Forum Replies Created
-
Replies
-
I apologize if any offense was taken. This was not my intention. I do not mean to suggest that your craft could or should be reduced to an instagram filter that I can download and magically create images that take a career of dedication to create.
I do think there is a common denominator across those three projects, which is that they all successfully support the story, themes, and characters with their individual looks. However, I would not dare say that they look the same. As I said before, I think the consistent descriptor across all your images is “full” and my intention was to dig deep into this one element of the many that contribute.
I did not preface my question with everything else I spend my time researching, learning, and practicing like composition, exposure, lighting, design, and color; but I am focused on those things in proportion to their significance for sure: garbage in, garbage out. Someone described the color grade as a spit shine – which I appreciate as a car guy. A spit shine on a rusted car is useless. I’m not suggesting it’s the most important or even a large component of the end product, but it (LUTs and color grading generally) does have an effect on the final product, and therefore I would like to understand it to its fullest. Perhaps I can restate my question as: Do you have foundational elements that you carry with you to every DI for every project or is every element reconsidered from zero per project? If you do carry tenants from project to project, what are your guiding principals regarding contrast, shadows, mid tones, highlights, and saturation?
Thank you very much for your time and sharing your wisdom.
I can’t speak for the other user who commented, but I definitely appreciate what you’re saying David. I asked the question as I did, because I’m curious what the direction to a colorist is for creating a show LUT. There must be value in creating one, otherwise everyone would use the standard 709 LUT, so I’m curious what are the details of those conversations and how it pushes the image in a different direction from 709. And, regarding my lighting question, I’m deeply interested in light levels and exposing to get the image out of the noise floor – especially because I feel like there are trends these days of shooting with “only existing light” and it just doesn’t seem to me that that is actually how the masters of our craft operate.
