R. Jackson wrote:
>Shooting black and white I have six or seven contrast filters in
>varying yellows, oranges and reds that I use outdoors to add contrast
>to the sky. I've never spent the same amount of time learning to work
>with the sky on color film and I was thinking about the cinema shoot
>that I have coming up and realized that I'm going to be shooting a
>lot of establishing shots and outdoor interviews. I was wondering if
>anyone has any advice for filtration? I'm going to have to be
>adaptable this summer, as the shoots will take place in New Mexico,
>Idaho, Colorado, Kentucky, Georgia, Washington D.C. and New Jersey.
>Lots of different kinds of scenery with which to compose 'sky looks'
>while trying to maintain a sense of cutting continuity, though
>probably mostly through color continuity (which I know is cheap and
>not as subtle as I could be). I'm rambling. Any favorite tips?
>
>
Yeah, skip the whole thing and do it in PS. I'd add a smiley here if I
weren't serious.
The one caveat is if you are doing high altitude shooting in NM, ID and
CO. If so, you need to consider actual warming filters, as their effect
of preventing UV from throwing off color balance in ways that post
processing can't easily correct.
Short of such a drastic simplification of the process, you could take
existing or test shots without filter, apply the various filters in PS
and determine which to use in what kind of subject situations to get the
results you desire. Image=>Adjustments=>Photo Filter. Here you can use
the 81 series filters for warming to see what they do besides cutting
back UV.
Moose
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