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Magic Bullet is thé tool for such kind of CC.
But you could make a golden gradient in the Titler, superimpose, set the opacity to say 15% and the blend mode to vivid or linaer light.
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I've been thinking about this a bit. Most of that thinking is on how I'd look at doing it in Photoshop, and then trying to interpolate that to PrPro, or AE.
Obviously, PrPro does not have Layers, per se, like PS, but with duplicate footage, and adjustments in either/both Opacity and Blending Modes, you can simulate PS's Layers.
I'm thinking of a Duplicate Layer, that has Hue, Brightness & Saturation, where I would Desaturate to B/W, then either Threshold, or Find Edges Filter. Now, some color would be added back, with Colorize, and set that to a golden brown. Probably do some Gaussian Blur, and then explore Opacity and Blending Mode, to get that "rim" effect. Last, a sepia tone, perhaps as a Color Matte or Camera Filters and something around an 85A. In PrPro, the 3-Way CC would probably be my choice.
In PS, I might also explore a plug-in that I have, Mystical Lighting, but not sure what might compare in PrPro - Magic Bullet?
Not sure how any of that will work, but good luck shooting.
[Edit] Ann types faster than I do, and confirms that Magic Bullet might be a good place to look.
Message was edited by: Bill Hunt - Added [Edit]
Check out Pixelan AnyFX. They just released a new version (literally--I just got the email an hour ago and downloaded it) that includes some new effects, called the "Film Touch Pack." While the name is pretty bad, the looks are actually pretty nice, and you get 200 or so of them that are tweakable. They preview and render quite fast... oh, and they only cost $29
Nope, but I did shoot Jerome a couple of years ago. Just for fun. What a neat town. It will be filmed next year, or at least it's on our slate for next year as part of an Arizona series of films we're doing. EXPWEST.COM - where there's more riches to our history than all the copper in the hills.
I'm a goin' to Safford to do a feature length on a local 60's hero. He sang to migrant workers, became a folk hero locally, then regionally, then ..... well, enough said. Hopefully, you're going to have to shell out the $9.00 at a theater for the rest of it - hopefully (Write me, I'll get you a free pass).
It's a very compelling story ala "Bound for Glory". Notice that flick had a lot of gold-toning. I'm thinking that was done with those million dollar PANAFLEX cameras though .
Wow - Ann - great advice.
I tried this on a previous clip that I had brought up in a previous forum entry about a super bright background. I tried your advice on that clip and WOWZA - not only did it subtly lighten the background, but the copper cladding on the stairs banisters are a brilliant copper look. Since our town is a copper mining town, I just made some a whole lot of fans there - and hopefully some more generous donations for the upcoming project.
Great advice. Will try it when I return from the shoot.
All others, I've taken your advice and will be implementing it into my "HOW DO I DO DAT?" files for future reference. Thanks
Well, you made me curious.
Could you post a screendump, before and after the gradient.
Umm, I don't know. I guess I could FLASH it, and provide a link.
If it doesn't meet your expectations, be nice to me - I bruise easily LOL.
I'm certainly no expert in this field, but I know what I think looks right.
I'll give you a FLASH of both before and after. I'll make the FLASH 1600 bits for quality.
Give me a few minutes.
P.S. In the meantime, if you could post here how to screendump, I'll give it a try some other time
Safford eh? Do you mean the town that most people call STafford? Now, that's a long way from the Mongolian Rim....
Safe travels and good luck with the taping. Can we Zonies expect to see it somewhere locally?
Yes, I just got that e-mail too. Gonna' give it a go. Pixelan is a neat company, and their support is top notch. Love SpiceMaster, but have not even scratched its surface.
Thanks for pointing this out, as MailWasher had flagged the e-mail for deletion, and marked it as spam. Thought they were on my friends' list, but maybe that was on my other computer? Had you not made mention, I might have missed this, and gotten my feelings hurt.
Well Bill - I'm just the producer. The exec producer has to make that call.
Methinks it's gonna be a winner - but then I imagine every producer thinks that of their project. LOL.
I don't even know the whole 'circuit' thing anyway. The flow from production to film festivals to local theaters to national. I have no idea on how to market this project properly, neither does the exec. If you know of any good readings on that aspect of film-making, send it our way.
