Graphics Reference
In-Depth Information
Greg Creaser completes our final day-for-night scene. Actually, it's
more of a night-for-night scene as he works on the “nightgown” scene
from “Kiss Me In the Dark” (
Figure 10.105
).
“If this was typical moonlight, it's not going to be warm. We started out
a little warm and a little bright, so around in there . . . would be a good
starting point. I think this would be a creative decision on the part of the
client. I'd stick it there and say, 'Where do you want to go with it?' It'd be
maybe more to the cyan side or the bluer side. My own opinion on night
stuff is that I don't like to see it always blue. I like to see it clean. Maybe
cool yet not blue blue. A lot of time you see night shots and they're just
extremely blue. I kind of try to stay away from that, but that's my personal
choice, and that's not what a client may want so, maybe I'd put it here and
they'd say, 'We want it cooler' or this or that” (
Figures 10.105
-
10.108
).
Fig. 10.105
Source
image from “Kiss Me
In the Dark,” courtesy
Seduced and Exploited
Entertainment.
Fig. 10.106
Tektronix
WVR7100 screengrab. Upper
left: YRGB Parade. Upper
right: composite waveform.
Lower right: vectorscope.
Lower left: vectorscope
zoomed in 5x.
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