영화에서 색상을 사용하는 것은 의도적인 것으로, 주 색상, 보조 색상 및 하이라이트 색상에 대한 60-30-10 규칙을 따릅니다.

### 영화 제작에서 컬러 디자인의 중요성
* 🎨 영화 제작자는 색상 디자인에 대한 **60-30-10 규칙**에 따라 장면의 분위기를 조성하고 표현하기 위해 신중하게 색상을 선택합니다.
* 📽 컬러 디자인은 단순히 포스트 프로덕션 컬러 그레이딩에서 이루어지는 것이 아니라 **프로덕션 디자인 또는 아트 부서에서 장면의 깊이와 사실감**을 만들기 위해 신중하게 결정합니다.
* 💡 60-30-10 규칙의 **30% 보조 색상**은 주된 색상을 지원하고 인위적인 느낌을 없애는 역할을 하며, **하이라이트 색상**은 장면의 중요한 측면에 주의를 환기하는 데 사용됩니다.
* 🌈 영화 제작자는 배우의 피부 톤과 전달하고자 하는 스토리를 고려하여 색상을 선택할 때 **빨간색, 파란색, 노란색 또는 흰색과 검은색**과 같은 다양한 하이라이트 색상을 유연하게 사용할 수 있습니다.
* 💰 저예산 영화 제작자의 경우 **촬영 장소의 가구와 벽을 보색과 주조색**으로 사용하고, **피부 톤을 보완**하는 신중한 선택과 의도적인 **하이라이트 색상**을 추가하여 영화의 시각적 디자인에 영향을 줄 수 있습니다.

take a look at visually distinct films. The use of color is harmonious. May be simple in most cases. It feels like the colors are not randomly chosen. There's an intelligence at work. That's color theory. If a piece of furniture is a particular color in the scene, that's by design. It's not unintentional. If the walls are a different color than white or cream, that's intentional. The color of clothes, of umbrellas, of a car. It's all done because the filmmakers want to make a statement. To the clever and careful use of color. One popular formula to simplify color design is the 60-30-10 rule. It's not that complicated. And the rule is as old as art itself. Today, it's most commonly seen in interior and architectural design, paintings, and of course film. Sixty percent of your frame is one dominant color. Thirty percent is a secondary color. And the last ten percent is a third color. For simplicity's sake, let's call this third color the highlight color. Why would anyone have 60% of the frame just

one dominant color. And by the way, when I say one color, you must understand it's allowed to have the color slightly lighter or darker, or to find a color similar to it, just to give the scene some depth. It's not like they buy one can of paint and brush everything with it. Variations give the scene depth and three-dimensionality. You don't want to make cartoons when you're not making cartoons. The dominant color is just that, the dominating color of the scene. You decide what the dominating color is based on the mood and tone of the story. Is it a high-key scene? Is it a dark scene? Is it taking place on the street at midday or in a nightclub in the early hours of the morning? The dominating color is important because it is what sets the mood of the scene along with the lighting and cinematography. Many people erroneously think all this is done in color grading. Color grading is when you change colors in a computer after the film has been shot. It's possible but impractical. Two reasons. First, you never get the same feel as a real

thing a painted wall or furniture of a certain color has a different look than the color graded wall. A great camera can reproduce all the subtle variations in light and color, but in color grading, that's hard to do unless you're willing to spend hundreds of hours, and that gets expensive really fast. This brings us to the second, more important reason why color design is typically not achieved in color grading. It's cheaper to buy a red sweater if that's what you need because the costume designer or stylist is going to buy a sweater anyway. It's cheaper to get the wall painted red than to color every shot painstakingly red, especially when you have camera movement. The same applies to everything else. The department in filmmaking that handles this is production design or the art department. The production designer or art director takes instructions from the film director to determine what the colors of the set, costumes, and props should be, and that's where the 60-30-10 rule comes in. The color that constitutes 30% of the frame is the complementary color. Its

purpose is to support the dominant color, not fight it. The reason why we have a second color is to give the scene more depth and some realism. If it were all just one color, that's unnatural. We feel as if someone's shining a colored light on everything. A second complementary color helps eliminate that artificiality. You could have films with just two colors. I've made a completely different video about it on why films are shot in two colors. I'll put a link to it in the description. Let's say you don't want to use a third color, you just want two colors as you see in the Batman or Uncharted, to name a few films from the time of this video. It's a popular trend nowadays. The second color can be one of two things. It can either be complementary, as in the case of the Batman, because you're looking for a kind of moody black and white look but with color, or you could have a contrasting color as a second color. This is what they did in Uncharted if

the dominant color is brown and shades of brown. The contrasting color is typically blue. Lots of films with orange and teal in them. They're natural contrasting colors because it's closest to human skin color, particularly Caucasian skin tones. Caucasian skin tones render a light pink or even somewhat of a white color on camera. This allows it to blend with many other colors without losing harmony. When you're working with darker skin tones, you might have to change the look and feel of your scenes. Not everything that works on Caucasian skin tones works with, you know, say, light brown skin or dark brown skin. When you have characters in your film with different skin tone types, you might want to find colors that look good in both. If you don't see that kind of application in a film, you know, they just didn't care about one skin color type because you can bet it'll work okay on the other type. If you're a filmmaker watching this, try not to use colors randomly. What works on one skin tone will probably not work on another skin tone.

