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Art and Technique of Digital Color Correction 2nd edition [Mīkstie vāki]

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  • Formāts: Paperback / softback, 506 pages, height x width: 235x191 mm, weight: 1282 g
  • Izdošanas datums: 11-May-2012
  • Izdevniecība: Focal Press
  • ISBN-10: 024081715X
  • ISBN-13: 9780240817156
  • Mīkstie vāki
  • Cena: 83,32 €
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  • Bibliotēkām
  • Formāts: Paperback / softback, 506 pages, height x width: 235x191 mm, weight: 1282 g
  • Izdošanas datums: 11-May-2012
  • Izdevniecība: Focal Press
  • ISBN-10: 024081715X
  • ISBN-13: 9780240817156

The only guide to the art and technique of color correction based on the invaluable knowledge of more than a dozen of the top colorists in the world. This book allows you unprecedented access to the way the masters of the craft approach their work.

Containing decades of industry experience and professional colorist know-how, this book provides an understanding of what top-tier colorists look for in an image and how they know what to do to make it great. Featuring techniques performed in a variety of color correction software applications (DaVinci Resolve, Apple Color, Synthetic Aperture's Color Finesse, and more), this book turns what has long been a misunderstood "black art" into a set of skills that any colorist, editor, independent filmmaker, or motion graphics artist can begin to master. Packed with explanations, tips, and concepts that build on each other, you will learn how to:
* fix poorly exposed shots and shots with color casts
* create looks
* match shots
* master primary and secondary color correction techniques
* use color correction to advance a story

This edition includes

* An updated DVD containing two hours of video tutorials using DaVinci Resolve, extended interview transcripts and color correction sessions with the professional colorists featured in the book

* A brand new tutorial-based chapter, with companion project files on the DVD, so you can work along with the text

* New insight from additional professional colorists, including legendary colorists, Bob Festa, Stefan Sonnenfeld, and Pankaj Baipai, showing you the 'hows' and 'whys' of each grade

Recenzijas

"How to" books are a dime a dozen. What makes this book special is that it is also a "Why" book. Hullfish sits down with world-class colorists and records not only what they do but why they do it. That's where the magic lies.

"How" is the question to ask if you want to become a craftsman. "Why" is the question that creates artists. I bought the first edition for "How" and came away with a lot of "Why." This edition has lots more of both, with material from several additional world class colorists.

If you want an inside look into the art and craft of the professional colorist there's no better way to do it in book form. Whether you're learning to be a colorist or just want to understand what really happens when you decide something can be "fixed in post," you need to read this book. -Art Adams, cinematographer/educator, ProVideoCoalition.com.

This book just keeps getting better with each new edition. Steve Hullfish's approach is designed to teach techniques that transfer to a wide range of popular and accessible color correction tools. The intent is to demystify the process, so readers can learn the concepts and apply them, regardless of whether the software has sliders, wheels or curves. Best of all, Hullfish features extensive tips and tricks from some of the premier colorists in the country, so you can learn from the masters. If you only purchase one book on color correction, this is the essential guide to include in your library. - Oliver Peters, Oliver Peters Peters Post Production Services, LLC

A terrific and much-needed book for anybody serious about digital color correction. Starting with the basics, it helps the reader work through a series of specific, well-illustrated examples, covering all the major software applications, and supports the text with insightful comments from prominent working colorists. All in all, it's essential reading for anyone who wants to improve their skills in this rapidly changing field. - Steve Cohen, editor, Emmy and ACE Eddie winner, author of "Avid Agility."

