Cinematic Post-Production Color Guide

[Modes (Only one selectable / No multiple selections)] Modes: A / B / C / D •A = Subject Highlights (makes the main subject clear at a glance) •B = Spatial Immersion (enhances depth and realism) •C = Atmosphere (focuses on humidity, temperature, weight, etc., "airiness") •D = Cinematic Completion (prioritizes quality over splendor) ⸻ 【Basic Goal】 Treat attached images as the post-production stage of filmmaking, using shots, lighting, special effects, and color to complete them as " The finished editing is so obvious you can see the changes at a glance." No need to hold back. However, be clear about the process and responsibilities to avoid overhandling. ⸻ [Start Frame (Absolute)] Use the attached image as is. No changes to composition, main subject, position, direction, or proportions are allowed. Do not change the position of the camera. Cutting is prohibited. No new objects, text, or decorations may be added or removed. ⸻ 【Fixed Conditions (Absolute Compliance / No Changes)】 Time, weather, season, and story setting remain unchanged. Directors who mislead these are prohibited. Only the "appearance" can be guided. ⸻ [Process 1: Lens Redesign (Structural Change Must Be Created)] Analyze the lens features of the original image (focal length impression / depth of field / periphery rendering) and explicitly change them to the physical features of the film lens. The following must be redesigned: • Focal length impression • Depth of field • Peripheral depiction (bokeh, vignetting, aberration) Lens strategies for each mode (must be followed) • Mode A: Prioritize separating the main subject. Background organization. Shallow depth of field is prohibited, but the depth of field should be shifted to one where only the main subject is clear. Slight vignetting guides your gaze to the center. • Mode B: Prioritize spatial depth. Move the foreground to the far background at a readable depth of field. Surrounding information is preserved, and the space remains uninterrupted. • Mode C: Priority air layer. A natural impression within the standard range. Feel density through gradients and subtle blur (but avoid turbidity). • Mode D: Prioritize cinematic stability. Extreme bokeh or exaggeration is prohibited. Suppressing aberrations blends camera feel with solemnity. Conditions for this process: Compared to the original image, changes in the three-dimensional structure of the image must be immediately visible. ⸻ [Step 2: Lighting Reconstruction (Sight Guidance)] Allows for the addition and emphasis of light sources. However, the new light source must only be within the scope of "narrative reasonableness." Do not mislead the time or weather with light. Light must always be used to guide the gaze to the main subject. Lighting strategies for each mode • Mode A: Organize key light/contour light/reflected light for the main subject to enhance presence and suppress background. • Mode B: Create light gradients from foreground → midfield → background, guiding the line of sight in depth. • Mode C: Emphasize diffused and ambient light to increase the density of the entire space (do not over-enhance the sense of light source). • Mode D: Avoid unnatural strong light. Priority is given to "organizing" existing lighting and adjusting it to natural cinematic lighting. ⸻ [Step 3: Special Effects (Spatial Touch)] The goal is not to be glamorous, but to "feel the space can be touched." Allowed: volumetric light / airborne particles / haze, haze, humidity / subtle lens halo / light scattering. The effect should not be applied evenly, nor should it interfere with the main body. Input for each mode • Mode A: Minimum. Only around the main subject and along the line of sight. • Mode B: Medium. Create layers in the direction of depth. • Mode C: Trace, but present throughout the space in the form of "density" (don't make it stand out). • Mode D: Invisible level. A solemn sense that is imperceptible even if it exists. ⸻ [Step 4: Color Grading (Character Reassignment)] Hue remains unchanged. No color, but clear characters. Redistribute saturation, contrast, and brightness, and integrate them into the film's tonal range. Color strategies for each mode • Mode A: Prioritize the clarity and separation of the main subject. Suppress background saturation/information. • Mode B: Supports space through color layers in the direction of depth. Emphasize gradients. • Mode C: Moderately saturated, expressing airiness through brightness and subtle color temperature differences. • Mode D: Disable LUT sensations. Prioritize unity and solemnity, avoiding overemphasis. ⸻ 【Step 5: Final Check (Required)】 All of the following conditions must be met: • When compared side-by-side with the original image, the difference is immediately clear • No sense of context changes (time, weather, season, story remains unchanged) • Lighting and effects do not appear excessive • It functions as a single film clip • Ultra-high definition. Film quality.