LEADER 01247nam--2200397---450- 001 990001102990203316 005 20091022114123.0 010 $a88-89224-14-2 035 $a000110299 035 $aUSA01000110299 035 $a(ALEPH)000110299USA01 035 $a000110299 100 $a20021115d2004----km-y0itay50------ba 101 0 $aita 102 $aIT 105 $aa|||z|||001yy 200 1 $aMio padre era un emigrante$easpetti e vicende dell'emigrazione in Sicilia$fFrancesco Pillitteri 210 $aPalermo$cKalós$d2004 215 $a143 p.$cill.$d21 cm 225 2 $a<> rettangoli di Kalós 410 0$12001$a<> rettangoli di Kalós 606 0 $aEmigrati siciliani$2BNCF 676 $a304.809458 700 1$aPILLITTERI,$bFrancesco$0329076 801 0$aIT$bsalbc$gISBD 912 $a990001102990203316 951 $aX.3.B. 5465$b2634 L.G.$cX.3.B.$d00228087 959 $aBK 969 $aUMA 979 $aMARIA$b10$c20021115$lUSA01$h1140 979 $aPATRY$b90$c20040406$lUSA01$h1716 979 $aANNAMARIA$b90$c20090826$lUSA01$h0910 979 $aALESSANDRA$b90$c20091022$lUSA01$h1141 979 $aALESSANDRA$b90$c20091022$lUSA01$h1141 996 $aMio padre era un emigrante$9977672 997 $aUNISA LEADER 05565oam 2200757I 450 001 9910461274203321 005 20210729131504.0 010 $a1-138-45976-3 010 $a1-136-03962-7 010 $a1-283-97333-2 010 $a0-240-81716-8 024 7 $a10.4324/9780240817163 035 $a(CKB)2670000000172224 035 $a(EBL)892224 035 $a(OCoLC)793510892 035 $a(SSID)ssj0000654408 035 $a(PQKBManifestationID)11349383 035 $a(PQKBTitleCode)TC0000654408 035 $a(PQKBWorkID)10660408 035 $a(PQKB)10806931 035 $a(OCoLC)794489039 035 $a(MiAaPQ)EBC892224 035 $a(CaSebORM)9780240817156 035 $a(OCoLC)893689139 035 $a(EXLCZ)992670000000172224 100 $a20180706e20132012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe art and technique of digital color correction /$fSteve Hullfish 205 $a2nd ed. 210 1$aNew York :$cFocal Press,$d2013. 215 $a1 online resource (527 p.) 300 $aFirst published in 2012. 311 $a1-136-03961-9 311 $a0-240-81715-X 320 $aIncludes bibliographical references and index. 327 $aCover; The Art and Technique of Digital Color Correction; Copyright; Contents; Acknowledgments; Using this Book and the DVD Materials; CHAPTER 1 Primary Color Correction: Tonal Range Primer; Monitoring; Video Monitor; Viewing Environment; Waveform and Vectorscope Displays; Alternative Displays and Tools for Analysis; First Things First: Black Level; Reading the Waveform Monitor; Setting the Black Level; Setting Highlights; Setting Gamma or Midtones; Defining Contrast; CHAPTER 2 Primary Color Correction: Tonal Correction Tools; Main Tools for Tonal Corrections 327 $aSliders and Numerical Controls for Tonal RangeDon't Use Brightness or Contrast Controls; DaVinci Resolve; Color Primary In Room; The Avid Symphony and Color Finesse HSL Control Tab; Histograms or Levels; Forms and Functions of Histograms; Curves Tab; Curves Tutorial; Isolating Tonal Ranges with Curves; Luma Range Display; Luma Range Editing; Alternative to Luma Range; CHAPTER 3 Primary Color Correction: Color Control Primer; Balancing the Image; Analyzing Color Casts; Using Your Eyes; Color and the Waveform; Color and the Vectorscope; Histograms; Eyedropper 327 $aBalancing Color with a Flat Pass Waveform MonitorColor Contrast; CHAPTER 4 Primary Color Correction: Color Manipulation Tools; Color Wheels; Color Wheels and Trackballs with RGB Parade; Saturation Controls; Histograms; Curves; RGB Lift, Gamma, and Gain Sliders; Channels or Channel Mixers; Printer Lights; Filters; Additional Tools; CHAPTER 5 Secondary Color Correction Primer; The Purpose of Secondary Correction; Are You Qualified?; Color Vector Isolation; Isolating a Vector in DaVinci Resolve; Spot Color Correction (Vignettes or Power Windows); The Vignette; Geographical Color Fix 327 $aUser-Defined ShapesUsing Spot Color Correction to Relight; Color Vector with Window or Vignette; Secondaries Are Crucial; CHAPTER 6 Secondaries with the Pros; Vignettes; Vignetting the Ultralight Flyover Scene; Vignetting the "Kiss" Bedroom Scene; Vignette to Create Day-for-Night; Vector and Luma Qualified Secondaries; Secondary Corrections Can Focus Attention; Using Secondaries to Match; Using a Luma Key to Build Contrast; Use a Secondary to Soften Skin Tones; Multiple Windows and Masks; Creating Depth and Texture; CHAPTER 7 Correcting Shots; Four More Grades of the "Banker's Light" Scene 327 $aSaving a Shot with Bad Color CastFour Trips Down the "Alley"; Three Passes Over the Barn; Building Up a Weak Piece of Video; Using Many Tools to Fix a Shot; Grading with Curves in Primary; Broadening the Color Palette; CHAPTER 8 Telling the Story; Color Changes the Story; Talk Like a DP; The Story Is the Script; Emphasize Elements to Further the Story; Imposing Story on the Boxer; Story Epilogue; CHAPTER 9 Matching Shots; Matching the Lions of the Art Institute; Matching Scene to Scene; Matching When Lighting Changes in a Scene; Matching AND Saving!; Matching Conclusion 327 $aCHAPTER 10 Creating Looks 330 $aThe 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 606 $aColor computer graphics 606 $aColor computer printers 606 $aColor display systems 606 $aColor photography$xDigital techniques 608 $aElectronic books. 615 0$aColor computer graphics. 615 0$aColor computer printers. 615 0$aColor display systems. 615 0$aColor photography$xDigital techniques. 676 $a777 676 $a778.6/6 676 $a778.66 700 $aHullfish$b Steve.$0934250 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910461274203321 996 $aThe art and technique of digital color correction$92103254 997 $aUNINA LEADER 00981nam a22002531i 4500 001 991002368889707536 005 20030702080626.0 008 030925suuuu it |||||||||||||||||ita 035 $ab12279109-39ule_inst 035 $aARCHE-032667$9ExL 040 $aBiblioteca Interfacoltà$bita$cA.t.i. Arché s.c.r.l. 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