Introduction| Welcome | Using the exercise files| 00:00 | If you're a premium member of the lynda.com
Online Training Library, or if you're
| | 00:05 | watching this title on a DVD, you
have access to the exercise files used
| | 00:09 | throughout this title.
| | 00:10 | So if you've just unzipped your exercise
files, you should see an Exercise Files
| | 00:15 | folder. And for this course,
inside are two other folders:
| | 00:19 | one is called Avid MediaFiles, and the
other is called Trek LDC, for lynda.com.
| | 00:25 | Now it's very important that you put
your Avid MediaFiles folder at the root
| | 00:30 | directory of your Media drive.
| | 00:32 | So I have a Media drive right here,
and I just have another folder on there
| | 00:37 | called BACKUP, but I want to put it
right at the root directory, which means I
| | 00:41 | don't put it inside any other folders.
| | 00:44 | So I'm just going to drag it on over.
And it's also crucial that you never
| | 00:49 | rename this folder.
| | 00:51 | This has to be named exactly Avid MediaFiles
with a space and with a capital A, M, and F,
| | 00:58 | and no space in between MediaFiles.
| | 01:00 | So bottom line, don't move this and don't
rename it, and Avid will always see the Media.
| | 01:06 | Now if you use Avid and you already
have an Avid MediaFiles folder, like this
| | 01:12 | drive, then you just need to burrow
in a little bit and there will most
| | 01:18 | likely be a number 1 here.
| | 01:20 | Well, it has to be Avid MediaFiles
and then MXF and then a number, but the
| | 01:25 | number doesn't have to be 1.
| | 01:27 | So, I've provided you in our
exercise files with a folder called 101.
| | 01:33 | So you could simply drag the 101 folder
right next to your other numbered folder.
| | 01:41 | Okay, so those are the two scenarios.
| | 01:44 | You either put the file on the root
directory of the drive by itself, or if an
| | 01:48 | Avid MediaFiles folder already exists,
just put the 101 folder next to the
| | 01:53 | other numbered folder.
| | 01:54 | The other folder in the Exercise Files
folder is your project folder, and you can
| | 02:00 | leave it here, you can drag it to your
Desktop, you can put in your Documents
| | 02:04 | folder. It can live basically anywhere.
| | 02:07 | So there's no need to move
this to a special location.
| | 02:10 | I'm going to go ahead and just leave it
inside of my Exercise Files folder.
| | 02:15 | And let's go ahead and open up Avid
Media Composer and take a look inside.
| | 02:19 | We're at the Select Project dialog box.
| | 02:22 | What you are going to do is navigate to
your project folder, and I left mine in
| | 02:28 | the Exercise Files folder on my Desktop.
| | 02:30 | So I'm just simply going to click on
this folder icon right here and go to my
| | 02:37 | Desktop > Exercise Files, and it's called Trek LDC.
| | 02:41 | Open. And your project will open, and
inside are all of the folders for the course.
| | 02:48 | Now _Source Media basically contains
some master Sequences and the footage that
| | 02:54 | you're going to be using.
| | 02:55 | You don't really have to
use this too much, though.
| | 02:57 | We're going to be focusing
within these individual folders.
| | 03:01 | So, for example, when we start up
Chapter 1 Movie 2, just open up this bin by
| | 03:08 | double-clicking, and then there will
be an overlay appearing on the screen
| | 03:13 | telling you what file to load.
| | 03:15 | So when we need to load the sequence
called 1-Trek Un-color corrected, I'm just
| | 03:19 | simply going to double-click on the sequence.
| | 03:22 | It's going to load, and everything is
online. And it's online because you put the
| | 03:27 | Avid MediaFiles folder in the correct location.
| | 03:29 | Now remember, I'm on a Mac right now,
but Avid Media Composer works equally as
| | 03:34 | well on both Mac and PC.
| | 03:36 | So if you are on a Windows system, just
do the same exact thing, drag your
| | 03:41 | Avid MediaFiles folder to the root directory
of the Media drive and then open up your
| | 03:45 | software and then navigate to your
project folder and you're ready to go.
| | 03:49 | Now if you're not a premium subscriber
to lynda.com, you don't have access to
| | 03:53 | the exercise files, but you can follow
along from scratch with your own assets.
| | 03:57 | Let's get started.
