Introduction: Contrast (02:44)
Contrast is the spread of tonality across an image. Dynamic range is the difference between the darkest and lightest section. Ollie Kenchington will use a commercial for Nick Scali to demonstrate techniques for adjusting contrast and reading scopes.
Color Science (06:58)
Luma is uncompressed but chroma can be. Consider desaturating the clip to focus on contrast and the spread of tonality. Green appears brighter than other colors and is the dominant color of light emitted by the sun; the luminous efficiency function demonstrates the combined sensitivity of all colors.
Reading Scopes (08:32)
Most cameras have waveform monitors. Kenchington demonstrates reading histograms and luma waveforms in DaVinci Resolve. Scopes provide an unbiased representation of the scene.
First Step (04:49)
Brett Danton shares how he lit the scene to possess a consistent feel so less would need to be completed in post-production. Shooting in LOG requires a colorist to redistribute the tonality. Begin by ensuring that highlights are not clipped and shadows are not crushed; The DP provides a chart to help the colorist determine where the luminance should be applied. .
Trouble Shot (05:31)
Kenchington explains how a director changed an actor's blocking because the shot was being clipped in camera. Most programs use an IRE scale that adjusts from 0-100 depending on tonality. Kenchington demonstrates how to create a comfortable technical grade using a master wheel.
Mid-Tone Adjustment (04:14)
The gamma master wheel allows an individual to set the clarity of the image. Curves help redistribute tones across a total range. Kenchington demonstrates how to add control points that can move and adjust.
Y channel (11:46)
Danton describes the tools he utilized in the commercial. Kenchington demonstrates how to adjust brightness without changing the saturation in DaVinci Resolve. Make the bulk of the contrast adjustments in the primary wheels when working on LOG footage.
Secondary Changes in Contrast (15:49)
The log tools contain shadow, mid-tones, and highlights wheels in DaVinci Resolve that isolate each area. Kenchington optimizes an interview's tonality using multiple graduated power windows on the source footage.
Conclusion: Contrast (11:20)
DP's strive to make sure there is an accurate ratio of key and fill lights using a light meter. Background and foreground ratios are important when dealing with contrast. Kenchington creates two versions to make experimental risks in color grading.
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