刚刚结束了5天的调色培训课程,笔记供大家参考。

Cosmo.Z

来自: Cosmo.Z 2011-02-19 12:41:35

×
加入小组后即可参加投票
  • Cosmo.Z

    Cosmo.Z 2011-02-19 12:42:59

    Colorist Theories:

    What is color?

    *Physical: What we actually see
    What the camera sees
    *Psychological: What we think we see
    *Cultural: What we are taught to see (Skin tone, etc)

    Cameras see and capture more of the electromagnetic spectrum than we do , and they capture it literally.
    The human eye brain interprets the information from the eye, and the colorist interprets the information from the camera.

    Visual Response

    1666 Sir Isaac Newton identifies the components of white light.
    Richard of York Gained Battles in Vain.
    Nobody really knows why he catalogued Indigo.
    But it helped his analogy of colors represented by notes in a musical scale.

    So What Color is it?

    Red-Orange-Yellow-Green-Cyan-Blue-Violet

    Depends on color of the light source
    Depends on surface reflection and absorption of the object
    Depends on the sensitivity of the eye

    Colors do not have clear definitions

    The lens of the eye restricts low frequencies (Blue) light and the atmosphere scatters blue light

    Magenta is not a single frequency.
    It is a compound of red and blue light.
    Yet we see it as a single color.

    Don't discuss with the client about the physical color. Talk about the feeling and emotion.
    The brain is not allowing us the see physical color. We need to manipulate how people interpret color.

    How Do we see Color?

    We need light to see.
    Objects can obstruct, absorb or reflect light.
    The eye deciphers the light as colors.

    White Red
    Sun--------------Apple-------------------Eye
    Reflect red See Red
    Absorb blue and green


    Does light change color?

    Not all light is white.
    If the source light is filtered, the reflected light is also filterd.

    Color temperature of Light:

    The "whiteness" of light is defined by its color temperature and measured in degree Kelvin (K)
    In theory a "black body" emits no light.
    Heating this black body, adds energy, and creates light.
    The heat in Kelvin defines the color of the black body.
    Heating an iron bar makes it red hot…then yellow…then blue.
    Color Temperature is a simple way to define the color white daylight

    1000K-----Red
    5500k----- Sun light, Cinema Projection standard (D55)
    6500k------Daylight, TV standard. (D65)
    6500k------Skylight. Hazy sky.
    11000K-------Blue

    Color Temperature of Light

    The D55 and D65 curves are useful for us because they display a flatter responser than other ranges.
    Remember the sensitivity of the eye is different to that of a camera
    changing the camera white balance alters the expected color temperature. This will have the reverse effect on the image!
    If a scene has a color temperature of 5500 and the camera is set to 6500k, the image will appear warmer as if it were shot nearer sunset.
    What color tools could achieve this?

    < 4000k Sunset Sky+ Sunlight
    =5500k noon Sunlight
    6500K noon Daylight

    Fluorescent Light

    Fluorescent lamps have irregular spectral distribution
    The illumination has frequency spikes.
    What color tools would correct these?

    Impression - Visual Response

    The Retina consists of Rods (Black and white) and Cones (Red Green Blue)
    About 8% of men, but less than 1% of women have genet color blindness
    Red and Green cones overlap more than blue. This minimizes chromatic aberration and increases acuity.

    Red-blind persons are unable to distinguish between red and green,
    Blue-blind persons cannot distinguish between blue and yellow,
    Green-blind persons are unable to see the green part of the spectrum.

    We see less red at night. Blue will fall out less.
    Our eyes are attracted by motion. Then the contrast and color.
    Our eyes are attracted by Red>Yellow…..

    The dark corner is more for television, because it helps to focus on the center.
    But it is not necessary for cinema. Because it is much bigger screen and you don't need to help your audience to focus.

    CIE Chromacity Chart

    Plotting the visible spectrum graphically shows all colors visible to humans.
    RGB systems such as monitors cannot reproduce all of the possible colors.

    Other color Models

    CMYK used for printing
    YUV used for television
    XYZ is a theoretical "Maximum" space

    Lab color gamut > RGB color gamut > CMYK color gamut

    REC709

    sRGB------computer standard


    RGB color

    Red Green and blue is our first color space model
    RGB systems include the eye, film, lighting, monitors, and telecines
    RGB systems use additive color theory (R+G+B=white light)
    Colorists refer to RGB controls as primaXXXX

    Lab Color model

    Defines visible colors as Hue, Saturation and Luminance
    Colorists call HSL tools "Secondary"
    There are no blue - yellows or red- greens

    Not all hues has equal in saturations.

    Munsell Color Model

    The perfect color sphere is untrue
    Hue is related to luminance
    There are no dark yellows!

    Orange and teal is the most signifiant contract.

    Different colors have different characteristic. But the color correcting tools treated all the color equally.

    Color are related to luminance
    Actual color do not fit a regular sphere- Munsell described them as a tree.
    There are no dark yellows.

    (Munsell color tree, Munsell color system)
    (Miholta 3D system)

    The Red and canon is different because the red capture more amount of information of the colors.

    Physical Effects

    At low light levels blue and green objects appear brighter (Purkinje Shift)
    Rods are dominant so saturation is down too
    (Useful for "Day for night")
    Chromatic aberration causes different wavelengths to be focused at different planes within the eye
    That means blues recede and red advance
    Blue is good for backgrounds
    Color Adaption
    The eye becomes saturated and sees an after image
    The eye compensates to find a neutral color balance
    Colorist needs to do job fast, or the eyes will adjust itself and make thins go wrong.
    You need to use only one preference through out the work.

    Color perception

    Hue, Saturation and luminance are all interactive with each other.
    Hue, Saturation and luminance are relative to content and lighting

  • Cosmo.Z

    Cosmo.Z 2011-02-19 12:43:43

    Color is Relative

    Color perception depends on context
    Image composition affects perception
    adjacent colors affect perception (color contrast)

    There are 7 types of color contrast to consider

    contrast of hue
    Differentiation of Hue
    At least 3 colors
    Black heightens hues
    Examples are
    Children's art
    reversal film
    mondrian

    Contrast of light and Dark

    Luminance Contrast
    Light advances from dark
    Fewer hues enhance the effect
    Shadows take longer to read
    Vignettes!

