:46,766 in both instances 74 00:02:46,933 --> 00:02:49,899 every element you see was chosen for its darker color 75 00:02:49,900 --> 00:02:50,666 or lighter color 76 00:02:50,666 --> 00:02:53,366 to create a contrast within the film wow 77 00:02:53,466 --> 00:02:54,966 so by utilizing hue 78 00:02:55,000 --> 00:02:56,733 saturation and brightness 79 00:02:56,733 --> 00:02:59,033 you can precisely identify the right colors 80 00:02:59,033 --> 00:03:01,366 to create certain feelings in your audience 81 00:03:02,066 --> 00:03:04,966 bright images often seem lively and exciting 82 00:03:05,966 --> 00:03:08,133 darker images often seem dramatic 83 00:03:08,400 --> 00:03:09,500 and on it goes 84 00:03:10,066 --> 00:03:11,766 the rules were made to be broken 85 00:03:11,833 --> 00:03:13,199 I don't make the rules 86 00:03:13,666 --> 00:03:16,366 okay I'll make it as easy for you as I can 87 00:03:16,366 --> 00:03:18,366 you get to decide what the colors mean 88 00:03:18,433 --> 00:03:19,466 it's your movie 89 00:03:19,600 --> 00:03:20,600 it's your world 90 00:03:20,733 --> 00:03:22,566 and so make it your color palette 91 00:03:23,300 --> 00:03:24,666 how do you make a violent red 92 00:03:24,666 --> 00:03:25,933 the color of blood 93 00:03:26,133 --> 00:03:29,066 feel like something else in her 94 00:03:29,266 --> 00:03:31,633 Spike Jones uses red to connote love 95 00:03:31,833 --> 00:03:34,099 he does it by associating the color with the lead 96 00:03:34,100 --> 00:03:36,300 Theodore as he searches for love 97 00:03:36,300 --> 00:03:38,200 and ultimately finds it in his 98 00:03:40,933 --> 00:03:43,133 operating system hello I'm here 99 00:03:44,533 --> 00:03:46,199 oh black is for bad guys 100 00:03:46,200 --> 00:03:47,033 like Darth Vader 101 00:03:47,033 --> 00:03:48,733 right well sure 102 00:03:48,966 --> 00:03:50,333 until it's for Batman 103 00:03:50,533 --> 00:03:52,999 I'm Batman you get to make your own rules 104 00:03:53,533 --> 00:03:55,933 look at how Wes Anderson uses saturated colors 105 00:03:55,933 --> 00:03:58,966 to make otherwise mundane scenes about a family pop 106 00:03:58,966 --> 00:04:00,466 almost like a comic book 107 00:04:00,500 --> 00:04:02,233 while actual comic book films 108 00:04:02,233 --> 00:04:04,633 ground their high concept plots in gritty 109 00:04:04,633 --> 00:04:05,833 realistic tones 110 00:04:06,200 --> 00:04:08,833 with the wealth of options post production now provides 111 00:04:08,833 --> 00:04:11,266 it's easier than ever to control the color palette 112 00:04:11,700 --> 00:04:13,666 of course color grading can be an expensive 113 00:04:13,700 --> 00:04:14,700 lengthy process 114 00:04:15,033 --> 00:04:16,599 and it rarely can make up for a project 115 00:04:16,600 --> 00:04:18,933 that lacked a thoughtful color design strategy 116 00:04:18,933 --> 00:04:19,933 in pre production 117 00:04:20,233 --> 00:04:21,266 want to dive deeper 118 00:04:21,633 --> 00:04:25,066 check the link to grab our free Film Color Theory ebook 119 00:04:25,066 --> 00:04:27,066 for more examples of color schemes 120 00:04:27,266 --> 00:04:29,266 and see how some of your favorite films 121 00:04:29,266 --> 00:04:32,499 design their color palettes to elicit powerful moods 122 00:04:33,333 --> 00:04:34,533 see you in the next video 8315

Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.