Colorist Society Hollywood: Noam Kroll

欢迎收听《The Colory Society》播客，我们将深入探讨调色、摄影以及视觉叙事的艺术。

Welcome to The Colory Society podcast where we take a deep dive into the world of color grading, cinematography, and the art of visual storytelling.

我是你们的主持人，鲍博拉·奥尼武拉。

I am your host, Bobola Oniwura.

在本期节目中，我采访了诺姆·克罗尔。

On this episode, I talk to Noam Kroll.

诺姆是一位来自洛杉矶的电影人、调色师，也是极具创意的推动者，他的作品涵盖剧情片、音乐录影带、商业广告，以及一个活跃的独立创作者平台。他兼具摄影、导演和后期制作的背景，以情感驱动的调色和以故事为核心的实拍风格闻名。

Noam is an LA based filmmaker, colorist, and creative force whose work spans feature films, music videos, commercial campaigns, and a thriving online platform for independent creators With a background that bridges cinematography, directing, and postproduction, he has built a reputation for emotionally driven color grading and hands on story first filmmaking.

通过他广受欢迎的博客和大量教程，诺姆帮助电影人用平易近人的工具讲出有力的故事，将经典叙事与前沿后期技术融为一体。

Through his popular blog and lot collections, Noam empowers filmmakers to tell powerful stories using accessible tools, blending classical storytelling with cutting edge postproduction.

诺姆，感谢你今天来参加我们的播客。

Thank you for joining us on the podcast today, Noam.

谢谢。

Thank you.

感谢你这么热情的介绍，也谢谢你邀请我来做客。

I appreciate the generous intro, and thanks for having me.

今天特别期待能和你聊聊专业方面的事。

I'm looking forward to talking shop a little bit with you today.

那我直接问第一个问题吧。

So let me go straight to my first question.

你身兼导演、编剧、教育者等多个身份，拿过不少奖，但能说说你当初是怎么开始做调色的吗？

You have won many arts, filmmaker, writer, educator, but take us back to your first steps as a colorist.

是什么让你对调色产生兴趣的？它又是怎么成为你创作核心的一部分的？

What sparked your interest in color grading, and how did it evolve into a core part of your creative identity?

是的。

Yeah.

这是个很好的问题。

It's a great question.

回想起来，我第一次接触调色是在我十九岁左右拍的一部短片上，那时候大概二十岁吧。

When I think back to color grading, my first memory of of doing any sort of color work was on a short film that I made when I was about probably 19 years old, maybe 20 years old.

当时我有个朋友，比我还大五岁，他是我认识的唯一一个拍电影的人。

And a friend of mine who is, like, five years older than me at the time, he was the only guy I knew that was making films.

我们俩一起把这部短片弄了出来，但拍得实在不怎么样。

And and he and I put this little short together, and it wasn't particularly well shot.

那时候用的大概是台老式的佳能XL1，反正就是很早以前的设备。

It was, you know, on an old, probably, Canon x l one or something way back in the day.

画质特别差，拍的还是个米色房间，怎么看都显得很单调。

Very low quality footage, and we shot in this, like, beige room that just didn't look very good.

我当时根本没意识到自己在调色，只是在笔记本上瞎捣鼓，想看看怎么能让画面看起来好一点。

And I remember I didn't even really realize I was coloring it, but I was just playing around on my laptop and just trying to see how could I make this image just look a little bit better.

我就随便调了调对比度，往阴影里加了点蓝色，无意中做出了色彩层次，其实根本不懂什么叫调色。

So I started, you know, adjusting the contrast and pushing some some blue into the shadows and and creating some color separation without really knowing what I was doing.

就是胡乱摆弄那些参数。

I was just kind of pushing things around.

坐我旁边的朋友，平时从不夸人，这时候却突然说：哇。

And then my friend who was sitting next to me, who normally wasn't the most complimentary person, he said he said, woah.

这画面太棒了。

That looks amazing.

你是怎么做到的？

How did you do that?

你是怎么让那画面看起来这么棒的？

How did you make that shot look so good?

因为在我们眼里，它本来没那么好看。

Because it didn't look that good to our eye.

那是我第一次意识到色彩的力量，也就是说，你完全可以把……当然，大家都希望画面尽可能完美。

And that was the first time I realized the power of colors, that you could take something I mean, obviously, you always want the best image possible.

但即便素材本身不够完美，你依然可以通过调色来大幅提升画面效果。

But even if you have something that's not perfect, there's so much you could do with color to really enhance something.

那是我第一次意识到，掌握这项技能其实非常重要。

And that was the first time I I kind of clued into that being a skill that was important to have.

大概过了五六年后，我开始接很多自由职业的工作，什么活儿都干。

And then probably about five or six years later, I was freelancing a lot, and I was doing a bit of everything.

我既做剪辑，也负责拍摄，还做动态设计，但我真心觉得自己在调色方面比在其他领域，比如视觉特效，更有天赋。

I was doing some editing and some shooting and some motion design, but I really felt like I had this more of a knack for color than I did for certain other things, you know, like, let's say visual effects.

我有些朋友特别擅长合成，但这对我来说并不自然，颜色却不一样。

I had friends that were just whizzes with compositing, and and that didn't come that naturally to me, but color did.

所以我决定试试自由接案，看看能不能拉到一些活儿。

And so I decided to, you know, start freelancing and just see if I could drum up some work.

幸运的是，我很快通过口碑接到了客户，很快就开工了。

And, thankfully, I was able to get some clients and and start working pretty quickly just through word-of-mouth.

从那以后，事情就慢慢发展起来了。

And then, you know, since then, it's evolved.

我为别人做过不少电影、长片、短片，各种项目，最后还推出了自己的网站 CineColor，专门制作这些后期素材。

I've done a lot of films and features for other people and shorts and and different things and eventually launched my website, CineColor, where I create these postproduction assets.

但说到底，这一切都是偶然发现的——纯粹是自己拍片子时，试着做调色，才发现原来我挺喜欢这个的。

But, yeah, it all started with just sort of discovering really just by fluke, by accident that color that I enjoyed color correction, I guess, just by making my own films and and and seeing if I could learn how to do that.

很有意思。

Very interesting.

是的。

Yeah.

从你刚才讲的这个故事来看，你朋友对你做的那些小调整特别兴奋，虽然一开始你们俩都觉得那画面根本不行。

From this story that you just talked about, your friend getting excited about the little tweaks you did to something that didn't look good to both of you at first.

你经常提到颜色和情绪之间的联系，不只是技术上的校正。

So you often talk about colors and emotional too, not just the technical correction.