    Contrast of Cold and Warm
    Warm advanced from cold
    skin tones stand out
    red stimulates adrenalin
    blue haze looks far away
    The color of warm is also relative
    Orange is the warmest color
    it is most luminant
    it is most saturated
    Blue is the coolest color
    it is dark
    it has low saturation

    Complementary Contrast
    Colors are most vibrant against their complimentary hue
    complimentaries are opposite sides of a vectorscope
    adds balance to an image
    will also be contrast of cold and warm


    Simultaneous Contrast
    If the complimentary is missing the eye compensates
    we see colors that are not there!
    clouds appear yellow against blue
    blacks appear blue against sepia

    The ambient light conditions change our perception

    Contrast of Saturation
    Saturation stands out against saturated areas
    reducing chroma in everything else is as effective

    Contrast of extension
    ratio of colors to create harmony or balance
    violet=9
    Blue=8
    Red=Green=6
    Orange=4
    Yellow=3 (Maximum purity)

    Perception
    What we think we see.

    Resolution:

    What's resolution?
    *Pixels Picture detail
    *Bit Depth Color depth
    *Dynamic Range realism

    Film has bigger dynamic range than the digital videos.


    Why size matters?

    2K is a quarter of 4K,
    The difference between 2K and HD is not so great.
    Horizontally, but not vertically.
    And the SD is very small.

    The more resolution, the file is going to be bigger, and it contains more infomations.

    What 's resolution?

    *pixel = an abbreviation of "picture elements"
    *Resolution = pixel in a single horizotal scan line
    *Definition/Format = lines in a video frame = vertical pixels in a data

    Benefits of Higher Resolution

    Higher resolution, you gets much more details and infomation.
    And higher resolution, the better compress result you will get.

    Colorist always want to get a full resolution of the project.

    Compress is different kind. one is lost, the other is lostless.
    For the lostless, when you compress it, the size is becoming smaller, but you don't lose the information.

    You need to know where is it come from.
    2K image scan from a 4K head is more fantastic than 2K scan with 2K head.
    2K image scan from a 4K head is almost the same as 4K from 4K head.

    What is Bit Depth:

    Bit = "Binary DigIT". A single element (1 or 0) of digital information
    Bit depth = Color resolution. The number of available colors
    One bit = either black (0) or white (1)
    Two Bits =(00 to 11) displays 4 colors 2*2
    8 bits = 2*2*2*2*2*2*2*2m seeb as 256 digital steps


    How many colors?

    10 bits= 4 times 8 bit, 1024 grays or 1 Billion colors
    14 bits= 16 times 10 bit, 16384 grays or 4 TRILLION colors

    Video is 8 or 10 bit.
    Film is analog, but estimated as 12~14 bit
    color correctors should be 16 bit or more

    Are all bits equal?
    No...interger processing is destructive
    ...floating point is not


    Contrast

    Original Scene Negative Print density projection Television
    8000:1 30:1 2000:1 200:1 20:1


    Dynamic Range:

    Bit Depth represents the number of digital steps available
    Dynamic Range represents the distance between the first and last step
    Data has a greater dynamic range than video

    Film - 10 stops usable
    Video - 7 stops usable

    Effect of Dynamic range

    At normal exposure all cameras perform well
    At +2 stops exposure the 10 bit linear YUV HD camera cannot capture highlights
    At +4 stops exposure the 10 bit log RGB electronic camera suffers from poor saturation and the HD camera fails to record lighter colors accurately.

    Linear Bit Depth for Video

    Linear = equidistant steps
    - If dynamic range is fixed (as in Video)
    - more bits = smaller (smoother) steps

    Not to Scale: Remember, 10 bit images have 4 times as many steps as 8 bit images.

    Liner Bit Depth for data

    The dynamic range of video is less than that of digital film
    Colorists are skilled at grading the film range to suit the smaller video range
    When the video range is recorded within the wider data range it appears flat on a data monitor, but correct on a video monitor. This is sometimes referred to as "TV Level".
    To capture the full film range we use larger steps
    - the risk banding artifackts
    or use more steps of the same size
    - which needs more storage and higher transfer rates

    Not to scale: Remember 14 bit images are 16 times larger than 10 bit.

    10 Bit Log

    Log = steps that increase in size with luminance
    Transfers and storage are optimized for 10 bit (Lin or log)

    - Log captures the same range with fewer bits, but uses smaller steps in areas where film and the human eye most sensitive
    - The relationship between steps is a mathematical function so it is possible to convert linear to log and interpolate log to linear
    - However, since up to 15000 steps are "lost" in log encoding, it is essential to know the precise dynamic range and sampling method before interpolating a log encoded image back to linear
    - For real images transparency of lin to log to lin cannot be guaranteed
    - Many facilities therefore prefer to leav files log encoded

    If we need to deliver a 4K image. We better start with 8K.
    2K 4K.



    Look up table.

    Monitor Calibration

    Digital Reference-----
    | | Kodak Strip Calibration
    Scanner ------ DI suite ------- Film Recorder ----------- Film Lab
    | Calibration lut |
    Probe creates negtive
    monitor profile | Recorded Digital Reference
    positive

    After that, compare the two Digital Reference and really do the calibration.

  • Cosmo.Z

    Cosmo.Z 2011-02-19 12:44:00

    Digital Intermediates

    DI: DI stands for Digital Intermediate and was originally intended as a replacement for film intermediates used to creat cinema release prints.
    Digital Intermediate: "The process of captureing digital images, either with a film scanner or a digital camera, and manipulating the color for theatrical release."
    *Feature film want to benefit from the same tools that television enjoys.

