The Art and Technique of Digital Color Correction
Steve Hullfish
Language: English
Pages: 526
ISBN: 024081715X
Format: PDF / Kindle (mobi) / ePub
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
Histoire du cinéma français (3e édition)
Writers in Hollywood 1915-1951
Star: The Life and Wild Times of Warren Beatty
Hollywood's Copyright Wars: From Edison to the Internet (Film and Culture)
to describe the midtones or midrange tones of a picture. Gamma can also refer to the curve or steepness of the transition from black to white. These are similar definitions in a way, because by altering the gamma, or midrange, of a picture, the curve or transition from shadow to highlight is also affected. Directors of photography usually refer to gamma as meaning the response curve from black to white instead of meaning the midtones specifically. Fig. 2-5 Tangent Devices CP200-BK trackball knob
exercise to see the way your carefully honed images look “at home.” Try to keep your home TV sets set up properly so that you’re always watching the broadcast images as close to the way the colorist intended them. Also, study print advertisements. Though these advertisements often have images that are hard or impossible to replicate on video, you can learn valuable techniques by studying the way print advertisements are retouched (retouchers are the print equivalent of colorists). Since print
built-in scopes (Fig. 4-2a). a b Fig. 4-2 93 94 Hue Offset Wheels or Color Balance Controls When you’re using the hue offset wheels and judging images with the RGB parade waveform display and video monitor, you have to be able to figure out what portion of an image is really white or black. In our example, the black piano keys to the right are very obvious and balancing the black portion of the picture so that all three channels are even across the bottom (i.e., balanced) was relatively
correction raised red, lowered green, and blue stayed the same. CHAPTER 4 Color Control Tools a b Fig. 4-16 This correction raised red and lowered green and blue equally. Saturation Controls Before we discuss some of the other tools for making color corrections that are available in some of the color correction applications and plugins, we have to discuss saturation controls. Any good color correction application should have the ability to control saturation in the highlights, shadows, and
that the grass is being protected from the midtone correction by the spot correction). I pulled the highlights, essentially the clouds, away from blue so that the clouds would be more cleanly balanced toward white. See Figure 5-25(c). The result is something that could not be executed in a primary color correction, which is apparent when you see the wildly different corrections that went into the top and bottom of the image. See Figure 5-25(d). CHAPTER 5 Secondary Color Correction Primer 155