Thanks to making them more attractive and romantic or enhance the visual details of the sites in that are shot, television series like Dallas, Miami Vice and Northern Exposure achieved redefine the public's perception of sites used for filming. Likewise, color correction from the series The O.C. introduces you to the specialist in color Rick Dalby, from Modern VideoFilm, some opportunities of gold.
Jamie Barber, Director of photography of the series, notes: I really trust that the post-production team helps us define our different physical appearances. We don't even alter in a way considerable appearance of the daily shots, whose color is retouched in the Modern studio, by Jeff Benham. We maintain everything standard, in such a way that during the final correction of the color, with Rick we have more space to do what Wish.
Dalby says his goal is to The O.C. is trying to get the most contrast rich and the most vibrant colors possible. We want to give all the appearance of a negative and we also strive to remove cloudy days. We want a dramatic, rich and Attractive. In every scene we shoot we try to make it so seductive that the public wants to live in Newport Beach.
The Real Power of the Correction of final color high definition (HD) series, which is achieved using the da Vinci 2K, it goes into action for the scenes that present their flagship setting: a luxurious mansion with a view to the Pacific Ocean. Most scenes Interiors that look out over the garden look very real from the principle says Dalby. But when the team rolls the scenes in the courtyard, with the ocean as a background, we really have than forcing the contrast to make it look like it really there would be a strong sun over our heads.
Our biggest concern it was how to manage the bottom with the ocean, and that's what Rick has done. a great job says Barber. In the first episodes we had to do some tricks to achieve good results, but we already have it so dominated that when we shot against the background, it really feels like it's the ocean. A lot of that had to do with finding the right approach. towards color correction, to make sure that the exhibitions were bright enough that one feels that it is in a real garden.
Dalby uses many of the expanded capabilities of the da Vinci 2K program for your work in the series. For example, the green of the garden (the plants and artificial grass) must be handled using large Amount of secondary color correction explains. For the background, we have to somehow eliminate the blues and play with them to get the right tone of the ocean and the sky. We try to convince people that it's not a study. The wind machine on stage plays a role important in this illusion, because if there is no movement in the catawinds in the background and there is no breeze over the plants, it is hard to make it look real, no matter what we do with the color.
To achieve the color of the firmament, we often force it, but that's a piece of cake. Continues. So, when you see it, you think: It must be very sunny out there and that's why it's just plain they couldn't control it. We have the Power Windows of da Vinci and the Power Tiers blur boards, in such a way that if a problem arises, we can put part of the background out of focus. For example, if the lights start to look too much Real, we blur them a little bit and soften them. To control the palette a little more, we can put more tones inside the Power Window, discolor the brightest part of the sky or the blue of the image, and soften the focus, without affecting the rest of the image. However, Jamie has so well controlled photography of the program, which is rare that we have to do these stuff.
Article reproduced with
permission from American Cinematographer Magazine, copyright ASC
Holding Corp.
