RGB Recolouring

In premiere pro, there can be instances where the footage you're watching and using can look too much of a colour, it can be any colour, but there are usually four primary colours, these include: red, blue, magenta and green.






If a picture looks too red, it is considered too 'warm', this is because colours like red, yellow and orange are associated with summer and warmth. An example of a picture being too 'warm' is to the right.

This is an example of a warm image, notice how the levels of red on the bottom half of the screen take dominance. This means that more red is being put into the image, and more green and blue is being taken out.

There are still signs of blue and green levels in there, but you can notice which colour has taken priority in this shot when changed to be like this.

If a picture looks too blue, it is considered too 'cold', this is because colours such as blue, purple and cyan are colours that people often associate with winter, coldness and ice for example. As such, many pictures that are mentioned as cold, contain a lot of blue and such, an example of this is to the left.

This is an example of a cold image, take note on how the picture contains a lot of blue colour and tint. This shows that there is mostly blue in this image. There are still some bits of red and green, but they're pretty much consumed by the colour blue.

So why do we need pictures to be not too warm but not too cold? Well the picture itself, when balanced out in red, green and blue, it makes it so that the picture is much more clearer and easier to look at, it looks like it's taken there and then.

Pictures can turn too warm or too cold due to lighting, natural and unnatural lighting are the factors of this.

The reason four colours were mentioned, is that they are four of the most common colours you'll come across when correcting colours like red, green and blue. When you take out red, you get levels of blue increasing the more you take out of red. It's also the same vice-versa, when you take out blue, red ends up increasing.

The other two colours, magenta and green, are the same for this, in fact they're the exact same, when you extract levels of magenta, then the colour green starts to seep in, and vice-versa.

The picture to the right is s hot of the effects control tab, to which this is the tool you use to change the levels of red, green and blue in the clip you've selected. You can adjust what colours and shades of a colour you can set for the shot, it's a way of equalising the shot if it's too warm or too cold.

This shot here is an example of a relatively balanced out shot when it comes to RGB colour correction. The levels of red green and blue are almost on par with each other and they've resulted in a cleaner picture that doesn't look 'off' in colour.

Soviet Montages & Kuleshov Effect

Soviet Montages

Soviet Montages are a type of filmmaking that is made to immerse those watching, and to bring people watching to the edge of their seat with unpredictability. 

The main focus on Soviet Montages was the editing, cuts can excite the spectator, and can make those watching excited, stimulated even. Unlike Continuity Editing, where locations are kept very similar as are the actions, Soviet Montages are more focussed on cutting, overlapping too.

Sergei Eisenstein

Born into a middle-class family in 1898, Riga, Latvia, in his younger years (young adult), he decided to take on engineering and architecture, like his father.

In 1920, Sergei moved to Moscow, and began his career in theatre, he worked for Proletkult. His productions under this organisation were 'Gas masks, Wiseman and Listen Moscow'. Eisenstein's first full-length feature film was made five years later in 1925, named 'Strike'.

Another film made the same year, named 'The Battleship Potemkin' was critically acclaimed, it was one of mis most successful, if not, the most successful film he made and it is known infamously. 

It was the film named 'October: Ten Days That Shook The World', that caused his slight downfall in home territory, in fact, the other countries outside the Soviet Union praised Eisenstein. However, in his homeland, he was very well received and soon had to make self-criticism articles and other commitments to redeem himself.

Come 1930, Eisenstein had gone to American soil, he was offered the opportunity to work in the United States by Jesse L. Lasky on behalf of Paramount Pictures.

Metric Montage

Work is done under a certain number of frames, it cuts to this number even if there's something important in the shot. This can make it so that certain shots are not long, or drawn out, also it can be used to draw out the response of the audience without losing them, keeping them on their toes.

Rhythmic Montage

Work is done based on continuity, the idea to make visual continuity in the edit. Giving the film it's own sense of flow that can't be achieved unless you time it with a rhythmic mindset.

Tonal Montage

Work is done based on the emotional impact of the shots, to get more of a response from the audience in a complex way.