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Mike Most also works this image into a day-for-night.
“What I would do is bring this way down,” Most begins by pulling
down midtones and shadows. And I've also got to bring down satura-
tion first, because one of the things about night is that saturation is much
lower and, point of fact, red saturation is much, much lower. It's not so
much that things go blue. They don't really, but what they do go is minus
red because the red disappears. You don't want it to greenish but cyanish
is probably okay. What I'd probably try to do is put a little bit of a window
around her. It doesn't make physical sense, but I'm going to play this as
if there's another key down here. It doesn't make sense, but sometimes it
just works” ( Figures 10.96 and 10.97 ).
One of the things about night is that . . . it's not so much that things
go blue . . . they go minus red.
- Mike Most, Cineworks Digital Miami
Most draws an oval around her face, raises the gain inside the vignette,
and then softens the edge. “I'd have to do something very different with
the outside area,” he comments. “What I'd actually like to do with the
outside area is make it a little warmer. That whole green thing is driving
me nuts. Once again, take some of the saturation out. I'm desaturating
the outside” ( Figure 10.100 ) .
Most cuts back and forth between the original image and his correc-
tion. “Considering that you started from that . . . it's not great, but it's not
horrible.”
“Looks like night to me,” I say.
Fig. 10.95 Source shot—
“sleeping_woman” from
tutorial footage.
 
 
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