I was recently reminded of a question that I would now like
to raise in this forum which deals with a previous topic that
talked about how the color vector of both Caucasian and African-American
skin are the same.
What about Asian skin? And Malayo-Polynesian? I heard one
editor opine that Malay (that includes Filipino) skin has
a strong green component; is this true?
I'm pretty sure a good number of CML’ers work regularly
in Asia (is Chris Doyle out there somewhere?) and I'm wondering
if they have any special tricks and techniques for working
with non-caucasian skin tones.
Any exposure compensation tips? How do color enhancers and
other filters interact with Asian color?
Paolo A. Dy
Director / Cinematographer
I'm pretty sure a good number
of CML’ers work regularly in Asia
Not me yet, hope to...
>wondering if they have any special
tricks and techniques for working >with non-caucasian skin
I've been filming Vietnamese subjects all year...no tricks
FWIW the skin generally reads the same reflectance as my Kodak
grey card, a convenience !
I do have one subject, a 79 year old Vietnamese-American woman,
with a real delicate paleness to her skin -- I have to be
a little careful color-wise only in the sense that she can
look a bit jaundiced (which she is not) in 5500K daily print
viewed on 3200K light. But she does have one of those subtle
hard-to-define-focus faces (as per previous CML discussion)
and I feel like I haven't quite gotten some essence of her
- persona (?) that I would like.
I did one scene in late afternoon, 7274 no filter, backlit
low sun and *heavily* shaded by green foliage. There is a
greenish tinge to all (timed away from Blue, I don't have
the #s in front of me. I find the look of the Vietnamese skin
tones actually quite interesting; it's a memory (of Vietnam)/ritual
scene, and the green seems to work, it is literally and metaphorically
you might say, a scene of reflection.....
BTW I looked at Li Ping-bin's work on "Vertical Ray of
the Sun" on DVD after I shot this; there are many shots
where the beautiful Tran Nhu Yen-Khe will walk through a room,
picking up subtle and not so subtle green/tropical reflections.
I'm still not sure how much this is natural lighting, (i.e.
what would be happening from plants, painted color of the
walls etc, and/or if Li Ping-bin is adding subtle color in
fill. (But, compare this film to Tran Anh Hung's previous,
"Cyclo" where Benoit Delhomme is using very boldly
using strong gels to color....)
>How do color enhancers and other filters interact with
I had wondered about enhancers, but decided not to "go
there" as I'm pushing the neg (45 & 74) and can get,
if I want, color "cranked up to 11" !
7274 no filter, backlit low
sun and *heavily* shaded by green foliage. >There is a greenish
tinge to all (timed away from Blue, I don't have the >#s in
front of me. I find the look of the Vietnamese skin tones
[here] >actually quite interesting
I meant to say, it was a scene with this woman and her daughter
by large pool of water....
Paolo Dy wrote:
>I heard one editor opine that
Malay (that includes Filipino) skin has a >strong green component;
is this true?
Don't know if it's due to strong green component, but I find
indeed that under ordinary fluoro’s their (that's the
Malay) faces look rather green. A little fill-in flash doesn't
really solve it. In general actually I find Asian people look
not to flattering under standard household fluoro’s.
A little minus-green wrapped around the tubes eases it off,
or lighting with tungsten or daylight.