Robert Olding
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I agree with Kalleheikki and would ask the client for an RGB sample. I would caution that it’s possible that the person you have direct contact with may just take a CMYK file, convert it to RGB and send it to you. That scenario would replicate what you could do on your own BUT wouldn’t solve the problem.
I would also preface by saying that you’ll never be able to match a CMYK color because it’s intended for printing on a particular proofing substrate (paper).
All in all, I’d follow the RGB guidelines stated in the style guide. More than likely, it’s the color that the client’s designers, ad agency, and or design firm intended for anything that is going to be viewed on a screen.
Best,
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
Enginn … for more of an explanation, take a look at these various sites.
https://www.pixelupdate.com/solutions-to-resolve/
https://mixinglight.com/color-tutorial/gamma-2-2-vs-gamma-2-4-davinci-resolve/?idev_id=104
https://www.mysterybox.us/blog/2017/9/7/display-calibration-color-management
https://www.youtube.com/watch?v=DGY14ygjpLU
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
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Just as Richard says … rotoscope different segments of the body separately. It will still take time but you’ll get a much better result.
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
Put it above the primary timeline. We do this everyday. In the primary timeline, add a generator, stretch it out as long as far as you need, fill it with any color, (we typically use white) then place the clip with the Alpha channel above it as a connected clip.
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
“Is it safe to assume they’re doing it for simultaneous contrast: the warm tungsten light makes the blueish moonlight look more blue and the lighted window makes the dark areas look darker?”
I think it’s very safe assumption.
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
DP Matthew Scott has video that shows a quick overview of a scene that was shot in the day and was processed in post with Resolve to appear as if it took place in the evening. It’s not a how-to video, it quickly shows what they went through to achieve the look.
https://www.youtube.com/watch?v=PJ6BqFN98KU
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
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A reflex lens is typically used for astronomy work. Plus their apertures are fixed. You won’t be able control your depth of field. The focal length is achieved with mirrors as opposed to actual physical lenses. Any bokeh is displayed as rings that mimic the shape of the mirrors. It’s not a pretty look.
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
We shoot quite a bit of product video and 99% of the time we rotoscope the product using After Effects. From AE, we export a ProRes 4444 file with an Alpha channel. We’ll double check that the Alpha channel is working correctly by importing it into FCPX.
We put a generated white solid on the timeline and put the product video directly above it as a connected clip. If we make changes, which are typically color related, we just disable the white solid in the timeline (keystroke is v) and export a new ProRes 4444 file from FCPX. FCPX exports a file which includes the Alpha channel.
I’m not sure what you’re attempting to do with your file but wouldn’t a file with an Alpha channel typically be place in an FCPX project as a connected or compound clip that is above the timeline (above what you want to see through it)?
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
More depth of field won’t help keep the shot stable but will help hold focus if the camera, the focus puller, or the talent miss their marks.
With a smaller aperture, such as f11, you’ll need one of, or a combination of; more light, slower shutter, higher ISO.
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN -
More depth of field will help.
Robert Olding
Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN
