Graphics Reference
In-Depth Information
CHAPTER 7
Many colorists disapprove of the term “color correction” because so much
of their talent extends well beyond simply “correcting” bad color. But the
truth of the matter is that when working on an image, the first order of
business usually
is
“correcting” the scene.
Also, an even larger part of the job of an
aspiring
colorist will be trying
to correct bad video images. So this chapter will be devoted to making
bad images look okay, making decent images look good, and taking good
images “over the top.”
Pete Jannotta, one of Chicago's veteran and most respected names in
postproduction, is a colorist at Filmworker's Club. Pete chose to work
on the same scene from
Chasing Ghosts
that Janet Falcon tackled in the
last chapter. (
Figure 7.1
). He provides a detailed explanation of how he
approaches this image mostly in primary, with forays into secondaries
that are a nice transition from the previous chapter.
Jannotta evaluates the image, explaining, “My feeling would be that
I'd want to make more out of this banker's light being warm and then
leave some green on the outside. I also feel like this is plain too much
green, even if it is fluorescent-lit and we want to have that office feeling.
So I know that's in the mids—most of it.” Jannotta starts to push warmth
into the banker's light using the midtone trackball, also pushing towards
magenta and away from green, explaining, “If anything interacts, like
the black gets pulled up a little out of whack, then adjust it. I did not do
what I said to do first, which is to get the brightness and contrast kind of
set where I want it.” Jannotta completes the basic primary correction and
continues. “This is starting to feel a little better already.”
But when he cuts back and forth between his current correction and the
source, he sees something that he didn't see before. “I went too magenta
with it. I went overboard. I feel like my monitor and my vectorscope
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