Color Correction: JESS'S BIG DATE - Official Discussion


Here is a basic overview of what actually goes into color correction, and the initial steps you can take to get started. Colorist Paul Provost let us sit in on the color correction for the RocketJump: The Show original short, Jess’s Big Date. These are just baby steps introducing you to the color correction process. More in-depth tutorials are on the way!


In our tutorial screen capture, we were using the Lumetri color workspace in Adobe Premiere Pro.

Paul was using DaVinci Resolve Studio. You can download the lite version of DaVinci Resolve for free, here:

Adobe Creative Cloud also includes Speed Grade:

Some color profiles to try to obtain a flatter image in your DSLR:

Technicolor Cinestyle:

Magic Lantern:

For more color palettes, you can visit:

Movies in Color and Movie Barcode

Large Skyfall Color Palette found on Reddit:

Canon Cinestyle comparison:

How to install Cinestyle on Canon cameras:

More questions? Ask below!


Will the color profiles i.e. from Cinestyle, do something more than if I just drop the settings in my camera down to 0 or can I pretty much still get the same level of flatness w/out the added firmware?


@punkysmurf For a Canon camera, Cinestyle does a lot more than dropping your levels to 0. It’s also not just about zeroing off all of your levels, but fine tuning how the camera sees different exposure levels. That does mean low contrast and low saturation, but also means bringing up the master pedestal and doing a lot of things Canon doesn’t give you access to in the user menu. Cinestyle, it should be said, is also really straightforward to install.


Yeyy waiting for the indepth tutorial!


So would making your film have the same look as a preexisting film consist of just color grading to make sure that your film had the same colors in it? If you’re going to cover this in a later video, feel free to just say that. Thank you!


it looked like there was alot of green screen in this one for scenes that didnt seem like they needed it, was there issues with the location or was it a technical thing you were correcting?


This might be way more theoretical than people are looking for, but Steve Yedlin just put out a great video and blog post that discusses the big picture concepts of acquisition format. It’s kind of heady and very rhetorical but I found that I came out of reading/watching it having learned something new, and it’s all about the very concept of color correction.


There were a few moments that weren’t captured on set that later were determined to be important to the emotional story. Unfortunately we didn’t have the resources to return to the original location to re-dress, re-light and re-shoot, so green screen was the compromise. A good learning moment, story-wise!


gotcha. ive been there, i totally get it. im kinda glad im not the only one who runs into that issue, its inspiring that you do as well (i mean that in the best way). Thank you for the response, your work is amazing btw.


Oh yeah, it happens to everyone! There is a reason why even studio productions and shows have to schedule for “pick ups.”

Thanks! :slight_smile:


if only pick ups could fix my sub sub par green screen skills. :slight_smile:


I have a slightly unrelated question about a certain shot in the short, namely this one:

With the camera movements whipping around - was this just shot as a normal single shot and then sped up to get the speed/motion effect? Or was any post work done on this to get this effect?

I’m curious because I have a similar style shot in mind for a project. If someone could shed some light on this, that’d be great. Thanks!


I use a canon 700d and I just install cinestyle on my camera and the different between it and the flat picture Style that i have. As well as the picture Style that Devin Supertramp uses for his video.
and i have found that it does do a lot better when its been graded. and yet you do more with the image.


This is unrelated but it seemed weird to me that the tables are invincible when the bad guys are shooting at Jess but she is able to get the final kill through a table.

Do you guys think that it is a problem to break the established physics of the world?


I also had a related table question.

In the Hulu episode, I thought the holes in the table were shot with the table upside down on sandbags. How was that composited into the final scene? I thought the table was flipping, and/or the camera was moving, as the bullet holes were appearing in it. Is that all after effects? (I’m only using premiere so far and wouldn’t want to even attempt that… then again, I’m years behind all of you in editing skills.)

Just curious and trying to learn.


Hey michaelz, most of those holes were practical special effects. Can you tell me which shot in particular you’re referring to (maybe tell me the time in the video?)


I think you’ve answered my question, along with my rewatching it. On the hulu show:
12:00 in, it shows filling the table, upside down on blue sandbags, setting off I think they’re called squibs?
23:45 is where that shot is used. I must have blinked the first time through and didn’t see it.
At 22:38, where “Jess” is rolling over the table while the automatic weapon is firing at it, holes appear in the table. But that’s a different shot that wasn’t part of the “making of” part.

Thanks for the response. This is a great series, and I’ve learned a lot from it and from the tutorial videos. (A lot of it I’m filing away until later since I’m still a one-person crew… gotta start somewhere though!)