Building visual contrast

But let’s start by answering the fundamental question: why is visual contrast so important? Here are some of its most important features that will help you understand this:

• Attracts attention; our eyes naturally gravitate towards elements that stand out from the surroundings. Contrast helps focus the viewer’s attention on what is most important in a given scene. It may be a hero, a group of heroes, an object serving the narrative or an advertised product.
• Creates depth; the contrast between light and shadow, light and dark areas adds three-dimensionality to the image and makes it seem more realistic.
• Establishes a hierarchy; Thanks to contrast, we can highlight the main object in the frame and subordinate other elements to it.
• Expresses emotions; different types of contrast can evoke different emotions in the viewer, e.g. a sharp contrast of light and shadow can build tension, while delicate tonal transitions can create an atmosphere of calm.
• Creates style; the use of contrast in a global approach can also be the foundation of the visual style of a film, often being the hallmark of a given creator.

Now let’s move on to different types of contrast that can be consciously and creatively used in practice. As previously mentioned, the term most associated with this is tonal contrast, i.e. the difference between dark and light parts of the image. It is worth mentioning that the human eye has fantastic adaptive vision capabilities that are currently unattainable for cameras, and even more so for TV or computer screens. Although the tonal range of the displayed image is significantly increased by HDR technology, it is not yet that common, at least due to hardware limitations. However, apart from purely technical matters, due to the visual sphere created by tonal contrast, the following stands out in particular:

• “High-key lighting” (so-called high key); this type of expression is characterized by scenes with low tonal contrast, bright and evenly lit, associated with happiness, hope and innocence.
• “Low-key lighting” (so-called low-key); the opposite of the above, i.e. scenes of high tonal contrast with strong, hard shadows and expressive lights, building an atmosphere of anxiety, mystery and drama.

Below: Ripley, season 1, source: Shotdeck

The color contrast is a much more sublime contrast than the tonal one, not always even easily or consciously noticed, but having an equally strong impact on the perception of the image. Here’s how you can get it:

• Complementary colors; they are an example of the use of the so-called color schemes that we can observe, from the most famous paintings to contemporary cinematography. Complementary colors are those colors that are opposite each other on the color wheel and their combination causes our subconscious to feel a visually pleasant contrast. We are therefore talking about pairs of orange and blue, red and green, yellow and purple, etc. The opposite may be the use of a monochromatic scheme, i.e. different shades of only one color. It is worth emphasizing that the use of appropriate colors should be planned already at the pre-production stage through the proper selection of clothes, scenography, etc. Of course, they can be modified to a greater or lesser extent in the post-production process, but most often it will be more time-consuming and therefore more expensive and will not always bring results. intended effects.
• Split toning; Color contrast can be obtained not only by direct juxtaposition of two or more colors in the frame, but also by modifying color shades depending on their brightness. Such a process is the so-called split toning, the most classic example of which is the so-called teal and orange. The image is modified in such a way that dark parts have a slight blue dominant (cold color), while light parts have an orange dominant (warm color). Of course, you can use another cold color instead of blue, and another warm color instead of orange. However, it is important, beyond legitimate creative choices, that skin colors remain neutral. And here again the issue of proper exposure comes back, because for the skin it usually has a value close to the so-called medium gray, which can be determined on a curve chart during color correction, and then introduce split toning below and above this value.

Below: Joker, source: Shotdeck

The viewer can also be influenced by varying color saturation. Intense colors contrasting with desaturated or monochromatic elements can indicate which areas of the image are most important.

Below: Schindler’s List, source: Shotdeck

Another type of contrast that can be used creatively is the contrast of shapes:

• Spicy vs. soft shapes; sharp, geometric forms can symbolize danger or precision, while soft, organic shapes suggest harmony or gentleness.
• Symmetry vs. asymmetry; symmetrical shots emphasize harmony and order, while asymmetry suggests chaos or dynamics.

Diversity in textures and visual details is also important:

• Smooth vs. rough surfaces; textures can suggest differences between natural and artificial environments.
• Details vs. minimalism; frames full of details contrasting with empty spaces can draw the viewer’s attention to specific elements.

The next element that creates contrast is the size of objects in the frame:

• Big vs. small elements; such contrast may emphasize hierarchy, importance, or a sense of scale.
• Character vs. space; a small figure in a huge landscape can symbolize loneliness or helplessness.

Below: Dune, source: Shotdeck

The difference between static and moving elements may also be important:

• Dynamic vs. static staff; Movement in the frame attracts the viewer’s attention, especially when it contrasts with stationary elements.
• Movement speed; the juxtaposition of fast and slow movements can enhance the dramatic effect. Interestingly, this does not always have to be related to the difference in the physical speed of movement, but, for example, to the focal length of the lenses used – the same movement seen at a longer focal length will give a much greater sense of it than at a shorter focal length.

Another tool in building contrast is space:

• Proximity vs. distance; elements placed on different planes create a sense of depth.
• Open vs. closed space; open landscapes contrast with claustrophobic interiors, influencing the viewer’s feelings.

And finally, even the editing itself can introduce contrast that affects the way individual scenes and sequences are perceived:

• Quick assembly vs. long takes; fast cuts build tension and excitement, while long, slow shots create calm or focus.
• Varied composition; the change between dynamic, “crowded” frames and simple and minimalistic scenes creates visual balance.

As you can see, there are many different types of contrast building options that creators can use. The whole art is the proper selection of tools creating the visual sphere in pre-production, their proper implementation on set, and finally giving the final shape in post-production. It is worth emphasizing that although some contrasts, such as size or movement, are difficult to change once the material is recorded, tonal, color and saturation contrast can be successfully shaped thanks to the color grading options offered by DaVinci Resolve.