| Acknowledgments | | ix | |
| Introduction | | xi | |
| |
| | 1 | |
| | 4 | |
| | 4 | |
| | 5 | |
| Surround Environment: Interview with Randy Starnes |
| | 7 | |
| Waveform Monitors and Vectorscopes |
| | 7 | |
| Alternative Displays and Tools for Analysis |
| | 11 | |
| First Things First: Black Level |
| | 11 | |
| | 21 | |
| Setting Gammas or Midtones |
| | 24 | |
| | 25 | |
| Practice Playing Gamma Against Highlights and Shadows |
| | 29 | |
| | 31 | |
| Main Tools for Tonal Corrections |
| | 31 | |
| Sliders and Numerical Controls for Tonal Range |
| | 32 | |
| Don't use Brightness or Contrast Controls |
| | 33 | |
| | 35 | |
| Avid Symphony and Color Finesse HSL Controls Tab |
| | 38 | |
| | 39 | |
| | 39 | |
| Forms and Functions of Histograms |
| | 43 | |
| | 44 | |
| | 45 | |
| | 47 | |
| Isolating Tonal Ranges with Curves |
| | 53 | |
| | 57 | |
| | 58 | |
| Alternative to Luma Range |
| | 61 | |
| | 63 | |
| | 63 | |
| | 63 | |
| | 64 | |
| | 65 | |
| Color and the Vectorscope |
| | 73 | |
| | 78 | |
| | 82 | |
| Balancing Color with a Flat-Pass Waveform Monitor |
| | 86 | |
| | 89 | |
| | 91 | |
| Hue Offset Wheels or Color Balance Controls |
| | 91 | |
| Hue Offsets with RGB Parade |
| | 95 | |
| | 101 | |
| | 102 | |
| | 105 | |
| RGB Setup, Gamma, and Gain Sliders |
| | 112 | |
| | 123 | |
| | 126 | |
| | 126 | |
| | 128 | |
| SECONDARY COLOR CORRECTION |
| |
| Secondary Color Correction Primer |
| | 129 | |
| The Purpose of Secondary Correction |
| | 129 | |
| | 132 | |
| | 133 | |
| Isolating a Vector in Final Cut Pro |
| | 143 | |
| | 146 | |
| Spot Color Correction (Vignettes or Power Windows) |
| | 148 | |
| | 148 | |
| | 152 | |
| | 156 | |
| Using Spot Color Correction to Relight |
| | 156 | |
| Color Vector with Garbage Matte |
| | 157 | |
| | 160 | |
| | 162 | |
| Secondaries with the Pros |
| | 163 | |
| | 164 | |
| Vignetting the Ultralight Flyover Scene |
| | 166 | |
| Vignetting the Kiss Me in the Dark Bedroom Scene |
| | 170 | |
| | 176 | |
| Vignette to Create Day-for-Night Shot |
| | 177 | |
| Vector and Luma Qualified Secondaries |
| | 185 | |
| Secondary Corrections Can Focus Attention |
| | 191 | |
| Using Secondaries to Match |
| | 195 | |
| Using a Luma Key to Build Contrast |
| | 201 | |
| |
| | 205 | |
| Three More Grades of the ``Banker's Light'' Scene |
| | 205 | |
| Saving a Shot with Bad Color Cast |
| | 216 | |
| Four Trips Down the ``Alley'' |
| | 221 | |
| Three Passes Over the Barn |
| | 228 | |
| Building Up a Weak Piece of Video |
| | 239 | |
| Using Many Tools to Fix a Shot |
| | 242 | |
| Grading with Curves in Primary |
| | 247 | |
| | 255 | |
| | 258 | |
| Talk like a Director of Photography |
| | 264 | |
| | 266 | |
| Emphasize Elements to Further the Story |
| | 268 | |
| Imposing a Story on the Boxer |
| | 276 | |
| | 285 | |
| | 287 | |
| Matching the Lions of the Art Institute |
| | 287 | |
| | 303 | |
| Matching When Lighting Changes in a Scene |
| | 306 | |
| | 309 | |
| | 311 | |
| | 312 | |
| | 312 | |
| Festa's PowerGrade Library Revealed |
| | 313 | |
| Preset Looks in Apple's Color |
| | 314 | |
| | 314 | |
| Skip Bleach or Bleach Bypass |
| | 317 | |
| | 321 | |
| Looks for Promos and Opens |
| | 324 | |
| | 335 | |
| | 344 | |
| | 350 | |
| | 361 | |
| | 361 | |
| Communicating with Clients |
| | 362 | |
| | 363 | |
| The Importance of Color Contrast |
| | 363 | |
| | 363 | |
| Looking at Real Life for Inspiration |
| | 364 | |
| | 364 | |
| | 365 | |
| Keeping Butts in the Seats |
| | 365 | |
| The Future of Color Correction |
| | 366 | |
| | 367 | |
| | 367 | |
| Index | | 369 | |
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