Graphics Reference
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the truck. Jannotta agrees, “No. It's not just the grass. He looks over at
his RGB parade. “Whoa. That's not good. Blue is way out of line in the
blacks,” he says, before he balances it out with the shadow trackball.
“Now I'm looking at that gray courthouse wall and trying to get a
better balance overall than what we had before.” He cuts back and forth
between source and correction. “Well, that's what I wanted it to do. I just
wanted to get it more balanced to begin with, then I can start doing the
weird stuff. As long as I know what kind of picture I really have here.”
Burn it and compress the bottom end. There's more tension that way,
I think.
- Pete Jannotta, Filmworkers Club
Jannotta's ready to move on, saying, “Now I want to desaturate it. Then
really stretch the heck out of the top.” He rolls the highlights way up as he
says, “Burn it and compress the bottom end of the grayscale so that every-
thing gets pulled out.” Jannotta makes a hand gesture like he's pulling taffy.
“There's more tension that way, I think” ( Figures 10.59 and 10.60 ) .
With the primary color correction out of the way, Jannotta wants to
sharpen the image, so we go to FinalTouch/Color's Effect room and add
Sharpening. The process tree was simply a Sharpen node set to 0.671350—
a fairly similar setting to the sharpening he did in the last correction.
“There you go. Now it's a SWAT team. That sharpening effect is pretty
cool. It makes it really dangerous-looking.”
Jannotta is pleased with his correction and decides to take it one step
further. “I'm going to try, just for fun, a more simple vignette on this one.” I
notice that his “simple” vignette is—as usual for him—a hand-drawn shape
instead of a simple geometric shape. I tease, “And once again, you refuse to
use a square or a circle.” He responds, “Yeah, I do. I don't like 'em, because
I want to have the handle . . . the control and the ability to move.”
He finishes drawing a big D shape and darkens the edges ( Figure
10.62 ), then starts adjusting the shape with the correction in place. “I had
the shape too tight. But you don't know until you do it. That's why I like
these custom shapes and adding the softness up front to the shape.”
Jannotta starts pulling out even more saturation. I ask him what the
saturation move is accomplishing. He replies, “I want it to feel colder and
more scary. More tension. So pulling the color out and adding a little blue
to it, making it real crispy like that. Closing it in,” he says, pointing to his
vignette with darkened edges ( Figure 10.61 ). I note that he's got deep
shadows and punched highlights. “Yeah,” he says, “I think of pulling the
picture like this.” He makes motion like pulling a scroll open from top to
bottom.
 
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