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Re: I think I got it now



]] Rob Lingelbach sez:  "Ah, yes, but it doesn't allow a *rebalance* of the
hottest elements.
And it doesn't have a very friendly cutoff --just try to use it on feathery
clouds.  It is better than nothing..."

Very true.  It's too easy to screw things up big-time with Chroma Light or
Chroma Black with the DaVinci.  But I find Chroma Light is indispensible for
fixing white titles or white pin-points of clipped lights, when you don't have
the flexibility (or ability) to alter the rest of the scene.  But Chorma Light
is a bit too unpredictable when it comes to live-action elements like skies,
clouds, clothing, etc.  I think it's the nature of the beast.

BTW:  In your comment elsewhere about "difficult" clients (a/k/a control
freaks), I find whenever they ask for "More Red," they really want Magenta. 
And when they say "Too Green," they mean "too yellow."  When they want more
density (or "darker"), they really want the Gammas crushed more.  Piece of
cake.  

It's rare that I encounter a client where we can't hit on the look and go with
it after the first hour, but you're right -- these guys exist.  I figure
they're just insecure, and/or want to show-off to the director or their
clients.  


--Marc Wielage
  Complete Post / Hollywood