Graphics Reference
In-Depth Information
Matusek explains that about half of the work he does is commercials
and half is independent films. “The trend, I felt, was that in independent
film it was more about setting the mood and emotion and with com-
mercials, it's about getting a really cool look to grab people's attention.
Hopefully, it's to help sell the product with the look having to do with the
story of the spot, but mostly give it a hip, cool look and focus the attention
on the product. And if you give it a really cool look, when you get to the
product shot, make it look nice and pretty and bright. So basically com-
mercials are a lot brighter, contrastier. Long form is a little bit moodier.”
At this point, Matusek adds a soft, low, wide vignette to darken the
sheet below her body, bringing the highlights down to about half and
the midrange down a little, commenting, “Now your eye goes to her and
I still don't like that pillow, so I'll do one more window there.” He draws
a custom shape for the pillow and brings the master gain down. “I think
I went a little too flat.” He checks back and forth—toggling the vignette
off and on before revising it by increasing the contrast inside the window.
You've got to push it to the point where it looks pretty bad and then
bring it back. Especially with clients.
- Mike Matusek, Nolo Digital Films
“There's nothing wrong with saying 'You wanna go darker with that?
You wanna go darker?' But you've got to push it to the point where
it looks pretty bad and then bring it back. Especially with clients. All
colorists can see subtle changes in what they did. We're staring at the
image for the whole time, while they're reading a magazine or they're
on their laptop and they're looking up and down, so they miss those
subtle changes. So it's good to show them—not extreme differences—but
enough differences so they can see it.”
Fig. 6.20 With the
vignette. Only the Master
Gain was brought down to
about 75 percent inside the
vignette.
 
 
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