Alan Lloyd
Forum Replies Created
-
The LEDs are emitting that pure color at very high saturation levels. So you’re seeing clipping there, where the color falls off only as the light output is driven beyond the camera’s ability to capture it.
-
That is what I despise about using LED instruments for color.
If you looked at that on a vectorscope you’d see a spike going well outside the blue area, in terms of saturated intensity.
Turn the LED backlights off – it’s your best bet.
-
Keep your tungsten as it is. There’s really nothing to gain from wedging it.
-
Full CTB is far higher than 4100K – think 5600.
I would just leave it as you described, minus the CTB.
I see this is nearly a month old, how did it go?
-
Have you tried loading the original .psd into Photoshop and resaving it?
Are all the layers “visible” and active in the file in Photoshop?
Do any need to be rasterized?
That’s about what I have to offer, I’ve never run into this.
-
Just to clarify, have you put the clip over a BG and then keyed out the green?
-
Find yourself a couple C-stands and a good sized piece of black fabric. Duvetyne is nice, velour works well too, from my direct experience.
Cut a small hole in the middle of the black fabric and use that to put the lens through while standing behind it. The reflections in the glass will be of the black cloth.
-
Does bringing them to a local drive help?
-
Have her (primarily) backlit. It’s standard for those with “dark” motivations. (Good looks into light, evil looks away.)
Unless you’re going completely noir, do keep the front side fill, though.
-
With how you’d described it, I’d look to bounce the largest instrument I had off the ceiling for a nice even wash. Mirror/vanity practicals would certainly add to the look, maybe they could be lamped down some?
Before getting any deeper, though, what’s the mood/nature of the scene?