Introduction
Good morning everybody! If you're joining me today, let's talk about a fascinating aspect of animation production—color scripting. It's one of those behind-the-scenes roles that plays a significant part in storytelling, visual art, and the overall feel of a movie or animation. Whether you're an aspiring artist, a student in a visual arts program, or just curious about the animation industry, this guide will walk you through the responsibilities and skills of a color scripter, defining what makes this role so special.
What is a Color Scripter?
A color scripter is a visual artist responsible for creating the emotional and atmospheric tone of an animated film through color. This role traditionally sits between storyboarding and the 3D lighting team, acting as a bridge that helps smooth the transition from 2D designs to 3D executions.
Responsibilities of a Color Scripter
- Understanding the Story: At the heart of everything is a deep understanding of the script or storyline. A color scripter must grasp not just the plot but also the emotional beats that need to be conveyed through color.
- Color Scripting Process: The process begins by working closely with the director and storyboard artists. The goal is to create a color palette and emotional arc that aligns with key moments in the narrative.
- Crafting Visual Inspiration: Utilizing tools like color strips and strips to visualize how colors interact, the color scripter helps shape how the 3D team manipulates lighting to fit the intended emotional cues of the storytelling.
The Role in the Pipeline
The role of a color scripter becomes particularly relevant in the production pipeline:
- Storyboarding Phase: Color scripters begin their work with the completion of storyboards, often going over animatics repeatedly to understand not only the visual flow but the emotional progression.
- Creating Color Boards: After understanding the emotional beats, a color scripter creates initial color boards, which set the tone for subsequent interpretations.
- Final Color Scripts: These scripts involve mapping out the color of every shot or scene in a concise manner, helping visual designers bring a cohesive look to the entire film.
Skills Required for a Color Scripter
To excel in this role, a color scripter should develop several essential skills:
1. Understanding Color Theory
- Mastery of color palettes and their psychological impacts is crucial. Colors evoke emotions; thus, knowing which shades to use in various contexts aids a color scripter’s storytelling prowess. For more insights on how colors play a vital role in storytelling, check out Unlocking the Art of Color Scripting: A Comprehensive Guide.
2. Cinematography Knowledge
- Awareness of how light and color change during different times of the day, and how they affect perception and mood, is necessary for creating effective shots. Knowledge of cinematography can greatly benefit a color scripter, and you can learn more about this in Mastering Cinematography: Your Ultimate Guide to Practicing Visual Storytelling.
3. Visual Storytelling
- Every frame must convey the narrative’s emotional arc. A great color scripter simplifies the complex emotional transitions throughout a project. For further exploration of storytelling techniques, see How to Write Engaging Scripts Like Top YouTubers.
4. Technical Skills
- Familiarity with digital tools like Photoshop or similar software is crucial for actually executing color scripts and making the colors pop. If you're interested in technical skills related to visual creation, consider checking out Creating Spaceships Using Photoshop and Stable Diffusion: A Step-by-Step Guide.
Examples of Successful Color Scripts
In animations like The Incredibles or Finding Nemo, the color scripts lay foundational work that aligns production with storytelling. By presenting color in a visually unified manner, the scripters ensure that all teams understand the colors and transitions they must execute in the 3D environment. Keyframes in these animations showcase how effective color scripting can establish mood and pacing for viewers, guiding their emotional experience throughout the film.
Conclusion
In summary, the role of a color scripter is invaluable in the world of animation. They shape the visual storytelling process, bridging the gap between traditional 2D designs and 3D execution, while ensuring emotional engagements through effective color application. Aspiring artists should not only develop their technical skills but also cultivate a keen understanding of narrative structure, emotional storytelling, and the psychology of color.
Remember, while the role might seem niche, the impact is significant! As you continue to develop your skills in animation and color scripting, embrace every step of the journey, enjoy the learning process, and always be mindful of the power of color to narrate and evoke emotions in storytelling! Stay energized, keep painting your creative path, and look out for more insights on animation in our upcoming sessions!
good morning everybody how's it going guys morning yeah
it's hard to wake up but today today is going to be fun all right
let me make the official announcements [Music]
all right discord we are live hey thumbnail is the right one finally
all right make an announcement [Music]
how's everyone doing [Music] okay
we're starting a little bit late today because um my file crashed and i lost a few
things i wanted to present and i had to hastily put it back up but all good hey
good morning everybody hey julie hey astor um how's everyone doing guys
i double check um do you hear my computer trying to explode in the background or
everything's fine how's my voice hello
hello everybody how am i doing i'm doing fine okay good good good everything seems
fine good i checked the wi-fi everything should be nice
and and working the gods of internet blessed us but
tweet foo knock on wood no where i'm at actually it's not hot
i'm actually sitting in um in the black hoodie and my legs are wrapped up with a t-shirt
because it's kind of chewy in the morning here in wyoming um yeah and my slippers sadly
were left outside on the balcony and uh they are soaking wet so yeah the rip
slippers all right let me do one more thing i need to make an announcement on
instagram by the way guys i made an announcement on instagram so if anyone is feeling like
sharing your stories please please do
it really helps us out yeah but if you're too lazy that's okay it's understandable
all right okay posted everything to instagram hey man social media game is so
so weird but you have to do it all right
we're gonna wait three more minutes because i decided to delay the stream by five minutes so
not the slippers yep i got my water today i'm gonna make the same sounds as toby
on the previous session um
yeah and by the way guys i always enjoy seeing
your workstations and the environment you're at in when you're listening to lectures and
you're tagging me in your stories and it's pretty cool to see so
keep doing that because it's so it's so you know inspiring
to see people around the world unified and doing something together
um you know have two minutes till the start toby vibe yeah
now we need you to go just mmm every time you drink it okay i'll do it uh yeah guys
if you want to spam something in the chat so the youtube gods think that we are
bigger than we are you know it's like um it's like in those cartoons or or in a in a movie battle when you know
there's 300 spartans and the world is big and the enemy is big and what we do is we we simulate that we're bigger than
we actually are i'm really proud of our community by the way guys uh it's small and awesome
and uh yeah the world is taking over not by not in a month
we're gonna do it slowly and methodically planning our every move
um all right one minute till we start 14 out of 10. yeah i'm pretty proud of what we built guys
i'm pretty proud everyone is not left behind everyone is being super productive and wholesome by the way uh
people who are not up to date we have a new channel in our discord it's called pitch meetings
and on that pitch meetings channel what we do we give an opportunity to you guys to present your idea
to defend it in front of a bunch of listeners pitch it and then at the end of it i'm
going to be giving you feedback what's your plan how well you do you know the story
format and stuff like that last time we had astor present your awesome also kind of north
inspired project and we listened to it and gave our couple of cents and it was awesome just treat it
as you know as an opportunity to test out your storytelling skills and explanational skills and pitching skills
and then we're going to be doing a pitch meeting every week as long as people want to pitch their projects to an
audience and get feedback on it and yeah just treat it as an actual pitch a
job interview or you know an actual studio executives listening to you and then
uh yeah prepare prepare a pdf uh if you want to learn more about it you know join the q a session afterwards and i
will um i'll explain everything better all right it's 11
it's 11 11. make a wish uh all right
welcome everybody to lecture number 19. today we're going to be talking about
color scripting what the color scripter does what's
the role of a color scripter in the pipeline and what are necessary things that you
should know if you want to pursue that career and what qualities you should possess to pursue that career
i myself am a color scripter full-time as a freelance artist in my career i did
almost i don't know probably over at least over 6 000 frames for color
script and i'm going to be sharing my experience
and my knowledge so as usual
like in storyboarding like anywhere else everything starts with an idea or with a script
this is a script for the incredibles and as you can see the storyboard artist was reading the script and then making
frames one by one in the usual pipeline right colorscripter comes and remember we
covered this in visual development lecture one what the role is of color scripter but we're going a little bit
more in depth now so when the storyboard is complete it's usually given out to a color script
artist especially in a 3d pipeline why because everything has to be built in 3d lit in 3d and then it's much
cheaper to do a color script that looks something like this
all right and then color script has an overall color
progression and emotion from beginning to an end and then the 3d team what they can do is
they can get inspired by this or copy it frame i mean beat by beat and then replicate the lighting in there
all right and we're going to be covering a little bit of examples of actual finished projects that are color
scripted today so yeah um the 3d team
is very expensive you know you do you i think everything is
