As filmmakers’ sensibilities became influenced by the possibilities of the digital intermediate (DI) — popularized by colorist Stefan Sonnenfeld’s work on Bad Boys II and that of Jet Omoshebi on Underworld — more “pushed” looks became commonplace. Aggressive color correction is more likely to render skin tones in an unflattering way, so a colorist’s capability has been judged by the skill to hold pleasing skin tones through severe corrections.
Maschwitz’s article is illustrated by examples from THE INCREDIBLE HULK and LIVE FREE OR DIE HARD. He offers specific recommendations for primary and secondary color correction, taken from his book, The DV Rebel’s Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap. [Prolost]
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]]>The NAB Show takes place 2008 April 11-17 in Las Vegas. The show is put on by the American National Association of Broadcasters. On Monday April 14, Tim Robbins will deliver the NAB show’s keynote speech. The actor-director-producer will look at the changing face of entertainment, and how new distribution and content-creation opportunities will affect Hollywood. [Apple]
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