    Data Inter Mediates

    DI: Digital Intermediate is a term originally intended for film finishing.
    The new DI is a "Data intermediate" for all post production
    Data Intermediate: "The process of capturing digital images, either with a film scanner or a digital camera as data and producing a color graded, composited and conformed high resolution universal master, from which all film video and electronic formats can be produced"

    Monitoring Images:

    Monitors
    Projection
    LUTs
    Waveforms
    Vector Scopes
    Parades
    Histograms
    Reference store
    Reference Tones

    What is the role of the colorist?

    1 Please the Cilent
    Who's the cilent? Director? DP? Editor? Producer? Agency?
    2 Optimize the source
    3 Prepare for Post and Deliverables

    Color Grading in Practice

    Search: Find a reference, stars with the wide if you can
    Primary:Balance black and whites
    Control dynamic range and contrast
    Layers: Add look
    Fix problems
    Secondary: Control Saturation
    Correct isolated areas
    Format for delivery

    Start with the contrast rather than the color.
    Start with the black and goes to the high light.

    A color grading strategy

    Optimize: Analyze source material
    Balance as shot
    Please: Match shot to shot
    Stylize sequence
    Enhance isolated areas
    Add FX
    Prepare: Fix problems
    Format for delivery

  • Cosmo.Z

    Cosmo.Z 2011-02-19 12:44:24

    DAY Two

    You take a film log or a film print, and put on a well calibrated look up table, you are actually looking at a print.
    As proper colorist, you need the ignore the name the manufactory gives the tools, but figure out what the hell is the tool doing.

    What's the biggest brush?
    Black control in some of the system is the biggest tool. For example, Apple color.
    (Printer light)

    When you do the lift, it lift all luminance in the same value. It could be called lift, it could be called offset, it could be call printer light.
    But not in all the case, lift works this way. But Printer light works exactly this way.
    Printer light lift all the pixels by the same amount. So it won't stretch the image.
    The other type of lift is only effects on the black, but not white.

    Use the first lift, you can see if theres some details in shadow and details.

    Advice
    FInd the part of the picture is the most important, and use the printer light to where the most important port you want it to be, and adjust with the other tool.
    If you use the wrong tools to correct things, sometimes you will get yellow.

    Deal with the Log image:
    Color corrected,
    Look up table,
    Log to linear converter.

    if you are going to delivery the film print, you are going to put on a look up table, and grade on it, and take out the look up table and delivery.

    In apple color
    If you use a lift and a gain to gain the contrast, it will end up stretching the info in the mid tone, and lose the details. Better way to do it is using the RGB curve and change some saturation.

    In film master, you use the contrast tool.
    this is the best way to get the contrasted picture.

    FOr the saturation, if you want to get a better quality, you can also remove the color, instead of reducing the saturation. Just a an option.

    Colorist doesn't need to do things at an exact way.
    For the contrast, you don't really need to adjust the black and white, you can use the curve.
    For the saturation, you don't really need to pull the saturation, you can also do by add or reduce the color.

    White Cliff is also a curve control. Is more use for very very high end, in the other word very high light. It will soften the image a bit. It will round very edge of it. It will chop some info in high light.
    So, it is just effects on the small part of it.
    So as Black Cliff. Some times you can use the Black Cliff to get rid of some noise in shadow.
    For the blue sky, you can cliff out some of the red and green, it will leaves some blue in the sky.
    Sometime Cliff can also solve some cross color problem.
    It is a much more smaller tool. So, use the Cliff to more the end.

    Before doing the secondary, start with bigger area, using bigger tools. And go to the smaller ones. And also, match the primary color correction before go into the secondary.
    When using the track ball, go too far and come back as pulling focus. and Then go 90 degree to find the best place.
    Saturation, Hue, and luminance is more for isolation control.
    Generally speaking, any type of curve tool is isolation tool.

    All system will have some type of keyer.
    There's 3 type's of keyers: RGB, HLS, 3D.

    It is awesome to have a matte imported into the color grading system to isolate a compositing shot.

    Color key and all type of isolation:

    Select first, do you color correction and adjust the key.
    Because only after you do the color correction, you know how much you need to adjust.
    After the isolation, use the biggest tool first, like printer light. Because it is isolated, So you don't really need to use like Lite gamma gain.
    A trick to use a HSL tools is there's always one of them is dominance. Make it too big instead of too small.
    RGB keyer can generate a pretty clean key, but it is hard to control.

    3D keyer is actually doing the color correction in a color space. It is working in RGB space, so it is cleaner.
    You can pick up different colors at once but not effect the color space in between.
    You can use the isolation tool to expand the tool set. For example, you can use the Keyer to isolate the shadow or midterm or highlight and adjust them.
    You can finish a look, then apply the look to the rest of the image, and start with the look. It will save you some time.
    When you are doing the secondary, you don't really need to get a perfect key. Cause it is not really important.

    Scan the film to log footage and make the look up table for the log shot and the editing suite.
    Red, compress the file and edit it, and relink into raw file or log file to color grade it.
    A look up table is that you put on the simulate the log footage on the theatrical screen. You grade on it. And export the log file again.
    The log file look will be appear on the negative print, and when you make a release print, you can see how's that look. If there some sort of problem, you can just make another print. That is the advantage of working with log file.
    And work with the log file, the benefit will be you get more dynamic range to work with and keeps more information.

  • Cosmo.Z

    Cosmo.Z 2011-02-19 12:45:12

    Day Three

    It is very important to get a good workflow.

    Log Scan
    It is better to darken or add contrast picture, instead of lift up or de-contrast the picture.
    So log is better for colorist to work on.
    First do the color correction. Second, do the color enhancement.

    What's the role of the colorist?

    Please the Client
    Optimize the source
    Prepare for Post and Deliverables: You need to know where are the final product is going.

