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I think 90% of the guys at Complete use the expanded Vectorscope display, but
then we pop back to normal if there's any fear that we're getting into an
illegal color area.
I've worked this way for the past 12 years, simply because it's a faster and
easier way to determine black & white balance.
Sometimes, with programmed feature transfers, I'll do the scene-to-scene with
the expanded scope, and then go back to normal for the actual laydown. That
seems to work pretty well -- when I'm not too tired or crazed to forget to do
it, that is.
Complete Post / Hollywood