http://www.campbellfilm.com/
--- In Avid-L2@yahoogroups.com, Greg Huson <Greg@...> wrote:
>
> Sounds like you need to use better lenses, to be honest. Something contrasty, but with a nice soft glow?
>
> gh
> ----------------------------------------------------
> Greg Huson
> Secret Headquarters, Inc
> Post Production / Production
> Culver City, CA
> 323 677 2092
> www.DigitalServiceStation.com
> greg (at) SecretHQ.com
> facebook.com/greg.huson
> www.SecretHQ.com
>
>
>
> On Dec 9, 2011, at 11:32 AM, John Moore wrote:
>
> > As I stare out the window today I can't help thinking that the setup is too high in LA these days. If I was in the edit bay I'd surely pull down the black levels to get full range. I'm usually in the habit of finding something in an image that should be at or close to black. I'm curious how others approach this. I don't like images to look washed out with a high setup but am I artificially stretching things that I shouldn't? I have a similar approach to gain in that I usually find something in an scene that should be at or near 100%. I'm always trying to get the maximum dynamic range I can. In a feature film some scenes are darker than others and clearly their brightest elements may not approach 100% luma level. Working primarily in TV reality and documentary shows I've had good results with a full range approach. Should I grow a pair and start letting darker scenes not peak near 100% or let setup not always start at 0 level? The
> > brain seems to make it all seem okay when I do the full range color correction and brighter scenes feel brighter even when the setup and gain limits are technically the same. I'd like to hear what others think about this.
> >
> > John Moore
> >
> > Barking Trout Productions
> >
> > Studio City, CA
> >
> > bigfish@...
> >
> > [Non-text portions of this message have been removed]
> >
> >
>
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