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A concept trailer to share
- Thread starter Foxtrot25
- Start date
Nice work! I'd try more light on set next time, and a thinner contrast and saturation band. Basically shoot with more light than you want for the final product and then dial it down in post with levels rather than using contrast to kill off noise in the dark areas.
A decent gauge of how well your lighting and post balance is working is simply looking at how the main subject's face is lit. In these frames from Alien Covenant, check out the pixel luminance of the brightest and darkest sections of their faces.
In this one, look not only at the faces, and their luma range, but also the background. This is a shot of lit faces on a dark background. Or is it? There's actually less luma difference between the foreground and background than the mind naturally assumes. Pro cinematographers and lighting crews strike a careful balance with light and darkness, and typically rely more on bokeh to isolate points of interest than the type of stark contrast seen in advertising photography.
In this one for example, I personally would have, in my first few years, said that many things in this scene were black. If you take out the pixel scope though, you'll find that there is barely a single black pixel in this frame, and you're actually looking at 5000 shades of blue grey. I don't know if you'll find that helpful, but really understanding that helped me refine my color grading over time.
A decent gauge of how well your lighting and post balance is working is simply looking at how the main subject's face is lit. In these frames from Alien Covenant, check out the pixel luminance of the brightest and darkest sections of their faces.
In this one, look not only at the faces, and their luma range, but also the background. This is a shot of lit faces on a dark background. Or is it? There's actually less luma difference between the foreground and background than the mind naturally assumes. Pro cinematographers and lighting crews strike a careful balance with light and darkness, and typically rely more on bokeh to isolate points of interest than the type of stark contrast seen in advertising photography.
In this one for example, I personally would have, in my first few years, said that many things in this scene were black. If you take out the pixel scope though, you'll find that there is barely a single black pixel in this frame, and you're actually looking at 5000 shades of blue grey. I don't know if you'll find that helpful, but really understanding that helped me refine my color grading over time.