你是怎么在创意直觉和精准校准之间取得平衡的？尤其是在用LUT的时候？

How do you balance creative instincts with calibrated precision, especially when you're working with LUTs?

我知道你在平台上推出过一些LUT素材。

Because I know you've created some LUTs assets on your platform.

没错。

Yes.

正是如此。

Exactly.

对我来说，LUT通常是在创意阶段派上用场的。

I mean, I think the where the LUTs usually come in for me is is the creative part.

有时候我会用LUT来试探，特别是当我还不确定想要什么风格的时候，或者我想看看有没有更好的方向——我可能有个想法，但未必对，也许还有我没接触到的、更合适的色调。

Sometimes I'll use a LUT to experiment just if I'm not quite sure of what look I'm going for or if I wanna just see you know, I might have an idea of a certain look, but I I might be wrong, and there might be a better look that I'm not really exposed to yet.

所以我喜欢用LUT来快速做个对比，看看我更喜欢哪一个效果。

So I like you know, LUTs is a a way to create a a very quick kind of a b test of what do I like better, this or that.

有些人可能会直接把LUT当作最终调色，也有人会根据它做调整，或者就当个灵感参考。

You know, for some people, they might use a LUT as their final their final grade, or other people might customize it or or just use it as inspiration.

这些工具其实有好多不同的用法。

There's a lot of different ways you can can use these tools.

但对我而言，我通常用它们来试各种风格，找到最接近我想要的效果的那个。

But for me, I'll usually use them to kind of audition different looks and find something that's really close to what I'm going for.

然后再做些额外的调整，让整体更出彩。

And then I'll add additional adjustments or corrections to kind of enhance that.

至于你问的技术层面，其实我习惯把所有技术性工作都提前做完，就像剪辑时那样。

But to answer your question about the technical side of things, really, I try to kind of front load the process just like I would with editing with all the technical stuff.

打个比方，如果我在剪一部电影，又没有助理剪辑师，我一定会先把那些枯燥的活儿干完。

So to just draw an analogy, if I'm working on editing a movie, if I don't have an assistant editor, I'm gonna do all the the boring stuff first.

我会先整理素材、分类、对齐音画，这才是正确的流程。

I'll log the footage and organize it and sync everything, and that's the correct workflow.

在调色方面，我也是一样的做法。

And with color, I find the same thing.

我先要把所有技术细节处理好，确保色彩空间正确，把素材从日志格式转换出来，或者做任何必要的调整，让画面回到一个中性的起点，然后做一个基础调色，把同一场景里所有镜头的色彩统一起来。

I wanna get all the technical stuff, make sure it's in the right color space, and and, you know, get it out of log or whatever I have to do to sort of get the footage to a a neutral starting point, do, you know, some sort of base grade where I'm shot matching all the different shots in a sequence.

等这些都做完，所有画面都协调一致、中性平顺了，我才会把技术层面的事放一边，然后根据项目需求，用LUT、自定义调色或者其他方法，把创意部分单独拿出来，当作一个独立的阶段来处理——这么说你能明白吧？

And then once that's done and everything is sort of, like, evenly matched and looks uniform and neutral, then I'll start to kind of put the technical side away and then just you know, whether it's using a LUT or a custom grade or whatever the the method is for that project, then I'll I'll separate that, and I'll kind of deal with the creative process as, like, a separate phase, if that makes sense.

这正好引出我下一个问题，因为你刚才说的，其实就是一次完整的演示。

That leads me to my next question because what you just did now is, a walk through.

那你能详细说说，你是怎么为一个新项目设计整体色调的吗？

So walk us through how you you start designing a look for a new project.

你是从故事出发，还是参考色板，或者像你刚才说的那样先做技术处理？

Do you begin with the story, the palette references, or lots like you just described?

还是说更多靠直觉，或者像你之前说的那样做AB测试？

Or is it more about intuition or a b testing, like you said?

这是个很好的问题，因为真的要看具体项目来定。

You know, it it's a great question because it really it depends on the project.

现在我调色的很多素材都是我自己拍的，因为我是个全能型的。比如我刚导演的那部电影《宠物老师》，最后我和另一位调色师合作，用了个混合流程。

So a lot of the stuff I color nowadays is my own work that I've also shot because I'm I'm very much a jack of all trades where, you know, a a movie, like, for example, the film I just directed, Teacher's Pet, I ended up working actually kind of a hybrid workflow with another colorist.

他先做了些镜头匹配和初步调色，然后我再接手，在他基础上做最终的调色。

He did some of the shot matching and some initial looks, and then I ended up taking it and doing kind of a final grade on top of what he did.

但像这样的项目，或者我拍的其他短片、长片，我都是亲自导演的。

But on a project like that or on other shorts or other features that I've done, I've, you know, I've directed the film.

我自己拍的。

I've I've shot it.

我自己打的光，自己剪的，最后再调色。

I've lit the footage, and I've edited it, and then I'm grading it.

所以等到调色这一步时，我几乎本能地就知道片子需要什么，毕竟我已经反复看了太多遍素材了。

So by the time it comes to the color grade, I almost just instinctively know exactly what it needs because I've been looking at the footage for so long.

如果一切顺利，比如我拍的某个镜头在拍摄时就已经很棒了，那我通常就只是想稍微强化一下原有的效果，因为我比较传统。

So in a best case scenario, if the let's say I shot a scene and it looked really good in camera, usually, I'm just trying to kind of enhance what's all already there because I'm kind of old school in that way.

我尽量让画面在拍摄时就达到理想状态。

I I wanna get it in camera as much as I I can.

而且，我对自己的作品，审美上也偏向自然真实。

And, also, my sensibilities are are very naturalistic with my own work.

我当然不会做到完全纪实那种极端自然，毕竟我会给镜头做些风格化处理，也喜欢偶尔尝试新东西。

I I do like I I mean, I can't say hypernaturalistic like documentary because I will stylize my shots, and I do like to experiment a little bit.

但我所有的改动都建立在自然真实的基础上——我还是拿摄影来打个比方吧。

But but I like to do so from a place of of naturalism where I'm looking at and, again, I'll draw another analogy to cinematography.

比如说，我拍一场戏，两个人面对面坐在厨房的餐桌旁，旁边有一扇大窗户。

But let's say I'm shooting a scene, two people sitting across the table from each other in a kitchen, and there's a big window to the side.

我会尽量利用那扇窗的自然光。

I'm gonna try to use that window light.

如果还需要一点额外的光，我就在窗光基础上加点补光、主光， whatever 这场戏需要的光效。

And if I need a little bit of extra light, I'm gonna just augment the window light to add a little bit more fill or key or whatever it is that needs to be happening in that scene.