lit uh in nuke but i might be mistaken again i'm not a 3d artist i don't know what exactly the software that they use
to put the light bulbs in right but a color script is a big money saver why because first
of all you pre-visualize your entire color progression in terms of story beats emotional progression lighting
mood and atmosphere and then when the 3d team comes in they already have a guide how to light up each section of the
story a feature film a commercial doesn't matter and then don't have to go you know from scratch because
if you go from scratch there's a big possibility that you're gonna have a frankenstein of a movie what is a
frankenstein of a movie it's only have one shot and one color palette the other one another color palette then you have
a repeating color palette here and then what is needed in the production they're gonna send a screenshot
of the 3d render 2 to the artist or to the director and then he has to do a paint
over and then at the end of the day you can have a frankenstein of a movie and that is not good
so our role as color script artist is to first understand the script to a t or the main story and usually the
director comes to you and explains it to you right and then you usually are provided with an animatic
last time when borja was speaking he showed us an animatic which was basic sound design and storyboards
most of the time storyboards that i get look something like this this is from the fishermen diet the end prologue that
i already showed you before guys and my role as a color script artist is to
first listen to the director in the script that he gave me
i listened to his notes ask as many questions as possible then watch animatic over and over and over
again until i can picture the whole thing in my brain and understand what emotional beats are most
important then what do i do well i screenshot the most important
frames so for example if we're going to look at this we have let's say the the gate here and here i'm gonna probably
choose this one right this frame and then we have like a close-up this is important or maybe instead of a close-up
i'm gonna take this shot because i know that this is an emotional beat when he turns around right maybe
first time they meet i also gonna keep it as an emotional beat first time he gives him the bag you get
you get the main idea and then i go through the whole storyboard like this trying to indicate
what are the main emotional aspects of this story and then i screenshot everything by hand
sometimes sometimes i'm given
a set of frames by an art director already but hap that happens very rarely because the director usually doesn't
have the time to do that usually he needs to hire a person who makes his life easier so usually i like to say
okay what do you think are the main emotional moments you say maybe this maybe this might gotcha then i go into
the animatic itself pause it get the main screenshot and then i compile everything into a giant
file like this where all of my frames are together now
color scripting starts what is the color scripting process so first is understanding the story to the
t second watching an animatic or watching a storyboard until your eyes bleed
why because you need to rehearse the freaking story in your mind so many times that you don't even need an
animatic and when you press play in your own brain you can imagine lighting sound animation everything so the only
thing that you have to do is go and then start putting the lighting the mood and
atmosphere in there okay so i'm gonna give you one example this is the job that i did with borja
the meeting kind of went like this it's uh it's a kid who is excited to wake up for christmas but it's five days
until christmas so each day something happens and then his day progressively gets
you know suckier and suckier and suckier little note when you are a color scripter sometimes
you will get a script to work from sometimes you'll get a storyboard
to work from sometimes you'll get nothing to work from only words and descriptions in this job right if we
want to go into a little detail this job started with a temp script so it was unfinished so it was a temp
script that was always changing we had no storyboard and we didn't had any locations designed
there was no house no nothing the only thing that we knew we're gonna have a house and then we had the main emotional
beats so as a color script are just slash visual development artists we also are have to be good
at what doing first of all time of the explorations
and secondly actually keyframes so this is started as a fast color key
and then went into almost like a keyframe because we needed a starting point and then we needed a baseline so
when you're thinking about your story or any color script in general uh you need to think about your baseline
the baseline is the neutral state or the emotional state of your character in your story in terms of color because
we're talking about color scripting right so as a starting point we thought what is
the mood of this world without anything happening to it is it always moody and always like happy is it this or that
like for example if we're gonna take the movie dark night right
the dark knight is always gruesome and scary why because that's the universe that it lives in that's the baseline
that's the baseline of that world so remember in the beginning in this camp i
told you to do a keyframe a starting point keyframe and most of you probably treated it as
a default state of your world and that's what we did before we started going to actual storyboarding color scripting we
did the baseline and then after that what we did we explored the overall story
in i would say color boards or color scripts color script um frames i will explain
what the difference between color strips color scripts and color boards and key frames are a little bit later but then
what we did is we had this image and it was okay the design of the boy wasn't even finished
so i said well it's a redhead boy with glasses and i did my own version of it and the
dog changed overall and i did a little um homage to buzz lighter here on the left
but but but the baseline is now explored but
collected right and this is not the process that i'm telling you right
this is one of the variations this is not in the ultimate way but this is how what we work on this production and my
role in there was as a color script artist so then after the baseline was established what did we do next well me
and borja we sat down and we explored the main beats of the story so first he wakes up
with the dogs you can see the the frame change the camera has a little bit more depth of field you know then he builds a
snowman then he meets his sister for the first time then they ride into the forest and then
they encounter and then they they have a little adventure on the sled and then they go on the lake
and then uh some drama happens because he feels left out because his parents like the sister more now and then we
have a spooky moment so see instead of doing all of this in the beginning we explored the whole story in minimum
frames as possible we diluted the story into i mentioned there nine frames right we knew then we
had a happy beginning a little bit of a progression then something happened and then slowly everything goes into chaos
and darkness that's why we have this very well worker likes spielberg a lot so we
have a very spielberg inspired spooky shot right so again
one of the most important skills of a color script artist is simplifying the story and boiling it down to
simple statements and i know i've been drilling that into your brain keep everything simple try to extract the
essence and that's another way or yeah another way that this skill be can
be useful for you right okay we established the baseline and we explored the keyframes
in terms of mood and where it's going to go before i even started going into the color script itself and i'm going to
give you a little bit of a disclaimer but a spoiler for the half of this color script i work without a storyboard and a
storyboard at my own moments that's why the composition's a little bit simpler and then somewhere around the way here i
think the storyboard art just came along and then i started working from a
storyboard as you can see color scripting pipeline can
can be weird because if you are a good color scripter right you should be also a little bit of a storyboard art just a
little bit of illustrator here and there so you can be invited early on to explore the story from color standpoint
and then what i did in the beginning when i had let's say frame like this that it's not in a movie frame like this
i did a frame like like this for example this is called um
i would i would call it color script and then there's color boards are they the same thing almost so let me
show you an example with the incredibles hopefully you're following me on this so
this is a colored script or color strip you can call it whatever you want right and
it represents the whole movie another way to represent the whole movie this is called
movie barcodes or movie color barcodes do you know what it is well a movie color barcode is when you
take one frame of a movie and you and it's one pixel wide and then you stack it
against each other and you compress into this you're looking at this and you're
probably like misha what the hell is this this is chaos but
no it isn't this is jaws our favorite movie of all time
this is the matrix this is the lion king this is the batman duck
dark knight rises and this is the incredibles you're like misha why is this useful
well when you are color keen
or where you are color scripting your job is technically imagine this an emotional progression through color
uh if we look at the lion king here we can we can kind of see where each moment
starts and ends especially in terms of drama for example here we have a lot of jungle
here we have a lot of open open air scenes i think this is in the desert
those are night scenes night scenes this is i think the final fight and then and then at the end as we can see we
have hopeful colors right and in animation usually colors used much more to tell a story and tell an
emotional progression versus when we're talking about films and movies because with films and movies it's a little bit
harder to manipulate lighting here and there and there's movies like uh for example what's that movie about
uh the second part about uh robot who became sentient um what's it called what a bunch of flying ships and then
indiana jones already i forgot but um in that movie what's that what's that what's the name
of the movie why do i forget movies when i'm starting my lectures
uh it's not inception but it doesn't matter um
