Page references followed by ‘f’ indicate figure, and by ‘b’ indicate box.
A
Adams, Ansel, 4b–5b, 95, 363b, 366–368
Adobe Photoshop. See Photoshop
Adobe SpeedGrade, 473. See also SpeedGrade
After Effects, 21–22
Channel Mixer, 151
channels, 151
RGB color balance user interface, 129
Alleyway scene, manipulation approaches, 281
Angle of Attack, 116b
Apple Color, 38–39, 4b–5b, 10–11, 21–22, 26, 364b, 420–421
color control balance, 97, 98f
color wheels, 111
DaVinci secondaries comparison, 253
preset looks, 402–430
Primary In room, 43–45, 43f, 75, 143
secondary curves, 199b–203b
Arrowhead display, 11
Artbeats
color vector with garbage matte, 196f
Food 1 collection, 4b–5b
Marines HD Vol. 1 collection, 326–327, 413
Sports 1 HD collection, 18f, 19
Attention focusing, secondary color correction, 237–241
Automatic corrections, limitations, 4b–5b
Avid
automatic corrections, 4b–5b
eyedropper, 100
MC Color user interface, 88, 90f
Media Composer 6
Curves tool, 51f
Channel Building capabilities, 386, 393
color vector isolation, 172
hue, saturation, and luminance tab, 45–46, 46f
Levels, 126
secondary color correction tab, 162f
B
Bajpai, Pankaj, 68b–70b, 194b–195b, 258, 275–276, 326–327, 465, 468–469
Balance
color cast analysis, 71–72
definition, 71b–72b
eyedropper, 100–106
flat-pass waveform monitor, 107–110
histograms, 95–100
RGB parade, 73–87
vectorscope, 87–95
Banding, definition, 36b–37b
Banker’s Light scene, manipulation approaches, 231, 263–276
Bellantoni, Patti, 359
Big Shoulders Digital Video Productions, 292b
Birch, Howie, 463
Bit depth, definition, 39b
Black level, setting, 17–18, 21–27
Bleach bypass
definition, 156b
film processing looks, 337, 403, 407–413
Block, Bruce, 359
Blow out, definition, 29b
Bottom, language of music and color, 22b–23b
Brightness control, avoidance in tonal correction, 38–40
B-spline curves, 185
Budget, 470
Luma Range considerations, 68b–70b
C
Cathode ray tube (CRT) monitors, 6
CCIR601, 21
Cell, definition, 14b–15b
Channel Mixer, After Effects, 151–154
Channels, Avid Symphony, 129
Chasing Ghosts, 231, 263, 268b–269b, 281, 289, 340–347, 430
Chip chart, definition, 37b
ChromaduMonde, chip chart, 104–105, 107, 139–142, 173
Cineworks Digital Studios, 288
Clients
communication with, 462–465
responsiveness, 470
Clipping, definition, 22b–23b
Color. See Apple Color
Color cast
analysis
eyedropper, 100–106
flat-pass waveform monitor, 107–110
histograms, 95–100
RGB parade, 73–87
vectorscope, 87–95
definition, 71b–72b
using eyes to spot, 72–73
Color contrast
color balancing, 110
importance, 468
Curves tutorial, 53
eyedropper, 100–106
Secondary tab, 161f
sliders, 124–126
ColorFiX, sliders, 141f
Colorista, sliders, 139
Color manipulation tools
channels/channel mixers, 151–154
color wheels, 111–116
and Trackballs with RGB Parade, 117–123
curves, 131–139
filters, 0050
histograms, 124–129
printer lights, 154
RGB lift, gamma, and gain sliders, 139–149
saturation controls, 123–124
Color vector isolation, 166–176
Avid symphony, 172
practice, 182b–185b
qualification, 166–176
Color vector with Window/vignette, 196–198
Color wheels. See Hue offset wheels
Company 3, 327, 342b, 394, 463
Contrast
control avoidance, in tonal correction, 38–40
defining, 31–34
luminance key for contrast building, 248–252
saturation effects, 353
visual clues, 94b
Crash, 415
Creaser, Greg, 281, 289–290, 337–338, 340f, 412–413, 413b, 457
Cross-process look, 337
definition,, 399b
CRT. See Cathode ray tube (CRT)
Crush, definition, 17b
“CSI: Miami”, 415
Curren, Terry, 116b, 309–311, 312b, 313–314, 386, 393
Curves
Color Primary In room, 45
function of, 54b–55b
grading with Color’s Primary In room, 309–314
tabs in software, 50–53
tonal correction, 36
tonal range isolation, 60–64
Custom shapes, 194–195
Custom vector, 175–176
D