所以调色也是同样的道理。

And so for color, it's kind of the same thing.

我看着画面，心里就想：好吧。

I'm looking at the image and saying, okay.

哪些地方效果不错？

What is working well?

那我要怎么把这些出色的部分在画面中突出出来？

And then how do I I bring out those really good qualities in the image?

所以这算是最理想的情况了。

So that's kind of a best case scenario.

这样一来，就不必每次都从头开始尝试，也不会再觉得‘我真不知道该怎么处理这个’了，因为到那时候，我心里已经有数了。

And then it's less about experimenting from scratch every time and just saying, like, well, I don't really know what to do with this because by that point, I I sort of already know what to do with it.

但也有另一种情况，比如我正在处理一段素材，当初拍摄时没拍好，曝光不足、光线不好，或者赶时间导致镜头对不上。

But in in the other you know, another case, in another instance that that will happen is I might be working on something where I didn't shoot it well or it was underexposed or the lighting wasn't good or we were rushed and the shots aren't matching.

这时候我的处理方式就完全不同了，也正是在这样的情况下，调色的技术性功能对我特别重要——在考虑创意风格之前，我得先解决基础问题。

And then I'm I'm coming at it from a very different place, and that's where the technical kind of utility side of of color grading comes in for me where before I even start thinking about what's the creative look.

因为从某种角度说，创意风格其实是一种奢侈，只有当素材本身质量不错时，你才有资格去选：是偏暖还是偏冷？

Because in a way, the creative look is a bit of a luxury of, like that's when you have the footage and it's looking good and you get to choose, is it warm or cold?

这意味着你手里的素材质量很高，给了你足够的发挥空间。

Like, that means you're you're working with really good footage that's giving you that versatility.

但有时候你手上的素材根本没那么多发挥空间，因为颜色信息少、动态范围不足，或者严重曝光不足，灯光也没打到位。

But sometimes you're working with footage that that doesn't give you that versatility because there's not a lot of color information or a lot of dynamic range or it's really underexposed or it wasn't lit properly.

遇到这种情况，我第一件事就是想：我能做哪一件事，让这个画面看起来起码顺眼一点？

And in those scenarios, my first thing is just to think about what is the one thing I can do that will make this image just look good.

我压根不在乎它符不符合故事、合不合主题，我原先的创意想法都可以先放一边。

Like, I don't I don't even care right off the bat if it fits the story, if it fits the theme, what whatever my vision was can go out the window.

我该怎么让这个镜头看起来好看？

How do I just make this shot look good?

有时候，这就意味着要褪掉颜色，做一种更灰暗的风格。

And and sometimes that means draining it of color and doing a more desaturated look.

有时候，则是加大对比度，用一些降噪工具，看看能推到什么程度，直到画面开始崩坏为止。

Other times, it might mean, like, pushing up more contrast and using some some denoising tools and seeing how far I can push it before it starts to break apart.

但你知道吗，作为调色师，你很清楚，低质量的素材一旦调得太狠，迟早会撑不住、垮掉。

But, you know, once I get it to that point, and as you know, as a colorist, you know, lower quality footage eventually starts to fall apart if you're pushing it too far and you're grading it too aggressively.

所以我得找到那个临界点——这素材到底能被救到什么程度？

So I'll kind of find, like, what is the breaking point for the footage and how good can I make it look?

如果还有点余地，能再加点创意风格上去，我肯定会进一步做些处理，比如增加一点暖调，调整一下色彩平衡，等等。

And then if there's a little bit of wiggle room where I can then add a creative look on top of it, then I'll definitely further stylize it, and and I'll add some warmth or or, you know, adjust the color balance or whatever it may be.

但通常来说，我的工作就属于这两种情况之一。

But, usually, it's one of those two camps that my work falls into.

要么画面本身很好，我只是在原有基础上稍作提升；要么画面很差，我得先想办法救回来。

Either the shot is really good, and I'm just kind of enhancing what's there or is not so good.

我首先得想清楚怎么把这段素材挽救过来。

And I'm I'm trying to figure out how to salvage it first and foremost.

等把能做的都做完了，如果还有余力，最后再加一点创意处理。

And then and then with whatever ability I have left, I'll add some kind of creative treatment as a final step.

明白了。

Okay.

这说得很有道理。

That makes a lot of sense.

你的专业背景是心理学。

Your background is in psychology.

这对你在视觉叙事中运用色彩对观众潜意识的影响，有什么样的启发？

How has that informed your approach to visual storytelling and the subconscious impact of color on an audience?

确实如此。

It's yeah.

这是个非常好的问题。

It's another really good question.

我经常在想这个问题，虽然这么说有点文字游戏的意味，但对我而言，这已经变成一种潜意识的本能了。我早年学过心理学，但从来没想过它能直接用在拍电影上，只是我个人一直对这个领域很感兴趣。

I I think about it a lot in a way, no pun intended, but it's subconscious to me too at this point because I you know, I studied psychology so long ago, and I never really thought of it directly applying to filmmaking, but it's just something that I'm interested in as a hobby.

直到今天，我依然会读心理学方面的书，因为我觉得这个话题特别有意思，也想弄明白人类的思维到底是怎么运作的。

I'll I'll still read books on psychology and things like that to this day because I find it just an interesting topic, and and I'd like to know how the human mind works.

说到色彩，其实它无处不在。

And I think with color, you know, it's it's like color is everywhere.

红绿灯为什么是红色的，而不是绿色的，这背后是有原因的。

There's a reason why a stop sign is red and and not green.

同样的道理，你看恐怖片的时候，如果画面全是深红和黑色，会让人本能地感到不安和冲击；但如果是韦斯·安德森那种柔和的粉彩色调，阴影也提得很亮，整体氛围特别空灵，那感觉就完全不一样了。

You know, there's a reason why by that same, you know, logic, if you're watching a horror film and there's this monochromatic red and black look on screen, it's gonna give you this visceral jarring feeling, but you're gonna have a very different feeling if you have, like, a Wes Anderson style palette that's very pastel and the shadows are very lifted and it's very kind of ethereal.

要说回答你的问题，我其实没有一个具体的参考标准，告诉我现在用什么颜色会让人产生什么样的情绪反应。

And and, you know, I I just think I guess to answer your question, there's no direct tie in where I have, like, a a reference that I look at in terms of, like, what I'm coloring and how that's gonna make somebody feel emotionally.

但我确实写过一些文章讨论这个，因为我平时会单独思考这些问题，不是在调色的时候才想。

But I have written articles about that because I I, you know, I think about it sort of offline separate from when I'm actually grading something.

真正调色的时候，更多是靠直觉。

And then when I'm coloring something, I think it's it's almost just instinct.

