Acknowledgments |
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xi | |
Using this Book and the DVD Materials |
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xiii | |
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Chapter 1 Primary Color Correction: Tonal Range Primer |
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1 | (34) |
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5 | (2) |
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6 | (1) |
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7 | (3) |
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Waveform and Vectorscope Displays |
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10 | (4) |
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Alternative Displays and Tools for Analysis |
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14 | (3) |
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First Things First: Black Level |
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17 | (1) |
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Reading the Waveform Monitor |
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18 | (3) |
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21 | (6) |
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27 | (2) |
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Setting Gamma or Midtones |
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29 | (2) |
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31 | (4) |
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Chapter 2 Primary Color Correction: Tonal Correction Tools |
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35 | (36) |
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Main Tools for Tonal Corrections |
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35 | (3) |
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Sliders and Numerical Controls for Tonal Range |
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37 | (1) |
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Don't Use Brightness or Contrast Controls |
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38 | (8) |
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40 | (3) |
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43 | (2) |
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The Avid Symphony and Color Finesse HSL Control Tab |
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45 | (1) |
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46 | (4) |
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Forms and Functions of Histograms |
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50 | (1) |
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50 | (3) |
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53 | (18) |
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Isolating Tonal Ranges with Curves |
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60 | (4) |
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64 | (1) |
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65 | (2) |
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Alternative to Luma Range |
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67 | (4) |
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Chapter 3 Primary Color Correction: Color Control Primer |
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71 | (40) |
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71 | (16) |
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71 | (1) |
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72 | (1) |
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73 | (14) |
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Color and the Vectorscope |
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87 | (8) |
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95 | (5) |
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100 | (7) |
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Balancing Color with a Flat Pass Waveform Monitor |
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107 | (3) |
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110 | (1) |
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Chapter 4 Primary Color Correction: Color Manipulation Tools |
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111 | (48) |
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111 | (6) |
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Color Wheels and Trackballs with RGB Parade |
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117 | (6) |
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123 | (1) |
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124 | (7) |
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131 | (8) |
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RGB Lift, Gamma, and Gain Sliders |
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139 | (12) |
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Channels or Channel Mixers |
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151 | (3) |
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154 | (1) |
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155 | (2) |
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157 | (2) |
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Chapter 5 Secondary Color Correction Primer |
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159 | (46) |
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The Purpose of Secondary Correction |
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162 | (3) |
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165 | (1) |
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166 | (11) |
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Isolating a Vector in DaVinci Resolve |
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177 | (8) |
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Spot Color Correction (Vignettes or Power Windows) |
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185 | (11) |
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186 | (4) |
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190 | (3) |
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193 | (2) |
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Using Spot Color Correction to Relight |
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195 | (1) |
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Color Vector with Window or Vignette |
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196 | (3) |
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199 | (6) |
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Chapter 6 Secondaries with the Pros |
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205 | (58) |
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205 | (5) |
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Vignetting the Ultralight Flyover Scene |
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210 | (5) |
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Vignetting the "Kiss" Bedroom Scene |
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215 | (7) |
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Vignette to Create Day-for-Night |
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222 | (9) |
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Vector and Luma Qualified Secondaries |
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231 | (6) |
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Secondary Corrections Can Focus Attention |
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237 | (4) |
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Using Secondaries to Match |
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241 | (7) |
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Using a Luma Key to Build Contrast |
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248 | (4) |
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Use a Secondary to Soften Skin Tones |
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252 | (4) |
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Multiple Windows and Masks |
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256 | (2) |
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Creating Depth and Texture |
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258 | (5) |
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Chapter 7 Correcting Shots |
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263 | (60) |
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Four More Grades of the "Banker's Light" Scene |
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263 | (13) |
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Saving a Shot with Bad Color Cast |
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276 | (5) |
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Four Trips Down the "Alley" |
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281 | (10) |
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Three Passes Over the Barn |
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291 | (10) |
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Building Up a Weak Piece of Video |
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301 | (4) |
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Using Many Tools to Fix a Shot |
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305 | (4) |
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Grading with Curves in Primary |
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309 | (9) |
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Broadening the Color Palette |
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318 | (5) |
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Chapter 8 Telling the Story |
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323 | (38) |
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327 | (9) |
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336 | (1) |
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337 | (3) |
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Emphasize Elements to Further the Story |
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340 | (8) |
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Imposing Story on the Boxer |
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348 | (11) |
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359 | (2) |
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361 | (34) |
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Matching the Lions of the Art Institute |
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362 | (16) |
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378 | (4) |
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Matching When Lighting Changes in a Scene |
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382 | (4) |
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386 | (8) |
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394 | (1) |
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Chapter 10 Creating Looks |
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395 | (66) |
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398 | (1) |
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399 | (1) |
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Festa's PowerGrade Library Revealed |
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400 | (2) |
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Preset Looks in Apple's Color |
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402 | (28) |
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402 | (5) |
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Skip Bleach or Bleach Bypass |
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407 | (7) |
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414 | (4) |
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Looks for Promos and Opens |
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418 | (12) |
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430 | (10) |
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440 | (7) |
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447 | (12) |
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459 | (2) |
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459 | (2) |
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Chapter 11 Miscellaneous Wisdom |
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461 | (12) |
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461 | (1) |
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Communicating with Clients |
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462 | (3) |
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The Future of Color Correction |
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465 | (2) |
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467 | (1) |
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The Importance of Color Contrast |
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468 | (1) |
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468 | (1) |
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Looking at Real Life for Inspiration |
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469 | (1) |
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469 | (1) |
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Keeping Butts in the Seats |
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470 | (1) |
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471 | (1) |
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Color Correction Training on DVD |
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472 | (1) |
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472 | (1) |
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473 | (24) |
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473 | (8) |
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481 | (8) |
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489 | (5) |
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Compositing Modes for a Better Look |
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494 | (1) |
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495 | (2) |
Index |
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497 | |