in movies sometimes they use color to their benefit to tell a story but for the most part it's monochrome
uh blade runner thank you thank you so much so in blade runner and we're gonna talk about it in our lecture
on friday they use the color yellow for example to represent his memory
and discoverage of truth so the whole movie progressively becomes more orange as he goes and in the beginning it's
very desaturated and in gray and then he finds like an orange flower or yellow flower and then he goes into a room that
is always yellow and then the the color yellow starts to represent truth in there and as the movie progressed the
movie became more orange and more yellow because he was getting closer to the truth right but with the movies usually
like we see here we have ocean ocean ocean interior scene ocean ocean ocean interior scene
it's basically monochrome right because when we're talking about movies in general uh
they're always are color graded usually all right we we all know how like
uh a dark knight movie should look like it's a it's very dramatic
um very very very very very contrasty blacks and shadows
and highlights with like um blue and white um lights here and there here we have the matrix it's basically green
with slight variations here and there when they go outside in the ct right and then we should when we see lion king
compared to all that you see the difference how much of course we still have jungle colors
and desert colors because it's in a savannah right but at the same time we see that there's more things happening
with color as we go same thing with incredibles incredibles is a pretty long movie i think it's much longer than the
lion king but here we have again we have blues and oranges and greens and then the reds i think this
one is when he gets discovered in uh in the lair now actually here when he gets discovered in the lair in the in in the
incredibles and he discovers that all of his friends are dead and then see over here the whole thing uh turns white it's
when the lights pop up and then he basically goes into darkness so we
need to think about our entire story before we even paint anything over create a color script we need to think
how it begins how it ends what are the main emotional moments here here here and here and then we have to basically
as i showed you before we can imagine the moments that everything leads up to
right and then we should visualize it in our brain first why
well because imagine that if um in the beginning i start color scripting linearly from
point a to point b right like right here and let's say i start too intense here
let's say with oranges and red and something else and then i have a last moment where they fight
so if i'm gonna have too big of a color or two emotional of a moment here
there's gonna be no room in terms of color and progression to then end here so that's why it's really important to
imagine all of your important beats in the story and then imagine them in your brain you can do
keyframes like i did with borja um right and then from there on what i can
do is i can connect the in-betweens of those things and see how i can lead up from for example a
sunsetty orange time of day to kind of like a diffused
lighting very blue time of day right so because every storyboard or every color script where every frame has to come in
with a context so that's why it's really important to provide
a bird's eye view first to yourself plan all the key moments here here here here and here in the
color script and then start thinking about how everything merges one thing into another
in terms of color and i'm going to talk about that a little bit later so
let's say you received the storyboard you received the script you did the
keyframes in your brain or in in real life then you start
color scripting how the process usually goes and here i want you to introduce to color strips
so what are what are color strips in general i'm going to show you two examples of color strips
um so first one is the incredibles right i showed you the um
i showed you the color barcode of the incredibles but this was the color strips
again color script and color strips are different things so let me make a note color script
and then color strip two different things
so a color strip is
again see in this movie i'm pretty sure that the color scripter that came to incredibles i think this is incredibles
one they didn't they might not had a storyboard but they might have had an
unfinished script so what the color scripture did here he went in and then planned the entire movie with
whatever he heard from brad bird and then saw it in such a low res i couldn't find the high res of this
and i didn't had enough time to get a book for this but what he did
very very gesturally and very very as you can see [Music]
very simply he made each emotional moment of the entire
story this is not every beat and not every frame but it's every emotional beat of the story and he put it in a
collar strip right here he's experimenting just with color
and again with local colors of the characters interacting with each other but he's depicting an emotional moment
for the entire story from point a to point b and of course then they did clean up um color scripts that
could have looked like this or could have looked a little bit more polished it again it depends on um on the
director and it depends on the 3d team right so this is one way of creating a color
strip which is you are just thinking out loud you are reading the script and as you read in the script you make a strip
and then you make color notes there's two different ways to do color notes and when you are thinking about
your entire story of progression from point o to from point for point a to point b
right some people all right you know they will you know
they'll um very very loosely they will
um for example if this is the incredible mr incredible fights with the robot
and that's the moment where he fights with the robot then he runs away and loses someone they will very loosely uh
depicted almost like cave drawings what's going on and then they're gonna be like okay there's gonna be the ct so
the ct is probably gonna have this time of day and then just do color notes and then and again it looks something like
this super simple uh it establishes context so context here is what uh green jungle and then
jack um no not jack yeah flash flash as uh
red highlight right and then black contrasty things that chase him into the jungle
right and this is more than enough to basically explain yourself the whole sequence of course there's going to be
little details where the lighting comes from but that's where the clean color script or color
boards come in that's when you actually define everything for the 3d for the 3d team to a t right for example
here there's no questions the lighting is coming from here he has a highlight here but again color strips are there
just to make a plan and go for it um in my experience color strips are
usually something that you do in the back of your brain i don't have enough time to
for example here i think i have two and a half months or three months to do 135 frames
and my sketching my sketching in my thinking about it
created the color stripped in my brain but sometimes when you just don't have the
you just you just don't have the ability to jump into the color script or anything else
you can do color strips another way of doing a color strip
is purely with color and let me demonstrate you how i usually do it when i receive a storyboard or an animatic so
as i said before i think about the story from point a to point b
and i rehearse it in my brain i remember when i was uh i did a lot of apex legends uh colors
color power strip color script and by the end of the job i could hum the entire track or the temporary track
that was in the trailer i could rehearse every single line of dialogue because i was re-watching it over and over and
over again for example with my process of color scripting for one day i don't even do any color scripting i'm only
planning i'm re-watching the animatic over and over again i can until i get an accurate representation of emotional
moments in my brain and then i start thinking some more and then i sleep you know and then i wake up
and then i start so again thinking about the story and experiencing the emotion and knowing
your material knowing your story is one of the most important skills of a color script artist because our job is not to
create pretty image not at all our job is to create a correct moment a correct emotion that
is gonna you know strike the heart of the viewer uh when he's watching the story right so
i showed you the incredibles color strip and now i'm gonna talk about the more simplified version of a color strip a
lot of you guys probably seen this thing right it's when you have a lot of colors
in a weird looking line and all doesn't make sense to you right i'm pretty sure all of you like if you
looked at uh any color script artists or visual development artists they have this cool
looking thing and you probably think it's like well they maybe they're just
showing the colors that they use or you know some people just included just so it looks cool what they did but actually
this color strip has a purpose what this purpose is well it's a thinking out loud tool so what do
you do you look at your storyboard and you imagine it in color and as you're going through the storyboard let's say
it's linear right i'm like okay i'm gonna have a night here so it's gonna be
night there's gonna be a lot of dark blues and purples probably and then i have a
gate that is lit by
by a fire right or a torch so what i'm going to do i'm going to get some browns in there and then i'm gonna do
a little bit of orange light so now i have a combinations of color that in my brain i know
you know i know what it means this is the context color
this is some local colors and this is the highlight color of sometimes just one frame if it's too
complex sometimes a sequence so for example just this color bar or color strip
technically tackles an entire thing here right so i'm done so now what i'm doing is i'm going
forward so what i can do is i can you know i can be lazy so what i'm gonna do i'm just gonna you know i'm just gonna
cover it everything with blue because i know the entire thing is gonna be the same thing so now what i'm doing is and
this is like the industry secrets i guess i don't know i haven't seen anyone talk about this out loud so the next
thing is like all right i have a more open shot so my i might have the moon come out of there so you know what i'm
gonna do i'm gonna add a little bit of green in there to explain to myself that the moon comes out and then i'm gonna
put you know orange color again in there maybe with some reds because i want to have some
