This creates a pleasant, unified look, with more variation than monochromatic schemes.
For example, there are many shots in The Matrix that are monochromatic green.
Black and white film is obviously monochromatic, but color film can be as well. Monochromatic – Monochromatic color schemes use only one color, with variations in saturation and value.There are four main harmonious color schemes, plus the discordance scheme. However, it’s also perfectly acceptable to deliberately use a non-harmonious color scheme to introduce tension or foreshadow conflict. Harmonious color schemes us colors that are equidistant from each other on the color wheel. For a “standard” color wheel, red should be across from green, yellow should be across from purple, and blue should be across from orange, forming three primary/secondary pairs with the tertiary colors in between.ĭifferent color schemes are described in terms of the location of the colors in a shot on the color wheel. It allows us to look at the relationships between the colors in a shot and judge how harmonious or chaotic they are. The color wheel is a hugely important tool for a cinematographer. If you place all of the colors on a wheel, with the primary colors equal distance from each other and the secondary colors in between them, and the tertiary colors in between them, you end up with the color wheel. Orange, purple, and green are the secondary colors, which can be further combined to make the tertiary colors like magenta, yellow-green, teal, and so on. These three colors are the basis of all others yellow and blue combine to make green, blue and red combine to make purple, yellow and red combine to make orange. Red, yellow, and blue are the three primary colors. We can use these terms to describe any shade of any color that we can see. Value describes how light or dark the color is. The saturation is the intensity of the color. The hue is the color itself: blue, purple, yellow, magenta, etc. However, lighting plays a vital role in the color composition of a shot and some understanding of basic color theory is important for everyone behind the camera.Ĭolor can be described using three properties: hue, saturation, and value. This could be considered more of a general cinematography topic than a lighting-specific topic, since the color in a shot is defined by location, props, and wardrobe, as well as lighting not to mention the crucial role of color correction in post-production.
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