Thread: 8K Monsto and an aging actress

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  1. #41  
    Senior Member Simon_G's Avatar
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    Quote Originally Posted by Scot Yount View Post
    Steve, I know this thread is a bit old....but is there any chance you could post (if you have access to it) the final product from this shoot? Or maybe some BTS?
    Yes same, I would love to see results. Specially to see the lighting, that light looks like the real deal for nice soft/flattering light.
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  2. #42  
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    Quote Originally Posted by Blair S. Paulsen View Post
    Spot on. To some degree I blame Sony's earliest HDCAM efforts that turned the sharpening up to 11 to "show off" HD - and spooking actors/agents about high resolution formats. The reality is that one can make native 1080/2K images that are anything but kind to aging actresses or 8K files that can be processed to look quite "smooth". Overriding all of that, in many cases, is being able to intercut with the rest of the scene.
    Two quick stories about early HD:

    1) I got to work with DP David Tattersall for about a week on Vertical Limit, and much of that time we talked about his HD work on Star Wars Episode 2. He revealed to me that they had to convince Sony to allow them to defeat all of the image enhancement circuits in the camera because it was causing artifacts with green screen composites. Sony resisted it because they felt this kind of aperture correction was very normal, but they finally gave in and did as ILM wanted... but they were very reluctant about it.

    2) I remember seeing an early Ikegami HD studio camera at NAB around 2000-2001, and they were excited to show off a new "skin de-enhancement" circuit that was basically an automatic version of what we now call beauty filters and masks. The demo engineer told me, "you just missed seeing Dan Rather (then-anchorman of CBS News), who told me, "I think you just gave me another 10 years to my career."

    The key (no pun intended) is to control the filtration so that it only affects the parts of the image you want. This is a big advantage of doing this kind of thing in post rather than production. But I don't have a problem with anybody using a 1/8th ProMist or Classic Soft filter on everything, and then let us crank it up even more on the close ups when necessary. I know of a couple of major, major current TV shows where they spend another day or two smoothing out actors' faces just to give them a bit of glamor. This can also help with makeup problems, unwanted sweat, black circles under the eyes, and all kinds of stuff that's not necessarily age-related.
    marc wielage, csi • colorist/post consultant • daVinci Resolve Certified Trainer
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  3. #43  
    Did this about 16 years back. Think I had a month was not home during that time but where sleeping only short naps between renders on the sofa in my office. Up close, moving around, long takes, lot of skin... That's what normally makes these things more complicated. This video had all of it plus some rather challenging keys and CG tracking involved. Lol. Learned a lot in the process.

    https://youtu.be/wf421JsG004

    Björn Benckert
    Creative Lead & Founder Syndicate Entertainment AB
    +46855524900 www.syndicate.se
    Flame / VFX / Motion capture / Monstro
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  4. #44  
    Quote Originally Posted by Björn Benckert View Post
    Did this about 16 years back. Think I had a month was not home during that time but where sleeping only short naps between renders on the sofa in my office. Up close, moving around, long takes, lot of skin... That's what normally makes these things more complicated. This video had all of it plus some rather challenging keys and CG tracking involved. Lol. Learned a lot in the process.

    https://youtu.be/wf421JsG004


    [/QUOTE]

    That was before.

    Here she is now.




    https://www.express.co.uk/entertainm...mable-Children
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