ABSTRACT
Ideally color plan starts at the script or treatment process for the project. The reverse, taking color out, is much easier, but also requires forethought, since colorists need some way to separate out subjects from the background, and color is a great way to do that. With the script or treatment in hand, some combination of director, producer, cinematographer, creative director, and production designer sits down with the colorist in a room and starts discussing the overall shape for the visual language of the project. Color should be driven by story, and every chance to get to know the story is key. One thing to be conscious of is that some shots are going to be harder to color grade than other shots. Color grading today is more responsive, but there is still tremendous power in the watch down, and they should be planned more often than a novice filmmaker might think.
