on 17/11/02 3:14 pm, Jorge Parra at [EMAIL PROTECTED] wrote:
> If shooting film, I let Shangara ,Les, Richard, etc tell you, but I would go
> ,at least, with some in-camera bluish filtration as a starting point.
Jorge
I probably would've gone with the H&S technique posted earlier as mixing
channels can be tricky to get rid of a color cast or correcting skin tones.
I have shot an awful lot of video and was playing color balance tricks long
before digital stills cameras came on the scene. I used to use similar
techniques to yours but it was more for matching scenes than pegging the
look.
It's always easier to get the look you want in post (in Photoshop when
talking stills). However, it can be tricky if you didn't do a balance and
the tweaks later required either contaminate your shadows or your
highlights. They can be cleaned up but it's just more work.
I learned a lesson with my second drama. I decided to shoot by available
light since it was really gorgeous late afternoon light. We were shooting in
a gymnasium. I flagged off some of the windows (negative lighting!) and as
the scene progressed, took them down. However, when it came to do the
closeups, the frigin camera jammed! By the time we solved the problem, the
light had gone too yellow/red and we had huge problems matching the wides to
the closeups in post. The film was being cut traditionally so we couldn't
rely on digital tricks in telecine to color correct. We were stuck with
either having blue shadows or skin tones that were way too warm.
I hope to shoot digital next year and will probably white balance in situ
rather than in "post."
--/Shangara Singh
Adobe Certified Expert (ACE) Photoshop 7.0
Exam Aids for Photoshop ~ Illustrator ~ Dreamweaver
http://www.examaids.com :: http://www.e-pixel.co.uk
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