Max Field Posted December 20, 2017 Share Posted December 20, 2017 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. Link to comment Share on other sites More sharing options...
Stuart Brereton Posted December 20, 2017 Share Posted December 20, 2017 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. Link to comment Share on other sites More sharing options...
Max Field Posted December 20, 2017 Share Posted December 20, 2017 I noticed that, but took it as stylistic. Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted December 20, 2017 Premium Member Share Posted December 20, 2017 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... Link to comment Share on other sites More sharing options...
Stuart Brereton Posted December 20, 2017 Share Posted December 20, 2017 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. Link to comment Share on other sites More sharing options...
Landon D. Parks Posted December 20, 2017 Share Posted December 20, 2017 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. Link to comment Share on other sites More sharing options...
Stuart Brereton Posted December 20, 2017 Share Posted December 20, 2017 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. Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted December 20, 2017 Premium Member Share Posted December 20, 2017 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? 1 Link to comment Share on other sites More sharing options...
Stuart Brereton Posted December 20, 2017 Share Posted December 20, 2017 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. Link to comment Share on other sites More sharing options...
Samuel Berger Posted December 20, 2017 Share Posted December 20, 2017 Hey I color all day long. Have you ever colored one of your own "sony" features? Interestingly, this feature was shot on a Sony. Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted December 20, 2017 Premium Member Share Posted December 20, 2017 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. Link to comment Share on other sites More sharing options...
Stuart Brereton Posted December 20, 2017 Share Posted December 20, 2017 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. Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted December 20, 2017 Premium Member Share Posted December 20, 2017 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. Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted December 20, 2017 Author Share Posted December 20, 2017 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. Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted December 20, 2017 Author Share Posted December 20, 2017 Correction: Obviously, not Piazza de' Fiori, but Campo de' Fiori, the famous square in Rome. Link to comment Share on other sites More sharing options...
Stuart Brereton Posted December 20, 2017 Share Posted December 20, 2017 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. 2 Link to comment Share on other sites More sharing options...
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