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|
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1. Introduction to Color CorrectionWhy color correction?| 00:00 | Color Correction is one of the final
essential stages in the post-production
| | 00:04 | process and should be performed after
you've finished editing your program and
| | 00:07 | have reached picture lock.
| | 00:09 | There are three basic stages
within the color correction workflow.
| | 00:13 | First, you make changes to the contrast
and color of the shots in your program,
| | 00:18 | so that you can fix problematic footage
that may be too dark, too bright, or that
| | 00:23 | might have an improper color cast. And
you can also make sure your skin tones
| | 00:27 | have the proper hue and saturation.
| | 00:29 | Next, you spend time ensuring that
each shot appropriately matches the other
| | 00:34 | shots within the same scene
and has proper visual continuity.
| | 00:37 | This is often called shot-to-shot correction.
| | 00:40 | Finally, it's where you make creative changes,
giving your scene a specific look or treatment.
| | 00:47 | Finally, if you're sending your show
to broadcast, it's also where you bring
| | 00:50 | your footage within legal broadcast
standards once you've performed the
| | 00:53 | previous three stages.
| | 00:55 | We'll take a step-by-step look at each stage
in the color correction process in just a bit.
| | 01:00 | But first I want to discuss how you
go about color correcting your shots.
| | 01:05 | Let's head into Media Composer.
| | 01:06 | All right, we're in the software,
and we're in Color Correction mode.
| | 01:11 | We'll take a look at exactly
how we get here in a future movie.
| | 01:13 | But right now I just want
to make a few references.
| | 01:16 | When performing color correction you need to
rely on both your eyes, as well as video scopes.
| | 01:22 | You use your eyes to tell yourself
what part of the image is what, as well as
| | 01:27 | the general idea of how
you go about correcting it.
| | 01:31 | But you also must use various video
scopes to measure the appropriate values
| | 01:35 | as you're correcting.
| | 01:36 | For example, let's take a
look at this image here.
| | 01:40 | Now by looking at this image we can
tell that it's overall just too blue.
| | 01:45 | It's also pretty muddy, which
means there's not enough contrast.
| | 01:49 | So already we know that we probably
need to remove some blue, as well as make
| | 01:54 | the highlights lighter and the shadows darker.
| | 01:57 | That will increase the contrast
and make the image pop more.
| | 02:00 | Now, the flesh tones also
look really dark and dingy.
| | 02:04 | So we'll need to warm those up quite a bit.
| | 02:06 | So we'll be adding some red and
yellow back into the midtones.
| | 02:10 | So here we've used our eyes to give us
some clues about what needs to be done
| | 02:14 | and how we're going to do it.
| | 02:16 | Now while we go about all these steps, we
also use video scopes to measure the values.
| | 02:21 | So we're not just eyeballing it.
| | 02:23 | Believe me, our eyes can deceive us.
| | 02:25 | So we'll need some precise tools to help us out.
| | 02:28 | For example, we'll need to actually
map the blackest part in our image at or
| | 02:33 | near video black, which has a value.
| | 02:36 | If we look over here on the Y Waveform--
which again, we will go into in great
| | 02:40 | detail in a future movie--we need to
map the darkest part of our values to 16
| | 02:46 | on the 8-bit digital scale, or 0%, and
we need to map the whitest part of our
| | 02:52 | image at or near video white, which is equal
to 235 on the 8-bit digital scale, or 100%.
| | 03:00 | If we exceed these values, we produce
illegal values for broadcast, and the
| | 03:05 | show will get rejected.
| | 03:06 | Now even if we're not going to
broadcast, it's still a good idea to adhere
| | 03:10 | to these standards.
| | 03:11 | Don't worry, we'll go over all
of these specific values later.
| | 03:14 | Just realize that measuring your
adjustments is important, but so is using your eyes.
| | 03:20 | You can't just rely on the scopes to
make your adjustments because the software
| | 03:24 | doesn't know what part of the
image is supposed to be what.
| | 03:26 | We know this is a face, but Media
Composer doesn't. That's why you need both.
| | 03:32 | Now after we're done color correcting
the shot, we need to make sure the shot
| | 03:35 | matches all the other shots from the same scene.
| | 03:39 | So as you can see here, we have a lot
of different lighting schemes within
| | 03:42 | the scene, and we need to make sure that
everything matches and has visual continuity.
| | 03:46 | Finally, we might want to add a
creative look or feel to stylize the footage.
| | 03:51 | There's a lot to consider, and
we'll get to everything in this course.
| | 03:55 | So as you can see, you have a lot of
things to do during color correction, and it's
| | 03:59 | important to use both your eyes and
the video scopes to achieve your goals.
| | 04:03 | Now that we've gone over the very
basics, let's take a look at how we can
| | 04:07 | apply it in practice.
