Graphics Reference
In-Depth Information
the puck over a color in the bottom (-) area subtracts that color in the same way. For example, to add an overall
blue tint to the entire image, you would move the Global puck toward the blue color in the upper area. To sub-
tract the color blue from just the image's midtones, you would move the Midtones puck toward the blue color in
the lower area. The pucks in the Color pane can be moved up, down, left, or right with the cursor or by using
the corresponding arrows on your keyboard to make more precise adjustments. The Saturation and Exposure
panes work in the same way, but you can only move the pucks up or down. In these two panes, the Global puck
is represented by a slider on the left side of the pane. In all cases, to return back to the Inspector, use the back
button at the top left of the Color Board.
Let's use an example from
Pranks
to demonstrate how to make a simple correction for exposure. As you know,
the staircase scene takes place at night, but some of the shots that were recorded ended up looking a little too
bright. We can remedy this by reducing the exposure of the darker areas of the image.
1.
Double-click the
Craft of the Cut
disc image to mount it. In the Project Library, double-click the Pranks
Work in Progress Project to open it in the Timeline.
2.
For this example, we'll be using Scene 14 Slate 41 Take 2, which occurs at 7 minutes, 34 seconds, and 23
frames in the Timeline. Select Scene 14 Slate 41 Take 2 and open the Inspector's Video pane. Click the Col-
or Board button next to Correction 1 to open the Color Board and go to the Exposure pane. Press +7 to
open the Video Scopes, if they aren't already open, and select the Waveform Monitor from the Settings
drop-down menu, making sure Luma is also selected.
3.
As you can see, this clip looks too bright to be taking place at night. Click and drag the Shadows puck
slowly up and down, and watch how it affects the darker areas of the image. Notice in the Waveform Monit-
or how the further up you raise the Shadows puck, the further away the bottom part of the waveform, which
signifies the black areas, moves away from the zero line. If you take the Shadow puck all the way to the top
to 100, you've taken away all the blacks from the image and the shot in the Viewer becomes white.
Because we're trying to reduce the exposure of the darker areas of the image, we need to lower the Shadows
puck below the horizontal line so that the bottom part of the waveform is close to the zero line. Move the
Shadow puck down to a value of around -7% in the Exposure pane (see Figure 15.9) so that the blacks in
the Waveform Monitor sit on the zero line.
Figure 15.9
Adjusting the exposure of the darker areas of the image.