比如，当你把一个镜头调冷了，突然间就有一种特别的感染力，这时候你就得听从自己的直觉，因为正是作为人的这种直觉，才能把色彩心理学和实际的调色技术连接起来——你得快速看一眼，心里就明白。

Like, if something makes you feel a certain way, if you cool a shot down and it just sort of grabs you all of a sudden, then it's just you know, you almost have to listen to your your gut instinct because I think that's where you can connect, like, the psychology of color with the technical application of color is you as the human intermediate being able to to look at things quickly and just say, okay.

这个画面特别抓人。

That jumps out at me.

那个就不行。

That doesn't.

为什么这个有效，那个却没效果？

Why did this one work and that one not work?

为什么这个感觉对，那个却不对？

And why does this feel right and that not feel right?

这几乎就是听从自己的直觉，然后再反过来推导出其他镜头该怎么处理。

And it's almost just listening to your own intuition about it and then reverse engineering that for other shots.

所以，如果我用LUT，我可能会在同一镜头上试五到十个不同的色调效果。

So I might again, if I'm using LUTs, I might audition five, ten different looks on the same shot.

最终，如果只有一个效果特别打动我，我就不只是用它来处理这一个镜头，还可能用在整个段落，甚至整部电影里，因为通过这种探索过程，我学到了东西。

And, eventually, if only one of them stands out to me, then I may not only use that LUT or that look for one shot, but I may use it for the whole sequence or even the whole film because I've learned something through that kind of process of discovery.

所以是的。

So yeah.

就像我说的，虽然和心理学没有直接关联，但在我工作时，我始终在努力感受和捕捉那种间接的联系。

So, you know, there's like I said, not really a direct tie in to psychology, but it's it's certainly an indirect thing that I'm I'm always trying to kind of sense and feel as I'm working.

这太棒了。

Oh, that's brilliant.

你曾用极简的团队和单人后期流程制作了整部电影。

You've produced entire films with minimal crew and solo post pipeline.

你写过很多关于这些内容的文章。

You've written about this stuff.

我读过其中几篇。

I've read a couple of them.

你觉得在预算有限、时间紧迫的环境下，调色师需要怎样的心态转变才能做得更好？

And what mindset shift do you think colorist needs to thrive in low budget, high pressure environment?

是的。

Yeah.

我觉得最重要的一点是接受快速工作。

I mean, I think one thing is embracing speed.

从拍电影到调色，我学到的一点是，最好的作品——不是全部，但确实有一部分——往往是在赶时间的时候诞生的。

I think that one thing I've learned from both filmmaking and color correction is that some of the best work not all of the best work, but some of the best work can happen when you're working very quickly.

在低预算项目里，你通常别无选择，只能加快节奏。

And I think that on low budget projects, you often don't have any choice but to work quickly.

所以我觉得，面对这种情况，大概有两种态度。

So I think that you really have two ways you can go about that.

一种是抗拒它，抱怨时间不够，没法好好调出你想要的效果，或者没法在某个镜头或场景上花足时间。

You can either fight against it and feel upset that you don't have enough time to, you know, really dial in the color the way you want it to or to spend all the time in the world on a certain shot or a certain scene.

或者你可以接受它，问问自己：我怎么才能在很短的时间内达成想要的效果？

Or you can kind of embrace it and ask yourself, how do I get the result that I want in a very short amount of time?

我给你举个例子吧。

So I'll I'll give you an example.

就像我说的，在我们最新的电影《宠物老师》里，我让另一位调色师先做了一版初调。

Like I said, on on our latest feature Teacher's Pet, I had another colorist do kind of a first pass.

他发给我之后，整体看起来还不错，但还是得花不少功夫调整。

He sent it to me, and it was looking pretty good, but it needed, you know, a fair amount of work still.

而我们得在两天后交出这部电影的DCP母版。

And we had to deliver the DCP for that movie two days later.

那时候我还没碰过调色部分。

So I hadn't touched the color yet.

所以实际上，我只有两天时间要把全部调色做完，但当时离完成还差得远。

And, basically, within two days, I had to have the the color fully finished, and it, you know, it was it was not anywhere near complete yet.

最后我只能在一天半内调完一千五百个镜头。

So I ended up having to color, like, 1,500 shots in a day and a half.

但通过这次经历，我又一次凭着直觉和感觉去做，不再过度纠结细节。

But through that, I was able to, you know, again, work from instinct and work from my gut and just sort of not overthink things.

我觉得这在调色时反而是个优势，因为人眼天生就有种调节能力——我说不好这在医学上叫什么，但你的眼睛确实能自动平衡白色。

And and I actually think that that can be an advantage when you're color correcting because your eyes have kind of a natural, for lack of a better term, I don't know what the the medical or whatever term would be for it, but your eyes can white balance.

比如你一整天都戴着暖色调的太阳镜，摘下来后，会觉得周围的一切都偏冷。

You know, if you're looking through warm sunglasses all day and then you take them off, then everything looks very cold.

你的眼睛会自动适应。

Your eyes adjust.

调色也是同样的道理。

And the same thing happens with color.

如果我长时间盯着一个暖色调的画面，不断沉浸其中，原本看起来很暖的画面，渐渐就不觉得暖了，于是我就越调越暖。

If I'm working on a very warm palette and I'm just saturating myself in one image for a long time, Eventually, what used to look very warm to me doesn't really look that warm anymore, so I'm pushing it warmer and warmer and warmer.

等第二天再回头看那个镜头，我就会想：我当时到底在想什么？

And then when I go back to that shot the next day, I'll look at it and wonder, like, what was I thinking?

那个镜头现在看起来太糟了，全因为我花太多时间在它上面了。

That shot looks terrible because I spent so much time on this one shot.

所以某种程度上，确实有些时候你需要精细调整，把每个细节都做到完美。

And so in a way, you know, there's obviously times when you need to really dial in the details and perfect things on a granular level.

但更多时候，凭直觉快速工作反而更有优势，因为你没时间过度琢磨，不会把画面调得过头，也不会把作品搞僵了。

But I think more often than not, working instinctually and working quickly can actually be an advantage because you don't have time to overthink things and overbake your images and do you know, just kind of distort your work.

所以如果非得给我一条建议，那就是想办法加快节奏，别觉得快就是坏事，反而要把它当成优势——能让你更快完成工作，说不定还能做得更好。

So, yeah, if I had one piece of advice, it would just be to to find ways to work quickly and to not let that feel like it is a bad thing and actually look at that as an advantage that, you know, you can utilize to finish things faster and maybe even better.

