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Fig. 8.20
Creaser's final correction.
Fig. 8.21
FinalTouch UI of data for correction.
Filmworker's Club colorist Pete Jannotta sees an interesting storytell-
ing challenge in the shot from
Chasing Ghosts
in a basement corridor of a
museum (
Figures 8.22
and
8.23
). Due to the very dark nature of the cor-
rection, it is difficult to reproduce the effect of the video monitor image
on the printed page. I have enhanced the print images to closer match the
video image. My apologies to Pete for having a very nice grade compro-
mised by CMYK color on paper.
“The first thing I would do is make sure I'm getting as much out of the
bottom as I can,” Jannotta begins, digging into the blacks with the master
setup control. “Stretch a little gamma out of there, pull the whites down
to make sure that what ever I can get out of the top, I'm getting. But I
know if nothing comes down where it's clipped, it's clipped . . . clipped on
the source material.” Jannotta points out that the fluorescent tubes in the
image are clipped. “But for shadow detail, depending on how much noise
it generates, I would always try to pull up whatever is hidden towards
the bottom, just so I know what's in there. Except, for this shot, stretch-
ing it isn't going to do me any favors. Just set black on the baseline and
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