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by Steve Hullfish
The Art and Technique of Digital Color Correction
Front Cover
Title
Copyright
Contents
Acknowlegments
Introduction
Primary Color Correction
Chapter 1 Tonal Range Primer
Monitoring
Video Monitor
Viewing Environment
Surround Environment: Interview with Randy Starnes
Waveform Monitors and Vectorscopes
Alternative Displays and Tools for Analysis
First Things First: Black Level
Setting Highlights
Setting Gammas or Midtones
Defining Contrast
Practice Playing Gamma Against Highlights and Shadows
Chapter 2 Tonal-Correction Tools
Main Tools for Tonal Corrections
Sliders and Numerical Controls for Tonal Range
Don’t use Brightness or Contrast Controls
Color’s Primary In Room
Avid Symphony and Color Finesse HSL Controls Tab
Histograms or Levels
Histograms
Forms and Functions of Histograms
Curves Tab
S Curve Tip
Curves Tutorial
Isolating Tonal Ranges with Curves
Luma Range Display
Luma Range Editing
Alternative to Luma Range
Chapter 3 Color Control Primer
Balancing an 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 Color Control Tools
Hue Offset Wheels or Color Balance Controls
Hue Offsets with RGB Parade
Saturation Controls
Histograms
Curves
RGB Setup, Gamma, and Gain Sliders
Channels
Printer Lights
Filters
Conclusion
Secondary Color Correction
Chapter 5 Secondary Color Correction Primer
The Purpose of Secondary Correction
Are You Qualified?
Color Vector Isolation
Isolating a Vector in Final Cut Pro
Isolation Practice
Spot Color Correction (Vignettes or Power Windows)
Vignette
Geographical Color Fix
User-Defined Shapes
Using Spot Color Correction to Relight
Color Vector with Garbage Matte
Color’s Secondary Curves
Secondaries Are Crucial
Chapter 6 Secondaries with the Pros
Vignettes
Vignetting the Ultralight Flyover Scene
Vignetting the Kiss Me in the Dark Bedroom Scene
Spot Color Correction
Vignette to Create Day-for-Night Shot
Vector and Luma Qualified Secondaries
Secondary Corrections Can Focus Attention
Using Secondaries to Match
Using a Luma Key to Build Contrast
Pro Colorists
Chapter 7 Correcting Shots
Three 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
Chapter 8 Telling the Story
Color Changes the Story
Talk like a Director of Photography
The Story Is the Script
Emphasize Elements to Further the Story
Imposing a Story on the Boxer
Conclusion
Chapter 9 Matching Shots
Matching the Lions of the Art Institute
Matching Scene to Scene
Matching When Lighting Changes in a Scene
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
Chapter 11 Miscellaneous Wisdom
Starting Off
Communicating with Clients
Taking It to Extremes
The Importance of Color Contrast
Maintaining a Look
Looking at Real Life for Inspiration
Multitasking
Smoke
Keeping Butts in the Seats
The Future of Color Correction
Books of Note
Conclusion
Index
Search in book...
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Copyright
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Title
Art and Technique of Digital Color Correction
Steve Hullfish
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