Graphics Reference
In-Depth Information
Fig. 7.20 A preset curve
adds contrast and lowers
saturation.
Fig. 7.21 Organic-shaped
mask shapes the light com-
ing in from window.
There's a lot of green in the blacks there, so I'm using the primary color
corrector and watching the vectorscope to a certain extent, I'm just going
to walk this in.”
By using the phrase “walk this in,” I assumed he was using the vec-
torscope to get the blacks into the middle. Kassner responds, “Well, kind
of. That's what I started to do, but the foliage in the shadow areas is not
really, truly black. There's still supposed to be a green cast to it, so now
I'm going to go by eye until it looks a little bit better. Then maybe bring
down the master blacks again. Now I can attack the whites. There's a nice,
big, fat, white post there that I can use to get a white balance on, essen-
tially.” Kassner looks at the standard composite waveform monitor and
watches as the trace that represents that white area “compresses,” indi-
cating that it is getting more neutral. Check out the “Kassner's Balancing
Tricks” sidebar for more on this technique.
 
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