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Analyzing footage for problems

From: Avid Media Composer 6 Essential Training

Video: Analyzing footage for problems

One of the most important tools you have at your disposal when color correcting are your eyes. Why is this? Well, videoscopes, which measure video signal in very specific units, do you no good, unless they know what part of the image is supposed to be certain values. You need your eyes and your brain to say what parts of the image are supposed to be white, which parts are supposed to be black, is it generally bright or dark, is there a color cast, and so on. So in this movie, we'll talk about all of the questions you need to ask yourself before you even approach a videoscope.

Analyzing footage for problems

One of the most important tools you have at your disposal when color correcting are your eyes. Why is this? Well, videoscopes, which measure video signal in very specific units, do you no good, unless they know what part of the image is supposed to be certain values. You need your eyes and your brain to say what parts of the image are supposed to be white, which parts are supposed to be black, is it generally bright or dark, is there a color cast, and so on. So in this movie, we'll talk about all of the questions you need to ask yourself before you even approach a videoscope.

First of all, you need to ask yourself what part of the image is supposed to be white. As we look at our image here, it looks like we have some hangers in the background that can serve as our reference white point, and they are definitely not white, so we're going to have to raise our whites to the proper value. Secondly, you need to ask yourself what in the image is supposed to be black. So we have a black dress here and some shadows in her hair and back here in the closet. And again, they are most decidedly not black; they're way too high, so we're going to need to lower our blacks.

Third, is the image too dark or too bright? Well, we definitely have inaccurate blacks and whites, so once we correct those, we'll have a better idea on how we need to brighten or darken the image from there. Fourth, is the image flat? Yes, we definitely have a flat image here. We're going to open up the tonal range by setting our blacks and whites, and that should help out a lot. Fifth, is there a colorcast? It looks like there is a colorcast, especially in the highlights, weighted towards yellow.

So we'll probably need to cool those down. We'll be able to take specific measurements for those, so that we can be really accurate there. Finally, how is the saturation level, especially in the flesh tones? Well, our flesh tones are really washed out here, and so we'll probably need to bump up the saturation, as well as warm those up, so that they are more accurate. The human eye is extremely sensitive to flesh tones, so we'll definitely need to fix that. She looks really pale now, so we'll need to warm her up, as well as bump up her saturation.

So as you see, even before we start looking how the video signal measures these images, we already have a pretty good idea of where we want to go in correcting them. Let's keep all this in mind as we start taking a look at the videoscopes, as we gather even more information about our shots.

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This video is part of

Image for Avid Media Composer 6 Essential Training
Avid Media Composer 6 Essential Training

87 video lessons · 14122 viewers

Ashley Kennedy
Author

 
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  1. 3m 55s
    1. Welcome
      1m 16s
    2. Using the exercise files
      2m 39s
  2. 22m 54s
    1. Touring the Select Project window
      4m 45s
    2. Exploring bins
      4m 23s
    3. Customizing user settings
      3m 36s
    4. Setting up and organizing a project
      5m 57s
    5. Saving and backing up the project
      4m 13s
  3. 57m 27s
    1. Touring the Composer Monitor and the Timeline
      2m 29s
    2. Touring the Edit interface
      5m 6s
    3. Splicing shots
      7m 43s
    4. Splicing non-linearly
      2m 43s
    5. Overwriting shots
      4m 35s
    6. Removing shots using Extract and Lift
      4m 38s
    7. Using Segment mode (Extract/Splice) to switch shots
      6m 37s
    8. Using Segment mode (Lift/Overwrite) to move shots
      6m 31s
    9. Using Extract/Splice and Lift/Overwrite together
      3m 32s
    10. Manipulating the Timeline directly
      4m 34s
    11. Creating subclips and subsequences
      3m 48s
    12. Adding multiple video and audio tracks
      5m 11s
  4. 23m 28s
    1. Understanding trimming
      3m 19s
    2. Performing single-roller trims
      5m 15s
    3. Performing dual-roller trims
      3m 54s
    4. Using Ripple Trim and Overwrite Trim
      5m 4s
    5. Understanding sync
      3m 17s
    6. Solving sync problems
      2m 39s
  5. 54m 26s
    1. Navigating with JKL
      3m 26s
    2. Using navigation shortcuts
      4m 47s
    3. Using the Command palette
      6m 4s
    4. Customizing the Timeline
      4m 54s
    5. Using bin layouts
      3m 49s
    6. Using workspaces
      6m 41s
    7. Sorting and sifting clips
      5m 57s
    8. Using the Find tool
      5m 13s
    9. Using markers
      5m 54s
    10. Using PhraseFind
      3m 21s
    11. Using ScriptSync
      4m 20s
  6. 20m 42s
    1. Trimming with JKL
      4m 53s
    2. Performing Slip edits
      6m 1s
    3. Performing Slide edits
      5m 39s
    4. Performing Replace edits
      4m 9s
  7. 27m 17s
    1. Reading audio levels and pan
      5m 42s
    2. Using the audio mixer
      10m 1s
    3. Keyframing audio
      7m 6s
    4. Recording audio adjustments on the fly
      4m 28s
  8. 55m 1s
    1. Using Quick Transition effects
      4m 6s
    2. Using the Transition Manipulation tool
      3m 12s
    3. Using the Effects palette and the Effect Editor
      6m 1s
    4. Keyframing segment effects
      5m 30s
    5. Nesting and auto-nesting
      5m 54s
    6. Saving effect templates
      3m 23s
    7. Building basic composites using vertical effects
      4m 7s
    8. Using the picture-in-picture (PIP) effect
      5m 14s
    9. Using the Color effect
      4m 24s
    10. Creating basic motion effects
      6m 55s
    11. Using Timewarp
      6m 15s
  9. 11m 48s
    1. Understanding system performance
      6m 13s
    2. Rendering intelligently
      5m 35s
  10. 26m 44s
    1. Analyzing footage for problems
      2m 27s
    2. Using the Y-Waveform monitor to set whites and blacks
      7m 16s
    3. Using the RGB Parade to correct color casts
      5m 50s
    4. Using the Vectorscope to improve skin tones
      5m 34s
    5. Using auto color correction
      5m 37s
  11. 30m 10s
    1. Formatting and enhancing text using Avid Marquee
      5m 32s
    2. Using Marquee to apply shapes and gradients
      5m 18s
    3. Using title templates
      3m 45s
    4. Bringing the title into Media Composer
      3m 54s
    5. Revising the title
      2m 17s
    6. Creating rolling and crawling titles
      5m 14s
    7. Using AutoTitler
      4m 10s
  12. 32m 37s
    1. Importing files
      6m 47s
    2. Linking to files using AMA
      3m 36s
    3. Linking to hi-res stills
      5m 59s
    4. Using the Avid Marketplace
      2m 50s
    5. Using the Capture tool
      5m 19s
    6. Capturing footage
      3m 41s
    7. Batch capturing
      4m 25s
  13. 12m 58s
    1. Deleting material from the bin
      5m 29s
    2. Understanding the Media tool
      4m 46s
    3. Deleting unreferenced clips
      2m 43s
  14. 17m 35s
    1. Preparing your sequence for output
      5m 44s
    2. Performing a digital cut
      5m 26s
    3. Exporting your sequence as a file
      6m 25s
  15. 19m 2s
    1. Solving offline media
      6m 48s
    2. Re-linking media
      3m 0s
    3. Resetting Avid settings
      5m 9s
    4. Using the Avid Attic
      4m 5s
  16. 44s
    1. Additional resources
      44s

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