Graphics Reference
In-Depth Information
Then always going back and looking at the original to see what the
original intent was.”
Pete Jannotta explains that the
traditional
way to think of contrast is cer-
tainly not the
only
way. “Luminance contrast is important, but
color
con-
trast is just as important.”
Jannotta is examining a shot that he's trying to tweak. “Before, when
I was looking at it, I wasn't feeling the color contrast was right. It was too
much in one part of the palette. It looked kind of brown, so it needs a little
blue and green back into it. I've taken too much green out of it.”
Luminance contrast is important, but
color
contrast is just as
important.
- Pete Jannotta, Filmworkers Club
“This is a real common thing that I do all the time,” explains Jannotta.
“What did I have to start with? So: 'Am I ruining anything?' 'Am I taking
away something that I want to retain?' I'm always looking for that.”
Maintaining a Look
Neal Kassner talks about one of his biggest challenges. “My show—
48
Hours
—has to match itself from one segment to the next and the charac-
ters reappear all the way through, even though the same source reels are
used by as many as six different editors working on different Avids. The
first time I correct a character, I grab a reference of it, and each time that
character appears, even in the same segment, I'll reference back. Because
I've found that when they're shooting, it's not unusual for the camera
guy to adjust the iris. So the same character, even in the same setting may
be a little darker or a little brighter than the first time I saw him. So I want
to keep it consistent all the way through.”
Encore's Bajpai agrees: “It's no good to take one frame and make it
look super good and go wow and then do that over 5 years on 65 episodes
so you can come up with something that's super good but then has to
it into your ability to repeat it again and again, indoors, outdoors, day,
night, multiple storylines. That's always challenging with a new show is
where you set that.”
The other challenge, according to Bajpai, is access to decision mak-
ers and a revolving door of characters involved with any given episodic
series. “DP's can't be here (in the color suite),” states Bajpai. “It could
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