beautiful color design must be harmonious unless you're making a strong color statement. The third color in the 60-30-10 rule is the highlight color. What aspects of the scene do you want to highlight? The red dress has become such a cliche that so many films have them. Don't let that stop you. What are you gonna do? Band red. Red is such a powerful color because not a lot of things in nature are red or blue for that matter. That's why they pick highlight colors, the colors that are not found in nature. The highlight color is used to bring attention to what's most important in the scene. You have to be careful about its use. In Amelie, the highlight color is blue, thoughtfully placed in a few scenes. You'll see liberal use of the 60-30-10 rule in Italian giallo films of the 1670s. You had muted dominant and complementary colors, and then shocking red most of the time as the highlight color. If you're looking for more artistic directors to study, try Tarkovsky or

pedro moderator they used muted tones often as a dominant and complementary colors, and a highlight color when it was required. Yellow is another great highlight color. Think yellow in the village, which was shot by Roger Deakins. Yellow-green is the color human eyes are most sensitive to, which is why it's used a lot in road work, emergency services, night lights, etc. You don't always need to stick to red and blue. In fact, the highlight color can be anything. Nothing stopping you from using purple or pink highlight color, or white for that matter. Don't forget the powerful impact of white and black as colors when used carefully with purpose. Every color has the ability to stand out and make an impact. It all depends on the kind of story you want to tell. It's not an exact science. When colors come together in a harmonious way, you'll know it. If you're a low-budget filmmaker and all you have is a room to film your scene, start out by looking at the furniture. Let that be the complimentary color. Let's say most of your furniture is kind

of brown, which is what you're most likely to have. Let it be as is. You know you want to make your room interesting, so pick a dominant color for the walls. It's relatively inexpensive to paint walls a certain color. You can even use wallpaper that can be removed without a trace if landlords are a problem. It's easier and cheaper to paint walls than to find furniture of a particular color. Next step, be ruthless in eliminating everything that doesn't conform to the two main colors. Make sure the two colors complement the skin tones of the actors you're working with. And finally, throw in the highlight color with purpose. Make a statement, and your film will look a million bucks. All it cost you was a bucket of paint. I hope you found this video useful. I'll see you in the next one. Bye now.

Why Great Movies use the 60-30-10 Percent Color Rule

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영화 제작자는 의도적으로 색상을 사용하여 표현하고 장면의 분위기를 설정합니다.

60-30-10 규칙은 색상 디자인을 단순화하기 위해 널리 사용되는 공식으로, 지배적인 색상이 장면의 톤을 설정합니다.

다양한 색상을 사용하면 깊이와 입체감을 부여하여 영화의 시각적 스토리텔링에 중요한 역할을 합니다.

컬러 그레이딩은 비용과 시간이 많이 소요되므로 원하는 색상으로 세트와 의상을 디자인하는 것이 더 비용 효율적입니다.

프로덕션 디자인의 60-30-10 법칙은 주 색상, 보색, 보조 색상을 사용하여 영화 장면에 깊이감과 사실감을 더하는 데 도움이 됩니다.

현대 영화 트렌드는 무드 연출을 위해 보색 또는 대비 색상으로 두 가지 색상만 사용하는 경우가 많습니다.

갈색과 파란색은 일반적으로 영화, 특히 백인 피부 톤의 주된 색상과 대비되는 색상으로 사용되며, 빨간색은 시선을 끄는 힘으로 인해 하이라이트 색상으로 선택되는 경우가 많습니다.

영화 제작자는 시각적 조화를 위해 다양한 피부 톤에 맞는 색상 사용을 신중하게 고려해야 합니다.

60-30-10 규칙은 영화 색상 디자인에 널리 적용되며, 1670년대 이탈리아 지알로 영화나 "아멜리에"와 같은 작품에서 볼 수 있듯이 하이라이트 색상은 장면의 주요 요소를 강조하는 역할을 합니다.

영화 제작에서는 일반적으로 뮤트 톤을 주색과 보색으로 사용하며, 노란색을 하이라이트 색상으로 사용하는 경우가 많습니다.

노란색-녹색도 가시성이 높아 자주 사용되며, 영화 제작자는 전통적인 빨간색과 파란색 외에도 다양한 하이라이트 색상을 탐색해 볼 것을 권장합니다.

흰색과 검은색은 의도적으로 사용하면 강력한 임팩트를 줄 수 있으며, 모든 색상은 스토리에 따라 눈에 띄고 임팩트를 줄 수 있는 잠재력을 가지고 있습니다.

영화 제작자는 색을 사용하는 것이 정확한 과학은 아니지만, 조화롭게 조합하면 스토리텔링을 크게 향상시킬 수 있다는 점을 기억해야 합니다.

영화 세트에 적합한 색상을 선택하기 위한 팁

벽의 주된 색상을 선택하면 방을 시각적으로 재미있게 꾸밀 수 있는 비용 효율적인 방법입니다.

두 가지 주요 색상과 일치하지 않는 모든 것을 제거하여 일관된 느낌을 연출하세요.

전체 색 구성표와 배우의 피부 톤을 보완하는 하이라이트 색상을 선택합니다.