Color Correction Look Book · Creative Grading Techniques for Film and Video by Van Hurkman, Alexis -- Read -- Imperial Library of Trantor

Index

Title Page Copyright Page Dedication Table of Contents Introduction

Special Thanks

A Note About Image Fidelity A Note About the Downloadable Content Chapter 1. Working with Looks

Developing a Project-Specific Color Vocabulary Splitting the Difference Managing Style Separately Saving a Library of Looks Protecting Skin Tones from Excessive Adjustments

Chapter 2. Bleach Bypass Looks

Simulating the Look

Chapter 3. Blue-Green Swap Chapter 4. Blurred and Colored Vignettes Chapter 5. Cross-Processing Simulation

Achieving the Cross-Processing Effect Using Curves Tips for Cross-Processed Looks

Chapter 6. Day-for-Night Treatments

The Look of Actual Night Creating an Exterior Day-for-Night Look An Interior Day-for-Night Look The Classic “Blue” Day-for-Night Look The Look of Underexposed Video

Chapter 7. Duotones and Tritones

Creating Duotones Using Color Balancing Creating Tritones Using HSL Qualification

Chapter 8. Emulating Film Stocks

Print Emulation LUTs Faking Film Emulation

Chapter 9. Film Looks Other Than Grading

Frame Rate and Shutter Speed Interlaced vs. Progressive Depth of Field

Chapter 10. Flat Looks and Film Flashing

Film Flashing Building Flat Looks

Chapter 11. Flattened Cartoon Color Chapter 12. Glows, Blooms, and Gauze Looks

Creating Glows Using HSL Qualification Creating Glows Using Matte Extraction Multilevel Glows Creating Glows Using Plug-Ins Aggressive Glows and Broadcast Safe Creating Gauzy Glows Using Superimposed Clips

Chapter 13. Grain, Noise, and Texture

What Is Digital Noise? What Is Film Grain? When Adding Grain and Noise Can Help Simulating Film Grain Compositing Actual Film Grain Composite Modes for Adding Grain Adding Texture to an Image Adding Texture and Grain Using Plug-Ins

Chapter 14. Greenscreen Compositing Grading Workflows

Pregrading Greenscreen Dailies Postgrading Final Composites

Chapter 15. Lens Flaring and Veiling Glare

Types of Flaring Adding Flaring Using Plug-Ins Faking Flaring Using Windows/Shapes Minimizing Flaring

Chapter 16. Light Leaks and Color Bleeds

Lighter “Diana Camera” Looks Heavier “Holga Camera” Looks Adding Light Leaks Using Composite Modes and Stock Clips

Chapter 17. Monitor and Screen Glow

Creating Monitor Glow

Chapter 18. Monochrome Looks

Simple Desaturation Manipulation of Black-and-White Photography Custom Monochrome Using a Channel or RGB Mixer Custom Monochrome Using Layered Operations Different Custom Monochrome Effects

Chapter 19. Sharpening

Sharpening to Add Grit Sharpen to Fix Soft Focus Sharpening in DaVinci Resolve Sharpening in Assimilate Scratch Sharpening in FilmLight Baselight Sharpening in Adobe SpeedGrade

Chapter 20. Tints and Color Washes

How Do Chromatic Lens Filters Work? Tinting and Toning for Film Artificial Tints and Color Washes Tinting with Composite Modes Creating a Color Matte for Tinting If Your Application Doesn’t Have One

Chapter 21. Undertones

Undertones Through Careful Grading Specific Undertones Using Curves Specific Undertones Using Log Controls or Five- and Nine-Way Color Controls Specific Undertones Using HSL Qualification

Chapter 22. Vibrance and Targeted Saturation

Vibrance Targeting High Saturation

Chapter 23. Vintage Film

Method 1: Faded Color Method 2: Distressed Dyes Method 3: Dramatic Black and White Method 4: Tinted Black-and-White Film Treatments In Conclusion

Index