book

The Art and Technique of Digital Color Correction

Name: The Art and Technique of Digital Color Correction
Author: Steve Hullfish
ISBN: 9781136060373

by Steve Hullfish

March 2013

Intermediate to advanced

392 pages

11h 1m

English

Focal Press

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Front Cover
Title
Copyright
Contents
Acknowlegments
Introduction
Primary Color Correction
Chapter 1 Tonal Range PrimerMonitoringVideo MonitorViewing EnvironmentSurround Environment: Interview with Randy StarnesWaveform Monitors and VectorscopesAlternative Displays and Tools for AnalysisFirst Things First: Black LevelSetting HighlightsSetting Gammas or MidtonesDefining ContrastPractice Playing Gamma Against Highlights and Shadows
Chapter 2 Tonal-Correction Tools
Main Tools for Tonal CorrectionsSliders and Numerical Controls for Tonal RangeDon’t use Brightness or Contrast ControlsColor’s Primary In RoomAvid Symphony and Color Finesse HSL Controls TabHistograms or LevelsHistogramsForms and Functions of HistogramsCurves TabS Curve TipCurves TutorialIsolating Tonal Ranges with CurvesLuma Range DisplayLuma Range EditingAlternative to Luma Range
Chapter 3 Color Control Primer
Balancing an ImageAnalyzing Color CastsUsing Your EyesColor and the WaveformColor and the VectorscopeHistogramsEyedropperBalancing Color with a Flat-Pass Waveform MonitorColor Contrast
Chapter 4 Color Control Tools
Hue Offset Wheels or Color Balance ControlsHue Offsets with RGB ParadeSaturation ControlsHistogramsCurvesRGB Setup, Gamma, and Gain SlidersChannelsPrinter LightsFiltersConclusion

Secondary Color Correction
Chapter 5 Secondary Color Correction PrimerThe Purpose of Secondary CorrectionAre You Qualified?Color Vector IsolationIsolating a Vector in Final Cut ProIsolation PracticeSpot Color Correction (Vignettes or Power Windows)VignetteGeographical Color FixUser-Defined ShapesUsing Spot Color Correction to RelightColor Vector with Garbage MatteColor’s Secondary CurvesSecondaries Are Crucial
Chapter 6 Secondaries with the Pros
VignettesVignetting the Ultralight Flyover SceneVignetting the Kiss Me in the Dark Bedroom SceneSpot Color CorrectionVignette to Create Day-for-Night ShotVector and Luma Qualified SecondariesSecondary Corrections Can Focus AttentionUsing Secondaries to MatchUsing a Luma Key to Build Contrast
Pro Colorists
Chapter 7 Correcting ShotsThree More Grades of the “Banker’s Light” SceneSaving a Shot with Bad Color CastFour Trips Down the “Alley”Three Passes Over the BarnBuilding Up a Weak Piece of VideoUsing Many Tools to Fix a ShotGrading with Curves in Primary
Chapter 8 Telling the Story
Color Changes the StoryTalk like a Director of PhotographyThe Story Is the ScriptEmphasize Elements to Further the StoryImposing a Story on the BoxerConclusion
Chapter 9 Matching Shots
Matching the Lions of the Art InstituteMatching Scene to SceneMatching When Lighting Changes in a SceneConclusion
Chapter 10 Creating Looks
Enough is EnoughPreset LooksFesta’s PowerGrade Library RevealedPreset Looks in Apple’s ColorFilm Processing LooksSkip Bleach or Bleach BypassMatch the LookLooks for Promos and OpensTrue GritGraphic LooksDay-for-Night
Chapter 11 Miscellaneous Wisdom
Starting OffCommunicating with ClientsTaking It to ExtremesThe Importance of Color ContrastMaintaining a LookLooking at Real Life for InspirationMultitaskingSmokeKeeping Butts in the SeatsThe Future of Color CorrectionBooks of NoteConclusion
Index

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The Art and Technique of Digital Color Correction

by Steve Hullfish

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