Color Correction Look Book: Creative Grading Techniques for Film and Video

Table of contents

1. Title Page
2. Copyright Page
3. Dedication
4. Table of Contents
5. Introduction
   1. Special Thanks
6. A Note About Image Fidelity
7. A Note About the Downloadable Content
8. Chapter 1. Working with Looks
   1. Developing a Project-Specific Color Vocabulary
   2. Splitting the Difference
   3. Managing Style Separately
   4. Saving a Library of Looks
   5. Protecting Skin Tones from Excessive Adjustments
9. Chapter 2. Bleach Bypass Looks
   1. Simulating the Look
10. Chapter 3. Blue-Green Swap
11. Chapter 4. Blurred and Colored Vignettes
12. Chapter 5. Cross-Processing Simulation
    1. Achieving the Cross-Processing Effect Using Curves
    2. Tips for Cross-Processed Looks
13. Chapter 6. Day-for-Night Treatments
    1. The Look of Actual Night
    2. Creating an Exterior Day-for-Night Look
    3. An Interior Day-for-Night Look
    4. The Classic “Blue” Day-for-Night Look
    5. The Look of Underexposed Video
14. Chapter 7. Duotones and Tritones
    1. Creating Duotones Using Color Balancing
    2. Creating Tritones Using HSL Qualification
15. Chapter 8. Emulating Film Stocks
    1. Print Emulation LUTs
    2. Faking Film Emulation
16. Chapter 9. Film Looks Other Than Grading
    1. Frame Rate and Shutter Speed
    2. Interlaced vs. Progressive
    3. Depth of Field
17. Chapter 10. Flat Looks and Film Flashing
    1. Film Flashing
    2. Building Flat Looks
18. Chapter 11. Flattened Cartoon Color
19. Chapter 12. Glows, Blooms, and Gauze Looks
    1. Creating Glows Using HSL Qualification
    2. Creating Glows Using Matte Extraction
    3. Multilevel Glows
    4. Creating Glows Using Plug-Ins
    5. Aggressive Glows and Broadcast Safe
    6. Creating Gauzy Glows Using Superimposed Clips
20. Chapter 13. Grain, Noise, and Texture
    1. What Is Digital Noise?
    2. What Is Film Grain?
    3. When Adding Grain and Noise Can Help
    4. Simulating Film Grain
    5. Compositing Actual Film Grain
    6. Composite Modes for Adding Grain
    7. Adding Texture to an Image
    8. Adding Texture and Grain Using Plug-Ins
21. Chapter 14. Greenscreen Compositing Grading Workflows
    1. Pregrading Greenscreen Dailies
    2. Postgrading Final Composites
22. Chapter 15. Lens Flaring and Veiling Glare
    1. Types of Flaring
    2. Adding Flaring Using Plug-Ins
    3. Faking Flaring Using Windows/Shapes
    4. Minimizing Flaring
23. Chapter 16. Light Leaks and Color Bleeds
    1. Lighter “Diana Camera” Looks
    2. Heavier “Holga Camera” Looks
    3. Adding Light Leaks Using Composite Modes and Stock Clips
24. Chapter 17. Monitor and Screen Glow
    1. Creating Monitor Glow
25. Chapter 18. Monochrome Looks
    1. Simple Desaturation
    2. Manipulation of Black-and-White Photography
    3. Custom Monochrome Using a Channel or RGB Mixer
    4. Custom Monochrome Using Layered Operations
    5. Different Custom Monochrome Effects
26. Chapter 19. Sharpening
    1. Sharpening to Add Grit
    2. Sharpen to Fix Soft Focus
    3. Sharpening in DaVinci Resolve
    4. Sharpening in Assimilate Scratch
    5. Sharpening in FilmLight Baselight
    6. Sharpening in Adobe SpeedGrade
27. Chapter 20. Tints and Color Washes
    1. How Do Chromatic Lens Filters Work?
    2. Tinting and Toning for Film
    3. Artificial Tints and Color Washes
    4. Tinting with Composite Modes
    5. Creating a Color Matte for Tinting If Your Application Doesn’t Have One
28. Chapter 21. Undertones
    1. Undertones Through Careful Grading
    2. Specific Undertones Using Curves
    3. Specific Undertones Using Log Controls or Five- and Nine-Way Color Controls
    4. Specific Undertones Using HSL Qualification
29. Chapter 22. Vibrance and Targeted Saturation
    1. Vibrance
    2. Targeting High Saturation
30. Chapter 23. Vintage Film
    1. Method 1: Faded Color
    2. Method 2: Distressed Dyes
    3. Method 3: Dramatic Black and White
    4. Method 4: Tinted Black-and-White Film Treatments
    5. In Conclusion
31. Index