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This is a highlight that you should have no problem sacrificing to the broadcast-safe clipper of your color correction application to lighten more important parts of the image.īut what about when (along with distinct reflective highlights) the crew and camera also appear within the reflections of shiny objects? This is where dulling spray will come into play, as you’ll see in the following clip from Ryan Connolly and the Film Riot team.Ī dulling spray is a spray that applies a matte layer to a reflective surface to stop the incident light hitting the reflective surface or element. That’s not a highlight worth preserving because chances are the camera that shot the scene recorded next to no discernible image data within that highlight. Alexis Van Hurkman, the author of the Color Correcting Handbook, says:Ī sun glint shining off a vintage car’s chrome bumper is going to be off the charts by any scale of measurement. There is, however, creative leeway for chrome objects.
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However, if you switch your lights to a soft source - or at least diffuse the hard light - the light reflected will be a shapeless highlight, which is a lot less intrusive than a glaring hotspot. If you’re lighting your scene with a set of hard fresnels that aren’t being diffused or bounced, then your reflective surfaces will all have a glaring hotspot. In the circumstance of having several reflective non-removable objects, it is appropriate to look at possibly changing your lighting source. However, this isn’t going to help when you have several reflective surfaces such as stools or chairs. If established properly, the flag might just look like a window fixture. If your composition has one particular hot spot which cannot be removed - perhaps a vertical stack of drawers has chrome knobs, and the 2k you have outside is kicking the highlights into overdrive - set up a small vertical finger flag between the light and the chrome object to kill that reflective light.
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In a recent post, I discussed how you could stop light hitting parts of the set using a variety of different flags. Yet, if this shot had an actor in the foreground talking to someone, and the hot spot was glimmering in the background, it would become an eyesore and distraction to the viewer.īefore we start spraying objects or coating them with something to kill the glare, let’s have a look at a few methods for stopping that reflective surface from bouncing so much light in the first place. In this particular instance, it’s not all that detrimental to the shot, although it would be better without it. In the still above, there’s a clipped hotspot on the chrome handle of the kettle. I’m sure I don’t need to list every metallic object you’ll likely find within a scene. Usually, objects with a chrome finish are the biggest offenders: Door handles, drawer knobs, chair/stool legs, metallic light switches, glasses, and so forth. If a surface or object is spherical or curved, you have a higher chance of clipping the highlights within this object when it has been lit. A hot spot is a region of clipped whites which cannot, by most means, be recovered. Reflective surfaces can be one of the biggest burdens to a DP, not only because of the possibility of reflections from the crew, but because a highly reflective surface or object can cause hot spots. Here are a few ways to remove the glare from reflective surfaces. These are just a couple of the problems caused by shiny objects on set.