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| Understanding your creative goals| 00:00 | So we've explored why in theory we
perform color correction on our footage.
| | 00:05 | In this movie, I thought we'd take a
look at some actual before and after
| | 00:09 | treatments so that we can get
an idea of where we are going.
| | 00:12 | Our client doesn't quite know what
they want, so we'll present them with
| | 00:15 | several exciting options.
| | 00:17 | Now, if you've watched the first movie,
you're already familiar with some of the
| | 00:21 | problems we have with this footage.
| | 00:23 | I'm going to play through the short
sequence, which doesn't have any color
| | 00:26 | correction, so that you can see
some of the issues.
| | 00:30 | (video playing)
| | 01:04 | As you can see, we definitely have quite
a few issues in terms of color balance
| | 01:08 | and contrast and in regards to
our shots matching one another.
| | 01:13 | Now I'm going to scrub through the
same sequence, this time once it's
| | 01:16 | been color corrected.
| | 01:17 | Go ahead and load it up and
just briefly scrub through.
| | 01:22 | And we've got some nice contrast and
nice saturation. Everything matches each
| | 01:28 | other very well. This is a nicely
color corrected sequence, and we haven't
| | 01:33 | applied any other treatments to it yet,
but we've just done the baseline grade.
| | 01:38 | We've corrected for contrast, we've
removed color cast, and it's ready to go if
| | 01:42 | we do want to apply some treatments.
| | 01:44 | Okay, let's take a look at some additional
treatments that we might want to present.
| | 01:48 | This one here. Go ahead and scrub through it.
| | 01:52 | This has a very graphic gritty quality,
very high contrast, very high saturation,
| | 01:58 | and it definitely is very stylized.
| | 02:01 | So, this might be something
that our client is interested in.
| | 02:05 | And we'll go ahead and load this one up. And
this here is a Bleach Bypass emulation.
| | 02:12 | This actually emulates what you can
do in film development when you either
| | 02:16 | partially or completely skip the bleaching
function during the processing of color film.
| | 02:22 | Now, when you do this, you keep this
silver lining in the film emulsion, along with
| | 02:25 | the color dyes, and this results in
like a black and white image over a color
| | 02:30 | image, and it usually results in
reduced saturation and increased contrast and
| | 02:35 | graininess as well as--as you can see--
a tendency towards being blue or green.
| | 02:40 | So that can look very cool.
| | 02:42 | And let's take a look at one more.
| | 02:44 | Got a Sepia treatment. And as you
can see here, this is emulating old,
| | 02:50 | faded photograph or film.
| | 02:53 | We've also added some film grain to
it to add to that antiquated quality.
| | 02:57 | So, you've seen this a lot before,
and we will definitely take a look at
| | 03:01 | that later as well.
| | 03:02 | So, as you can see, color correction
can deeply affect the way we emotionally
| | 03:06 | feel about a scene. And throughout
this course we'll learn not only how to
| | 03:10 | correct our image so that it looks good
and falls within legal broadcast levels,
| | 03:14 | but we will also learn how to apply
different treatments, some of which we've
| | 03:18 | explored in the sneak preview.
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| Understanding the color correction workflow| 00:00 | We've already looked at some main
reasons that color correction is important,
| | 00:04 | and we've even seen it in action.
| | 00:06 | In this movie we're going to take a
look at the specific workflow that will
| | 00:10 | allow us to achieve the best results.
| | 00:12 | Now the color correction process can
be broken into three basic stages, which
| | 00:16 | we've already mentioned.
| | 00:17 | Stage 1 is correcting your luma and
chroma values in individual shots, Stage 2
| | 00:22 | is achieving shot-to-shot consistency,
and Stage 3 is applying a specific look
| | 00:27 | or style to your entire show.
| | 00:29 | Again, you use both your eyes
and the video scopes to do this.
| | 00:33 | Let's burrow in a little deeper.
