{"id":15477,"date":"2007-06-10T13:19:31","date_gmt":"2007-06-10T13:19:31","guid":{"rendered":"http:\/\/blogs.adobe.com\/jnackdev\/2007\/06\/photoshop-ae-go-to-war-in-300.html"},"modified":"2007-06-10T13:19:31","modified_gmt":"2007-06-10T13:19:31","slug":"photoshop_ae_go_to_war_in_300-2","status":"publish","type":"post","link":"http:\/\/jnack.com\/blog\/2007\/06\/10\/photoshop_ae_go_to_war_in_300-2\/","title":{"rendered":"Photoshop, AE go to war in &quot;300&quot;"},"content":{"rendered":"<p>I&#8217;ve got movies on the brain, having just returned from a couple days spent with the amazing folks at Disney Feature Animation.&#160; (Seriously, I throw around &#8220;great&#8221; and &#8220;amazing&#8221; as much as the next guy, but these artists are <em>laughably<\/em> talented.&#160; It&#8217;s the sort of place where you&#8217;ll hear a guy saying, &#8220;Well, I&#8217;m not a painter&#8230;&#8221; as you look around and see his lovingly painted artwork on every wall.&#160; I had to interrupt, saying, &#8220;Man, maybe you&#8217;re not officially &#8216;that guy&#8217; here, but trust me, you&#8217;re *That Guy* everywhere else!&#8221;)&#160; I took notes furiously, and maybe at some point I&#8217;ll be able to share bits here.&#160; (I just want to make sure that I don&#8217;t inadvertently &#8220;give up the gag,&#8221; as the Disney folks would say.)<\/p>\n<p>In the spirit of peeking behind the scenes, I enjoyed learning on Adobe.com how <a href=\"http:\/\/www.adobe.com\/cfusion\/showcase\/index.cfm?event=casestudydetail&amp;casestudyid=301411&amp;loc=en_us\">Photoshop and After Effects were used in the making of <em>300<\/em><\/a>.&#160; From roughing out storyboards to painting backdrops in Photoshop, &#8220;crushing&#8221; the colors, adding dust in AE, and compositing layers in HDR, Adobe apps are used throughout the filmmaking process. <\/p>\n<p>The article reminds me of a previous Adobe.com profile, one discussing how Photoshop and AE were <a href=\"http:\/\/www.adobe.com\/uk\/motion\/aviator.html\">used in the making of <em>The Aviator<\/em><\/a>.&#160; Favorite insight:<\/p>\n<blockquote>\n<p><em>Scorsese wanted The Aviator\u2019s color palette to reflect the look of movies from the period being portrayed onscreen. Hence, when the action is set in the years 1927-1937, the film emulates Technicolor\u2019s two-color dye transfer; for the period 1937-1947, the film\u2019s look changes to Technicolor\u2019s three-color dye transfer system&#8230; <\/p>\n<p>After consulting with one of the oldest color timing experts at Technicolor, Legato was able to \u201cpreviz\u201d the palettes by scanning black-and-white stills and using  Photoshop to digitally overlay cyan, magenta, and yellow filters, digitally emulating historic Technicolor color processes.<\/em><\/p>\n<\/blockquote>\n<p>Adobe&#8217;s own <a href=\"http:\/\/imdb.com\/name\/nm0437604\/\">Mike Kanfer<\/a> won an Oscar for his work on<em> Titanic<\/em> and  is helping keep the ideas flowing back and forth.&#160; We&#8217;ll try to gather more info to share soon. <\/p>\n<p><em>PS&#8211;One other cinematic mention: New Yorker\/Lightroom PM Tom Hogarty recommends <a href=\"http:\/\/www.celluloidskyline.com\/main\/home.html\">Celluloid Skyline: New York and the Movies<\/a>. Author\/architect\/curator<br \/>\nJames Sanders gives Photoshop a shout-out for its role in the interactive &amp; documentary efforts. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>I&#8217;ve got movies on the brain, having just returned from a couple days spent with the amazing folks at Disney Feature Animation.&#160; (Seriously, I throw around &#8220;great&#8221; and &#8220;amazing&#8221; as much as the next guy, but these artists are laughably talented.&#160; It&#8217;s the sort of place where you&#8217;ll hear a guy saying, &#8220;Well, I&#8217;m not [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[21],"tags":[],"_links":{"self":[{"href":"http:\/\/jnack.com\/blog\/wp-json\/wp\/v2\/posts\/15477"}],"collection":[{"href":"http:\/\/jnack.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/jnack.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/jnack.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/jnack.com\/blog\/wp-json\/wp\/v2\/comments?post=15477"}],"version-history":[{"count":0,"href":"http:\/\/jnack.com\/blog\/wp-json\/wp\/v2\/posts\/15477\/revisions"}],"wp:attachment":[{"href":"http:\/\/jnack.com\/blog\/wp-json\/wp\/v2\/media?parent=15477"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/jnack.com\/blog\/wp-json\/wp\/v2\/categories?post=15477"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/jnack.com\/blog\/wp-json\/wp\/v2\/tags?post=15477"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}