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color correction

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Brett Coxcolor correction
by on Mar 17, 2010 at 7:13:59 pm

I am trying to make this photo (part of a sequence) turn from a nice sunny, warm, inviting day to a very gloomy, dark, and spooky one.



I was wondering which AE color correction or other effect I should use. Your help is mush appreciated



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Todd KoprivaRe: color correction
by on Mar 17, 2010 at 7:22:56 pm

Here's a search that brings up lots of information, including tutorials here on the COW:

day to night conversion

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Todd Kopriva, Adobe Systems Incorporated
putting the 'T' back in 'RTFM' : After Effects Help on the Web
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If a page of After Effects Help answers your question, please consider rating it. If you have a tip, technique, or link to share---or if there is something that you'd like to see added or improved---please leave a comment.


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Adriano MoraesRe: color correction
by on Mar 17, 2010 at 7:27:51 pm

Hi there.

You may also try this 3 part tutorial from Aharon:

http://allbetsareoff.com/tutorials/weather-replacement-in-ae-cs3-part-1/


This one is also hosted here on the cow.


Cheers.

adriano.


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Dave LaRondeRe: color correction
by on Mar 17, 2010 at 9:33:09 pm

Well, let's see... this shot violates every basic principe for doing convincing day for night:
  • It's late morning or early afternoon: very short shadows--at night, the shadows are long, and come from all sorts of directions... artificial illumination, y'know.
  • You shot the sky it's just about as sunny as the it will ever get! The sky's blown out, the background's blown out, the sunny grass is blown out... and in blown-out areas, THERE IS NO DETAIL IN THE IMAGE, Einstein.
  • Those leaves in the trees are going to give you all sorts of fits. The light from the blown-out sky is wrapping around them, and you'll either have to carefully cut out those leaves, or live with unnaturally bright edges on those leaves.

For a look at probably the worst modern example of bad day-for-night, I direct you to an episode of Good Eats on the Food Network. Alton Brown's playing an old cowhand sittin' at the campfire after dark. The only problem: they shot it outside of Atlanta in broad daylight. It's painful to watch.

If this is really supposed to be a series of stills, I STRONGLY recommend that you do it over a period of time, at regular periods from midday through sunset... and you should bracket your exposures so that you can resurrect some detail and make mattes where necessary.

Just turnin' it blue ain't gonna work on this shot, Sparky...

Dave LaRonde
Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA


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Darby EdelenRe: color correction
by on Mar 17, 2010 at 9:54:41 pm

[Dave LaRonde] "THERE IS NO DETAIL IN THE IMAGE, Einstein."

Ah the loving touch of a weathered AE guru. Brings a tear to my eye :)

Darby Edelen


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Dave LaRondeRe: color correction
by on Mar 17, 2010 at 10:09:51 pm

I should probably add that in order to shoot a series of useful stills with bracketed exposures over the course of several hours from midday until dark, a locked-down camera and great patience are essential.

And that Good Eats episode I refer to is from Season 8, entitled "The Big Chili". In fact, here's a link!






That God-awful day-for-night sequence I speak of starts about 2 minutes in and lasts a couple of minutes. It even looks lousy on stinky YouTube video!

And Walter Biscardi on the COW's FCP forum had to cut that disaster together. I can only imagined how much he cringed.



Dave LaRonde
Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA


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Joey ForemanRe: color correction
by on Mar 17, 2010 at 10:16:01 pm

Wretched.


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