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Art and Technique of Digital Color Correction [Mīkstie vāki]

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  • Formāts: Paperback / softback, 392 pages, height x width: 234x190 mm, weight: 974 g
  • Izdošanas datums: 12-Feb-2008
  • Izdevniecība: Focal Press
  • ISBN-10: 0240809904
  • ISBN-13: 9780240809908
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Art and Technique of Digital Color CorrectionPalielināt
  • Formāts: Paperback / softback, 392 pages, height x width: 234x190 mm, weight: 974 g
  • Izdošanas datums: 12-Feb-2008
  • Izdevniecība: Focal Press
  • ISBN-10: 0240809904
  • ISBN-13: 9780240809908
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780240809908.html
Keywords:
Provides direct access to the skills, insights and techniques of some of the postproduction industry's most prominent digital video colorists, delivering practical skills to the postproduction pro seeking to improve their color grading craft. The author interviews and observes 8 professional colorists as they grade a series of real world video images, describing the methods and techniques each artist uses to reach their finalized image. These video images are included on a DVD that allows you to work lockstep with each artist as they grade their images.

Though some tools provided may differ from one product to the next, the basic process of video color correction (grading) remains the same. Application agnostic and sure to inspire, The Art of Digital Video Color Correction will further your artistic skills, whether you're an editor, compositor, or colorist, and allow you to apply those skills to the grading process, making your finished image sharper, crisper and more aesthetically pleasing in general.


* Digital video color correction tips and techniques from the pros grading the films, shows and commercials we all see everyday, thus advancing the artistic coloring skills of the reader * Is non-software specific, with lessons that are applicable to any postproduction workflow * DVD includes samples of the same video images that the colorists featured in the book were working on, providing direct access to the techniques and process of professional grading.

The DVD is not included with the E-book. Please visit http://www.elsevierdirect.com/companion.jsp ISBN=9780240809908 to access the DVD content.



Provides direct access to the skills, insights and techniques of some of the postproduction industry's most prominent digital video colorists, delivering practical skills to the postproduction pro seeking to improve their color grading craft. The author interviews and observes 8 professional colorists as they grade a series of real world video images, describing the methods and techniques each artist uses to reach their finalized image. These video images are included on a DVD that allows you to work lockstep with each artist as they grade their images.

Though some tools provided may differ from one product to the next, the basic process of video color correction (grading) remains the same. Application agnostic and sure to inspire, The Art of Digital Video Color Correction will further your artistic skills, whether you're an editor, compositor, or colorist, and allow you to apply those skills to the grading process, making your finished image sharper, crisper and more aesthetically pleasing in general.

Recenzijas

"Another great offering from Steve Hullfish. There are so many texts out there covering so many different aspects of post-production. Yet the final, all-important step of color correction and finishing has been a true tradecraft. The only way you learned was by sitting at the feet of a master. Steve has demystified much of that and given both beginners and professionals a fantastic resource. Reading through this text is like sitting at the feet of the masters listening to wisdom. Randy Starnes, Mike Most, Greg Creaser. these are the guys I call when I'm confused about concepts or need clarification, and this is my business! Greg makes a wicked barbecue as well." -- Lucas Wilson, ASSIMILATE, INC.



"As more of us shoot our own footage, we are also required to become our own colorists. The Art and Technique of Color Correction will help you develop the skills you need to master this essential art. Steve demystifies the technical art of color correction by patiently distilling the wisdom of eight professional colorists down to a skill set any dedicated editor or motion graphics artist can learn. Those new to the field will particularly appreciate how he introduces all of the technical and slang terms required while still speaking plain English." -- Chris Meyer, Founding Partner, CyberMotion; author- Creating Motion Graphics with After Effects, currently in its 4th Edition, After Effects Apprentice

"Steve Hullfish has written another down-to-earth analysis of digital color correction for video. It's great for editors who are tackling their first color grading job as well as those who do it every day, but want a deeper understanding of how to turn color correction into color enhancement. Not only does Steve give simple and clear explanations of the technical aspects, but he walks the reader through the steps that leading colorists use to apply their own artistic touch. And best of all, readers can try these approaches for themselves, using the very same sample clips. He goes past the 'how-to' so you also understand the 'why'. This book is a must-have for anyone involved in color correction for video." -- Oliver Peters, President and Founder, Oliver Peters Post Production Services, LLC

