Digital Video - September 2008 - (Page 34)

DV 101 read the daylight coming through a window at 9000°K, you can determine that is a mired value of 111. You want to correct that to 3200°K, which has a mired value of 313. Subtract 111 from 313 and you need to have a mired shift of 202. Looking through the Lee swatchbooks, you can see that a Full CTO plus 1⁄4 CTO will get you to +223 mired 9000°K to 3000°K, which is close enough. Anything less than 100°K isn’t really discernable by the human eye, and it really takes a shift of about 500°K or more to make a noticeable difference. Anything within 500°K should be totally acceptable for most applications. It should be no surprise to learn that not all filters are created equal. A Lee Full CTO has a mired shift of +159, but Rosco’s Full CTO has a mired shift of +167 (slightly warmer than Lee) and GAM is +146 (slightly cooler than Lee). Each manufacturer has a different compensation depending on what they determine is standard real-world “daylight” and real-world “tungsten.” Plus green and minus green are used for different applications. Non-incandescent lighting sources, such as fluorescent fixtures and HMIs, often have a tinge (or more) of green to them. Green is a challenging color because it typically is unflattering on skin tones. Generally you want to get the green out, but if you do so later in color correction, this adds magenta to the image, which can make flesh tones appear overly pinkish. To compensate for this additional green, you use minus green filters — which are various strengths of magenta color. This blocks the green light while letting through the rest of the colors. Inversely, if you find yourself in a situation where you can’t correct the green — perhaps you’re shooting in a huge industrial warehouse with thousands of fluorescent ceiling fixtures — then you can add green to your own lighting to even the playing field, which will make color correction go smoother later. That’s where plus green comes in. It’s important to note that color-correction filters are not just for technical applications. They’re not just to correct one source to another — and you won’t always want your lighting to be in the same color range. You may decide you want your daylight to be very cold and blue, and you may even add CTB to that daylight to make it deeper blue. Or you might add CTO to your tungsten sources to make them warmer! There are also hundreds of “party” colors, as most film and video people call them. These are filters in every color of the rainbow that can be used for many different creative effects. The caution, however, is that because these are not calibrated colors, they often cut nonlinear wavelengths and can often appear very different on camera than they appear to eye. If you’re monitoring your image with a properly calibrated professional monitor, however, then you’ll see the end results and can use these filters to your heart’s content! DV IN REVIEW FIRST CUTS (continued from page 10) process. Assistant Editor can only work as well as the descriptive information you give it. Spend the time on accurate and evocative logging information. Next, select all bins in the FCP Browser window and export XML file. Open the XML file in Assistant Editor. Set a duration or set no limit. Select SCORE ASSISTANT EDITOR FIRST CUTS PROS: Not only will make great first cuts, the discipline that it enforces upon a filmmaker can actually make you a better editor and storyteller. CONS: Yes, a human operator has to do the logging and create keywords for it to work. BOTTOM LINE: A major advancement in effective long-form editing. MSRP: $295 CONTACT: www.theassistanteditor.com opener, lower-third styles and AWARD OF umentation specifies a procedure for setting up logging a keyword for the main columns in FCP. It is imperative theme of the story. Assistant Editor will have discerned EXCELLENCE that these be followed so that Assistant Editor can locate and from the XML file a list of present the information necessary to main keywords as well as a list of make the editorial selections. additional story keywords. So, while there is virtually no learning Now, merely choose a Main Story curve to the application itself, spend a Keyword and decide which other comfew minutes learning the proper setup ponents would fit in that sequence. of logging columns. Select multiple additional keywords by Not only will Assistant Editor make command-click. Add those to the right great first cuts, but the discipline that it column with the Add button. When enforces can actually make you a better you are satisfied with the themes for editor and storyteller. One of the most this sequence, just click on Make the unique editing tools to have come along Edit. Assistant Editor will create a new in years, Assistant Editor First Cuts earns XML file that you then import into FCP. our highest praise for its combination of Lo and behold, it’s a sequence compower and simplicity. It should be part of plete with multiple tracks, audio crossthe toolkit of any long-form documenfades B-roll and, most importantly, a tary editor — or anyone else who deals coherent theme. with large amounts of unscripted Critical to the effectiveness of the footage and just needs a very helpful — program is the quality of the log notes and tireless — assistant. DV created by the editor. The program doc- DV 34 dv september 2008 www.dv.com http://www.theassistanteditor.com http://www.dv.com

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Digital Video - September 2008 Contents Discproducer PP-100 Frameforge 3D Studio 2 First Cuts Expodisc Bird's-Eye View Instant Expert Inside Outsource Red in Combat Tools & Technology My Studio DV101 Production Diary

Digital Video - September 2008

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