| | 00:35 | As we said, Stage 1 is where you
correct your individual shots.
| | 00:39 | This is where you adjust your luma,
your light and dark values, and your chroma
| | 00:43 | color values, which are made up
of two parts: hue and saturation.
| | 00:47 | So, let's break this down.
| | 00:49 | The first step involves
adjusting your luma values.
| | 00:53 | First, you set the black part of your
image to video black, and you set the white
| | 00:57 | part of your image to video white.
| | 01:00 | This opens up your contrast range,
which is not only correct, but is generally
| | 01:05 | much more pleasing to the eye.
| | 01:07 | Opening your tonal range makes dull and
flat footage crisp and bold, and also it
| | 01:12 | makes all other light and color
values in your image more accurate.
| | 01:16 | After performing luma adjustments, you
should typically clip the luma values,
| | 01:20 | which means that any stray shadows or
highlights that register outside legal
| | 01:24 | levels are automatically clamped
to be within legal broadcast levels.
| | 01:28 | The second step involves removing
color cast and neutralizing your image.
| | 01:34 | This means that you measure the colors
that are supposed to be neutral in your
| | 01:37 | image--black and white--and makes sure
that they are in fact neutral, which means
| | 01:42 | that they are free from a color cast.
| | 01:44 | If you find your blacks are too cool
or your whites are too warm, then you go
| | 01:48 | about removing the color cast by
subtracting the offending color, so that you
| | 01:52 | can achieve true black and white values.
| | 01:55 | Doing this will improve color
accuracy in your entire image.
| | 01:59 | Keep in mind though:
| | 02:00 | sometimes footage is purposefully shot
with a particular color cast in mind, like
| | 02:05 | with gels or filters.
| | 02:06 | If this is the case, you won't want
to remove the artistic vision of those
| | 02:10 | that shot the footage.
| | 02:11 | So make sure you communicate with the
director or director of photography about
| | 02:14 | their intentions during shooting.
| | 02:16 | The third step is adjusting hue and saturation.
| | 02:19 | Once your black and white values are
registering correctly in terms of luma and
| | 02:23 | chroma, then it's time for you to make
any needed adjustments to your hue and
| | 02:27 | saturation values,
especially in terms of flesh tones.
| | 02:31 | Often you'll need to warm up your
flesh tones if they are too pale, or you may
| | 02:35 | need to cool them down if
they are overall too red.
| | 02:38 | You also have the opportunity to
either increase or decrease your saturation.
| | 02:42 | After you've corrected the luma and
chroma of each shot, you'll need to work on
| | 02:46 | getting shot-to-shot consistency.
| | 02:48 | This means that you'll often need to
apply your corrections, making sure that
| | 02:52 | each shot works well with the adjacent shots.
| | 02:55 | Often, for example, a master shot might
be slightly darker or lighter than the
| | 02:59 | close-ups of the same scene because
it was shot at a different time of day.
| | 03:03 | Therefore, you'll often need to just
make some fine adjustments to bring
| | 03:06 | everything into the same spectrum.
| | 03:08 | Finally, once you've made the
appropriate corrections and made sure everything
| | 03:12 | is worked well together, you can add a
stylistic look or treatment to your scene
| | 03:16 | like we saw in the last movie.
| | 03:18 | It's important that you've done all of
the work ahead of time to make everything
| | 03:22 | look good before you apply your treatment.
| | 03:25 | As you can see, there's a distinct
workflow that you're going to need to take
| | 03:28 | when color correcting your shots.
| | 03:30 | We'll go over each of these shots in
detail, but first we're going to take just
| | 03:33 | a little bit of time to talk about
some other things you should consider when
| | 03:37 | performing color corrections.
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| Setting up an ideal color correction environment| 00:00 | We've already mentioned that you need to
see with your eyes and measure with the
| | 00:04 | scopes when evaluating your
shots for color correction.
| | 00:07 | Well, in order to give your eyes the
best chance possible, there are several
| | 00:11 | things you should try to do when
setting up your color correction environment.
| | 00:14 | These include getting a properly
calibrated monitor, using good lighting,
| | 00:19 | working in a neutrally colored space--
preferably neutral gray--and if possible
| | 00:24 | using external scopes.
| | 00:25 | Let's take a look at each of these.