reds in there uh for the for the fire torch right and then i continue on right then i have uh the same shot and it's
going to be only the water so i'm going to be lazy you know i just kind of fill it in like this
and then i'm like all right i have an important shot that's going to be very contrasty and there's going to be some
local colors in there of the characters and he's redhead right so i'm gonna have okay my context is in the middle of the
night so i'm gonna keep it the same way and then what i'm gonna do well he has some local colors of fur on him and it's
gonna probably gonna look like this and then he's gonna he's gonna be a redhead so you know what for the highlight i'm
gonna have you know his red locks because you know in in the scene that's what's gonna attract the
most um um it's gonna attract the viewer's eye
right uh and that's about it and then i'd move forward and again this thing is repetitive
those frames so what i can do i can just copy this into there and of course this is not 100 accurate this is just me
explaining my mindset of color strips of course what i could
have done i could have done it like the incredibles right i could have done this and then i could have darkened it for
the context and then i could have uh you know did the uh what's called the dam and then i
could have put you know the fire torches there and and then the moon if i wanted to and
i explained like kind of like like this you know and then i can i can
put the main character in there standing lit by a torch like this but again and this
is his spear for example and here's his nose and stuff like that but but i don't need to do that
why well because i already have it in my brain with a color strip right so this is too
different of how to do things and then you can either adopt one or you can use
both um but let's continue on a little bit more so i will go through the entire
thing like the entire thing i would probably fill in with blue why well because most of the things here are
on the lake at night so i'm gonna have my you know my primary color of blue and then
everything else is gonna be mixing into that and then i can be like all right
somewhere in the middle there's going to be a big bloody scene so what i'm going to do you know i'm just going to add
some blood in there like okay this is the red and then that's going to influence my lighting
emphasizing on the red color because here i can also make notes to myself on this time chart basically which is here
sometimes i give it to the director and i say hey here you know
nice calm beginning right
um and then over here i can say just the word bloody
bloody boom for example and those notes are going to be very useful to myself later on because what i can do with
those notes if i don't imagine the whole color script i can go and see where the most
color change appears in the in in a linear progression and then what i can do i can
just tackle this section and i can tackle this section and then i can tackle this section so one thing leads
to another in the color script right and then i know that i have a pretty fiery ending where there's going to be an
explosion so i'm going to have some you know fire in there and maybe there's going to be a sunrise for example so
what i'm going to do i'm going to add a little bit of purples into the skybox colors right and now i can see that oh
the hope is rising over here see that's another way of using color strips
again super simple version the entire sequence is is sequence is in
your brain and you're imagining it and then you are leaving yourself little bread crumbs to remember when you're
going later on right or you can do it the incredible style when they're doing a super simplified
version of the entire thing right and they actually putting some compositions in there and local colors in the objects
almost like cave drawing super simple and understandable if you want to go an extra mile this is
more than cool but again see this is for the director to see because our job is to make sure that the
director understands everything and the director can see a bird's eye view of the movie right so i'm pretty sure that
brett bird requested it for himself so he can see the entire progression because a color key artist probably can
do as we did here this
but if you're gonna show this to brad bird brad bird doesn't he didn't go through
the same he cannot upload himself into your image and understand your color um color stripped notes to yourself so
sometimes you can make this and then can do so this is level level 1 color strip and it say you can do a level 2
color strip and that is going to look something like again i showed you this and after all
this you're gonna do an actual level three but it's gonna be color
script now right so level three is color script that's when you have the entire plan in mind you know where you're going
i'm always skipping level two i don't need it i don't need to show it to anybody and
you know borja he trusts me enough so what we do we just we discuss this invoice channel so then what i do is
when i know see when i know the entire color progression in my mind through color notes and color strips i begin
doing a color color keys or colors or color script uh difference between color keys and color
script now there's there's not a big of a difference honestly there's no
difference whatsoever uh i would just call you know
more polished things color keys so this is a color key for me like it's it's not it's not good enough to be
a keyframe and it's not bad enough to be a super rough color board or color script so i call it color key but you
know again um technically the same thing you can call this whole thing color keys or color
boards uh or you can also call it a color script um honestly it's it's almost the same
thing just don't confuse it with keyframes keyframes are usually just very polished things that toby usually
does for our productions right um
yeah and everything is pretty synonymous so don't get too too confused i honestly call this a color script
because again i am not doing pretty images and i'm focusing only on color and color progression so i always call
them color scripts um yeah so you are more than welcome to
call everything cover scripts do all right so we went and discussed color strips level one level two and then we
dive into a color script and again under understand this if you imagine everything pretty well
right so for example here i did a lot of planning first of all i planned out my time of day
for for each sequence because i knew that each sequence would uh technically represent or have a
certain mood for certain actions so for example the entire color script plan that i had in mind when i was doing this
i wanted the colors of day one represent morning early morning and then day two i wanted
it to represent kind of later morning then day three i wanted to represent
in the middle of the day and then day four i wanted it to represent
sunset day five i wanted it to be late sunset and nighttime
and then the last scene which is was day morning of day six basically or morning
of day five i wanted a sunrise for hope so there's a so there so through the entire 20 minute of the episode we had
an entire progression of time of day but also that time of day showed you
what kind of a mood the boy is in and then it emphasized what was going on in the story because when he was just
waking up and everything was like very mystical and you know mourning and excited and very exciting i had
dominating oranges and yellows for the morning and then when she came along right it was kind of
still early morning still exciting but then it was slowly getting into the day it was getting slightly less exciting
right and then it was day all the excitement is out of it he's actually in the car you know being sad at all
um yeah and as you can see here see all those blues i
already had a color plan in mind when i did those two see sometimes you need to make your life
easier by just planning the whole story with just keyframes figure out the main emotional beats in the main time of days
and then you're gonna make your life much much easier why because this entire sequence yes there's a little bit of you
know maybe the sun is going down a little bit here and there but for the most part
it looks very similar to this same blue same same green same sky box
type of a deal right and of course sometimes you need to think about transitions
transitions between one scene to another scene for example here we have in the middle of the day then we have some
blues in there and now here i have a i call it transitional frame when i have some colors from previous scenes and
then next scenes so for here i have same blues that are here just a little bit darker and then i'm introducing some
oranges right and then as you can see here now we have more we still have blues and
oranges but it's not a not that of a drastic um difference because sometimes it's
awkward when you have one time of day and then it's boom it's another lighting scenario so sometimes if i was doing
let's say for example a color board for it or a color strip let's say if i had uh you know if i had a red sequence
that was super intense right what i'm gonna do i'm gonna have some traditional colors i'm gonna have
some pinks and maybe you know purples in there
slowly descending from the reds into the purples and then maybe we can
go into blues right so for example if we need to go transition into a blue scene what i'm gonna do i'm gonna have a
transitional see here i'm gonna have a transitional sequence or a frame where i'll try to make that happen and i'll
show you one transitional scene that i did for clash of clans it's a pretty good
example so here's a clash of clans storyboard i'm gonna dive into story really really
quickly you can watch it on clash of clans official channel it's the first video clash 10 anniversary so we have a
barbarian who really really wants to help out and everything is exciting and awesome but he fails it's everything so
he tries to hang out the um the light bulbs and it fails he tries to light a lamp with a little match but the wizard
does it for him he tries to you know he tries to hang a little disco ball but the guy who
lifts up a giant dude and you know they left they lift up a giant disco ball and now
[Music] he's sad and now he goes away and he's all alone
and he's sitting you know lonely lonely me hello darkness my old friend right and then transition into a blue scene so
what did i do here so i introduced excitement with a color yellow and then slowly slowly i start
introducing a little bit of blues here and there every time he gets sad right see over here i have some blue
um blue light bulb shining onto him because what i'm trying to do i'm trying to
