Foreword |
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xi | |
Introduction |
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xv | |
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1 Color Correction Workflows |
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1 | (24) |
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Are You Grading for Cinema, Broadcast, or the Web? |
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1 | (1) |
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2 | (2) |
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Before the Shoot: Choosing a Recording Format |
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4 | (8) |
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Digital Dailies: The Start of Postproduction |
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12 | (6) |
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18 | (7) |
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2 Setting Up A Color Correction Environment |
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25 | (58) |
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Understanding Display-Referred Color Management |
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25 | (4) |
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29 | (21) |
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50 | (10) |
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Setting Up a Color Correction Suite |
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60 | (8) |
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Configuring a Grading Theater |
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68 | (8) |
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Other Hardware for Color Correction |
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76 | (7) |
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3 Primary Contrast Adjustments |
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83 | (92) |
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83 | (1) |
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84 | (8) |
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Evaluating Contrast Using Video Scopes |
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92 | (5) |
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Controls to Adjust Contrast |
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97 | (13) |
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110 | (3) |
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113 | (1) |
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Y'CbCr Luma Adjustments vs. RGB Luma Adjustments |
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114 | (3) |
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Redistributing Midtone Contrast |
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117 | (5) |
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Adjusting Log-Encoded Contrast |
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122 | (9) |
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Setting Appropriate Highlights and Shadows |
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131 | (10) |
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Working with High Dynamic Range (HDR) Media |
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141 | (5) |
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146 | (5) |
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Contrast During Exhibition |
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151 | (1) |
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Dealing with Underexposure |
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152 | (8) |
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Dealing with Overexposure |
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160 | (15) |
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4 Primary Color Adjustments |
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175 | (98) |
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177 | (4) |
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181 | (11) |
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192 | (10) |
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Using Color Balance Controls |
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202 | (27) |
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229 | (8) |
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Color Temperature Controls |
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237 | (1) |
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238 | (11) |
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249 | (13) |
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Understanding and Controlling Color Contrast |
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262 | (11) |
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5 HSL Qualification and Hue Curves |
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273 | (58) |
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HSL Qualification in Theory |
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274 | (3) |
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Individual Qualifier Controls |
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277 | (12) |
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A Basic HSL Qualification Workflow |
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289 | (8) |
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Tips for Using and Optimizing HSL Qualifications |
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297 | (7) |
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Different Ways of Using HSL Qualifiers |
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304 | (11) |
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315 | (8) |
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Other Types of HSL Adjustments |
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323 | (2) |
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325 | (6) |
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331 | (34) |
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332 | (6) |
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338 | (5) |
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343 | (6) |
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349 | (1) |
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Aggressive Digital Relighting |
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350 | (5) |
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355 | (10) |
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365 | (28) |
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Grade Animation Controls Compared |
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365 | (8) |
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Correcting Changes in Exposure |
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373 | (2) |
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375 | (8) |
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Grade Transitions Using Through Edits and Dissolves |
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383 | (2) |
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Artificial Lighting Changes |
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385 | (4) |
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389 | (4) |
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8 Memory Colors: Skin Tone, Skies, And Foliage |
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393 | (118) |
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394 | (13) |
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407 | (45) |
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Techniques for Adjusting Complexion Using Secondaries |
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452 | (16) |
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468 | (9) |
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Techniques for Adjusting Skies |
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477 | (19) |
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496 | (15) |
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9 Shot Matching And Scene Balancing |
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511 | (38) |
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512 | (3) |
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Strategies for Working with Clients |
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515 | (2) |
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How to Begin Balancing a Scene |
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517 | (3) |
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How to Match One Shot to Another |
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520 | (15) |
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535 | (7) |
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542 | (7) |
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10 Quality Control And Broadcast Safe |
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549 | (72) |
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551 | (1) |
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Video Signal Standards and Limits |
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552 | (8) |
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Quality Control Issues That Affect Colorists |
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560 | (1) |
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Six Structured Steps to Legalizing Your Picture |
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561 | (1) |
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Monitoring and Legalizing Saturation in Detail |
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562 | (13) |
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RGB Color Space Legality and the RGB Parade Scope |
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575 | (3) |
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Soft Clipping for Luma and RGB |
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578 | (1) |
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Other Video Scope Options for Broadcast Gamut Monitoring |
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579 | (5) |
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Creating Graphics and Animation with Legal Values |
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584 | (2) |
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Broadcast-Safe Settings in Grading Applications |
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586 | (1) |
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Broadcast-Safe Settings in Editing Applications |
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587 | (1) |
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Avid Media Composer and Symphony Broadcast-Safe Settings |
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588 | (3) |
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Adobe Premiere Pro Broadcast-Safe Settings |
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591 | (1) |
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Final Cut Pro X Broadcast-Safe Settings |
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592 | (1) |
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Final Cut Pro 7 Broadcast-Safe Settings |
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592 | (7) |
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Preview: Color Correction Look Book |
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599 | (1) |
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600 | (10) |
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610 | (8) |
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Vibrance and Targeted Saturation |
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618 | (3) |
Index |
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621 | |