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I want to get it darker that that, so then I'll go to the midtones and bring
the midtones down, so I'm not necessarily crushing the blacks” ( Figures
10.74 and 10.75 ).
There's a lens flare there, so that clues me in that the sun is maybe
still a little bit out. Maybe get more contrast.
- Mike Matusek, Nolo Digital Film
“Sometimes when you go blue, you get kind of hypersensitive to the
hue and you see a little pink in there. You almost see a little bit of magenta
in the water. So, do you want to go more cyan blue? Do you want to go
a little more true blue? If you go to more true blue on the scope, it looks
more magenta all the time, at least to me, so I tend to go a little bit more
towards cyan. There's a lens flare there, so that clues me in that the sun is
maybe still a little bit out. Maybe get more contrast. Throw a vignette on
there real quick to see what that does to the mood of it.”
Matusek adds an oval vignette with softness and rotates it, then dark-
ens the upper left corner ( Figure 10.78 ). I comment that as I watch a lot
of people use vignettes, it is a way to focus attention, but it also seems
Fig. 10.74 Matusek's
primary correction.
Fig. 10.75 Data from the Primary room.
 
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