    Kevin's Tool Theories

    Big Brush Theory
    1 Use the tool with the largest and most uniform effect
    2 Primaries
    3 Secondaries

    Aggression Theory
    1 Offset is less aggressive than Gain
    2 RGB is less aggressive than HSL
    3 Darker is less aggression than brighter
    4 Flat is less aggression than contrasty

    A color grading Strategy

    Optimize
    Analyze source material
    Balance as shot
    Please
    Match shot to shot
    Stylize sequence
    Enhance isolated areas
    Add FX
    Prepare
    Fix problems
    Format for delivery


    Traditional Film Workflow
    Optical Fx
    |
    Acquisition=Processing=Rush Prints=Edit offline=Edit Neg cut=Intermediates (lab grade)=Answer Print=Release Prints
    (OCN) | |
    | | |
    ---------------------------------- Telecine---------------------------------------------Video (Digital Grade)



    Telecine----------Color Enhancement------------Noise Reduction-------------Tape

    Early Digital Workflow
    __________________
    | VFX
    |--------------------------------- |
    Acquisition=Processing=Telecine/Scan=Edit Offline=Edit Online=DI digital grade=Film Recorder=Release Prints
    (OCN) | | |
    ------------------ -------------------------------------Video



    Telecine-----------Offline------------Telecine------------Conform----------Color Enhancement


    Simple DI Workflow
    VFX
    |
    Acquisition=Backup============Edit (Offline)==Edit (Online)==DI==Film Recorder (Intermediates)==Release Prints
    (tape/Data) |
    ---------------------------------------------------------Video

    Full DI workflow
    VFX
    |
    Acquisition=Backup============Edit(Offline)==DI Conform==Data Master==Film Recorder=Release Prints
    Digital Grade | (intermediates)
    |_______________________Video Formats
    |_______________________Digital Formats

    Telecine Shoot---------Shared Storage--------Edit
    |------------VFX
    |------------Conform & Color Enhance


    Traditional Video Workflow

    Sound
    | -- SDTV
    DP----------Colorist------------Editor------------SD
    | | -- HDTV
    ------------------VFX -- Blu-Ray


    Integrated DI workflow

    DP Sound----------------
    | | |
    Telecine ----------------------Editor-----------Colorist--------------Cinema Print, Cinema Digital, SDTV, DVD, HDTV, Blu-Ray, Internet.
    DIT | |
    | VFX------------------
    Archive---------------------|--------------------|


    Colorist Workflows

    Tests Colorist DIT Colorist Dailies Colorist Pre-Grade Colorist DI Colorist Mastering Colorist

    Design Acquisition Back-up Edit Offline DI Conform Data Master Film Recorder (inter neg) Release Tape/ Data Digital Grade |
    | |
    VFX -------------------------------------------------------------Video Formats |___________________________________Digital Formats



    Pre-Production Production Post-Production Distribution

  • Cosmo.Z

    Cosmo.Z 2011-02-19 12:46:57

    以上是上课做的笔记。。。有兴趣的可以看一下。。因为这个学期任务比较紧,就不进行翻译了。哈~有一些表格因为是用mac text edit 做的,所以不是很正式的表格。。。

    关于数字中间片的工作流程,我有一些问题还想问一下明白的人。。。老师上课说了但是我还是没太明白。请了解的人支个声。

  • [已注销]

    [已注销] 2011-02-19 18:24:28

    谢谢组长!!
    调色我一无所知。。

  • 涅。雨。

    涅。雨。 (不赶什么浪潮,也不搭什么船。) 2011-02-19 18:32:06

    哇塞!

  • Cosmo.Z

    Cosmo.Z 2011-02-20 00:59:16

    调色稍微了解一下还是不错的。。哈,不过确实和剪辑没有什么关系

  • 毛小驴子

    毛小驴子 (我还是喜欢荆胖子这个名字) 2011-02-21 17:10:04

    这个这个这个我作为一个英文文盲表示压力很大啊

  • Cosmo.Z

    Cosmo.Z 2011-02-22 17:02:29

    回头有空我会进行整理。最近实在太忙了。。哈

  • ——素 描——

    ——素 描—— (时间是把杀猪刀) 2011-02-23 00:09:49

    大侠一定要翻译翻译,
    不知道大家对汤池映像的片子的调色有过了解没,
    http://v.ku6.com/show/iiCjip6ILP14PBjB.html
    这种色调要怎么去分析,怎么调啊?

  • VAIO瑞秋老师

    VAIO瑞秋老师 2011-02-23 08:08:10

    关于数字中间片的工作流程,我有一些问题还想问一下明白的人。。。

    QQ跟我聊吧,呵呵,国内几个调色师我们4月份要进行标准制订了,所需要的设备我已经买齐了,呵呵,投了1200万

  • Cosmo.Z

    Cosmo.Z 2011-02-23 14:38:52

    制定什么标准??

  • Cosmo.Z

    Cosmo.Z 2011-02-23 14:40:23

    @水果硬糖 看不了那个片子,不好意思阿。。。截图看看?

  • ——素 描——

    ——素 描—— (时间是把杀猪刀) 2011-02-26 15:42:17

    http://www.douban.com/photos/album/43571791/
    我弄了些截图在我的相册里面。

  • Cosmo.Z

    Cosmo.Z 2011-02-27 13:09:51

    回复在你的相册里了。

  • ——素 描——

    ——素 描—— (时间是把杀猪刀) 2011-02-27 13:57:40

    谢谢了。O(∩_∩)O~

  • 毛小驴子

    毛小驴子 (我还是喜欢荆胖子这个名字) 2011-03-02 10:46:22

    谁给翻一下吧,好不好啊

  • [已注销]

    [已注销] 2011-03-04 12:30:27

    m

  • 毛小驴子

    毛小驴子 (我还是喜欢荆胖子这个名字) 2011-03-04 12:48:26

    调色理论:

    是什么颜色?

    *物理:其实我们看到
    摄像头看到什么
    *心理:我们认为,我们看到
    *文化:我们被教导要看到(肤色等)

    摄像机看到并捕捉电磁频谱比我们做得更多,他们捕捉它从字面上。
    人眼脑解释从眼信息,以及调色解释从照相机的信息。

    视觉反应

    1666年艾萨克牛顿爵士标识白光的组成部分。
    理查德获得了约克徒劳的战斗。
    没有人真正知道为什么他编目靛蓝。
    但它让他在一所规模地为代表的音乐色彩的比喻。

    因此,它是什么颜色?