Acknowledgments xi
Using this Book and the DVD Materials xiii
Chapter 1 Primary Color Correction: Tonal Range Primer
1(34)
Monitoring
5(2)
Video Monitor
6(1)
Viewing Environment
7(3)
Waveform and Vectorscope Displays
10(4)
Alternative Displays and Tools for Analysis
14(3)
First Things First: Black Level
17(1)
Reading the Waveform Monitor
18(3)
Setting the Black Level
21(6)
Setting Highlights
27(2)
Setting Gamma or Midtones
29(2)
Defining Contrast
31(4)
Chapter 2 Primary Color Correction: Tonal Correction Tools
35(36)
Main Tools for Tonal Corrections
35(3)
Sliders and Numerical Controls for Tonal Range
37(1)
Don't Use Brightness or Contrast Controls
38(8)
DaVinci Resolve
40(3)
Color Primary In Room
43(2)
The Avid Symphony and Color Finesse HSL Control Tab
45(1)
Histograms or Levels
46(4)
Forms and Functions of Histograms
50(1)
Curves Tab
50(3)
Curves Tutorial
53(18)
Isolating Tonal Ranges with Curves
60(4)
Luma Range Display
64(1)
Luma Range Editing
65(2)
Alternative to Luma Range
67(4)
Chapter 3 Primary Color Correction: Color Control Primer
71(40)
Balancing the Image
71(16)
Analyzing Color Casts
71(1)
Using Your Eyes
72(1)
Color and the Waveform
73(14)
Color and the Vectorscope
87(8)
Histograms
95(5)
Eyedropper
100(7)
Balancing Color with a Flat Pass Waveform Monitor
107(3)
Color Contrast
110(1)
Chapter 4 Primary Color Correction: Color Manipulation Tools
111(48)
Color Wheels
111(6)
Color Wheels and Trackballs with RGB Parade
117(6)
Saturation Controls
123(1)
Histograms
124(7)
Curves
131(8)
RGB Lift, Gamma, and Gain Sliders
139(12)
Channels or Channel Mixers
151(3)
Printer Lights
154(1)
Filters
155(2)
Additional Tools
157(2)
Chapter 5 Secondary Color Correction Primer
159(46)
The Purpose of Secondary Correction
162(3)
Are You Qualified?
165(1)
Color Vector Isolation
166(11)
Isolating a Vector in DaVinci Resolve
177(8)
Spot Color Correction (Vignettes or Power Windows)
185(11)
The Vignette
186(4)
Geographical Color Fix
190(3)
User-Defined Shapes
193(2)
Using Spot Color Correction to Relight
195(1)
Color Vector with Window or Vignette
196(3)
Secondaries Are Crucial
199(6)
Chapter 6 Secondaries with the Pros
205(58)
Vignettes
205(5)
Vignetting the Ultralight Flyover Scene
210(5)
Vignetting the "Kiss" Bedroom Scene
215(7)
Vignette to Create Day-for-Night
222(9)
Vector and Luma Qualified Secondaries
231(6)
Secondary Corrections Can Focus Attention
237(4)
Using Secondaries to Match
241(7)
Using a Luma Key to Build Contrast
248(4)
Use a Secondary to Soften Skin Tones
252(4)
Multiple Windows and Masks
256(2)
Creating Depth and Texture
258(5)
Chapter 7 Correcting Shots
263(60)
Four More Grades of the "Banker's Light" Scene
263(13)
Saving a Shot with Bad Color Cast
276(5)
Four Trips Down the "Alley"
281(10)
Three Passes Over the Barn
291(10)
Building Up a Weak Piece of Video
301(4)
Using Many Tools to Fix a Shot
305(4)
Grading with Curves in Primary
309(9)
Broadening the Color Palette
318(5)
Chapter 8 Telling the Story
323(38)
Color Changes the Story
327(9)
Talk Like a DP
336(1)
The Story Is the Script
337(3)
Emphasize Elements to Further the Story
340(8)
Imposing Story on the Boxer
348(11)
Story Epilogue
359(2)
Chapter 9 Matching Shots
361(34)
Matching the Lions of the Art Institute
362(16)
Matching Scene to Scene
378(4)
Matching When Lighting Changes in a Scene
382(4)
Matching AND Saving!
386(8)
Matching Conclusion
394(1)
Chapter 10 Creating Looks
395(66)
Enough Is Enough
398(1)
Preset Looks
399(1)
Festa's PowerGrade Library Revealed
400(2)
Preset Looks in Apple's Color
402(28)
Film Processing Looks
402(5)
Skip Bleach or Bleach Bypass
407(7)
Match the Look
414(4)
Looks for Promos and Opens
418(12)
True Grit
430(10)
Graphic Looks
440(7)
Day-for-Night
447(12)
NOT Doing a Look
459(2)
Plug-In Looks
459(2)
Chapter 11 Miscellaneous Wisdom
461(12)
Starting Off
461(1)
Communicating with Clients
462(3)
The Future of Color Correction
465(2)
Taking It to Extremes
467(1)
The Importance of Color Contrast
468(1)
Maintaining a Look
468(1)
Looking at Real Life for Inspiration
469(1)
Smoke
469(1)
Keeping Butts in the Seats
470(1)
Books of Note
471(1)
Color Correction Training on DVD
472(1)
Conclusion
472(1)
Chapter 12 Tutorials
473(24)
Primary Color Correction
473(8)
Secondary Correction
481(8)
Creating Looks
489(5)
Compositing Modes for a Better Look
494(1)
Final Thoughts
495(2)
Index 497
Steve Hullfish produces and edits trailers, TV spots, promos and DVDs through his company, Verascope Pictures, which serves high-end clients: Universal Studios, NBC Television, HIT Entertainment, Jim Henson Entertainment, VeggieTales and others. His 22 years of producing and editing TV shows and spots have garnered many national awards, including a national Emmy as part of the editing team of the Oprah Winfrey Show. He has co-written three other books including Color Correction for Digital Video, Avid XpressPro On the Spot, and The Avid XpressPro Editing Workshop. He has also written for DV magazine.