当然不可能每次都完美，但很多大片和电视剧也是这么做的。

And it's not always gonna be perfect, but but a lot of big movies and TV shows are done that way too.

比如那些大制作公司的调色师，有时候给一集电视剧的每一帧只花五秒钟调色，几天后就直接播出了。

Like, the, you know, colorists at these huge facilities are sometimes spending five seconds a shot coloring TV shows that then go to broadcast, like, a few days later.

所以说，某些工作流程这样运作其实挺正常的。

So so in a way, it's not unusual for certain workflows to work that way.

明白这一点，就知道这没什么奇怪的。

So just understanding it's kind of normal.

我们都得面对这种情况。

We all deal with it.

然后找到绕开这些问题的工作方法，我觉得特别重要。

And then finding the workflows to get around that, I think, is really important.

谢谢。

Thank you.

这建议很好。

That that's a good advice.

在资源有限的情况下，尤其是既要负责导演又要管调色时，你怎么做出电影感的画面？

How do you achieve cinematic image with limited resources, especially when you're handling both direction and color?

有些同事说，问题要在拍摄现场就解决。

Like some colleagues have said, fix it on sets.

所以

So

没错。

Yeah.

再说一遍，关键是意识到资源有限，然后接受它，顺势而为。

Well, again, I think the key is understanding that you have limited resources and embracing that, playing into it.

比如，我之前说过，我喜欢一种偏写实的视觉风格，但会稍微加一点风格化的处理。

Like, for example, I like as I mentioned before, I like a style a visual style that is mostly naturalistic but is maybe just enhanced with a little bit of extra stylization.

这样能带出一种电影感的超现实氛围——说不清道不明，但又不至于完全脱离现实。

So it takes you into that filmic kind of otherworldly vibe or tone or whatever you wanna call it that's not quite real life, but it's pretty close to real life.

我其实也说不准该怎么具体描述这种感觉，但幸运的是，我很喜欢这种美学，而且只要方法对，拍起来并不难：善用自然光、窗光，别在后期瞎折腾，注意服装和美术设计这些能为画面添彩的细节。我觉得这整个过程应该是一个整体，我的色彩构想和创作目标，必须跟实际制作条件相匹配。

I don't exactly know how to even quantify or describe it, but it's a type of aesthetic that, thankfully, I like, but is also relatively simple to shoot if you are going about it the right way, if you're embracing natural light, if you're embracing window light, if you're not reinventing the wheel in post, if you are paying attention to wardrobe and production design and all those things that add color to your image, I think that, you know, I I just try to really look at it as this holistic process and make sure that the ambitions that I have for the color palette or for my creative work are aligned with the reality of my production.

谁都能上Shotdeck找一张上亿美金大片的参考图，说‘我也要拍成这样’。

Anyone can go on Shotdeck and find a reference from some $100,000,000 movie and say, I want my movie to look like that.

但真要拍出那种效果，你得有特定的变形镜头、更大的灯光设备、大量的美术布置——而这些你根本都没有。

But in reality, to make it look like that, you're gonna need a certain kind of anamorphic lens, and you're gonna need a bigger lighting kit, and you're gonna need a ton of production design and all this stuff that you don't have.

所以如果你选了一个超出自己能力范围的美学风格，那几乎就是自找失败。

So I think you almost set yourself up for failure if you don't choose the right aesthetic, picking something that you can achieve within your means.

其实很多电影，哪怕是高预算的片子，也常常采用写实的风格。

Because a lot of movies, you know, even high budget films lean into the naturalistic look too.

不是所有片子都这样，但确实有一部分是。

Not all of them do, but some of them do.

所以，背景不用放五盏灯，也不用搞那种夸张的爆米花电影调色，并不会降低你的制作水准。

So it doesn't take away any production value to not have five lights in the background and not do, you know, crazy blockbuster color grade.

这根本不会影响你作品的质感。

It doesn't take anything away from your production value.

真正拖累制作水准的，是你硬要追求一个根本做不到的效果，最后又交不出来。

It actually only hurts your production value if you're trying to shoot for something that's unattainable, and then you can't really deliver on that.

结果别人一看，就觉得这片子看起来很廉价，因为你明明想拍出漫威电影的感觉，却根本没拍出来。

And then people think, well, this looks cheap because they they were trying to make it look like a Marvel movie, but it doesn't really look like that.

我宁可选择拍得像剧情片或惊悚片那样，风格没那么花哨，也更符合我的条件，这通常才是最合适的起点。

I'd rather it try to look like a drama or a thriller or something that's a little less stylized and that's more attainable within my means, and and that's kind of the optimal starting point usually.

你能分享一次你大胆尝试色彩创意的经历吗？那次是成功了，还是失败了？

So can you share a time when you took a big creative risk with color and it either paid off or didn't?

你从中学到了什么？

What did you learn?

是的。

Yeah.

我想了想，有两件事浮现在脑子里。

I'd say well, two things come to mind.

有一件事没成功，但让我学到了很多，直到现在我还在用这个方法：当时我正在做一部自己导演并剪辑的电影，刚开始调色时，我一时不知怎么搞的，干脆把整部片子弄成了黑白的。

So one thing that didn't work out, but it taught me a lot, and I still use this technique to this day, was I was working on a film feature that I directed and edited, started to color it, and I made the whole movie black and white at one point because I just I I didn't I don't know.

我一时找不到想要的色调，心里挺着急的。

I wasn't able to find the look that I wanted right away, and it was just I was getting frustrated.

我就想，要不干脆试试单色？

And I said, well, what if I just go monochrome?

有那么一阵子，我确实想过把片子拍成黑白的，虽然实际拍摄时没这么拍，但为什么不试一试呢？

It kinda at one point, I thought about doing the movie black and white, and I I didn't shoot it that way, but why not try it?

于是我把它调成了黑白，结果并不理想。

And I made it black and white, and it didn't work.

最后我没按这个版本发布。

I didn't release it that way.

其实这算不上什么大冒险，因为那时候电影还没做完，我只是在前期尝试一下。

So it wasn't really a big risk because I was only doing it, you know, before the movie was finished.

但我看了之后，发现色彩搭配不太对。

But I I looked at it, and I realized the color palette wasn't right.

但这么做，其实又回到了心理学层面——把画面转成黑白，让我能用全新的眼光来看这部电影。

But what it did, and this, again, goes back to, like, psychology, was by making it monochrome, it allowed me to see the movie with fresh eyes.

于是我开始注意到其他细节，比如重新构图某些镜头，甚至是一些剪辑上的调整，像是删掉几帧，或者干脆剪掉某些片段。

So I started noticing other things in the movie, like reframing certain shots or or even some editorial decisions where I might wanna trim a few frames here or there or cut something out of the movie.

