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He wore a herringbone jacket….
So I just ingested a shoot I did where the talent was wearing a herringbone sportcoat. I know, I know, I should have stopped the shoot, gone to JS Banks and bought him a wonderful new navy blazer…not possible in this situation. It was all we could do to get him to even show up for the interviews. Anyway, it looks like crap. Any suggestions?? I shot it 60 1080i since final output was going to be highly compressed web and possibly EXTREMELY compressed email. Probably should have shot something else but wasn’t really thinking clearly….long story. Any help would be greatly appreciated. Editing on FCP.
Mick Haensler
Higher Ground Media -
8 Replies
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Do a blur with secondary color correction- on whatever high end color grading app you have. And ultimately just live with it… 🙂
Noah
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Experiment with deinterlacing. Herringbone wouldn’t have mattered if you’d shot progressive. Well, it wouldn’t have mattered on progressive screens and computers.
Greg Ondera
http://www.Plexus.tv
http://www.SurgeonToday.org -
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Thanks for the help guys. After working on it for a while it looks better than I thought. Here’s a link to a test piece. Tell me what you think.
Mick Haensler
Higher Ground Media -
I’ll try to be gentle, but I think you have a bigger problem with the lighting than the moire. From the double nose shadow and hard shadows from both directions seen on both sides of the neck, I’d describe your lighting style as the “FBI” look; two lights left and right at eye height. A more pleasing placement for the key would be higher and closer to the camera, then the fill on the other side, diffused and of lesser intensity, This will result in a sparkle in the subject’s eye and one less hard shadow.
JS
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I know it’s not the greatest. The talent basically blew in, said “Let’s get this over with”, gave me no time to set lighting correctly. When I put key close to the camera he got pissed because it was right in his eyes. It was the best I could do given the situation. Thanks for the feedback though.
Mick Haensler
Higher Ground Media -
Mick,
Talent arriving at last minute is fairly typical. That’s why you need to have someone else “stand in” for light adjustment.
As regards brightness in the eyes, you need a way to “diffuse” the hard light source, like a Chimera, a roll of white diffusion hung in front of the light or a white card to bounce the light into. Lighting is the most important part of portrait photography and must be mastered in order to create quality work in the professional environment.
A few simple tools and pre-visualization is all that’s necessary. Look at portraits you find attractive and reverse engineer them, thinking out how they must have been done. Watch the shallows especially, noting their direction and relative softness.
JS
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I still go back to stuff like this just to refresh my memory, which these days lasts about 2 minutes.
– Don
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