prepare the audience to meet him in this uh moment so what i do i make a transition transitioning scene of course
introduce color blue here a little bit but that's because i needed some fill light here in the shadows but
you can tell that i already started preparing the audience to have a color change and over here what he's doing
he's leaving the excitement backwards and he is um
walking towards blueness or or tower sadness as you can see here he looks back as you have a little bit of war of
warms on him but he's going into the cold environment and it looks very naturally right when we have this shot
imagine if we had none of that we would have had just orange and then
blue and like what the hell happened right so you also have to think about how one scene
or one emotional moment goes to another emotional moment when you are creating your color keys and again
color strip just purely naked color notes will really help you out and you guys
probably saying but misha i have no idea what each color represents what how do i represent sadness how you represent this
and that do not worry i will cover the emotional state of the um
i will cover the emotional state of the characters and how you know how each color affects our
emotion on third lecture about color and light and right now we're just talking about the
principles of how to plan everything out and then we're gonna go we're gonna dive deeper and deeper into actual making of
the color script and then technicalities of it right now it's just a general approach why
because you need to start thinking about your own story and some of you guys have three frames some have 10
most of you have three right but even when you're thinking about your three key moments you still can apply
same theory that is used in color scripting to your keyframes right because you can
imagine the whole story and then you can pick the main emotional moments and see how they colorate and match one into
another uh okay all right so
yeah color strips done level one level two this is a color
script that is usually done with the storyboard right that's the classic approach but again sometimes you need to
come up with your own things um yeah and all you have to do now when you have all the frames that you
screenshot from animatic and you understand how everything works you just go
sometimes for example i'm going to show it just imagine what this is was
undone frames so sometimes again i would just do this frame this frame and this frame
right and then i will go on day three i'll do all these frames leading up to
this frames and then i would do all these frames leading up to this one and then that
sometimes when i imagine the whole color script very well and i don't have to explain anything to myself i just do
frame frame frame frame because i have enough experience with clash of clans universe or with stories in general that
i don't have to plan everything ahead that much right the only reason why i do those sometimes if i
need to explain something to somebody like for example a few of my directors know how to read those color
color strips and they will understand what's going on in there so first i'll just do that send them their way
everything correct understandable i'll walk them through the whole thing said yeah sure go and then i'll just go
everything frame by frame linearly right sometimes when i work without the
storyboard i have to sketch out my own composition and that's okay sometimes you have to do that because
borja or the director still needs to see what the lighting is going to be even if the composition the layout is not the
same right because a lot of the times what does borja do or directors do they will just give me my sequence of really
rough color color keys and then going to give it to either a cleanup artist we're gonna do keyframes out of them or an
illustrator who can do keyframe moments sometimes like i remember that i was doing uh this sequence here
and i remember that i did just this like as you can see
i do not have a storyboard for this i knew that this guy will be pushing her up the hill so i did the the most
simplest composition ever and then what borja did he took this and he gave it to toby toby did a layout and then i on top
of toby's layout i did a a color key and then toby took the color key and then made a final
illustration out of it actually let me see if i can find the final illustration that toby did on top of my collar keys
if no one knows who toby is uh watch previous private previous lectures so um
toby i think he did i think he did post it not too long ago i just need to find it hey here you go i
found it um just need to do a screenshot of it so so i can see here
[Music] this is the frame that toby did and if you compare it in terms of color
from far away right it's basically the same i would say it's
the same thing but you see the purples are the same thing here the lighting scenario is the same here
of course he had a little bit like you know i i did some blowing stars here there was no light in this thing so but
it's called process of adding so what i did i explored the mood and colors really really quick and he took it and
he pushed it into the next level and that's how me toby and another guest
speaker who's going to be next week work i purely think about emotional
progression color and the story with borja from a bird's eye view
and then the people who do something more solid and more
defined they would just have this a simple statement and then a liberate more on it and push
it to the next level right and that's how my um that's how the process works
so now let's watch
um the animatic or or an animation for
this and hopefully the sound is going to be okay
and now i'm going to explain every decision that i did frame by not frame by frame but um
shot by a shot doo doo doo doo doo i just need to enable sound i'll make it super quiet
just in case we will get banned or something oh whoops that's a different one that's
11 minutes that's not the one i wanted to show sorry guys here it is
here's the correct one that's the other one that i did with borja but this one as you can see the shot with the with
the barbarian him lighting up the thing he made knocked off the guy lifting up
the guy and now the sad the sad part starts he's walking away
looks back there's still a little bit of light on him and now he's all alone that's when the craziness happens
yeah then he wakes up in the video game um yeah now you can see
what the final product was but you're gonna probably say but misha they don't look exactly like the color
keys and that's okay well because sometimes then everything is possible for the 3d team
but you let's say if you're listening to this and you want to be a color key artist
right this especially this is me talking to you right um
but you have to to understand that someone is going to come in and then they're going gonna replicate
it in 3d and not everything is possible in 3d what you're trying to do you you're trying to be as close as
possible to what is possible in again in 3d for the lighting team but you cannot guess everything like for example i'm
going to talk about specifics what you should keep in mind when you are doing your color keys
or in general honestly first of all you key light and we're going to be talking about the three
point light system on a wednesday but first of all you need to understand where your lighting
direction comes from your key light so the lighting team even though as you can see
not everything was perfect in that animation in terms of lighting but
if we compare this shot and then we just do a screenshot of it
and we're going to paste it in here yes it does look different why well because first of all when i was doing it
there was no grass here so i met i missed the local color of green but overall
you know the same orange light coming from the left the direction is the same because you have to understand that when
you're doing your color keys it's usually right after the storyboard phase and things can change over time but if
you have the essence of the moment in there it's going to tremendously help the 3d team right i think the best
moment that i think they copied almost exactly and this is from part two actually of
the same animation you know what i'm gonna show it to to you guys so you understand the full context of the color
keys so this is part two of the same thing he gets zapped turned away
and he wakes up and then madness happens and then the final shot
and then they all run in and i don't know if they die but let me show what's going to happen next
um yeah so let's start from the last shot so for example here everything's pretty simple i planned
everything out from [Music] i got blasted by dubstep music
i'm sorry guys um yeah so then
in part two right um i actually started the whole thing
from this shot as you can see it's more defined than others i did like i don't know 10
jump scare i'm sorry guys i hopefully you're all live now i see this is my way of keeping you on your toes stupid
youtube um but yeah i did this shot i did like 10 variations of it
10 variations like how the pixelation was this is technically a keyframe that started like a color key and then i
defined it more and more why because sometimes like the color key artists you need to define things more why
because smoke electricity some animation ideas here and there they're gonna use it
for the final shot and it's not enough for me just to simply say hey direction comes here i need to convey a little bit
more of like for example here this spear gets pixelated this doesn't and if you can do more than just thinking about
colors you can think about the final shot and you can be really good at polishing things up and
do like a keyframe maybe not super polished but polished
enough to get some visual information for the vfx team ahead 3d team ahead you're going to be very valuable
so for this sequence which was part 2 this is part 2. i started with the final shot why well because that's the main
reveal of the bad guy who is gonna that they're gonna fight and jump into the portal that he creates right so
i created a shot you know and then i started from the beginning right i
ended here when he gets sucked in this is also almost a key frame it's pretty it's pretty polished when he gets sucked
in into the hole right same thing here i think my my favorite shot was doing this because i like dramatic underlighting
and the frames were awesome i forgot what the storyboard is name is paul paul something i will try to link in him
in description his instagram but it was amazing boards and it makes all the difference between a
successful color script and i'm gonna say a mediocre one color wise it should be always good but when you have a
really skillful storyboard artist it's just you know oh it's just such a pleasure to work
