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by Steve Hullfish
The Art and Technique of Digital Color Correction, 2nd Edition
Cover
Halftitle
Title
Copyright
Contents
Acknowledgments
Using this Book and the DVD Materials
Chapter 1: Primary Color Correction: Tonal Range Primer
Monitoring
Video Monitor
Viewing Environment
Waveform and Vectorscope Displays
Alternative Displays and Tools for Analysis
First Things First: Black Level
Reading the Waveform Monitor
Setting the Black Level
Setting Highlights
Setting Gamma or Midtones
Defining Contrast
Chapter 2: Primary Color Correction: Tonal Correction Tools
Main Tools for Tonal Corrections
Sliders and Numerical Controls for Tonal Range
Don’t Use Brightness or Contrast Controls
DaVinci Resolve
Color Primary In Room
The Avid Symphony and Color Finesse HSL Control Tab
Histograms or Levels
Forms and Functions of Histograms
Curves Tab
Curves Tutorial
Isolating Tonal Ranges with Curves
Luma Range Display
Luma Range Editing
Alternative to Luma Range
Chapter 3: Primary Color Correction: Color Control Primer
Balancing the Image
Analyzing Color Casts
Using Your Eyes
Color and the Waveform
Color and the Vectorscope
Histograms
Eyedropper
Balancing Color with a Flat Pass Waveform Monitor
Color Contrast
Chapter 4: Primary Color Correction: Color Manipulation Tools
Color Wheels
Color Wheels and Trackballs with RGB Parade
Saturation Controls
Histograms
Curves
RGB Lift, Gamma, and Gain Sliders
Channels or Channel Mixers
Printer Lights
Filters
Additional Tools
Chapter 5: Secondary Color Correction Primer
The Purpose of Secondary Correction
Are You Qualified?
Color Vector Isolation
Isolating a Vector in DaVinci Resolve
Spot Color Correction (Vignettes or Power Windows)
The Vignette
Geographical Color Fix
User-Defined Shapes
Using Spot Color Correction to Relight
Color Vector with Window or Vignette
Secondaries Are Crucial
Chapter 6: Secondaries with the Pros
Vignettes
Vignetting the Ultralight Flyover Scene
Vignetting the “Kiss” Bedroom Scene
Vignette to Create Day-for-Night
Vector and Luma Qualified Secondaries
Secondary Corrections Can Focus Attention
Using Secondaries to Match
Using a Luma Key to Build Contrast
Use a Secondary to Soften Skin Tones
Multiple Windows and Masks
Creating Depth and Texture
Chapter 7: Correcting Shots
Four More Grades of the “Banker’s Light” Scene
Saving a Shot with Bad Color Cast
Four Trips Down the “Alley”
Three Passes Over the Barn
Building Up a Weak Piece of Video
Using Many Tools to Fix a Shot
Grading with Curves in Primary
Broadening the Color Palette
Chapter 8: Telling the Story
Color Changes the Story
Talk Like a DP
The Story Is the Script
Emphasize Elements to Further the Story
Imposing Story on the Boxer
Story Epilogue
Chapter 9: Matching Shots
Matching the Lions of the Art Institute
Matching Scene to Scene
Matching When Lighting Changes in a Scene
Matching AND Saving!
Matching Conclusion
Chapter 10: Creating Looks
Enough Is Enough
Preset Looks
Festa’s PowerGrade Library Revealed
Preset Looks in Apple’s Color
Film Processing Looks
Skip Bleach or Bleach Bypass
Match the Look
Looks for Promos and Opens
True Grit
Graphic Looks
Day-for-Night
NOT Doing a Look
Plug-In Looks
Chapter 11: Miscellaneous Wisdom
Starting Off
Communicating with Clients
The Future of Color Correction
Taking It to Extremes
The Importance of Color Contrast
Maintaining a Look
Looking at Real Life for Inspiration
Smoke
Keeping Butts in the Seats
Books of Note
Color Correction Training on DVD
Conclusion
Chapter 12: Tutorials
Primary Color Correction
Secondary Correction
Creating Looks
Compositing Modes for a Better Look
Final Thoughts
Index
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