Graphics Reference
In-Depth Information
Larry Field
Larry Field works out of Level 3 Post in Los Angeles, where he was the senior colorist
on 24. His credits also include an impressive array of prime time shows including The
Simpsons, Scrubs, Star Trek: Deep Space Nine and Star Trek: The Next Generation, Third
Rock from the Sun, and Murder, She Wrote. Also, Terra Nova, Bones, The River, Percep-
tion, Shameless, Melissa & Joey, and Wedding Band.
His current color grading kits of choice are Lustre and DaVinci.
In addition to prime time episodes, Field did live color correction for N'Sync's per-
formance at the 43rd Grammy Awards and hundreds of grades on TV spots and network
promos.
Previously, Larry worked at Editel/LA and Unitel. He graduated from Northern Ari-
zona University.
Using Secondaries to Match
We have an entire chapter devoted to matching shots ( Chapter 9 ) , but
here we'll point out several ways that secondaries can help resolve tricky
matching problems. Robert Lovejoy from Shooters Post in Philadelphia
used just about every type of secondary qualification as he tried to match
the “Art Institute Lions—Cool” scene ( Figure 6.59 ) with the “Art Institute
Lions—Base” scene ( Figure 6.57 ) .
Like most colorists, he started with the basics before moving to sec-
ondaries. Lovejoy explained his opening steps: “I'm balancing blacks,
balancing whites, and spreading my tonal range. I'm looking at the
steps and the building façade.” He sets up a split screen between the
correctly shot image and the cool image and then positions the split
down the middle of the lion. He starts by trying to match the base
that the lion is standing on, adding some red to the midtones ( Figures
6.61 and 6.62 ).
His primary correction to the cool image turns the sky a freakish
color ( Figure 6.61 ) . This is where secondaries come in handy to fix prob-
lems created in the primary correction. Lovejoy qualifies the sky in the
upper right corner with a luminance only matte, then desaturates the
highlights within the qualification, taking the sky back to pure white
( Figures 6.63 and 6.64 ) .
Instead of simply trying to match the base scene with the cool scene,
Lovejoy also improves the base scene, then grabs a still of the improved
base scene and wipes between it and the cool version he's trying to match
( Figures 6.65 and 6.66 ). Instead of relying on scopes, he's using just his
eyes, the video monitor, and years of experience. “It's very close. There
are subtle differences in the lion. Secondary could be my friend on that.”
 
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