I do know the story is compelling, and with the Ken Burns style supersized, I think it'll work. Time will tell.
I wish that I did know something about distribution, but I am clueless.
I'll keep my eyes out for this production, and hope that you update us in The Lounge, with the trailer, etc.
Here ya go:
Hope your FLASH PLAYER is up to date...there's a loader if it isn't.
Notice the slight reduction of the backwash in the gold-tone effect.
and with the Ken Burns style supersized, I think it'll work
A little look back into history. When Ken Burns was still in middle-school, I was DP for a nurse recruiting film, Reaching Out, for Hotel Dieu School of Nursing (my wife's alma mater, though she had nothing to do with that, other than as my unpaid technical advisor). We had tons of great archival stills, going back to the Civil War! The sisters had done a great job of saving all sorts of images, and clippings - God bless 'em.
We needed to do a segment on the historical aspects of the school, so used many of those images. We had no way to do all the things that we wanted to, so built an intricate rig to shoot the images on a Bolex 16-Rex. We built a copy stand, and then a multi-axis stage for the images. I had rephotographed all of those images, and blew them up to about 16 x 20, then sepia toned the prints. These were mounted on 1/2" gatorfoam to keep them flat, and allow for us to move them about. On that stage, we used model train track, and the trucks from appropriately sized model trains. These were done in several layers, with a turntable below. I got a Nikon to C-mount adapter, and used Angenieux zoom, which was a flat-field, and we would orchestrate the movements, plus the zooms with refocus (the Angenieux lost focus, with the zoom). With about 20 reams of notes, and four assistants pulling strings and focus, we did a series of movements and zooms. It probably took two weeks for 5 mins. of edited footage, not counting time to rephotograph, print and mount the images. The film was nominated for an Academy Award for Best Industrial Short, but never made the first cut. We are not talking of a category, where folk walk down the red carpet, and our name never was called out - basically on the Academy's "cutting room floor." No fame, other than a letter, in a box somewhere - though I did have tux ready.
Had we made it to the final 3 - 4, who knows, it might have been termed the Bill Hunt Effect?
Many years later, though before the "digital age," I did similar again, but borrowed a clients computer board, multi-axial, computer controlled stage. The stage was programmed with paper punch-tape, but at least did all the work with little servo motors. Took about 2 assistants, and tons of choreography out of the mix. As payback, I think that I shot the next 3 ads for that client for free.
Fast forward to the digital age - I want to shake some of the whiners, like a mama dog shakes a bad little puppy, when the complain about the work to do Keyframing. Those pups have no sense of what work really is. Ah, the kids today have no idea of how things used to be...
I can do in seconds, things that took us weeks to do, and then we did not really know if we'd gotten it, until the dailies came back from the lab, and then we usually scribbled some new notes, practiced a dozen times, and shot the stuff all over again - 'cause we'd messed up somewhere!
Probably the highlight of that film, for me, was working with Allen Toussaint on the soundtrack. Also, my second unit got some great footage, and from angles that I would never have thought of - bless them too. I learned some things from those folk. When I saw some of their footage, my heart sang. Great stuff!
Again, good luck,
Great story Bill. I do appreciate the work that went into it during 'those days'. To be honest, I'm more mechanically inclined than keyboard inclined and still love to 'rig' stuff, just 'cause it's stuff and not some vapor thing in a little electronic box. Bet you ten bucks to a cops donut that if a virus hit, your stuff would still be standing. If a fellow named NORTON (ahem) came by, you're stuff would still be working.
Right now, my FILM VAN is loaded with ladders, home made dolly tracks, home made steady cam rigs and home made (you name its), not to mention at least a mile of audio, video, patch and electrical cables (gotta support the local copper companies, it's our heritage). I love the field of documentation, and especially visual documentation.
I think if we ask for a show of hands from THIS group at least, we shall rename it the 'BILL HUNT' effect.
Show of hands? (one vote cast thus far- wait, my dog just held up his paw, that counts too). TWO VOTES.
LOL, so what did you think of the gold-toning effect?
Good luck, and keep supporting the copper industry. Moving here 13 years ago from Colorado, the constant has been copper.