| | 00:27 | Your eyes are powerful tools in the
color correction process, but what if the
| | 00:31 | monitor you're using is emitting a
blue cast that isn't really there.
| | 00:35 | That means that for each of your shots you'll
be incorrectly removing blue from your image.
| | 00:40 | Then when you bring the footage to
another monitor, everything will look too yellow.
| | 00:45 | To prevent this from happening, you
need to spend the time making sure your
| | 00:48 | monitor is the correct color
temperature, 6500 Kelvin--also called D65, which
| | 00:55 | is the color of daylight--and that the hue
and chroma are properly set and balanced.
| | 01:00 | The actual process of properly
calibrating your monitor is beyond the scope
| | 01:04 | of this course, but definitely take the time
to research that because it's very important.
| | 01:09 | The lighting in your color
correction environment is also very important.
| | 01:13 | You want to help you perceive
your footage as it truly is.
| | 01:16 | Ideally, you want to work with lights
that are set at 6500 Kelvin, and you want
| | 01:21 | to make sure the light isn't too
bright or shining on your monitor.
| | 01:25 | Sometimes your eyes will improperly
compensate for color on the walls or
| | 01:29 | anywhere else in the
color correction environment.
| | 01:32 | Therefore, you want to remove any
chance that this will happen by working in a
| | 01:36 | room with a totally neutral wall.
| | 01:38 | Light is okay, but neutral gray is best.
| | 01:41 | There are internal video scopes
within Media Composer that you can use when
| | 01:45 | color correcting your footage.
| | 01:47 | If possible, though, it's a great idea
to use external scopes, so that you can
| | 01:51 | get an accurate read on this
signal once it leaves Media Composer.
| | 01:55 | Also, external scopes give you
very sensitive real-time response and
| | 02:00 | often provide a display with higher
resolution and more control over measurement units.
| | 02:05 | Also, they often have some filtering and
magnification capabilities, so that you
| | 02:09 | can isolate certain parts of the video signal.
| | 02:12 | Again, if you don't have hardware
scopes, that's okay. Just use the internal
| | 02:16 | ones in Media Composer.
| | 02:18 | Finally, if you can, working on an
external control surface is a great idea.
| | 02:23 | This gives you tactile control over
your corrections and allows you to make
| | 02:27 | multiple adjustments at once.
| | 02:28 | Here, I'm on Avid's web site, and
we're looking at the Avid Artist Color.
| | 02:33 | So, it's a control surface made by Avid.
| | 02:35 | You can, of course, use any control
surface, but this is one that Avid makes and
| | 02:40 | fits right within the Media Composer
Color Correction interface. And as you can
| | 02:44 | see, it has lots of buttons and dials
and it has three trackballs and it really
| | 02:49 | allows you to have tactile
control over your corrections.
| | 02:52 | And once you use it, you probably
won't want to go back to software
| | 02:55 | corrections, but in this course
we're going to take a look at software
| | 02:58 | corrections, and then you will be
able to easily incorporate the tactile
| | 03:02 | control later on if you choose to.
| | 03:04 | The tips in this movie are absolute
musts if you're a professional colorist and
| | 03:09 | slightly less essential if you're an
editor who just does a little color
| | 03:12 | correction. But if you can, try to set
up your color correction environment with
| | 03:16 | as many of these things as possible.
It will make your experience truer and
| | 03:21 | allow you to achieve more accurate results.
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| Touring the Media Composer color correction toolset| 00:00 | Okay, so you should have a pretty
good idea of why we need to perform
| | 00:04 | color correction, as well as the
proper workflow and considerations for
| | 00:07 | successful color correction.
| | 00:10 | Now let's take a tour of the Media
Composer Color Correction interface before we
| | 00:13 | actually get our feet wet.
| | 00:15 | Now there are several ways that you can
actually launch the Color Correction tool.
| | 00:19 | You can come down here into this
Modes panel and choose the Color
| | 00:23 | Correction tool right here, or you
can come up to Windows and Workspaces
| | 00:28 | and Color Correction.
| | 00:30 | And when you open it up, if you need to
reposition any windows, you can.
| | 00:35 | Right now I'm in pretty good shape.
| | 00:37 | But usually you will need to kind of
prevent them from overlapping a little bit.
| | 00:41 | And then you can just come back up to
Windows > Workspaces and Save Current once
| | 00:46 | you have made those adjustments.
