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The art and technique of digital color correction / / Steve Hullfish
| The art and technique of digital color correction / / Steve Hullfish |
| Autore | Hullfish Steve |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | New York : , : Focal Press, , 2013 |
| Descrizione fisica | 1 online resource (527 p.) |
| Disciplina |
777
778.6/6 778.66 |
| Soggetto topico |
Color computer graphics
Color computer printers Color display systems Color photography - Digital techniques |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-138-45976-3
1-136-03962-7 1-283-97333-2 0-240-81716-8 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; 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
Sliders 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 Balancing 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 User-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 Saving 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 CHAPTER 10 Creating Looks |
| Record Nr. | UNINA-9910461274203321 |
Hullfish Steve
|
||
| New York : , : Focal Press, , 2013 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The art and technique of digital color correction / / Steve Hullfish
| The art and technique of digital color correction / / Steve Hullfish |
| Autore | Hullfish Steve |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | New York : , : Focal Press, , 2013 |
| Descrizione fisica | 1 online resource (527 p.) |
| Disciplina |
777
778.6/6 778.66 |
| Soggetto topico |
Color computer graphics
Color computer printers Color display systems Color photography - Digital techniques |
| ISBN |
1-138-45976-3
1-136-03962-7 1-283-97333-2 0-240-81716-8 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; 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
Sliders 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 Balancing 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 User-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 Saving 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 CHAPTER 10 Creating Looks |
| Record Nr. | UNINA-9910790145303321 |
|
Hullfish Steve
|
||
| New York : , : Focal Press, , 2013 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The art and technique of digital color correction / / Steve Hullfish
| The art and technique of digital color correction / / Steve Hullfish |
| Autore | Hullfish Steve |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | New York : , : Focal Press, , 2013 |
| Descrizione fisica | 1 online resource (527 p.) |
| Disciplina |
777
778.6/6 778.66 |
| Soggetto topico |
Color computer graphics
Color computer printers Color display systems Color photography - Digital techniques |
| ISBN |
1-138-45976-3
1-136-03962-7 1-283-97333-2 0-240-81716-8 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; 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
Sliders 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 Balancing 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 User-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 Saving 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 CHAPTER 10 Creating Looks |
| Record Nr. | UNINA-9910826229703321 |
|
Hullfish Steve
|
||
| New York : , : Focal Press, , 2013 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||