Blake Jones Stuart. Video Color Correction for Nonlinear Editors

Focal Press, 2006. — 209 p.Getting Started
The Basics of Color Correction
The Colorist
Setting Up Your Color-Correction EnvironmentThe Video Signal
Reading the Scopes
The Waveform Monitor
The Vectorscope
The Parade Display
The Histogram
Video Standards
NTSC
PAL
HDTV
Video Systems
Component Video
Composite Video
Analog Video
Digital Video
Videotape Recording Formats
Analog Recording Formats
1-Inch Type C
8mm
Betacam
Betacam SP
Betamax
Hi-8
S-VHS
U-Matic
VHS
Digital Recording Formats
Betacam SX
D-1
D-2
D-3
D-5
D-6
D-7 (DVCPRO)
DCT
Digital Betacam
Digital S (D-9)
DV/DVC
DVCAM
DVCPRO 50
Digital 8
HDCAM
4 The Color-Correction Tools
Adobe Systems, Inc.
Adobe After Effects
Adobe Premiere
Apple Computer, Inc.
Final Cut Pro 3
Avid Technology, Inc.
Avid|DS
Avid Symphony
Plug-In Applications
3Prong
Digital Film Tools
vi Video Color Correction for Nonlinear Editors
In-Sync Corporation: ViXen
Synthetic Aperture
Types of Color Correction
Basic Video Levels
The Hue Control
The Saturation Control
The Lift Control
The Gain Control
Primary Color Correction
Secondary Color Correction
Adjustable Curves
The Knee Control
Area Isolation
Seven Sample Scenarios and Operational Tips
Seven Sample Scenarios
A Beer Commercial
An Airline Commercial
A Supermarket Commercial
A Car Commercial
A Scandinavian Floor Commercial
A Documentary
A Music Video
Hints and Tips
Selective Color-Correction Effects
A Difficult Color Isolation
Color Isolations from Compressed Video
Material
Matching Colors from a Product Provided
by the Client
Matching Colors Based on a Reference Tape
Information Backups
Setting Up Your Monitor
The Client
Working with Multiple Clients
When to Use Which Type of Color Correction
Lighting Problems
Frequent “Traps” Colorists Find Themselves In
Color Correcting with an Uncalibrated
Monitor
Overuse of the Secondary Color Corrector
Color Adaptation
Tips for Scene-by-Scene Color Matching
Tutorials
Primary Color Correction
Selective Color Correction
Creating a Color Gradation
Creating a Knee Correction
A Defocused Halo Effect
Creating a Night Scope Color Effect
Using Adjustable Curves
Creating a Secondary Color Correction
Adjusting Image Levels Using the Histogram
Changing Color Using the Eye Dropper
Creating a Dual-Tone Effect
Instantly Creating a Warm or Cool Look
Creating a Black and White Image with One
Color Remaining
Color Correcting Only the Image Highlights
Creating a Sepia Tone Color Correction
Creating a Color Vignette Around an Image
Making Multiple Color Gradations
Appendix A: Additional Resources
Appendix B: World Television Standards
Appendix C: Color Temperature Chart
Appendix D: Video Recording Format Chart