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TitleThe art and technique of digital color correction
PublisherFocal Press/Elsevier
ISBN 139780240809908
CategoryArts - Film
File Size44.1 MB
Total Pages388
Document Text Contents
Page 2

The Art and Technique of Digital Color Correction

Page 194


CHAPTER 6 Secondaries with the Pros 179

“Now, what I’m going to do is an isolation appearance. This is some-
thing I like to do.” Pepperman creates a custom user shape for the next
vignette, defi ning one of the buildings. “What I’m doing is, I’m brighten-
ing the building to give it the appearance that the lights are on.” Pepper-
man creates this illusion by raising the highlights and crushing the blacks
inside the vignette. “I’m going to make sure that the blacks are deep, so it
doesn’t look like it’s got a spotlight on it. And the midrange might even



Fig. 6-20 (a) The fi rst
secondary correction.
Corrections were made
inside and outside the
qualifi ed area made by the
oval vignette. (b) The data
for the outside corrections
to the secondary,

Page 195

180 Spot Color Correction

help that. Now, that looks pretty good. Now I’m going to soften it. So I
like that.” See Fig. 6-21.

As his next step in the correction, Pepperman plans to bring up the
blacks on the building to the left and raise the highlights. “I’m going to use
the trackballs to clean up the blue and now I’ll soften it.” See Figure 6-22.
“And then I just want to do one more thing.” Pepperman creates a
custom shape in the middle of the frame and darkens it. “Now it doesn’t
look like it’s darker on the edges. You’ve got a darker feel in the middle too.”
See Figure 6-23.

“Now if I really wanted to, I could isolate the pumpkins and bring
them up. I don’t like the way they clip. I would brighten them back up
to where they’re clipping. Like they would in real life. Because when it’s
clipped like, that but it’s low, it just doesn’t look right. So if I brighten
the pumpkins up, this picture would say day-for-night much better. It
would simulate it much better.” As he blows out the pumpkin lights, the
shot looks much more realistic as day-for-night. “But you can start to see
the illumination or the halo around the building, so we need to tighten
that up.” See Figure 6-24.

Fig. 6-20 (Continued) (c) the data from the inside corrections to the secondary.


Page 387

372 Index

Power Curves, da Vinci, 105
Power Windows

da Vinci, 148, 164, 215, 220
sunrise creation, 176

PowerGrade, preset looks, 312–314
Practical lights, defi nition, 23
Premiere, 16
Primary color correction, defi nition,

Printer lights, 126
Promos, look creation, 324–327,


Q line, 115

color vector isolation
Avid symphony, 138–143
Final Cut Pro, 143–145
practice, 146–147
qualifi cation, 133–138

defi nition, 132
qualifi cations in secondaries, 133

Racked, original camera negative on

telecine, 62
Raster, defi nition, 129
Regional color differences, 64
Resetting, eyes, 74
RGB parade

color cast analysis, 65–73
defi nition, 9
highlight setting, 22
hue offsets, 95–101
image balancing, 94

RGB sliders, 112–113
Riesen, Randy, 177, 228–229, 242
R!OT, 164–165, 312
Ryan, Chris, 362

Sat, defi nition, 222

contrast effects, 281
controls, 101–102

Scene matching, 303–306
S Curve, tip, 45–47
Secondaries, see also Spot color

attention focusing, 191–194
changing uses, 200

color vector isolation
Avid symphony, 138–143
Final Cut Pro, 143–145
practice, 146–147
qualifi cation, 133–138

da Vinci comparison with Apple
Color, 169

defi nition, 131
importance, 162, 185
matching problems, 195–199
purpose, 129, 131
qualifi cations, 132, 133

Secondary color correction, see

SED, see Surface-conduction
electron-emitter display

Sepia tone, defi nition, 126

color balancing with fl at-pass
waveform monitor, 86–89

defi nition, 86
Shake, 16
Shaw, Kevin, 188
Shooters Post, 261, 298
Shot matching, see Matching shots
Silicon Color, 46, 210
Skin tone, the-I line as skin tone

reference, 94, 115
Skip bleach, see Bleach bypass
Sky, coloring, 154, 364
Sliga, Bob, 169, 200–204, 234, 236,

242–246, 293–297, 303–306,
317–320, 350–353, 364

Smoke, challenges, 365

color balance controls, 91
primary color correction controls,

printer lights, 126
secondary correction mode, 131

defi nition, 156
removal, 156–157

Spot color correction, see also

examples, 176–184
faking, 149
geographic color fi x, 152–155
Power Windows, 148, 164
rationale, 148
user-defi ned shapes, 156
vignettes, 148–151

Starnes, Randy, 7
Still store, applications, 290
Storytelling, colorist role, 255–285
Surface-conduction electron-emitter

display (SED), 16
Surround environment, Randy

Starnes interview, 7
“Survivor”, 324
Symphony, see Avid
Symphony Nitris, 46
Synthetic Aperture, Color Finesse

HDF, 47
Syringe, sampling large areas, 134

Tangent Devices

CP-100, 29
CP-200, 26, 29
CP200-BK trackball knob panel,

36, 75, 91–92

WFM700, 8
WVR7100, 8, 10, 12, 14, 115, 201

defi nition, 62
original camera negative racking,

prospects, 366

10 bit image, 32
Time, defi nition, 234
Tobacco, defi nition, 259
Tonal Range

color correction considerations,

defi nition, 4
Tonal Ranges, defi nition, 4–5
Trace, defi nition, 10
Tungsten, lighting, 5
Tunnel Post, 270
“24”, 176, 192, 257, 337

UI, see User interface
Under your fi ngers, defi nition, 44
User interface (UI), 87–88, 93, 117

Valid levels, defi nition, 2–3
Vanderpool, Charles, 192

defi nition, 1
isolation, see Color vector isolation

Page 388

Index 373

advantages and limitations, 7–8
color cast analysis, 73–77
defi nition, 9–10
the-I line as skin tone reference,

94, 115
Viewing environment, monitors,


defi nition, 132, 164

day-for-night shot creation,

Kiss Me in the Dark, 170–176

ultralight fl yover scene,

spot color correction, 148–151

War Tapes, 324
Waveform monitor

advantages and limitations, 7–8
color balancing with fl at-pass

waveform monitor, 86–89
color cast analysis, 65–73
defi nition, 7
reading, 12

Wood, Roland, 227

Xpress Pro, see Avid

YRGB parade

black level setting, 17–18
color cast analysis, 65
waveform monitor reading, 12,


Zebra pattern, superimposition,

Zone System, 78, 289, 293

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