Dantone, Nick, 463
DaVinci, 21–22, 39–40, 78, 80–82, 111, 151, 364b, 393
Curves/Custom tabs, 42–43, 42f
definition, 131b
eyedropper, 102b
GUI for, 9f
looks creation, 489–493
composition modes of, 494–495
PowerGrade, 399–401
Power Windows, 195, 205–206, 269, 280b–281b
primary color correction, 473–481
secondaries comparison with Apple Color, 253
secondary color correction, 481–487
vector isolation in, 177–185
Davio, 7
Day-for-night
look creation, 447–459
vignette creation, 222–231
Daylight balanced, viewing environment, 7
Deluxe Labs, 155f
Density, definition, 338
Desaturated Preview, 168–169
DI. See Digital intermediate (DI)
“Diamonds Are Forever”, 415
Digital intermediate (DI), 337–338
Director of Photography (DP)
colorist collaboration, 323–324, 336–337, 359
definition, 196b–197b
film processing looks, 402–407
Discreet, 22
Dolores Claiborne, 324
Domino, 337
DP. See Director of Photography (DP)
DR Group, 268b–269b
DSC Labs, chip charts, 37b, 107
D65, 7
Duotone, definition, 156b
E
Eagles, Warren, 466–467
Eastwood, Clint, 358
eCinema, 7
Eclipse-CX, 44
8 bit image, 36b–37b
Excursion, definition, 108b
Eyedropper, 15
color cast analysis and balancing, 100–106
tips, 101b
F
Faking spot corrections, 187b
Falcon, Janet, 231–235, 237b, 263, 327–330, 336, 374–375, 377, 418, 420–421
Feature film, look, 458b–459b
Festa, Bob, 68b–70b, 206, 207b–208b, 252–254, 256, 325–326, 361, 400–401, 459, 461–462, 465–466, 469, 471
Field, Larry, 222b, 237, 241b, 273–274, 326, 433–434, 471
Film processing look, creation, 402–407
Filters, types, 155–157
eyedropper, 100
Limit Effect, 190
warning systems, 15
FinalTouch, 211, 217f, 235, 289, 309
Fincher, David, 361
“48 Hours,” 68b–70b, 107, 278, 468
Fuji film, versus Kodak, 324
Future, of color correction, 465–467
G
Gain, sliders, 139–149
Gamma
playing against highlights and shadows, 33–34
sliders, 139–149
Gamut, definition, 4b–5b
Garbage matte
color vector isolation, 168–169, 171
definition, 165
GenArts’ Sapphire plug-ins, 389
Geographical color fix, 190–192
Gradated filter, definition, 156b
Grade, definition, 19b
Graphical user interface (GUI), definition, 9b
Graphic looks, creation, 440–444
Graticule, definition, 14b–15b
Gritty look, creation, 430–439
GUI. See Graphical user interface (GUI)
H
Hangover, 463–464
Hapkido, training and coloring analogy, 24–25
Highlights, 4b–5b
Gamma playing against highlights and shadows, 33–34
setting, 27–29
Histogram, 15–17, 16f, 47b–49b
color balancing tools, 124–129
color cast analysis and balancing, 95–100
forms and functions, 50
Levels controls, 46–50
Hitchcock, 323
HSL. See Hue, saturation, and luminance (HSL)
Hue offset wheels, 111–116, 180–181
color cast analysis, 88
definition, 44b
and trackballs with RGB Parade, 117–123
Hue, saturation, and luminance (HSL)
definition, 45b
secondary curves in Apple Color, 178
I
If It’s Purple, Someone’s Gonna Die, 359
i1Display Pro, 6
IRE, definition, 20b
IRIDAS SpeedGrade, 21–22. See also SpeedGrade
Isolation. See Color vector isolation
J
Jackson, Kyle, 268b–269b, 342b
Jannotta, Pete, 195, 263, 265–267, 340–347, 422–426, 425b, 430–431, 455–456, 468
JLCooper, Eclipse, 88
JLCooper, MCS Spectrum, 44
K
Kassner, Neal, 68b–70b, 72b, 107–109, 269–272, 278–279, 280b–281b, 284b, 326, 368, 371–374, 382, 468–469
Balancing Tricks, 279, 280b–281b
Key Blur, 169
Kiss Me in the Dark, 206f, 215, 218b, 221f, 337–338
Kodak film, versus Fuji, 324
L
Lateral-brightness adaptation, 8
LCD. See Liquid crystal display (LCD)
Leffel, Craig, 68b–70b, 210–215, 212b, 362–368, 396–398, 469–470
Legal, definition, 1b–3b
Lerner, Rich, 252–253, 447, 450b
Letters from Iwo Jima, 324–325
Levels controls, 46–50
Lift
color cast analysis, 75–76
definition, 75b
Lighting changes, matching within scene, 382–385
Lightning Display, 11
