Index

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

Alpha Dog, 53, 116b, 386

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

Curves, 132f, 309–317

DaVinci secondaries comparison, 253

eyedropper, 100, 101b

preset looks, 402–430

Primary In room, 43–45, 43f, 75, 143

printer lights, 154, 157

secondary curves, 199b–203b

Secondary Room, 167, 181

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

Symphony, 9, 46

Channel Building capabilities, 386, 393

Channels, 129, 151

color vector isolation, 172

Curves tool, 50, 51f

hue, saturation, and luminance tab, 45–46, 46f

Levels, 126

Luma Range, 65–67, 66f–67f

secondary color correction tab, 162f

warning systems, 21–22, 35

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

Base Mem, 480, 490

Bellantoni, Patti, 359

BetaSP, 301, 301f

Bezier curves, 62–63, 185

Big Shoulders Digital Video Productions, 292b

Birch, Howie, 463

Bit depth, definition, 39b

Blackhawk Down, 415, 417

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

Blue channel, 129, 130f

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

Carnivale, 69, 194

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

Color Finesse, 21–22, 39, 46

Curves tutorial, 53

eyedropper, 100–106

Luma Range, 65–66, 65f

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

garbage matte, 168–169, 171

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

S curve, 52b, 52f

tabs in software, 50–53

tonal correction, 36

tonal range isolation, 60–64

tutorials, 53–60, 131–139

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

controls, 40–46, 40f–41f

secondaries comparison with Apple Color, 253

secondary color correction, 481–487

3-Way Color tab, 41, 42f

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

Encore, 326–327, 465, 468

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

Filmworker’s Club, 263, 340

Filters, types, 155–157

Final Cut Pro, 21–22, 96f

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

definition, 1b–3b, 44b

playing against highlights and shadows, 33–34

setting, 29–31, 31f

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

Gilbert, Barry, 218b, 337b

Gradated filter, definition, 156b

Grade, definition, 19b

Graphical user interface (GUI), definition, 9b

Graphic looks, creation, 440–444

Grass, coloring, 191–192, 469

Graticule, definition, 14b–15b

Green channel, 129, 130f

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

balancing, 76–77, 78f

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)

Avid Symphony, 45–46, 46f

definition, 45b

secondary curves in Apple Color, 178

I

If It’s Purple, Someone’s Gonna Die, 359

I line, 118, 139–142

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

Level 3 Post, 237, 241b

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

Lovejoy, Robert, 241, 246–247

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

Luminance key

contrast building, 248–252

creation, 251–252

Luminance, relationship to reds, 89b

Lustre, 22

LUT. See Look-up table (LUT)

M

MagicBullet Looks 2, 459

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

setting, 29–31, 31f

Miller, Robin, 218b

Million Dollar Baby, 358

Monitor

CRT, 6

look-up table, 6–7

OLED, 6, 21–22

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

vectorscopes, 10–14, 13f

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

Nattress effects, 402, 407

Nature, 450b

Netflix, looks resource, 415

NFL Films, 209, 284, 348, 427

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

Optimus, 210–211, 362, 364

Organic light-emitting diode (OLED) monitors, 6, 21–22

Original camera negative (OCN), racking on telecine, 69b

P

Paint. See Shade

Painting cameras, 269, 269b

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

Curves, 131, 132f

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

definition, 1, 71b–72b

Printer lights, 154

ProMist, 331, 336, 400

Promos, look creation, 418–430

Q

Q line, 118

Qualify

color vector isolation

Avid symphony, 172–173

practice, 182b–185b

qualification, 166–176

definition, 67b, 165

qualifications in secondaries, 165

R

Racked, original camera negative on telecine, 69b

Raging Bull, 358

Raster, definition, 159b

Red channel, 129, 130f

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

R!OT, 207b–208b, 400b

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

S Curve, tip, 52b, 52f

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

definition, 1, 162b

importance, 199, 231

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

Shooters Post, 332, 374

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

Sky, coloring, 163, 192

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

Power Windows, 185, 205–206

user-defined shapes, 193–195

vignettes, 162–163, 186–190

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-100, 34, 44

CP-200, 34

CP-200-BK trackball knob panel, 44, 246–247

Element color control panel. 106f

WAVE panel, 88

Tektronix, 11f, 143f, 152f

primary color correction, 475, 476f

warning systems, 15

WFM7000, 11, 11f, 53

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

Telecine, 159, 466

avidization of, 466

definition, 69b

original camera negative racking, 68b–70b

10 bit image, 36b–37b

Tobacco, definition, 329, 336

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

“24”, 222b, 241b, 326, 433

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

Vector

definition, 1, 1b–3b

isolation. See Color vector isolation

Vectorscope, 1, 2f

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

definition, 165b, 206b

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

black level setting, 23f, 24

color cast analysis, 73–74

waveform monitor reading, 19f, 20

Z

Zebra pattern, superimposition, 15

Zone System, 95, 363b, 366–368

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