Acknowledgments ix
Introduction xi
PRIMARY COLOR CORRECTION
Tonal Range Primer
1(30)
Monitoring
4(7)
Video Monitor
4(1)
Viewing Environment
5(2)
Surround Environment: Interview with Randy Starnes
7(1)
Waveform Monitors and Vectorscopes
7(4)
Alternative Displays and Tools for Analysis
11(20)
First Things First: Black Level
11(10)
Setting Highlights
21(3)
Setting Gammas or Midtones
24(1)
Defining Contrast
25(4)
Practice Playing Gamma Against Highlights and Shadows
29(2)
Tonal-Correction Tools
31(32)
Main Tools for Tonal Corrections
31(1)
Sliders and Numerical Controls for Tonal Range
32(1)
Don't use Brightness or Contrast Controls
33(2)
Color's Primary In Room
35(3)
Avid Symphony and Color Finesse HSL Controls Tab
38(1)
Histograms or Levels
39(5)
Histograms
39(4)
Forms and Functions of Histograms
43(1)
Curves Tab
44(13)
S Curve Tip
45(2)
Curves Tutorial
47(6)
Isolating Tonal Ranges with Curves
53(4)
Luma Range Display
57(6)
Luma Range Editing
58(3)
Alternative to Luma Range
61(2)
Color Control Primer
63(28)
Balancing an Image
63(1)
Analyzing Color Casts
63(28)
Using Your Eyes
64(1)
Color and the Waveform
65(8)
Color and the Vectorscope
73(5)
Histograms
78(4)
Eyedropper
82(4)
Balancing Color with a Flat-Pass Waveform Monitor
86(3)
Color Contrast
89(2)
Color Control Tools
91(38)
Hue Offset Wheels or Color Balance Controls
91(4)
Hue Offsets with RGB Parade
95(6)
Saturation Controls
101(1)
Histograms
102(3)
Curves
105(7)
RGB Setup, Gamma, and Gain Sliders
112(11)
Channels
123(3)
Printer Lights
126(1)
Filters
126(2)
Conclusion
128(1)
SECONDARY COLOR CORRECTION
Secondary Color Correction Primer
129(34)
The Purpose of Secondary Correction
129(3)
Are You Qualified?
132(1)
Color Vector Isolation
133(15)
Isolating a Vector in Final Cut Pro
143(3)
Isolation Practice
146(2)
Spot Color Correction (Vignettes or Power Windows)
148(12)
Vignette
148(4)
Geographical Color Fix
152(4)
User-Defined Shapes
156(1)
Using Spot Color Correction to Relight
156(1)
Color Vector with Garbage Matte
157(3)
Color's Secondary Curves
160(2)
Secondaries Are Crucial
162(1)
Secondaries with the Pros
163(42)
Vignettes
164(12)
Vignetting the Ultralight Flyover Scene
166(4)
Vignetting the Kiss Me in the Dark Bedroom Scene
170(6)
Spot Color Correction
176(9)
Vignette to Create Day-for-Night Shot
177(8)
Vector and Luma Qualified Secondaries
185(6)
Secondary Corrections Can Focus Attention
191(4)
Using Secondaries to Match
195(6)
Using a Luma Key to Build Contrast
201(4)
PRO COLORISTS
Correcting Shots
205(50)
Three More Grades of the ``Banker's Light'' Scene
205(11)
Saving a Shot with Bad Color Cast
216(5)
Four Trips Down the ``Alley''
221(7)
Three Passes Over the Barn
228(11)
Building Up a Weak Piece of Video
239(3)
Using Many Tools to Fix a Shot
242(5)
Grading with Curves in Primary
247(8)
Telling the Story
255(32)
Color Changes the Story
258(6)
Talk like a Director of Photography
264(2)
The Story Is the Script
266(2)
Emphasize Elements to Further the Story
268(8)
Imposing a Story on the Boxer
276(9)
Conclusion
285(2)
Matching Shots
287(24)
Matching the Lions of the Art Institute
287(16)
Matching Scene to Scene
303(3)
Matching When Lighting Changes in a Scene
306(3)
Conclusion
309(2)
Creating Looks
311(50)
Enough is Enough
312(1)
Preset Looks
312(1)
Festa's PowerGrade Library Revealed
313(1)
Preset Looks in Apple's Color
314(1)
Film Processing Looks
314(3)
Skip Bleach or Bleach Bypass
317(4)
Match the Look
321(3)
Looks for Promos and Opens
324(11)
True Grit
335(9)
Graphic Looks
344(6)
Day-for-Night
350(11)
Miscellaneous Wisdom
361(8)
Starting Off
361(1)
Communicating with Clients
362(1)
Taking It to Extremes
363(1)
The Importance of Color Contrast
363(1)
Maintaining a Look
363(1)
Looking at Real Life for Inspiration
364(1)
Multitasking
364(1)
Smoke
365(1)
Keeping Butts in the Seats
365(1)
The Future of Color Correction
366(1)
Books of Note
367(1)
Conclusion
367(2)
Index 369
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.