这些在彩色版本里我根本没注意到，因为彩色画面信息太丰富了，你只会被颜色牵着走。

And I was noticing all these things that I'd never noticed when it was in color because in color, you know, you're just looking at things.

你得处理的信息量太大了。

You're you have a lot more information to take in.

而黑白画面把那些干扰都去掉了，你反而更看清了表演，更看清了构图，脑子里也不用同时应付那么多东西。

So when it's black and white, it strips it away, and you're seeing more of the performance, and you're seeing more of just the framing, and and there's less for your mind to be juggling in a way at the same time.

至少我是这么理解的。

At least that's how I would describe it.

所以我现在剪辑的时候，一定会先做一版黑白的。

So so what I learned from that is when I'm editing, always do a pass in black and white.

所以我先用彩色剪辑电影，然后再做一版黑白的，接着把音乐去掉。

And so I'll cut my movie in color, and then I'll do one in black and white, and then I'll take out the music.

我会在剪辑过程中不断调整方式，让自己能有新的视角来看待作品。

And, you know, I try to change it up as I'm going along to give myself a fresh perspective.

这就是我从中学到的一点。

And so that was something I learned.

明白了。

Alright.

我们得聊聊人工智能了。

We have to talk about AI.

人工智能无处不在。

AI is everywhere.

从色彩匹配到自动调色工具，人工智能正渗透到每一个环节，你认为在哪些方面，人类调色师的价值是永远无法被取代的？

So with with AI creeping into everything from look matching to auto grade tools, Where do you think the human colorist value will always remain irreplaceable?

是的。

Yeah.

我对这方面其实挺乐观的，因为我用过很多这类AI工具。

I think I'm very optimistic in that regard because I've used a lot of these AI tools.

其实早在几年前，刚兴起这些技术的时候，我见过一位特别厉害的AI工程师。

And I actually years ago when this was all starting, probably two, three years ago, I met with a a really smart AI engineer.

他住在德国。

He lives in Germany.

他在AI领域简直是天才。

He's, like, a a genius in AI.

他还在教这门课。

He's teaches it.

他创办过公司，对这一行了如指掌。

He has companies, and he knows all about this stuff.

我们当时聊得很深入，专门讨论色彩方面，AI能做什么、不能做什么，未来会怎样。

And we're talking about, like, about color specifically and, like, where is this going and what's possible and what's not.

通过他，再加上我自己试用其他一些工具，我发现现在的AI调色很多其实是营销噱头，真正实用的功能还远远不够。

And what I learned sort of, like, through him, but also through experimenting with some of the other tools that are out there, is that I think a lot of the AI stuff in color is very much marketing oriented right now, and it's not really based in in its actual functionality.

因为我还没找到任何一个工具，能直接对一张图片做哪怕最基础的调色，还能看起来自然。

Because I have yet to discover a single tool that can take an image and even do, like, a really basic grade on it that looks good.

比如在达芬奇调色软件里，用自动调色功能，结果通常都不怎么样，挺遗憾的。

Like, even the really like, even in DaVinci Resolve, like, if you do an auto color or something like that, it's usually not very good, unfortunately.

真希望它能好用，那样我们只要按一下Ctrl+A，调色就全搞定了。

I wish it was good because then we would just hit control a, and then our grades would be done.

但现实是，它经常出错，效果很差。

But it it's off often not very good.

我也会看看静态图片这些年在AI推动下发展到什么地步了。

And and I look at, like, let's say, still images and where those have gone with AI over the years.

静态图片现在几乎已经能跟真人拍的照片分不清了，但摄影师的工作并没有因此减少，因为想得到一张看起来像随手一拍的好图，你得花时间写提示词、不断调整、反复重做，一遍又一遍。

Still images, you know, they've gotten to a point where they're almost indistinguishable from, like, a human photograph, but it hasn't actually taken away any of the photographer's jobs because, like, you know, somebody to get that image that looks as good as just clicking the shutter once, you have to sit there and you have to prompt it and you have to ask it to fix something and then do it over and over and over and over again.

你可能花一小时才做出一张满意的照片，而以前直接让模特站在背景前按一下快门就完了。

So it might take you an hour to get a good image that's exactly what you want as opposed to just taking a picture of a model in front of a background.

所以我觉得调色也会是同样的情况，而且调色比单纯生成一张图片复杂得多，也主观得多。

And so I I think that the same is gonna be true of color, and I think that color is a lot more complicated and a lot more subjective than, let's say, just, like, making an image.

比如，你只要输入‘生成一张看起来像萨尔瓦多·达利画的画’，AI就能轻松搞定。

Like, it's easy to type in, make me an image that looks like it was painted by Salvador Dali or whatever, and AI is gonna figure out how to do that.

但说到底，达利的作品是有明确参考的。

But but in a way, like Salvador Dali, there's a reference for that.

人人都知道他的画是什么样子。

Everybody knows what those paintings look like.

AI也清楚得很。

AI knows.

所以要模仿它并不难。

And so it's easy to match that.

但色彩就不一样了，就像我们之前说的，太主观了。

But with color, as we were talking about before, it's so subjective.

有人觉得这种色调更好看，有人却偏爱另一种风格。

Some people are gonna think one look looks better, and some are gonna think another look is better.

技术上‘正确’的调色，往往并不是项目最终最需要的创意效果。

And and what's technically accurate is often not what's actually the best final creative look for the project.

所以呢，我觉得就算AI在色彩方面再怎么进步，也可能达到能技术性匹配的程度。

So, you know, I think AI, even as it matures in color, it may get to a point where it can technically match things.

比如你拿出两张色卡，它能把这一帧的黑色深度精确对上另一帧，但未必能抓住第一帧那种感觉。

Like, maybe you bring up two color charts and it matches the exact black levels of this shot to that shot, but it may not actually capture the essence of what the first shot felt like.

它在纸面上能捕捉到一部分，比如技术参数，匹配阴影和高光什么的。

It's going to capture some of it on paper, the technicalities, and it's gonna match the shadows and the highlights or whatever.

但它不一定能让人觉得是同一张图，因为有时候要让感觉对上，反而得做些技术上不准确的操作。

But it's not necessarily gonna feel like the same image because sometimes to get it to feel like a match, you actually have to do things that are technically incorrect.

这种人类的直觉，我觉得是永远少不了的。

And and there's there's a human intuition that I think will always be needed.

不过同时，我也相信AI会催生一些工具，能加快调色师的工作流程。

At the same time, I do think that there will be tools in using AI that speed up the colorist workflow.

