How about a power window without feathering?

[Max Field]

When the original thread was posted with no replies I had literally no idea there was an issue with the image. I think we're reaching a new level of nitpicking.

[Stuart Brereton]

I don't think it's nit-picking when there is a clearly visible edge to a color correction mask. That's just sloppy work.

[Max Field]

I noticed that, but took it as stylistic.

[Tyler Purcell]

It's not the color that's the problem, it's the hard edge on the power window.

It could be the edge of a building drawing that line...

[Stuart Brereton]

It could be the edge of a building drawing that line...

Buildings cast shadows, they don't change colors, and they don't generally curve. Anyone who has ever spent more than 5 minutes in a color correction suite should be able to see that for what it is.

[Landon D. Parks]

Probably a rush job or inexperienced colorist. Of course, it could just be a mistake that was missed as well. I'd come more like forgiving it if it was the only color-related error in the project.

[Stuart Brereton]

Probably a rush job or inexperienced colorist. Of course, it could just be a mistake that was missed as well. I'd come more like forgiving it if it was the only color-related error in the project.

It's from a Woody Allen Movie, so I doubt very much that it was a rush job. I'm also pretty sure that neither Woody Allen nor Darius Khondji entrust the color timing to an inexperienced colorist. In fact, Joe Gawler is credited as the colorist on the movie, and he has some serious credits to his name. It's almost certainly just one of those occasional mistakes that can happen to even the best people, and is exactly the kind of thing that QC is supposed to spot.

[Tyler Purcell]

Buildings cast shadows, they don't change colors, and they don't generally curve. Anyone who has ever spent more than 5 minutes in a color correction suite should be able to see that for what it is.

Hey I color all day long.

 

Have you ever colored one of your own "sony" features?

[Stuart Brereton]

Hey I color all day long.

 

Have you ever colored one of your own "sony" features?

I've attended the color timing for every feature I've done, as well as each one of the 100 or so music videos and commercials I've shot. What's your point, Tyler? Are you trying to suggest that because I don't physically operate the color suite myself that I am unable to identify an unfeathered mask when I see one?

 

The line in that frame doesn't follow the contours of the cobbles on the ground, which it would if it were a shadow. There is also no sun in the frame, which makes a hard shadow impossible. As I said, it's quite obvious what it is. If you, who 'color all day long' can't see that, then I feel sorry for your clients.

[Samuel Berger]

Hey I color all day long.

 

Have you ever colored one of your own "sony" features?

 

Interestingly, this feature was shot on a Sony.

 

[Tyler Purcell]

The line in that frame doesn't follow the contours of the cobbles on the ground, which it would if it were a shadow. There is also no sun in the frame, which makes a hard shadow impossible. As I said, it's quite obvious what it is. If you, who 'color all day long' can't see that, then I feel sorry for your clients.

The sun is right over the buildings, above the camera, setting towards the lens. The power window is hand-drawn to follow the contour of the only "reflective" part of the shot since the rest of the sun is blocked out by the buildings. It's "enhanced" yes... but that's because it's the only area not blocked by a building. It's pretty straight forward.

[Stuart Brereton]

The sun is right over the buildings, above the camera, setting towards the lens. The power window is hand-drawn to follow the contour of the only "reflective" part of the shot since the rest of the sun is blocked out by the buildings. It's "enhanced" yes... but that's because it's the only area not blocked by a building. It's pretty straight forward.

I have no idea what you're smoking Tyler, but the sun has quite obviously set, as you can see from the sky in the gap between the building above the car. There is not a single hard shadow in that picture. Even if there were shadows from the buildings, they would be straight lines, as the buildings are quite clearly rectangular, not curved, and as far as I know, light travels in straight lines.

 

It's a power window. Designed to enhance the car headlights, and someone forgot to feather it.

[Tyler Purcell]

It's a power window. Designed to enhance the car headlights, and someone forgot to feather it.

You mean THE ONE headlight, the other one being blocked by the girl. Ohh and the orange that goes behind the girl by a fair margin. Meh, sorry don't buy it.

[Alexandros Angelopoulos Apostolos]

I noticed that, but took it as stylistic.

 

Well, I was trying to think of an excuse yesterday regarding this, but then opened the thread this morning, and there went my theories. One theory was: I thought it was some sort of a try to delineate the building’s shadow. And other that it was a rush job: Joe was probably having too many projects at once, had not much interest in this, and hurried his way through it.

 

Regarding the geography of the location... The scene was shot at Piazza de' Fiori in Rome:

 

https://www.google.com/maps/@41.8952584,12.47229,20z/data=!3m1!1e3?force=lite

 

So the scene is looking towards west. And somewhere in July, the Sun would be setting somewhere along the Via dei Cappellari, the street you see at upper right section of the frame.

[Alexandros Angelopoulos Apostolos]

Correction: Obviously, not Piazza de' Fiori, but Campo de' Fiori, the famous square in Rome.

[Stuart Brereton]

You mean THE ONE headlight, the other one being blocked by the girl. Ohh and the orange that goes behind the girl by a fair margin. Meh, sorry don't buy it.

But you do buy that it's a curved shadow of a straight building, thrown by a non existent sun. A sun that is hitting the ground in front of the car, but not the people standing there..

 

Okay, you go with that.