    红色橙色黄色绿色青色蓝色紫色

    取决于光源的颜色
    取决于表面反射和吸收的对象
    依赖于眼睛的敏感度

    色彩的确没有明确的定义

    眼睛的晶状体限制低频率(蓝色)和大气散射光蓝灯

    洋红不是一个单一的频率。
    这是一个红色和蓝色光的化合物。
    然而,我们看到作为一个单一的颜色。

    不要讨论有关的物理颜色客户端。谈感受和情感。
    大脑是不让我们看到身体的颜色。我们需要人来操作如何解释色彩。

    怎么看颜色?

    我们需要光看到。
    对象可以阻挡,吸收或反射光。
    眼睛颜色的光作为解密。

    白红
    苹果------------------- --------------太阳眼
    反映红见红
    吸收蓝色和绿色


    是否改变颜色的光?

    并非所有的灯是白色的。
    如果过滤光源,反射光也是filterd。

    色温的光:

    在“白”的光的颜色是由它的温度和开氏度(K)的测定
    从理论上讲,“黑体”吐不出光。
    暖气这黑色的身体,增加了能源,创造了光。
    在开尔文热定义的黑色体色。
    暖气一铁棒,让黄红热...然后...然后蓝色。
    色温是一个简单的方法来定义颜色白日光

    1000K -----红
    5500k -----阳光,电影放映标准(D55)
    ------ 6500K的日光,电视标准。 (D65光源)
    6500K的------天窗。朦胧的天空。
    11000K -------蓝

    色温光

    D55和D65的曲线的,是我们有用,因为它们表现出比其他范围平坦应答机。
    记住眼睛的敏感度是不同的一个摄像头,
    更改相机的白平衡色温改变了预期。这将会对图像的反效果!
    如果场景有5500色温和相机设置到6500K,图像将出现回暖,好像它是接近日落拍摄。
    什么颜色的工具可以实现这一目标?

    <4000k夕阳的天空+阳光
    = 5500k中午阳光
    中午6500K的日光

    荧光光

    荧光灯具有不规则的光谱分布
    光照具有频率尖峰。
    什么颜色的工具将纠正这些?

    印象 - 视觉响应

    视网膜由棒(黑色和白色)和视锥细胞(红色绿色蓝色)
    约8%的男性,但小于1%的女性有遗传学色盲
    红色和绿色锥体重叠更胜于蓝。这最大限度地减少色差,提高视力。

    红色盲的人是无法分辨红色和绿色,
    蓝盲人无法分辨蓝色和黄色,
    绿色盲的人是无法看到谱绿色部分。

    晚上,我们看到更少的红色。 IBM将脱落少。
    我们的眼睛所吸引的议案。然后,对比度和色彩。
    我们的眼睛所吸引,红>黄... ..

    黑暗的角落是电视的,因为它有助于把重点放在中心。
    但它不是电影必要的。因为它是更大的屏幕,你不需要把重点放在帮助你的听众。

    Cie的色度图

    可见光谱绘制图形显示所有人类可见的颜色。
    例如显示器的RGB系统不能再现了所有可能的颜色。

    其他颜色模型

    用于印刷的CMYK
    用于电视的YUV
    XYZ是一个理论上的“最大”的空间

    实验室的色域>的RGB色域> CMYK色域

    REC709

    计算机标准的sRGB ------


    RGB颜色

    红,绿,蓝是我们的第一部彩色空间模型
    的RGB系统包括眼,电影,照明,显示器和TC版
    系统使用的添加剂的RGB色彩理论(注册商标+的G +乙=白光)
    调色师是指为RGB管制,primaXXXX

    Lab颜色模式

    如色相,饱和度和亮度定义可见颜色
    调色师HSL的通话工具“中”
    有没有蓝色 - 黄色或红色,绿色

    并非所有的色彩饱和度已经在平等的。

    孟塞尔颜色模型

    完美的球体是不真实的颜色
    顺化是与亮度
    没有暗黄色!

    橙色和蓝绿色是最signifiant合同。

    不同的颜色具有不同的特征。但颜色校正工具处理所有颜色一视同仁。

    颜色与亮度
    实际的颜色不适合常规球形孟塞尔描述为一个树上。
    没有暗黄色。

    (孟塞尔色树,孟塞尔颜色系统)
    (Miholta 3D系统)

    红色和佳能是不同的,因为红色的捕捉更多的色彩信息的数量。

    物理效应

    在低光照水平蓝色和绿色物体出现亮(浦肯野移)
    棒等优势下过于饱和
    (有用的“日之夜”)
    色差造成不同波长在不同的平面内的眼睛聚焦
    这意味着蓝色和红色的前进后退
    蓝色是背景好
    色彩适配
    眼睛变得饱和,看到后像一
    眼睛进行补偿,找到一个平衡中性色
    调色师需要做的工作快,或会调整自己的眼睛,使变薄出问题。
    您需要使用通过的工作只有一个偏好。

    色觉

    色相,饱和度和亮度都与对方互动。
    色相,饱和度和亮度是相对的内容和照明

    朗读
    显示对应的拉丁字符的拼音字典 - 查看字典详细内容

  • 毛小驴子

    毛小驴子 (我还是喜欢荆胖子这个名字) 2011-03-04 12:49:39

    色彩是相对

    色彩知觉依赖于上下文
    构图的影响的看法
    相邻的颜色会影响知觉(色彩对比度)

    有7种颜色对比要考虑

    对比色
    分化的色调
    至少有3种颜色
    黑色色调加剧
    例子有
    儿童艺术
    反转片
    蒙德里安

    光明与黑暗的对比

    亮度对比
    从暗光进展
    更少的色彩增强效果
    阴影需要更长的时间阅读
    小故事!

