Graphics Reference
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Festa generously shared a glimpse at some of his trade secrets. “Some of
the things that are in there are prebuilt PowerTiers. Basically, I always
start with a nice balanced image. Then I've got a bunch of PowerTiers that
I can ripple on top of that. They'd be one or two channels of window or a
channel of defocus combined with a key.”
Festa is sitting at his DaVinci, walking through the presets with me.
“Just to give you an idea off the top of my head what I have in there: in
the top row, I have a complete line of bleach bypass, ranging from 20 per-
cent to 70 percent in 10 percent increments. In a single keystroke, I can
ripple that on top without having to go through a whole building process.
So I can show somebody 20 percent, 30 percent, 40 percent, boom, boom,
boom, just like that.”
Festa Switches Gears
I've interviewed Bob Festa on three separate occasions for this topic. Originally, he
worked on a DaVinci 2K +. Since then, Bob has moved from R!OT in Santa Monica to his
own shop called New Hat. The move also came with a change in “kit” from DaVinci to
Baselight.
Everybody's got a deadline, so why spend it recreating something
you know you've done over and over again?
“The DaVinci is really clumsy when it comes to setting up soft effects
like ProMists, defocus, pearlized whites,” Festa opines. “So I have all of
those set up on single keystrokes. Of course, what that does is build a
defocus channel and a key channel and a channel of Power Window, just
to support it all.”
Continuing through the presets, Festa explains, “I have the Pearlizer,
which is just soft whites. I have the swing and tilt, which is just the cor-
ner's softened. I have the ProMist, and the ProMist is divided up into
ProMist 1 through 6. And I also have a Mist with what I call 'demin'
added to it, which is like a richer ProMist also. The ProMist settings don't
have much correlation to the on-camera ProMist filters.
“Textures, which are really hard to create, like bleach bypass and soft
effects—I have all those on single keystroke things,” Festa explains. “In
addition to those, I have the usual kinds of stuff like Blue Wash #2, duo-
tones, day for night 1 and 2, film noir black and white. Then I have my
cross-process looks.”
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