Video Color Correction for Non-Linear Editors

Table of contents

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