    冷暖对比
    先进的暖冷
    肤色脱颖而出
    红色刺激肾上腺素
    蓝色的烟雾看起来远
    在温暖的颜色也相对
    橙色是最温暖的颜色
    这是最光度
    这是最饱和
    蓝色是最酷的颜色
    它是黑暗
    它具有低饱和

    互补对比
    对他们的颜色是最活跃的免费色调
    complimentaries是一个矢量的两侧
    添加到图像平衡
    还将冷暖对比


    同时对比
    如果缺少眼睛免费补偿
    我们看到的颜色是不存在!
    云似乎对蓝黄
    针对黑人出现棕褐色的蓝

    环境光线条件改变我们的看法

    对比饱和
    饱和饱和区域站出来反对
    减少一切色度否则就是有效

    对比延长
    颜色比创造和谐或平衡
    紫= 9
    蓝= 8
    红色=绿色= 6
    橙色= 4
    黄色= 3(最多纯度)

    知觉
    我们认为我们看到的。

    决议:

    什么是分辨率?
    *像素的画面细节
    *位深度色彩深度
    *逼真的动态范围

    电影有较大的比数字视频动态范围。


    为什么大小事?

    2K的是4K的四分之一,
    2K和高清之间的区别不是那么大。
    横向上,而不是垂直方向。
    和SD是非常小的。

    越决议,该文件将是更大的,它包含更多查看详细资料。

    怎么解决?

    *像素=一个“像素”的缩写
    *分辨率=在一个horizotal像素扫描线
    *定义/格式=在视频帧中的数据行=垂直像素

    更高的分辨率的好处

    分辨率更高,你得到更多的细节和信息。
    和更高的分辨率,更好的压缩结果,你会得到。

    调色师总是希望得到该项目的全部决议。

    压缩是不同的。一个会输,另一种是lostless。
    对于lostless,当您压缩它,尺寸变得越来越小,但不会丢失信息。

    你需要知道它在哪儿来的。
    2K的图像扫描4K的头更精彩的比2K扫描与2K头。
    2K的图像扫描4K的头几乎一样从4K 4K的头。

    什么是位深度:

    位=“二进制数字”。单个元素(1或0)的数字信息
    位深度=颜色分辨率。可用的颜色数量
    一个位=非黑(0)或白色(1)
    两个位=(00至11岁)4种颜色显示2 * 2
    8位= 2 * 2 * 2 * 2 * 2 * 2 * 2 * 2米的步骤Seeb的数字为256


    有多少颜色?

    10位= 4次8位,1024灰色或1亿种颜色
    14位= 16倍10位,16384灰色或4万亿种色彩

    视频是8位或10位。
    电影是模拟的,但在12〜14位的估计
    颜色校正应该是16位或以上

    是否所有位等于?
    号..整数处理破坏性
    ...浮点不


    对比

    原始场景负打印密度投影电视
    8000:1 2000:1 200:1 20:1 30:1


    动态范围:

    位深度代表提供的数字步骤
    动态范围代表之间的第一个和最后一个步距
    数据具有更大的动态范围比视频

    电影 - 10站可用
    视频 - 7站可用

    动态范围的影响

    在正常曝光所有摄像机表现良好
    在二站曝光10位线性的YUV高清摄像机无法捕捉的亮点
    在四站曝光10位的RGB电子相机日志遭受贫困饱和,高清摄像机记录较浅的颜色不准确。

    线性视频比特深度

    线性=等距离步骤
    - 如果动态范围是固定的(如视频)
    - 更多位=小(更平滑)步骤

    不按比例:记住,10位的图像有高达8位图像的许多步骤4倍。

    内胆为数据位深度

    该视频动态范围比数字电影少
    调色师是在一系列的电影分级技术,以适应较小的视频范围
    当视频范围内更广泛的范围内,它记录的数据出现在数据平面显示器,但正确的视频监视器上。这有时也被称为“电视级别”。
    要拍摄电影的范围内,我们充分利用大步骤
    - 风险带artifackts
    或使用相同的大小更多的步骤
    - 这需要更多的存储空间和更高的传输速率

    不按比例:记住14位的图像是16倍以上10位大。

    10位日志

    日志=步骤,在规模增加亮度
    传输与存储优化了10位(林或日志)

    - 日志捕获用较少的位相同的范围,而是用较小的步骤,在电影领域和人眼最敏感
    - 在各个步骤之间的关系是一个数学函数,因此它是可以转换的线性记录和日志,以线性插值
    - 然而,由于最多15000步骤“丢失”在日志编码,关键是要了解在编码的图像插值记录回到线性动态范围和精确的抽样方法
    - 在实际影像记录到林透明度林不能得到保证
    - 许多设施,因此宁愿leav编码文件的日志

    如果我们需要提供一个4K的形象。我们最好开始具有8K。
    2K的4K的。



    查找表。

    显示器校准

    数字参考咨询-----
    | |柯达地带标定
    扫描仪------- ------直接投资套房电影冲印胶片记录仪-----------
    |校准查表|
    探讨创建阴性
    监测资料|录制数字参考
    积极

    在此之后,比较这两个数字参考,真正做校准。

    朗读
    显示对应的拉丁字符的拼音字典 - 查看字典详细内容

  • 毛小驴子

    毛小驴子 (我还是喜欢荆胖子这个名字) 2011-03-04 12:51:10

    数字中间

    直接投资:邸代表数字中间,原本打算作为中间体用于更换电影创造电影发行拷贝。
    数字中间道:“captureing数码影像,无论是与电影扫描仪或数码相机,操纵色彩的戏院上映的过程。”
    *特点电影要从利益相同的工具,电视享受。

    数据间介导

    直接投资:数字中间原本是为电影完成预定的一个术语。
    新的直接投资是一个“数据中间”的所有后期制作
    数据中级道:“捕获数字图像,无论是与电影扫描仪或数码相机作为数据和生产彩色渐变的过程,复合,符合高解析度普遍掌握,使所有的电影录像和电子格式都可以制作”

    监控图像:

    显示器
    投影
    个LUT
    波形
    矢量作用域
    游行
    直方图
    参考店
    参考铃声

    什么是调色的作用?

