2007
Ripple Training
Andrew Balis
06:36:44
English
Color grading is an umbrella term used to describe the finishing stage of a film or video. It is during this stage that a colorist works his or her magic to create visual continuity from shot to shot, fix or adjust exposure problems encountered during the shoot, and shape the overall look or mood of a film (which is often in collaboration with the Director of Photography). Until recently, professional color grading has been the domain of powerful but inflexible hardware based systems costing hundreds of thousands of dollars.
Color Grading is therefore a potentially huge subject that makes Color Grading in Color our most ambitious tutorial to date. With a running time of just under 7 hours, our goal is give you the complete picture of the color grading process from start to finish. Whether you are a Final Cut Pro editor who is new to the color grading process or an experienced colorist coming from another grading system, this tutorial will get you up to speed in Color in 12 comprehensive lessons.
For this tutorial we’ve invited Cinematographer, editor and trainer Andrew Balis, the author of our best-selling "Color Correction in Final Cut Pro ", to return to the microphone to teach color grading in Color from his unique perspective as a DP.
Table of Contents
Working in Color
- Getting into Color
- Room Workflow
- Color's Windows
- Mouse Control
- Basic Setup
- Broadcast Safe Settings
- External Monitoring
- Setting up a Monitor
- Setting the Processing Quality
- Navigating and Playback
- Saving and Quitting
The Video Scopes
- The Waveform Monitor
- The Luma View
- Broadcast Safe Levels
- How to Read the Waveform Display
- Analyzing Part of the Frame
- RGB Parade
- The Vectorscope
- The Color Wheel Model
- Skin Color and the Vectorscope
- The 3D Scopes
- Preview Image Options
- Other Waveform Displays
- Histogram
- Accuracy of Color's Scopes
Primary Contrast Adjustments
- Primary Color Correction Workflow
- Targeted Controls
- Overlapping Controls
- Limit Shadow Adjustments
- Master Contrast Controls
- Primary Contrast Adjustments
- Contrast Readouts
- Creating Different Looks
- Viewing Before/After
- Contrast and Saturation
- Creating High Contrast Looks
- Working with Multiple Grades
- Correcting Overexposure
- Correcting Underexposure
Primary Color Balancing
- Color Balancing Workflow
- Working with the Balance Wheels
- Hue and Saturation Sliders
- Fixing Color Balance Problems
- Color and Brightness
- Color Balance and Color Temperature
- Re-balancing Contrast and Color
- Correcting a Green Cast from Fluorescent's
- Using Color for Mood
- Stylized Color Tints
- Additional Balancing Options
Secondary Color Correction - Vignettes
- Overview of the Secondaries Room
- Making Overall Corrections
- Vignettes
- Grad Filter Effects
- Tips for Successful Vignette Effects
- Working with Multiple Secondaries
- Creating Custom Shapes
Secondary Color Correction - HSL Keys
- Changing a Sky Color
- Modifying Selections
- Tips for Successful Keys
- Color Spaces
- Creating One Color Looks
- Using a Vignette and HSL Key Together
Curves Controls
- Primary In Room Curves
- Luma Curve Adjustments
- RGB Curve Adjustments
- Secondaries Room Curves
- Working with Hue, Sat and Luma Curves
The Color FX Room
- Working with Presets
- Working with a Node Tree
- Customizing a Node Tree
- Resetting the Room
- Creating Looks from Scratch
- Saving Custom Looks
- Working with Interlaced Video
Animating Effects
- Animating from Black and White to Color
- Working with Keyframes
- Deleting Keyframes
- Keyframing Color Balance
- Animating a Secondary
- Working with Keyframes in Different Rooms
- Pan and Scan Effects
- Motion Tracking
- Working with Manual Trackers
Scene-To-Scene Color Correction
- The Still Store
- Copying Corrections by Dragging
- Copying Grades by Dragging
- Copy To Controls
- Grade Memory Banks
- Managing Shots in the Shot Browser
- Grouping Shots
- Applying Corrections/Grades to Groups
- Saving Corrections
- Saving Grades
Working with a Control Surface
- Navigation and Playback
- Contrast and Color Balance Controls
- Resetting Controls
- Grading During Playback
- Other Options
Setup Through Output
- Workflow Overview
- Setting up the Final Cut Pro Timeline
- Handling Effects Between Final Cut Pro and Color
- Options for Getting Into Color
- Re-Conforming and Editing in Color
- Checklists for Output
- Choosing an Export Format
- Setting the Render Directory
- Rendering the Final Media
- Outputting Back to Final Cut Pro
- Using Color's Directory Navigation
- Locating Color Support Files
- Working with Display LUTs
- Saving, Auto-Saving and Archiving
System Requirements
- MAC G5 or better
- MacOS X
- 8x or faster DVD ROM drive
- 512 megabytes or more of RAM
- QuickTime 7.0 or above
- Monitor Depth - Millions
- 1600 x 1000 screen size or better
http://www.rippletraining.com/color_promo.html
Download File Size:4.49 GB
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