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Post-prod: remove/replace area?
I have a problematic shot that I am kind of stumped on how to attack in post. I shot a scene with a few characters looking out a window, which was supposed to be looking out into daylight. Unfortunately, as the day dragged on, it got darker and darker outside until it was finally full night. I was wondering if anyone had a good creative way for me to remove/replace/re-color just the section of window in the background so that it isn’t completely obvious that it is now night outside.. I have some shots from earlier in the day that I was thinking I would try to keyframe or overlay onto that section but wanted to see if anyone else had a better idea before I get too deep. I don’t really care whether we can see anything going on in the background, just so long as it doesn’t look like pitch black. I tried to put some big lights right in front of the window to reflect it and completely blow the windows out, but it didn’t quite work.. I’m afraid a color keyframe might remove shadows or other dark blacks from the rest of the shot.
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4 Replies
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Apple Color handles this quite well with it’s HSL color keying in the secondaries room. Yet another reason to learn Color if you’re not familiar with it.
If you’re in L.A. just bring it on over and I’ll handle it for you.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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Thanks for the guidance. I’m not very familiar with Color at all, it’s one part of the FC Studio Suite that I haven’t yet touched. I will give it a go and see what I can find. Unfortuntely, I’m in Chicago or I’d pop over for that quick fix! Thanks for the quick response.
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[Ken Herrington] “Unfortuntely, I’m in Chicago or I’d pop over for that quick fix! “
If you get in a big bind at least you know it’s most likely fixable in Color, and you can either send it to me over the Internet or hire someone like me in the windy city. Depending on how long the shot is, how much the color shifts, and how much the camera moves, you’re probably looking at about an hour’s work, but it might go up to two hours if it’s really complicated and requires masks, keying, and extensive keyframing to make it perfectly seamless.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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Jeremy Garchow is in Chicago and something like this can also be handled remotely. I’m in Atlanta, but I’ve controlled Color systems in multiple other states for short, quick work.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media
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