就像我说的，做镜头匹配时，它可能做不到完美，但能完成八成，这就大大节省时间了。

Like like I said, for shot matching, maybe it won't get it perfect, but maybe it gets it 80% of the way there, and that speeds up your time.

或者只是整理素材，比如说你有个时间线，有人给你一整个电影的母版文件，你得在达芬奇里把它切成一个个独立片段。

Or just for, like, organization, like, let's say you have a timeline and and somebody gives you just, like, a a master file of their movie and you chop it up in DaVinci into individual clips.

但现在你没法像拿到他们的XML原始工程文件那样，把这些片段整齐地归类在一起。

Now, like, you can't really group those clips together the way that you would if they gave you a raw session with their XML file, and then you could easily group clips together.

所以我能想象，AI可以分析他们的ProRes文件，自动剪切成片段，把相关的镜头分组，还能识别出哪些镜头能互相匹配。

So I could imagine AI looking at somebody's, like, ProRes file and just chopping it up for them into clips and automatically grouping clips together and identifying shots that will match with each other.

这类工具肯定会出现，而且我觉得对咱们调色师来说真的能帮上大忙。

Like, those sort of tools, for sure, I think we're gonna see, and I think they'll actually help all of us as colorists.

但我真不觉得将来会有一天，你只要点个按钮，画面就自动调得完美无缺。

But I really don't think we're ever going to be in a place where you just press a button and it just colors your image and it looks great.

如果真能做到这一步，我们早就该实现了。

I I think if if that was possible, we might have already gotten there by now.

我觉得，但凡需要一点创意直觉的事，都离不开人的参与。

And I think that, yeah, human intervention is is always going to be needed for anything that requires, like, a creative instinct.

所有需要创意直觉的事。

For anything that requires a creative instinct.

你懂的。

You know?

这是我的推测。

That's my guess.

说实话，我的猜测跟别人的一样靠谱或者一样不靠谱，但这只是基于我看到的实际情况。

I mean, my guess is as good or bad as anyone else is, honestly, but but that's just from what I've seen.

我对未来挺乐观的。

I I I'm pretty optimistic.

你通过博客指导了成千上万的人。

You've mentored thousands through your blog.

我一直关注你的博客。

I follow your blog.

我也记不清具体关注了几年，但确实挺长时间了。

And I can't remember the years I'm following the blog, but it's been a long time.

好的。

Okay.

非常感谢。

I appreciate it.

教别人这门手艺，有没有让你在自己的调色上变得更精准，或者更大胆尝试？

And has teaching the craft made you more precise in your own color grading or more experimental?

其实我学到的每一样东西，都是通过教学得来的。

It's made me everything that I've learned has I really have learned through teaching, actually.

说起来，我当初也没打算这样，但我开博客的时候，大概是十二年前吧，十二三年前，差不多就是那时候。

That's in a way, I didn't design it that way, but I started my blog when I was you know, this is probably twelve years ago, I think, twelve or thirteen years ago, maybe, yeah, about that.

那时候我根本不知道自己在干嘛。

And I I was I had no idea what I was doing at that point.

我当时连变焦镜头和定焦镜头的区别都搞不清楚。

Like, I I literally was just learning what the difference was of, like, a zoom lens and a prime lens.

我对电影摄影简直一窍不通。

Like, I had zero idea about cinematography.

但我总觉得，既然我在学，就应该把学到的东西分享出来，因为那时候网上根本找不到我想找的内容。

But I I felt like while I'm learning, I should share this because I was searching things on the Internet that didn't exist yet.

所以我每次拍个测试片段，就能学到点新东西。

So I would shoot a test, and I would learn something.

但我一边学，一边就和别人分享这些内容。

But I was sharing it with people as I went along.

通过这么做，我反而更清楚地梳理了自己的思路。

So by doing that, I was clarifying my own thinking.

后来，这种做法自然延伸到了制作电影课程、办工作坊这类事情上。

And later that, you know, applied to making, like, filmmaking courses or doing workshops and things like that.

我发现，当你必须把知识简化成别人能听懂的简洁表达时，这会让你对那些原本模糊理解的东西有更深的领悟。

I realized when you have to distill down your knowledge in a way that you can communicate succinctly to somebody else, that helps you learn so much more about the foundation of what you maybe already knew on some level, but it wasn't fully crystallized until you explain it to somebody else.

一旦你讲明白了，就更容易记住，也成了捷径，能让你不断往上叠加，做得越来越好。

And then you remember it, and it becomes a shortcut, and you can build on that and get better at what you do.

所以，确实如此。

So so it really yeah.

直到今天，我发的每一条内容，别人看了可能都觉得，我早就懂这些，是在分享我的经验。

Like, almost everything to this day that I post is, like, it might feel to people reading it like I have this knowledge that I've always had, and I'm sharing all these things that I know.

但其实完全不是这么回事。

But, really, it's not that at all.

其实是我自己什么都不知道，那天刚学到点东西，就马上分享出来，这样既能帮到别人，也能帮到我自己，免得我忘了。

It's me not knowing anything, me learning something that day, and then just sharing it right away so it'll help others, but also so it'll help me, and I I won't forget it.

说实话，这整个电影创作的旅程里，最让我有成就感的，就是这部分。

So that's been a really rewarding part, honestly, of, like, just the whole journey I've been on as a filmmaker.

有成千上万的人跟着你一路走来，尤其是那些来自资源匮乏地区、预算极其有限的年轻电影人。

And several thousands have been on that journey with you, especially people who come from from regions where there are not much resources, people who are young filmmakers who are trying to create from very limited budget.

你在博客上分享的那些内容，已经成了很多人前行的灯塔。

Your resources on your on your blogs have have been a guiding light to several people.

我很感谢这一点。

I appreciate that.

最让我感动的，就是收到这样的邮件：有人给我留言，说‘嘿’，我真不知道有多少人这样跟我说过。

And that those are my favorite emails when somebody sends me a message, and they and I, you know, I can't tell you the amount of time somebody has said, hey.

我想学电影制作，但我才刚起步。

I want a filmmaking course, but I'm, you know, I I'm just starting.

我还是个高中生。

I'm I'm a teenager.

我住在另一个国家，用的是不同的货币，有时候我会直接把我的课程免费送给他们。

I live in, you know, a different country, different currency, and and I'll just send them all my courses for free sometimes.

我可能不该到处说这个，但我还是想说，因为我真的希望帮到别人。

I probably shouldn't tell everybody that, but but I will because I'll I I want I genuinely wanna help people.

我能感受到那个人正处在我和十五年、二十年前一样的境地，如果当时有人把这样的资源分享给我，我可能能省下好几年的摸索时间。

It's like, I I I know that that person is where I was, you know, fifteen or twenty years ago, and that if somebody would have just shared that resource with me, I could have saved, like, years of my life.

