Re: [Avid-L2] Re: Does Life need a TBC or do I need my head examined?

Flipping through TV channels the other day in my tape room (setting up to
record newscasts for a corporate client) I stopped on a soap opera (excuse
me, Daytime Drama). The only thing in the scene with anything close to 100%
luminance was a table lamp. The rest of the scene looked dark on the scope,
and maybe even on screen, but it was probably electronically accurate.

Now, our eyes compensate for the normal darkness in a room by opening the
iris and, I suppose, the biological equivalent of upping the gain a few dB.
They do this dynamically as we look around a scene. Cameras - not so much.
The question, "Should I make it look good on my scope or to my eye" is
probably best answered, "Yes."

----
*john heiser | senior video editor*
*o2**ideas*
birmingham, alabama, USA
http://vimeo.com/johnheiser

On Fri, Dec 9, 2011 at 4:38 PM, jeffsengpiehl <jeffsengpiehl@yahoo.com>wrote:

> **
>
>
> 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]
> > >
> > >
> >
>
>
>

[Non-text portions of this message have been removed]

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