with with great storyboard artists and the boards look something like this actually
all right as you can see here and here i did change the design here and there but the main essence
kept the same um same thing here for example i i didn't really change anything much
because i didn't need to sometimes i get just stick figures but here for example i added a few extra bars to the right
and then a foreground giant there or i just made a different screenshot in
animatic um yeah and it was amazing boards to work from and i loved it a lot as you can see
here he gets transported into a different game i guess i think they're releasing
they release like two or three new games for clash of clans and then
we have you know craziness happening and here we are talking about
fast-paced sequence and here there's no way to do let's say an in-between shot for color progression
right because another thing you have to think about is pacing do you have enough time to convince color change or any
kind of color storytelling uh through the images and through the
narrative right because here each each shot is like one two seconds long maybe three maximum it's really really fast
paced so here i couldn't have done it like oh and then he experiences you know trauma here and then he finds light here
now he's all healed up and then i cannot do this kind of color progression such a fast-paced
story right so for the most part i kept most things same color
palette wise and then same thing here it's purples and blues and then again there's one last
final moment of him jumping into this uh weird weird thing yeah and then in the
beginning i remember that i had to do this it was very red
and it was very scary it was too scary so then i had to introduce some blues and sci-fi things
because they wanted to have more magic and more sci-fi in it so that's what i did and i had to work on this last
sequence a lot actually um yeah but the same thing he's lit up another thing is when you are a color
key artist you always need to think about your environment about your stage so for
example before i started color keying all of this i drew a little town just like this and then in
the back of it i made a gradient i made a gradient and then i showed myself where the sun rises and when in it where
it sets and then what i did i made little arrows pointing to the sun
in which moment of each story it it happens because at the same time
lighting direction that you have to always keep in mind is a big thing in any story times you can see here
the lighting direction was always from left to right but then at some point the camera flipped on another side but it's
still from left to right because the sun is here this is just camera uh pointing in the opposite direction
but what they did in actual story they kept sun from left to right without changing the camera position so
all they did they basically flipped this shot right here to this and they did the same thing here
because in the storyboard it was pl pretty clear the camera position uh goes on another side of the ct so i
kept that in mind and i changed the light there also but again uh the animatic and the final animation
go through many many iterations after the color boards or color scripting stage so if you're a color scripter and
you don't see your final final color keys represented in the trailer
do not be sad it's part of the process you were a stepping stone to get where you they got to because you planned
everything ahead and they elaborate and again just like in pixar it's called process of adding they take your visual
information they change it up a little bit to make it even better you know and then you get the final product
uh you know a lot of the times this is just a personal note you need to really put your ego away when you are working
in a production you have to understand that you're part of the mechanism you're trying to contribute as much as possible
and not pull the blanket over to yourself right you have to be very humble
and you have to be very aware that you are part of something you're not the lead you're not this you're not that
you're trying to be useful in a giant mechanism and sooner you understand that more you know
more useful you're gonna be um yeah what else did i wanted to talk
about today i think i covered most of the things that in terms of how i approach color scripting from
start to finish we're not going to talk about coloring process today why because we're going to have a keyframe week
later on and i'm going to be explaining my process in depth from blocking from lighting and then next lecture we're
talking about three light setup and then we're talking about emotion through color so there's a
reason why i'm not covering painting process yet do not be afraid i will cover it later on
another thing that i wanted to talk to you about about color scripting profession
and to summarize again understanding the story to a t planning everything with color strips
and color strip level 2 and then color script thinking about the transitional shots
from moment to moment being able to recognize those emotional moments in the time frame or in the timeline right and
then providing what we do is we're providing a bird's eye view on the whole project
to the director and the lighting team before it's made we're a huge money saver and we are the bridge between the
2d team and 3d team in terms of lighting here's where color scripting lays in right because the 2d storyboard arches
give us the frame then we do the color keys and now the 3d team can come in and if there was no such a bridge as color
scripting and that's happens a lot in russian productions for example that i absolutely despise is when they do a
whole project without the color script and what they end up with is like now to represent they end up with something
like this i don't know how how can i do it but they end up with something frankenstein
like this everything doesn't go into one another and then what they have to do is well they have to rehire the 3d team to
do the relighting there and they're basically doing color scripting the long way by actually lighting the shot and
everything else and the main role of color script is just to do a basically a throwaway painting that is not very
super polished and hasn't taken that much time and if it's need to
it can be changed from this time of day to this time of day because 2d is much cheaper than 3d
we can pre-visualize things much much faster without the 3d team actually doing that so that's our main role and
hopefully if you want to be a color script artist you will remember all of this and now let's talk a little bit
about crucial skills of color script actors so one of the crucial skills of a color
script artist is understanding time of day and how local color interacts
with different time of day so i'm going to show a little example from my color and
light course that is right now only in russian sadly but here's one example
here's one example of a guy just doing his blacksmithing things we're not gonna do anything to this
image besides maybe changing the uh pose of the viking and now we have a more hopeful more interesting and more
more cheerful image just by changing the lighting off a little bit see
light has amazing power and color has an amazing power to change our perception
of the scene because i'm pretty sure that this looks like two different paintings even the layout is absolutely
the same the only thing that i did i just closed the um the the shape of the um
chimney here just to make this make it all about the viking but for the most part it's the same image
see same image i just moved him a little bit closer maybe put a few toys here and i had a
warm light to the left going here same environment different light bulbs
and sorry i cannot talk more in depth about how i did it we're gonna cover it in lecture two and lecture three about
lighting uh yeah and then again same environment but now the vikings
preparing for war and i wanted some gloomy dramatic purple top lining and it looks pretty you know it looks i won't
say it looks scary but looks pretty serious compared to this for example right so first of all
if you want to be a color key artist or color script artist or learn from color script artist you need to understand how
different lighting scenarios affect the mood and affect
the perception of the image and you do it by practice by changing the light bulbs around
studying film studying film is your best body out there and then sometimes doing the same
image over and over again with different lighting variations and that's actually going to be one of your homeworks for
today right another thing is you have to be a master of time of day
because if you are not the master of time of day um
you will have a hard time thinking about for example here because when i'm doing a color
strip i can think about what's the skybox color is going to be at nightfall what's going to be at golden hour and i
need to understand all this in my brain and study real-life nature in photography and cinematography to be
able to make those notes in my brain again you have to download all this stuff
into your brain to your visual library so for example this is a time of day which is midday sun is somewhere on the
left and then you know we can have the same light and we can have the same composition have the
sun a little bit lower then we can have the same composition but with the sun
behind same sunset but the
sun is on different side and we are shooting in the into the shadow it's really important that you
are able to do that in later lectures i will try to explain briefly how to do that uh but man
if i had the time i would have done another seven weeks on color theory but sadly only have
three lessons because again this is a visual development camp for more advanced
artists but this is really important for you to practice and to study from real life
uh and then again the moon just got up right the night shot and
then in the middle of the rain with a little bit of fog here and there it's really important for you as a color key
artist or any visual development artist because color light
and time of day and weather conditions is a whole another tool to manipulate your audience
and manipulate uh their perception of the scene right
and again to practice that watch a movie
press pause and ask yourself why am i feeling a certain way what is this lighting does
to my brain into my emotions how does it make me feel right questions are really good
and then over time of course there is like the the things that i showed you is the classic
um the classic cinematography time of days because usually you want to shoot with very dramatic lighting right uh so
that's why i have day sunset late sunset and night because those are