所以我尽量这么做——我做的东西里，99%都是免费的，我的博客、播客、通讯稿，全都免费。

So, you know, I try to do it in a way like, you know, I'll 99% of what I do is free, my blog and podcast, newsletter, and all that stuff.

然后我有一些自己制作的课程，放在网站上，之所以收费，是因为这样能让我持续做下去。

And then I have these, you know, courses that I've made and I've put on my website that are just there because, you know, that helps me when people buy those courses.

这些收入能帮我继续产出更多免费内容。

That helps me put out more of the free stuff.

如果有人负担不起，我就直接给他们开放权限，因为我不想把知识锁起来。

And then when people can't afford it, I'll just give them access because I I again, it's not about gatekeeping the information.

我只是想找到一种可持续的方式，让我能一直做下去，毕竟现在我还有其他一些事业和项目。

It's just about finding a sustainable way for for me to continue to do this because, you know, at this point, I I have, you know, other business ventures and things like that.

我其实不用继续做下去，但我还是想做，因为这太有成就感了。

I don't have to keep doing, but I want to because it's so rewarding.

就像我说的，从私心来讲，我也从中学到了很多。

And and like I said, selfishly, I get a lot out of it.

这让我觉得特别满足，还能认识像你这样有趣的人。

It's gratifying, and I get to meet cool people like you.

而且，其他人也似乎从中获益良多。

But, also, you know, other people get seem to get a lot from it too.

所以只要我还做得动，就会一直做下去。

So I'm gonna keep doing it as long as I can.

谢谢你。

Thank you.

如果有人听到这儿，正打算成为一名色彩师——不是技术员，而是通过调色来讲故事的电影人——那在头一年里，他们最该关注什么？

So if if someone has listened this far and is thinking of becoming a colorist, not a technician, but a cinematic storyteller through color, what should they focus on in their first twelve months?

这是个很好的问题。

That's a great question.

我觉得这个问题可以从几个角度来回答。

Well, I think that I can answer that in a couple of ways.

一方面是从职业发展的角度，该关注什么；另一方面是创意思维方面。

So one would be, like, the the career way of what to focus on, and then the other might be the creative thinking.

从职业角度来说，我建议你去找一些摄影师，不管是你认识的，还是去建立联系。

So just on the career side of things, I would say just find cinematographers that are either in your network or develop a network.

想办法跟摄影师取得联系，因为他们手里才有你需要调色的素材。

Find a way to get in touch with cinematographers because they will be the ones that have the footage for you to color.

他们也会推荐你给制片人。

They're gonna be the ones to recommend you to producers.

刚开始的时候，有些人会去跟导演或制片人搭线，但他们往往并不清楚谁负责调色。

Sometimes early on, people try to network with directors or producers or whatever, but oftentimes, they don't really know who did call for color.

真正说了算的，一直都是摄影指导。

It's always the DP.

所以，试着找几位摄影指导，主动提出免费为他们调色，用来做作品集。因为如果你能快速积累一批高质量的素材，哪怕你还是个新手，也能占到很大优势。

So try to find some DPs and and offer to color their footage for free for your reel because, you know, if you can build a reel quickly of, like, really high quality footage, you will have such a leg up even if you're a more amateur colorist.

因为你就算色彩调得再好，要是没拿得出手的素材，别人看到的也只能是你展示的那些画面。

Because let's say you're a really good colorist, but you don't have any good footage to work on, you're only going to look as good as footage that you're presenting.

如果你展示的是一部拍摄质量很差的学生作品，哪怕你把它改得好了十倍，可十倍之后还是不够好，别人就会直接对你下结论，因为他们根本不知道调色背后有多复杂。

So if you're showing, like, a student film that was really poorly shot and maybe you rescued that footage and you made it look 10 times better, but even 10 times better, it still doesn't look that great, then people are just gonna judge you because they're not aware of what goes into the color process.

他们只会看一眼就说：这画面看起来也不怎么样。

They're just gonna look at it and say, like, oh, this doesn't look great.

就算你调得再出色，他们也注意不到你的努力。

Even if your work was great on it, they they won't register that.

所以，想办法找摄影师拿些高质量的素材，免费帮他们调色。

So if you can get your hands on some really good footage through a cinematographer, grade it for free.

这比什么都值钱，因为这样的作品集才能真正体现你的水平。

It will be worth its weight in gold because that reel will exemplify how good you are.

就算你刚入行，技术还不成熟，也能在这些好素材上快速成长，毕竟好画面本来就更容易再提升一点。

And even if you're just starting and you're not that great yet, you'll learn on that footage, and it's a lot easier to make good footage look a little bit better.

其实，优质素材很多时候根本不需要太多调色处理。

You know, great footage doesn't really need that much color a lot of the time.

所以，尽量争取拿到好的素材，稍微调整一下，跟摄影师建立联系，让他们以后还会找你合作。

So, you know, try to get that in the door and and tweak it a little bit and and develop those relationships with cinematographers who will come back to you.

再往后，我觉得你明白我的意思吧？

And then I think beyond that, I think you know?

我不确定这算不算好建议，毕竟我不是专职的调色师。

And and I don't know if this is necessarily good or bad advice because my my job isn't as a full time colorist.

你听着参考一下，不听也行。

So take this or leave this.

但从创作的角度来看，我觉得在任何创意领域，都会面临一个关键的选择点，我用导演来打个比方。

But I think from a creative standpoint, I think that when you're doing anything in a creative field, there's there's, again, kind of almost like a fork in the road where I'll use an analogy of directors.

有些导演像瑞士军刀，什么类型都拍，恐怖片、剧情片、科幻片，什么题材都接，还帮别人拍剧本。

There are directors who are Swiss army knives, and they'll do horror, and they'll do drama, and they'll do sci fi, and they'll do any kind of movie, and they'll direct other people's scripts.

还有一类导演是作者型的，只拍一两种类型，而且基本都是自己写或开发的项目，你一看画面就知道是他们的风格，是他们的作品。

And then there's directors that are, like, auteurs that they only direct in one or two genres, and it's always something that they wrote or they developed, and they're very you know as soon as you see a frame that it's their image or it's their movie or whatever.

对我来说，这两种都没对错之分，但我更倾向第二种——不管是当导演、摄影师还是调色师，我都希望作品里能留下自己的印记。

And and so for me, you know, neither one is better or worse, but I'm kind of more drawn to the second camp where, like, both as as a director, as a cinematographer, as a colorist, I like to have some sort of touch artistic touch on something.