    1,请在Cilent
    谁是cilent?导演? DP的?编辑器?生产商?机构?
    2优化了源
    3准备员额和交付

    色彩分级实践

    搜索:查找一个参考,明星与宽,如果你能
    小学:黑色和白色平衡
    控制动态范围和对比度
    层数:新增看看
    解决问题
    中学:控制饱和
    正确的偏远地区
    格式交付

    开始与对照,而不是颜色。
    开始与黑和去高光。

    一个颜色分级策略

    优化:分析源材料
    拍摄的结余
    请:每个镜头匹配
    风格化序列
    加强偏远地区
    新增外汇
    准备:解决问题
    格式交付

  • 毛小驴子

    毛小驴子 (我还是喜欢荆胖子这个名字) 2011-03-04 12:52:23

    第二天

    你把电影日志或电影拷贝,并在校正好查表时,实际上是在寻找把打印。
    妥善的调色师,你需要忽略姓名的制造厂提供了工具,但弄清楚到底是什么工具做的事情。

    什么是最大的刷?
    黑人系统的某些控制是最大的工具。例如,苹果的颜色。
    (打印机光)

    当你做了电梯,这电梯都在亮度相同的值。它可以被称为升力,它可以被称为偏移,它可以调用打印机指示灯。
    但并非在所有情况下,这种方式升降机工程。但是,打印机指示灯工程正是这样。
    打印机指示灯抬起同样数额的所有像素。因此,它不会拉伸图像。
    其他类型的电梯只在黑市上的影响,但不是白人。

    使用第一个电梯,你可以看到,如果那里有一些细节上的阴影和细节。

    咨询
    找到图片的部分是最重要的,使用打印机的光的地方,最重要的港口,你希望它是,调整与其他工具。
    如果您使用了错误的工具来正确的东西,有时你会得到黄色。

    图像处理的日志:
    色彩校正,
    查找表,
    登录到线性转换器。

    如果您要交付的电影拷贝,你打算把它放在了一个查表看,上面级,并采取了表和交付看看。

    在苹果的颜色
    如果您使用的电梯和增益,以获得相反,它最终会伸展在中等色调信息,失去了细节。更好的方法是使用RGB曲线和改变一些饱和度。

    在电影大师,您可以使用对比工具。
    这是最好的方式得到了对比照片。

    对于饱和,如果你想获得更好的质量,还可以清除的颜色,而不是减少饱和度。只是一个选项。

    调色师并不需要做一个确切的方式行事。
    For对比,你并不真正需要调整黑色和白色,你可以使用曲线。
    对于饱和,你并不真正需要拉饱和度,你也可以通过增加或减少的颜色。

    怀特克利夫也是曲线控制。更使用非常非常高端的其他文字,非常高的光。这将软化的形象一点。它会很圆的边缘了。它会砍一些高光信息。
    因此,它是基于它的影响只是一小部分。
    所以,作为黑崖。有些时候,你可以使用黑色悬崖,以获得一些噪音摆脱阴影。
    为蓝色天空,你可以悬崖出红色和绿色部分,它会留下一些蓝色的天空。
    有时也可以解决一些悬崖串色的问题。
    这是一个更小的工具。因此,使用悬崖,以更加结束。

    在此之前与面积较大的中学,开始使用大的工具。并转到较小的。还有,比赛的主要色彩校正之前进入中学。
    当使用轨迹球,走的太远,来作为重点拉回来。 90度,然后再寻找最佳的地方。
    饱和度,色调和亮度是隔离的控制措施。
    一般说来,任何类型的曲线工具是隔离的工具。

    所有的系统都会有一些类型的键控器。
    有3个类型的键控器的:三原色,合肥光源,三维。

    这是真棒已到颜色分级系统导入以隔离合成打出了雾。

    彩色钥匙和所有隔离类型:

    选择第一个,你的色彩校正和调整的关键。
    因为只有在你做色彩校正,你知道你是多么需要调整。
    分离后,用最大的工具首先,像打印机指示灯。因为它是孤立的,所以你并不需要使用像建兴伽玛增益。
    一个手法使用HSL的工具,是总有其中一个是优势。让它过大,而不是太小。
    的RGB键控器可以生成一个漂亮干净的钥匙,但难以控制。

    三维键控器实际上是做一个色彩空间的色彩校正。它是工作在RGB空间,因此它是干净。
    你可以拿起不同的颜色,但在一次不影响之间的色彩空间。
    您可以使用工具来扩大隔离工具集。例如,您可以使用键控器隔离阴影或期中或突出和调整它们。
    你可以看一下完成,然后应用看看图像的休息,并开始用眼神。这将节省你一些时间。
    当你在做中学,你并不真正需要得到一个完美的关键。因为这并不重要。

    扫描胶片记录画面,使查找的日志球和编辑套件表。
    红,压缩文件并进行编辑,进入原始文件或日志文件重新链接到色级的。
    一个注册查表是你在舞台上模拟登录屏幕画面付诸表决。优级就可以了。并导出日志文件了。
    日志文件看就会出现负打印,当你犯了一个释放打印,您可以看到的那副样子。如果有某种问题,你可以做另外的打印。这是与日志文件的工作优势。
    与日志文件的工作,将是您的利益得到更大的动态范围继续努力,保持更多的信息。

  • 毛小驴子

    毛小驴子 (我还是喜欢荆胖子这个名字) 2011-03-04 12:56:03

    第三天

    这是非常重要的是得到了良好的工作流程。

    日志扫描
    这是更好地变暗或增加对比度图像,而不是抬起或取消对比图片。
    因此,日志是调色更好的工作。
    首先做的色彩校正。其次,做色彩增强。

    什么是对的调色师的角色呢?

