Graphics Reference
In-Depth Information
Fig. 9.18
The diagonal split between the “base” shot and the corrected “cool” shot. The wipe goes just under
the red Ansel Adams banner and above the leftmost arched doorway. Notice the “cut” high on the lion's legs.
Then he switches over to the warmer lion shot. “So now what I have to
do is go the other way with it. And I'm going to take some of the warmth
out of the low lights and also out of the midrange. Okay, so this is where it's
getting there, but it's not close, so I'll cut back and forth between this and
the still. What I'm going to do is match the luminance using the waveform.”
In order to get the contrast ratios right between the two images, Kass-
ner plays the gamma and highlights off each other, bringing gamma down
and highlights up, then bringing shadows up then playing shadows up
and highlights down at the same time before his correction is in a com-
fortable range for him. “Okay, the luminance is closer than it was. Now
I'm going to concentrate on color.
“Now I'm running into a situation where I like
this
better than
that
,”
he says, preferring his semiadjusted shot 2 over his completed correction
on shot 1.
Kassner starts his grade over using grade 3 in the timeline. I ask him if
he's trying to get the shapes in the waveform to line up. “Exactly. So now
there's a color cast . . . a little cyan. It appears to be mostly in the gammas.
Now I'm looking at the vectorscope, just trying to match the shapes a little
better. It almost looks like there's a black stretch going on in this grade.
This,” he says, pointing at the shadow area on waveform monitor, “up to
here is a fairly close match, color aside, just luminance. But then, this,” he
points at the high midtones, “is getting stretched out more. If I just go and
bring up the highlights, it's also dragging up the lowlights with it. So if I
work the two against each other . . . now we're getting someplace. That's
actually a little bit closer.” Kassner has been moving the gammas down
Search WWH ::
Custom Search