Color Grading

 Color grading is the process of improving the appearance of an image for presentation in different environments on different devices. Various attributes of an image such as contrast, color, saturation, detail, black level, and white point may be enhanced whether for motion pictures, videos, or still images. Color grading and color correction are often used synonymously as terms for this process and can include the generation of artistic color effects through creative blending and compositing of different images. Color grading is generally now performed in a digital process either

in a controlled environment such as a color suite, or in any location where a computer can be used in dim lighting. The earlier photochemical film process, referred to as color timing,

was performed at a film lab during printing by varying the intensity and color of light used to expose the photographed image. Since, with this process alone, the user was unable to immediately view the

outcome of their changes, the use of a Hazeltine color analyzer was common for viewing these

modifications in real time.

Color timing 

Color timing is used in reproducing film elements. "Color grading" was originally a lab term for the

process of changing color appearance in film reproduction when going to the answer print or release

print in the film reproduction chain. By the late 2010s, this film grading technique had become known as color timing and still involved changing the duration of exposure through different filters during the film development process. Color timing is specified in printer points which represent presets in a lab contact printer where 7-12 printer points represent one stop of light. The number of points per stop varied based upon negative or print stock and different presets at Film Labs.

In a film production, the creative team would meet with the “Lab Timer” who would watch a running film and make notes dependent upon the team's directions. After the session, the Timer would return to

the Lab, and put the film negative on a device (the Hazeltine) which had preview filters with a controlled backlight, and pick exact settings of each printer point for each scene. These settings were then punched onto a paper tape and fed to the high-speed printer where the negative was exposed through a backlight

to a print stock. Filter settings were changed on the fly to match the printer lights that were on the paper tape. For complex work such as visual effects shots, "wedges” running through combinations of filters

were sometimes processed to aid the choice of the correct grading.

This process is used wherever Film materials are being reproduced.

As a director its important to have a vision of the color before even the craft is shot,

In oder for the movie to be set between your color pallet(colors need)

To top up,you should also know not every color can be achieved in Post production(coloring n editing) this can happen due to unplanned color,the type of camera, the setting and lighting...

NB

More direct sun light hinders sharp colour(s)ing

All all that said above does not mean your colouring cant be got, but think of time and cost cutting because the more a frame is shot poorly, the more time it takes to be fixed,and the more time it takes to be fixed,the more power the machines consume,n the more the machines consume,the more money is spent,and the more money is spent,

Thanks so much