Limit Effect, Final Cut Pro, 190
Liquid crystal display (LCD)
limitations, 6
Little Buddha, 324
Looks creation
boundaries, 399
DaVinci Resolve, 489–493
day-for-night, 447–459
feature film, 458b–459b
film processing looks, 402–407
graphic looks, 440–444
gritty look, 430–439
maintaining look between scenes, 468–469
matching looks, 414–417
overview, 395
plug-in looks, 459
preset looks, 399–401
promos and opens, 418–428
real life, as inspiration, 469
Look-up table (LUT) monitors, 6–7
Lovejoy, Bob, 332
Low Pass, definition, 18b
Luma Qualified Vectorscopes, 11
Luma Range
alternative, 67–70
budgeting considerations, 68b–70b
definitions, 65
display, 64–65
editing, 65–67
contrast building, 248–252
creation, 251–252
Luminance, relationship to reds, 89b
Lustre, 22
LUT. See Look-up table (LUT)
M
Manhattan Transfer, 463
Mann, Michael, 463–464
Man on Fire, 415
Master Colorist Awards, 207b–208b
Matching looks, creation, 414–417
Matching shots, 361–394
examples
lighting changes in scene, 382–385
lions of the Art Institute, 362–377
scene to scene, 378–382, 468–469
saving, 386–393
secondaries, 241
Matte, Apple Color controls, 168–169
Matte Only button, 168–169
Matte Preview Mode, 168–169
Matusek, Mike, 215, 217–220, 221b–222b, 291–294, 348–349, 385, 415, 417, 440–444
MCS Spectrum, 44
Midtones, 4b–5b
Miller, Robin, 218b
Million Dollar Baby, 358
Monitor
CRT, 6
look-up table, 6–7
types, 6–7
viewing environment, 7–10
waveform
advantages and limitations, 10–14
color balancing with flatpass waveform monitor, 107–110
color cast analysis, 73–87
definition, 10b
flat-pass waveform monitor, 107–110
reading, 18–21
Monitoring, 5–7
surround environment interview with Randy Starnes, 9b–10b
video monitor, 6–7
viewing environment, 7–10
waveform monitors, 10–14
Most, Mike, 17, 277b, 281, 288–289, 288b, 289f, 295–297, 318, 321b, 452, 459
Mullen, David, 323–326, 325b, 336–337, 359, 458b–459b, 467
Music, language of music and color, 22b–23b
N
Nakamura, Stephen, 361
Natasha Kizmet: The Movie, 450b
Nattress, Graeme, 402, 407, 459
Nature, 450b
Netflix, looks resource, 415
NLE. See Nonlinear editor (NLE)
Nolo Digital Film, 215, 221b–222b, 291–293, 348, 385
Nonlinear editor (NLE), 33–34
definition, 40b
Nucoda, 215–216
Numerical controls, for tonal range, 37
O
OCN. See Original camera negative (OCN)
Off-angle viewing, 6
Opens, look creation, 418–428
Organic light-emitting diode (OLED) monitors, 6, 21–22
Original camera negative (OCN), racking on telecine, 69b
P
Paint. See Shade
Pandora, 208–209
definition, 209b
Panic Room, 361
Pedestal. See Peds
Peds, definition, 285b
Pepperman, Chris, 209–210, 222, 226, 228, 281, 284–285, 287–288, 302, 348, 350–357, 427, 428b, 434–436, 439, 462–463, 470
Photoshop
color correction, 153–154
Plug-in looks, looks creation, 459
Plug-ins, filters, 155
Posterization, definition, 36b–37b
Power Curves, DaVinci, 42–43, 42f
PowerGrade, preset looks, 399–401
Power Windows, 185
DaVinci, 195, 205–206, 269, 280b–281b
sunrise creation, 222b
Practical lights, definition, 29b
Premiere, 22
Primary color correction, 162–163
Printer lights, 154
Promos, look creation, 418–430
Q
Q line, 118
Qualify
color vector isolation
Avid symphony, 172–173
practice, 182b–185b
qualification, 166–176
qualifications in secondaries, 165
R
Racked, original camera negative on telecine, 69b
Raging Bull, 358
Raster, definition, 159b
Regional color differences, 72b
Resetting, eyes, 87b
RGB parade, 14f, 16f, 114–116, 273, 311
color cast analysis, 73–87
color wheels and trackballs with, 117–123
definition, 14b–15b
highlight setting, 28f
hue offsets, 117–123
image balancing, 114–116
RGB sliders, 139
Riesen, Randy, 210f, 223f, 291, 292b, 305–306, 314
Rocky, 358
Rome, 68
Ryan, Chris, 463
S
Sat Curve alteration, 300
Sat, definition, 285b
Saturation
adjustments, 124