    请客户
    优化了源
    员额和交付准备:你需要知道在哪里可以找到最终产品的发展方向。

    Kevin的工具理论

    大布拉什理论
    1使用的最大和最均匀的效果的工具
    2初选
    3次要

    侵略理论
    1偏移小于增益侵略性
    RGB是小于2 HSL的侵略性
    三较深较亮少侵略
    4平小于反差侵略

    一个颜色分级策略

    优化
    分析源材料
    拍摄的结余

    每个镜头匹配
    风格化序列
    加强偏远地区
    新增外汇
    准备
    解决问题
    格式交付


    传统的电影制作流程
    光学Fx的
    |
    采集加工= = =编辑脱机打印拉什=编辑否定词切=中间体(实验室级)=解答打印=发行拷贝
    (东方有线)| |
    | | |
    ----------------------------------电视电影--------------- ------------------------------视频(数字级)



    电视电影---------- ------------降噪色彩增强-------------胶带

    早期的数字工作流程
    __________________
    |视觉特效
    |--------------------------------- |
    采集加工= =电视电影/扫描=编辑离线在线编辑= =等级=直接投资数字电影发行拷贝记录=
    (东方有线)| | |
    ------------------ -------------------------------- -----视频



    电视电影电视电影------------ ------------ -----------离线颜色顺应----------增强


    简单的DI工作流程
    特效
    |
    ============编辑收购=备份(脱机)==编辑(在线)== ==直接投资电影记录(中间体)==发行拷贝
    (磁带/数据)|
    -------------------------------------------------- -------视频

    全DI工作流程
    特效
    |
    ============编辑收购=备份(脱机)==直接投资数据的主== ==遵循电影发行拷贝记录=
    数字级|(中间体)
    |_______________________视频格式
    |_______________________数字格式

    电视电影拍摄--------- --------编辑共享存储
    |------------特效
    |------------遵循和色彩增强


    传统的视频流

    声音
    | - 标清
    ---------- ------------调色的DP的SD编辑------------
    | | - 高清晰度电视
    ------------------特效 - 蓝光


    DI工作流集成

    DP的声音----------------
    | | |
    电视电影调色-------------- ----------- ----------------------编辑电影院打印,数码影院,标清电视,DVD,高清晰度电视,蓝光,互联网。
    DIT的| |
    |特效------------------
    --------------------- |--------------------|存档


    调色师工作流程

    DIT的调色每日样片测试调色调色前级的DI调色师掌握调色调色

    设计采集备用编辑脱机直接投资遵循数据的主电影记录(除负)发行磁带/资料数字级|
    | |
    特效------------------------------------------------- ------------数字格式的视频格式|___________________________________



  • 毛小驴子

    毛小驴子 (我还是喜欢荆胖子这个名字) 2011-03-04 12:57:09

    对不起啊,我是用的谷歌,估计翻译的不好,大家原谅我吧

  • FLY

    FLY (成长总会伴随痛苦,和对错无关) 2011-03-04 13:11:45

    mark

  • Cosmo.Z

    Cosmo.Z 2011-03-06 14:30:45

    有一些错误。。不过还能凑合看哈,等我有空了再整理。 感谢毛小驴子!

  • 毛小驴子

    毛小驴子 (我还是喜欢荆胖子这个名字) 2011-03-12 19:25:43

    其实我就是以前的荆小胖子,嘿嘿,组长客气了,

  • 以往的路

    以往的路 (一样幻想美好时光) 2011-03-13 17:59:11

    我很想在学好点调色。。希望多发点实用的东西

  • Cosmo.Z

    Cosmo.Z 2011-03-16 16:17:38

    Ls指的是软件教程? 如果对软件有什么问题欢迎提出来如果我知道的就回答你。

  • 毛小驴子

    毛小驴子 (我还是喜欢荆胖子这个名字) 2011-03-16 16:25:31

    组长,我要问FCP里头的三路调色和RGB的问题,我用三路调色微调画面,全屏发现画面损失,出现噪点.......只是微调了下

  • 浮世绘

    浮世绘 (Irgendwo wird immer getanzt.) 2011-12-18 22:38:28

    组长,求翻译!╰(°▽°)╯

  • Cosmo.Z

    Cosmo.Z 2011-12-22 08:08:52

    还真的不知道怎么翻译。。。哈哈哈

  • Cosmo.Z

    Cosmo.Z 2011-12-22 08:09:51

    Lsss,三路微调应该不会出现噪点,可能和你的素材有关系。有的机器出来的素材宽容度高一点,有的低一些。推荐不要用FCP调色。

  • sheen

    sheen (agnostic) 2011-12-26 21:24:29

    做过电影调色的工作,用的Davici resolve。调色分为两个部分,校色与调色。一、画面质量评估(矢量显示器) 二、亮度对比度校正(波形显示器) 三、颜色平衡校正 四、场景连贯性颜色匹配
    希望能和组里的同学们多交流啊

  • Cosmo.Z

    Cosmo.Z 2012-01-07 20:39:10

    差不多,调个中间色,解决拍摄中存在的问题,然后找参照镜头,一般是最广的,也有例外。给参照镜头做出最后想要的效果,然后对照参照镜头进行匹配。

  • 刘喵喵zZoe

    刘喵喵zZoe (一个爱画画的设计师喜欢写文案。) 2014-03-28 10:47:58

    做过电影调色的工作,用的Davici resolve。调色分为两个部分,校色与调色。一、画面质量评估(矢 做过电影调色的工作,用的Davici resolve。调色分为两个部分,校色与调色。一、画面质量评估(矢量显示器) 二、亮度对比度校正(波形显示器) 三、颜色平衡校正 四、场景连贯性颜色匹配 希望能和组里的同学们多交流啊 ... sheen

    请问现在你还从事这行吗?

  • jelly80

    jelly80 2014-03-31 21:50:29

    很赞呀 先mark下 学习了

  • 刺青师大婧

    刺青师大婧 (画 皮 手) 2014-04-14 17:12:49

  • 一起看世界

    一起看世界 2014-10-16 01:57:01

    很好的,留着看~

你的回应

回应请先 , 或 注册

14597 人聚集在这个小组
↑回顶部