Figure 2–3   Color video images are formed by separating red, green, and blue components of the image and recording each separately.

Figure 2–10   Color video images are made up of one luminance channel and two chromacity channels. © 2005 Andrew Francis.

Figure 4–4   Digital images can use any of a number of different models to reproduce colors. © 2005 Andrew Francis.

Figure 8–2   An image at different brightness levels

Figure 8–3   The same image shown with different saturation levels

Figure 8–4   A typical color wheel

Figure 8–5   An example PLUGE (left) and a SMPTE color bar (right)

Figure 8.8 through 8.11 A digital intermediate pipeline provides endless possibilities for changing an image’s color

Figure 8–9

Figure 8–10

Figure 8–11

Figure 8–13   Primary grading makes changes that affect the whole image

Figure 8–19   Agradient added to the sky gives it more texture. Note that the gradient also affects the lamppost, and so it has the same effect as placing a filter over a camera lens

Figure 8–20   Grading can be used to turn a daytime scene into a nighttime one. In this case, lens flare effects have also been added to the light sources

Figure 8–21   Grading can be used to apply relighting to a scene, making it appear as if the original scene had been lit differently. © 2005 Andrew Francis.

Figure 8–22   A simulated bleach-bypass look can be digitally applied to an image

Figure 8–23   The effects of cross-processing an image can be simulated digitally

Figure 8–24   A blue-green transfer is possible by simply swapping an image’s blue and green components

Figure 8–25   Digital-grading techniques can be used to artificially add color to a black-and-white image

Figure 8–26   False color can be assigned to monochrome digital images, mapping different colors onto different pixel values

Figure 10–19   Using procedural filters such as Allegorithmic’s Map|Time, it’s possible to use an original image (top left) as the basis for new images or patterns

Figure 14–3   A polarizing filter can be used to polarize the incoming light in an image

Figure 14–4   Without using the filter when shooting, it’s impossible to re-create the effect of polarizing the light

Figure 14–6   A left/right pair of images can be combined to form a 3D anaglyph