ABSTRACT
The story is the lead indicator for how colorists want to shape their images, and conversations with their team about the beats of the story are vital before any conversations should take place about 8k vs 16k, Rec. 709 vs. Rec. 2020, or HDR. With the traditional three act story structure, there is a story introduction, a rising action or conflict, and a resolution. Color correction is not always about “beautifying” an image; it’s about telling a story. Structure refers to adjusting colorists' grading decisions in conjunction with the story structure. Introducing certain color choices in the opening, in sync with introducing the characters and conflict, heightening them as the conflict heightens, and building to a climax with colorists' grading choices in sync with the structure of the story is executing grading in coordination with structure. Missing the plan can lead the final color grade far from the original goal and fail to meet the needs of the story and filmmaker.
