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Video Color Correction for Non-Linear Editors: A Step-by-Step Guide [Mīkstie vāki]

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  • Formāts: Paperback / softback, 196 pages, height x width: 234x176 mm, weight: 386 g
  • Izdošanas datums: 13-Jan-2003
  • Izdevniecība: Focal Press
  • ISBN-10: 0240805151
  • ISBN-13: 9780240805153
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  • Mīkstie vāki
  • Cena: 55,14 €*
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  • Formāts: Paperback / softback, 196 pages, height x width: 234x176 mm, weight: 386 g
  • Izdošanas datums: 13-Jan-2003
  • Izdevniecība: Focal Press
  • ISBN-10: 0240805151
  • ISBN-13: 9780240805153
Citas grāmatas par šo tēmu:
Today's non-linear editing systems are equipped with a wide range of color correction tools that were previously only available in dedicated color correction suites. This book shows video editors how to take full advantage of their power. Clear, step-by-step instructions are included for Avid XPress DV, Avid Symphony, Final Cut Pro, Adobe Premiere, and more. Beyond that, you'll learn the importance of "selling" the color correction you've achieved to clients, while making sure the client realizes the impact color correction gives the final product.

In addition to non-linear editing systems, there are now many plug-in applications for color correction. These plug-ins, including ColorFix, Composite Suite Color Correct, Vixen Pro, and Color Finesse, are covered in detail. There is ample information on how to work with the various video recording formats a client may present you, and the pros and cons of each. Rounding out the text are numerous hints, tips, common pitfalls, and tutorials for real-world practice. The CD contains images can practice color correction on; popular software tools, including trial versions of AfterEffects, Premiere, and various plug-ins; and QuickTime movies demonstrating color correction techniques. Lastly, ample reference material makes this an excellent resource.

*Take advantage of new color correction tools in Final Cut Pro, Adobe Premiere, Avid XPress DV, and plug-ins
*Includes a CD with tutorials and do-it-yourself color correction exercises
*Gain a colorist's point of view on when certain types of color correction should be used and tips for achieving specific looks

Papildus informācija

*Take advantage of new color correction tools in Final Cut Pro, Adobe Premiere, Avid XPress DV, and plug-ins *Includes a CD with tutorials and do-it-yourself color correction exercises *Gain a colorist's point of view on when certain types of color correction should be used and tips for achieving specific looks
Preface ix
Acknowledgments x
Getting Started
1(8)
The Basics of Color Correction
1(4)
The Colorist
5(1)
Setting Up Your Color-Correction Environment
5(2)
Summary
7(2)
The Video Signal
9(8)
Reading the Scopes
9(4)
The Waveform Monitor
9(1)
The Vectorscope
10(1)
The Parade Display
11(1)
The Histogram
12(1)
Video Standards
13(1)
NTSC
13(1)
PAL
13(1)
HDTV
14(1)
Video Systems
14(3)
Component Video
14(1)
Composite Video
15(1)
Analog Video
16(1)
Digital Video
16(1)
Videotape Recording Formats
17(10)
Analog Recording Formats
17(3)
1-Inch Type C
18(1)
8 mm
18(1)
Betacam
18(1)
Betacam SP
18(1)
Betamax
19(1)
Hi-8
19(1)
S-VHS
19(1)
U-Matic
20(1)
VHS
20(1)
Digital Recording Formats
20(7)
Betacam SX
21(1)
D-1
21(1)
D-2
21(1)
D-3
21(1)
D-5
22(1)
D-6
22(1)
D-7 (DVCPRO)
22(1)
DCT
23(1)
Digital Betacam
23(1)
Digital S (D-9)
23(1)
DV/DVC
23(1)
DVCAM
24(1)
DVCPRO 50
24(1)
Digital 8
24(1)
HDCAM
25(2)
The Color-Correction Tools
27(38)
Adobe Systems, Inc
27(9)
Adobe After Effects
27(6)
Adobe Premiere
33(3)
Apple Computer, Inc
36(8)
Final Cut Pro 3
36(8)
Avid Technology, Inc
44(7)
Avid|DS
45(3)
Avid Symphony
48(3)
Plug-In Applications
51(14)
3Prong
51(2)
Digital Film Tools
53(5)
In-Sync Corporation: ViXen
58(1)
Synthetic Aperture
59(6)
Types of Color Correction
65(10)
Basic Video Levels
66(3)
The Hue Control
66(1)
The Saturation Control
67(1)
The Lift Control
67(1)
The Gain Control
68(1)
Primary Color Correction
69(1)
Secondary Color Correction
69(2)
Adjustable Curves
71(2)
The Knee Control
73(1)
Area Isolation
73(2)
Seven Sample Scenarios and Operational Tips
75(20)
Seven Sample Scenarios
75(10)
A Beer Commercial
76(1)
An Airline Commercial
77(2)
A Supermarket Commercial
79(1)
A Car Commercial
80(1)
A Scandinavian Floor Commercial
81(1)
A Documentary
82(2)
A Music Video
84(1)
Hints and Tips
85(3)
Selective Color-Correction Effects
85(1)
A Difficult Color Isolation
85(1)
Color Isolations from Compressed Video Material
85(1)
Matching Colors from a Product Provided by the Client
86(1)
Matching Colors Based on a Reference Tape
86(1)
Information Backups
86(1)
Setting Up Your Monitor
87(1)
The Client
88(2)
Working with Multiple Clients
89(1)
When to Use Which Type of Color Correction
90(2)
Lighting Problems
90(2)
Frequent ``Traps'' Colorists Find Themselves In
92(1)
Color Correcting with an Uncalibrated Monitor
92(1)
Overuse of the Secondary Color Corrector
93(1)
Color Adaptation
93(1)
Tips for Scene-by-Scene Color Matching
93(2)
Tutorials
95(44)
Primary Color Correction
95(3)
Selective Color Correction
98(2)
Creating a Color Gradation
100(2)
Creating a Knee Correction
102(2)
A Defocused Halo Effect
104(3)
Creating a Night Scope Color Effect
107(2)
Using Adjustable Curves
109(3)
Creating a Secondary Color Correction
112(3)
Adjusting Image Levels Using the Histogram
115(3)
Changing Color Using the Eye Dropper
118(2)
Creating a Dual-Tone Effect
120(2)
Instantly Creating a Warm or Cool Look
122(2)
Creating a Black and White Image with One Color Remaining
124(2)
Color Correcting Only the Image Highlights
126(3)
Creating a Sepia Tone Color Correction
129(2)
Creating a Color Vignette Around an Image
131(3)
Making Multiple Color Gradations
134(5)
Appendix A: Additional Resources 139(2)
Appendix B: World Television Standards 141(3)
Appendix C: Color Temperature Chart 144(1)
Appendix D: Video Recording Format Chart 145(2)
Glossary 147(38)
Index 185


Stuart Blake Jones has over twenty years of experience as a senior telecine colorist. He is a consultant and instructor in the US and Europe and demonstrates color correction equipment at trade shows. He is also an expert on telecine and is the author of Film into Video, second edition, also published by Focal Press.