IRE reproduction

[Rodrigo Prata]

Is it reliable to grab a frame from a movie (let`s say from a blue ray or a iTunes archive) import it in any image manipulation software (color, photoshop, etc..) and mesure it`s exposures ranges? let`s say you want to achieve the same exposure on an actors face as in a scene you saw in a movie... Could you mesure the IRE readings on a particular point and try to mimic that on set?

Thanks

 

[Mike Lary]

Is it reliable to grab a frame from a movie (let`s say from a blue ray or a iTunes archive) import it in any image manipulation software (color, photoshop, etc..) and mesure it`s exposures ranges? let`s say you want to achieve the same exposure on an actors face as in a scene you saw in a movie... Could you mesure the IRE readings on a particular point and try to mimic that on set?

Thanks

You can sample areas to determine relative exposure levels and contrast ratio to assist with the backwards engineering of looks, but it's a bit limited because it doesn't account for actual exposure on set (under/over, etc) or the modifications made in the post chain. I wouldn't trust iTunes compression, either, but for ballpark look creation it might be ok. I don't see the relevance of an IRE reading since you're looking for percentages within range-limited content. In Photoshop you can set the info palette to sample LAB values and use the L reading.

 

[Les C.]

You can match luminance as well as a host of other things using Eyeon's Fusion (which of course reads R3D's). I'm sure there are many other tools to accomplish this.

"The Match mode modifies the source image based on the histogram from the reference image. It is used to match two shots with different lighting conditions and exposures so that they will appear similar."

search for 'match' within http://www.vfxpedia.com/index.php?title=Eyeon:Manual/Fusion_6/Color_Corrector

 

[Rodrigo Prata]

Thanks guys,

I`m speaking of situations where I would try to recreate on set, the same exposure I saw on a movie... This would of course be more like a learning practice. I can imagine that the exposure we see on the final version isn`t necessarily the same that was recorded on set, but I can also imagine that if one was to recreate the same look, the same exposure as the final product would be a good place to start...

Thanks again!

Ps: Does any one know if the scarlet has the IRE spot meter that the RED One has?