usually the time of days that um that are perceived in movies of course there's going to be some in-betweens
here and there but wait for your homework assignment i'm gonna drop it today after the lecture uh
it's too long to explain here so i'm gonna explain it much much better in text and actual images
for you there's gonna be an optional one uh and there's always going to be the
things that you have to do and the thing that you have to do is you need to start coloring your frames your keyframes
uh and then optional you need to do a time of day study for your favorite frame to change time of day and if you
want you can also change mood in that same scene but that's optional for people who want to uh go towards color
scripting um yeah and also there's gonna be an
optional homework to go and do studies of actual film and animation and there's
gonna be one extra secret homework that i'm gonna disclose in the q a session um so yeah and i'm gonna
show it there uh because the thing is i don't wanna reveal all my secrets and i'm gonna
reveal only my secrets in the discord chat to the to the real vikings so yeah um
[Music] for the most part that's what color scripters do
it's a very challenging job because you have to juggle a lot of things
you have to think about story you need to provide a bird's-eye view and everything you have
to think about transitions you have to be thinking about consistent
lighting direction again the character arc symbology sometimes what each light and
color represents in your color keys and then have a natural progression from keyframe moment to keyframe moment it's
a it's a complicated job very niche and there's a reason why it's so niche because you need to be an excellent
brainstormer you don't have to be an excellent illustrator because you can see
all those frames are not amazing
but they get the main point across uh you need to be really good with light and direction of light you need to be
really good with understanding um how light attracts uh the the brain
but for the most part you really need to feel that this is going to be really fun for you
so i the reason i chose chose color scripting
for myself because it's understanding of storyboarding understanding of cinematography
you basically are a gaffer if someone doesn't know who a gaffer is a gaffer is a person
on set of a movie set that basically
he's best friends with the director who sits on the chair and says cut right and he's the best
he's the best friend with the dp dp is a person that shoots everything through the camera and talks to the director how
the shot's gonna look like so there's dp director of cinematography there's the gaffer
and then there's uh the director so gaffer is the guy who basically does all the lights all the reflectors and
we're going to cover it in our next um in our next lesson how all that works uh and then he also talks to the dp and
they both talk about what's the best lighting scenario and then they give it all to the director and they discuss it
in a circle so that's the trio of best friends when it comes to making movies but the thing is when we're making
animation with same we still have those same dps same gaffers and directors they just have different titles for the
gaffer it's color keys right because we are setting up color keys plus the 3d team
right because they light everything in 3d so what we do is we just like gaffer set up all the light bulbs
in the actual space and then the 3d team replicates the same thing and i talk to the director
sometimes even animation things people also invite the director of photography but usually the director itself is two
persons in one because he's gonna show me the reference from real life movies for example borja he always gives
me spielberg movies to reference as and that's where i see my main cinematography
inspirations and basically director of photography is borji himself by providing me those
references and then i am implementing those into the color keys so yeah um that's on profession of
color keying or color scripting hopefully you found it interesting it's a very complex job not a lot of
people do it first of all because it's not very mainstream to do this not
like for example if you're gonna google color scripting or color keys right now into youtube
probably our video right now is gonna be the first lecture explaining the profession i'm not even kidding so if
you want to you know be very niche and want to get a job there's a big chance you can get a
job in color scripting because they're so so little people do that to a level
to a professional level there's there's some illustrators and visual development artists who can do color keys
but again what i'm explaining here is your you need to be next level of a
storyteller understand every step of the pipeline which is storyboard and animatic look
watching at animatic reading the script and then you have to get inspired by all of that compile it all within your brain
and then make a plan for it and then talk to the director and it's really really hard because a lot of color key
artists work like this looks pretty cool they don't put any extra thought into how they're going to do an emotional
progression of a character will they have a transitional shot what each color represents in their color script and
what's the overall you know mood progression of the thing not a lot of people work like that
and i only knew like one or two color scripters who think the same way so if you're gonna have this competitive edge
and if you're gonna go through this entire course for example which is the special development course and you're
gonna have all the knowledge that i provided in previous lectures in terms of storytelling and then you're going to
combine them with next lectures you're going to be golden because again a lot of the times when i
work with a few directors here and there some directors say you know this is the first time
an illustrator or color character asked me those questions and usually i'm shocked because why
don't they ask those questions if it's so crucial to the story because it's going to be reflected in the color keys
right so yeah hopefully um we're gonna get more color scriptures because of this lecture um
time for uh q a uh do you have any questions guys question time
so we only have to do this camp 60 times to advance to level 60. uh no no no
i don't know all right uh if you have any questions we're gonna have um do yeah we're gonna have like five to
ten minutes and then we're gonna jump to a personal q a session all right so do you get a new script yes sometimes i get
a script sometimes the director tells me the script on the call and then i make notes
sometimes i get an actual script or notes or load line to understand the whole story
uh question what is the difference between color script and color boards there's no
difference between color script and color board it's absolutely the same thing
it's like color script color keys or color boards let's just
let's just make a visual indication so you can look at it once so color keys and i i think i covered it
before that but color keys color okay let's just do color keys color boards
color keys or color script it's the same thing
um color frames could be the same thing
but usually is used in keyframes and it's usually if you if you're gonna have colored frames it's
usually that key frames that the main idea is that you have mood and atmosphere in it but they're pretty
polished but i would say this color color keys color boards color script
is the same thing and then we have color strips
color strip that's different that's a rougher that's level one and to
level two that's a rougher version of the color keys or color script um yeah hopefully that makes sense now
okay how exactly do you pursue work for this i personally have never come across job adverts that only want a color
person is it something that is tied in with environment arches no this is not tied to environment art whatsoever but
it does help if you know how to do environments because sometimes you need to come up with the environment for
yourself when you're provided with storyboards because for example
um when i receive those boards you know the the background is not very
defined there's there's no skybox there's no nothing so you still need to come up with it for yourself
but usually there's no job adwords for color scripting very rarely i've seen it
myself i never got a job from an adverb i i always got jobs directly coming to me
because people see that i'm good with color and mood and atmosphere and actually have color scripts in my
portfolio and my entire portfolio is just rough not very polished work but done very
very fast and people can see that so to get color scripting jobs you just need to have color script
and car scription looking portfolio and if you want to see the color script and looking portfolio you can look at my
portfolio you can look at samuel smith's portfolio you look at you can look at portfolio of nathan fox for example
um yeah those are the things that your portfolio
is what you get hired for so if you want to get hired for those jobs get more conscription things
you said that you had a month to do 130 calories for clients so is it something that is okay one second
you guys are typing too fast so is this that the standard turnaround rate for this type of work or is it longer
shorter etc uh well i'm gonna tell you this uh for average day
as a color key artist you need to do four four to five
color keys a day that's like the industry standard for me again it depends on how complex they are
sometimes i just do one because it's a pretty big one and it's complex one and i can't figure it out but if everything
is pretty simple you need to do four to five if it's super complex one two two
two three uh if it's everything is super simple and it's the same lighting you can do up to ten
uh there's been days that i had to do 15 little color boards like this each day from scratch
um yeah and so there was also days that i was just so burned out i didn't do
anything for the day that i supposed to do it and i catched up the next day and i did like 20
but that's very rarely happens usually four to five is the if the standard but again with this job
i don't remember exactly what the rate was but i knew that i had my deadline so i i tried to do kind of like a nice pace
of a marathon runner another sprinter but at the end of it all i still had to do things a
little bit rougher and much quicker because the again the um the deadline was approaching
and i couldn't um i couldn't not by the way this is toby's frame i have
one toby's frame in the color script because i had to change his time of day a little bit and work with lighting a