contrast effects, 353
controls, 123–124
Scene matching, 378–382
Scott, Tony, 337
Secondaries. See also Spot color correction
attention focusing, 237–241
changing uses, 248b
color vector isolation, 166–185
Avid symphony, 172–173
practice, 182b–185b
qualification, 166–176
color vector with Window/vignette, 196–198
DaVinci comparison with Apple Color, 253
matching problems, 241
purpose, 162–165
qualifications, 165–166
spot color correction, 185–196
geographical color fix, 190–192
relighting the image, 195–196
user-defined shapes, 193–195
vignette, 186–190
Secondary color correction. See Secondaries
Secondary curves, 199b–202b
in Apple Color, 178
SED. See Surface-conduction electron-emitter display (SED)
Sepia tone, definition, 131–139
Sex and the City, 260
Shade
color balancing with flat-pass waveform monitor, 107–110
definition, 107b
Shadows, 4b–5b
Shake, 22
Shaw, Kevin, 235
Shot matching. See Matching shots
Shot movement, 185–186
Silicon Color, 53
Skin tone, I line as skin tone reference, 139–142
Skip bleach, film processing looks, 403, 407–413
Sliders, for tonal range, 37–38
Sliga, Bob, 248–252, 298–300, 305–307, 309, 368–371, 378–381, 402, 407–411, 447–451, 459
Smoke, challenges, 469–470
Sonnenfeld, Stefan, 164b–165b, 327, 394, 463–464
Spearhead Display, 11
SpeedGrade, 39
Adobe SpeedGrade, 473
IRIDAS SpeedGrade, 21–22
primary color correction controls, 142f
printer lights, 154
secondary correction mode, 162f
Spill
definition, 196b–197b
removal, 196b–197b
Spot color correction, 185–196. See also Vignette
faking, 187b
geographical color fix, 190–192
image, relighting, 195–196
user-defined shapes, 193–195
Starnes, Randy, 9b–10b
Still store, applications, 364b
“A Story of Healing”, 450
Storytelling, colorist role, 323–359
Surface-conduction electron-emitter display (SED), 21–22
Surround environment, Randy Starnes interview, 9b–10b
“Survivor”, 419
Symphony. See Avid
Symphony Nitris, 53
Synthetic Aperture, Color Finesse HDF, 53
Syringe, sampling large areas, 166–167
T
Tangent Devices, 34
CP-200, 34
CP-200-BK trackball knob panel, 44, 246–247
Element color control panel. 106f
WAVE panel, 88
primary color correction, 475, 476f
warning systems, 15
WVR7100, 11, 11f, 14f, 18f–19f, 19, 23f, 211f, 216f, 223f, 232f, 238f, 242f–243f, 249f, 264f, 278f, 282f, 292f, 301f, 310f, 313f, 319f, 328f, 339f, 341f, 349f, 362f–363f, 378f–379f, 383f–384f, 387f–388f, 408f, 414f, 416f, 419f, 431f, 440f, 447f, 455f, 457f
avidization of, 466
definition, 69b
original camera negative racking, 68b–70b
10 bit image, 36b–37b
Tonal range
color correction considerations, 127
definition, 4b–5b
Tonal separation, 366–368
Tools, tonal correction, 35–37
Torturer, The, 450b
Trace, definition, 14b–15b, 22b–23b
Transformers, 415
Tungsten, lighting, 7
Tunnel Post, 342b
U
UI. See User interface (UI)
Under your fingers, definition, 50b
User-defined shapes, 193–195
User interface (UI), 88, 90, 144
V
Valid levels, definition, 1b–3b
Vanderpool, Charles, 237b
isolation. See Color vector isolation
advantages and limitations, 10–14
color cast analysis, 87–94
definition, 14b–15b
I line, as skin tone reference, 118, 139–142
Viewing environment, monitors, 7–10
Vignette, 186–190
color vector with, 196–198
examples
day-for-night shot creation, 222–230
Kiss Me in the Dark, 215–222
ultralight flyover scene, 210–215
spot color correction, 162–163, 186–190
Visual Story, The, 359
W
War Tapes, 417
Waveform monitor
advantages and limitations, 10–14
color balancing with flat-pass waveform monitor, 107–110
color cast analysis, 73–87
definition, 10b
reading, 18–21
Window/vignette, color vector with, 196–198
Wood, Roland, 289
X
Xpress Pro. See Avid
Y
YRGB parade
color cast analysis, 73–74
waveform monitor reading, 19f, 20
Z
Zebra pattern, superimposition, 15