little bit so yeah sometimes i get oh no i have two frames in here by my friends one is by toby here another one was done
by felipe because i also had to change his uh time of day on his key frame that he
did um i of course did mockups of those frames that wasn't rendered and they
took it and then instead of prep instead of putting an unfinished or not such polished frame by mine into the
color script actually uh put their finished illustration to the color script but yeah those are the
only the two frames that are done with them i guess and i did did those before that
um yeah hey we're getting attacked by uh
adult sites again cool all right [Music]
okay question you mentioned toby took one of your color keys and then published it what was the reason for
what for that what is the correct term for what toby did toby did a keyframe
so he took my color script or color board right
and then he did a finished keyframe out of it or a more polished illustration i would call it a keyframe
or a key moment keyframe is more accurate so yeah he did a keyframe
all right um okay all right any more questions if no we're
just gonna dive into q a session all right i'm going to count you one two three four five
one two three four five no questions good um
yeah to summarize oh no more questions
uh what is the main difference between a complex color key and a simple color key also what is the reason behind having no
polish or more certain color keys uh
well the difference between yeah the difference between a more complex color keys
or color script and a simpler one i would say this if
if a narrative has different time of days if a narrative has a lot of mood changes and a lot of local colors from
um you know from environment to environment um
it might get more complex for me simpler color keys are that that usually take place in one time of day so
for example if a color key takes takes time in the middle of the night like for example i did all of those
frames well despite besides the super polished one in like a day why well because i didn't need to think
about anything local colors no nothing it's a super simple lighting setup everything's monochrome
and this was simple right but then when it comes to like more local colors uh i think this one
was really complex for me because it was uh time of day shining and then there was shining within the shining because
the tent itself was lit up i i had a hard time trying to find the right balance in here
um yeah so for me a complex color color script
is when you have a lot of time of day changes a lot of mood changes basically anytime there's change and then any time
there's a location change and every time there is a
mood and atmosphere change an emotional moment change that is a complex cover script um it's it's much simpler if all
the emotions start acting or all the actors start acting under like one lighting condition one room and doesn't
change for the entire thing that makes life so much easier i i kid you not i can basically create uh four or five
frames of a color script for like i don't know for the next five to ten minutes of animation so because it's all
in one um you know time of day unless there's
going to be some specific acting things like a guy going to the light going out of the light it's a very complex
question because it's it's very specific to context like for example this one was really complex for me why because we
emphasized so much storytelling on time of day and mood change some people are just not like that this
could say night and that's it that's that's all it's going to happen there there's there's going to be people angry
and everything else is going to be convinced not through color but let's say through sound design and dialogue
and music you have to also be as a color script artist you have to understand that the
color also not supposed to distract so for example if you know that there's going to be a very wholesome moment
that's supposed to be kind of you know quiet and relaxed you have to emphasize it with color you don't have to make
every shot super special and you have to make some shots you know less intense and and less colorful and again that's
why it's a very complex job because you have to think about so many things without actually seeing them seeing them
being done in terms of you cannot see the final movie you have to imagine the final movie you have to imagine yourself
as the audience and what you're gonna feel and what should you do now as a color key artist to
improve what is already there so when people are gonna watch it as a feature film or as a as a as a commercial
they'll get uh the feeling that you were going for all right another question
do you think one can do color scripts as a second job let's say one there's an environment artist but do on the side
color scripts yeah sure uh why not um one doesn't you know color scripting skills always are super
helpful doesn't matter where you at and what are you doing um
yeah no no don't apologize for all the questions
oh man do you hear the garage door no i'm gonna use this moment to uh
drink my peach juice and feel in the noise i have no idea why people are
putting garage doors up and down during my lectures you know but it's just life
you know let's talk about my mentality guys we still have like 10 to 15 minutes couch scripting is all fun
but then if you don't have a nice mentality of a survivor of a warrior you're not gonna be able to um
survive right and that was my wife who opened the garage door during the lecture thank you
let go but with all the seriousness guys
um today our in the good youtube channel we had a little quote
all right and um i'm gonna read it out loud i'm gonna do it every time i put one out what was it today um
let's see gujju jujat i'm gonna talk a little bit about it because i want to send you out with a good message you
know uh today was this there's many ways of succeeding your art career but bashing
yourself on the head whether i'm not good enough this sucks everyone's better than me etc is absolutely not one of
them we are what we think be mindful of thoughts that you have day to day because being a professional is a
mentality your hands and skill will catch up eventually you got this okay
so what i wanted to tell this to you this morning guys that you're doing great
you are not behind your wa you're exactly where you need to be at this moment in time
okay uh color script or not color scripting this
might be very overwhelming and complex for somebody and you're just starting out and you
have no idea where to go i want to emphasize one thing guys we are what we think and if you have this
thought that i am this or i am that that's called an i statement and if you have a lot of i statements your body
usually follows them after your i statement if you're gonna say you suck you're
gonna suck you know if you're gonna say you're bad you're gonna be bad if you're gonna be
horrible at art and you say it about yourself you're gonna be horrible at art okay instead just for this lecture you
know it's not very it's always related into color script and everything else have this mentality i'm not where i want
to be yet right but i'm a professional and i'm a professional in the making and
i'll get there eventually you know everything that comes your way is an obstacle to conquer
or a nice riddle to solve it's not the end of the world if you fail today and if you fail that's awesome because you
have something to actually work with and something to correct if you see if something is bad you have an ability to
see that it's bad most of the people draw and think that's great but if you see that your things are bad that means
you have a good eye and if you have a good eye you can imagine something good if you can imagine something good you
can learn through fundamentals that i'm teaching you here how to later on implement that into real world right and
if you can imagine it and you have good dreams and in the dreams you you imagine everything realistically and super
polished your only job is to teach your hands to follow your brain and that is very easy
okay quality of ideas and what you're in your head is one most valuable thing how to bring it to
reality that's a whole other question and we're teaching you how to do it right now so again you're not behind
you're doing fine you are not on a timer you're not gonna die tomorrow do live
like it's your last day but plan like you can live forever okay so and that's what we're doing here
just do the assignments one step at a time and again bad thoughts are like seeds in
your own brain if you're gonna let it grow and you're gonna water it and you're
gonna cherish it that's what you're gonna become instead of that have a little misha in your brain and
every time you hear yourself bashing yourself or doing something else in your brain there's going to be a
little misha viking warrior saying no and then slaughtering the thing yeah and then planting a new thought in your
brain yes maybe i'm not good enough but i'm good at this and i'm practicing and i'm waking up early and that's awesome
i'm taking cold showers and you're planting those good seed thoughts and then at some
point they're gonna flourish and that's the only thing that's gonna be in your brain okay so yeah please be mindful no
self-bashing here you're the greatest vikings i ever known uh we have the greatest community and if
you need help go and and and get help we are here with 24 7 with questions and answers we have good juju channel you
know just relax a little bit guys you know art has to be fun not stressful and
negative emotions don't always help channel the negative emotions to put that into something productive if you
have a bad day and you're very sad go draw something beautiful counteracted but you know what sometimes you need to
embrace the sadness draw something sad every time try to channel your inner juju into something
productive and creative because if you're gonna be sad at least be sad while you draw
and it's gonna be awesome uh yeah
anyways i just thought that i wanted to tell you this guys i don't know why but i feel
like most important is actually you know supporting each other and having good thoughts and everything else is pretty
easy if you have a good brain or you have a good head on your shoulders
and and you're doing everything with a with a positive attitude even if you suck you're gonna you're gonna do it
you know joyfully and then if you have joy in the process you're doomed for success
um yeah so that'll be it uh join the q a session at the end in
our discord channel and i'll see you there guys uh yeah you're the most amazing big brain
beautiful vikings i ever known and keep it that way okay uh yeah talking a few stay hydrated
let's go hi y'all
Heads up!
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