| | 00:48 | All right, so we have 3 basic levels here.
| | 00:52 | We are already familiar with the timeline.
| | 00:55 | If you need to review anything about
editing in the timeline, please feel free
| | 00:59 | to look at the Media Composer 6
Essential Training course.
| | 01:02 | So that leaves two new
tools that we need to look at.
| | 01:06 | We will go ahead and start with
the Color Correction tool here.
| | 01:08 | Now when the Color Correction tool
opens, you are going to see these three
| | 01:12 | wheels. These are called chroma Wheels,
and it's in something called the HSL group.
| | 01:19 | Now HSL stands for Hue, Saturation, and Luma.
| | 01:23 | And just so you know, the HSL group
works in the YUV color space, which means
| | 01:30 | that luma and chroma can be adjusted separately.
| | 01:34 | Now this allows you to change one
part of the signal without significantly
| | 01:37 | affecting the other.
| | 01:39 | So let's go ahead and
just park on an image here.
| | 01:42 | Again, this needs a lot of color correction.
| | 01:44 | We won't actually perform any
significant color correction now, but just to make
| | 01:48 | a couple of adjustments here.
| | 01:50 | We want to start over here, and this
is the Gain, Gamma, and Setup controls.
| | 01:54 | This allows you to control your
luma, so your light and dark values.
| | 01:59 | So I can increase my whites or
decrease, then you can kind of see the
| | 02:04 | changes applied here.
| | 02:05 | Once I have made a correction, you
can see in the timeline that a color
| | 02:10 | correction affect was applied.
| | 02:13 | So this happens just the very
moment that I make my first correction.
| | 02:18 | Okay, so we'll talk a lot about how
to adjust our highlights, midtones and
| | 02:23 | shadows in the future movie,
but that's where those are.
| | 02:26 | And then you also have your chroma wheels.
| | 02:29 | Now this allows you to add specific
color values in your shadows, your midtones,
| | 02:35 | and your highlights.
| | 02:36 | So as you can see here, if I drive my
highlights up really red, you see that
| | 02:41 | everything that is white in the
image is now this reddish pink color.
| | 02:44 | All right, and you can kind of see that
that is across the board. And same thing
| | 02:50 | with my shadows. You would really
never ever go out to the edge here.
| | 02:55 | These are usually very subtle
adjustments, but just so you can see the changes.
| | 02:59 | That is what the chroma wheels do.
| | 03:02 | Down here we have some automatic
color correction tools, and we have some
| | 03:05 | automatic color correction tools here as well.
| | 03:08 | And then over here on the right side,
we have some color match swatches, which
| | 03:13 | allows us to very easily measure
and match our shots with one another.
| | 03:18 | So this is going to be very key
in our scene-to-scene correction.
| | 03:22 | Below that we have some color
correction buckets, which allow us to save some
| | 03:26 | templates out when I'm working
in a color correction session.
| | 03:29 | And then if I come over to my two
tabs here, I will notice that this is all
| | 03:34 | within the Hue Offsets tab.
| | 03:36 | I have some additional controls in
the Controls tab, and these are some very
| | 03:40 | basic adjustments in terms of
hue and brightness and contrast.
| | 03:45 | I can really basically achieve a lot of
the things that I can do within Hue and
| | 03:49 | Brightness and Contrast in Hue Offsets.
And this actually gets me more control
| | 03:54 | in more detail, so I don't use these very often.
| | 03:58 | But what I do use often is saturation.
| | 04:00 | So, my saturation is something that is
unique to the Controls tab and is very important.
| | 04:08 | So I can either decrease
or increase my saturation.
| | 04:11 | And this is another very important
part, the Clip Low and Clip High.
| | 04:15 | This allows me to basically clamp my
luma values at 16 and 235, my video
| | 04:21 | black and video white.
| | 04:23 | Again, we talked about this before.
| | 04:24 | These are very important values to
keep our luma signal within, and we will
| | 04:28 | explore that in much
greater detail in later movies.
| | 04:31 | Again, we have our Color Match
swatches over here on the right and our color
| | 04:34 | correction buckets as well.
| | 04:35 | So that's kind of a brief tour of the HSL group.
| | 04:38 | Again, it's the YUV color space allowing
us to basically manipulate our luma and
| | 04:44 | our chroma values separately.
| | 04:47 | Now let's move on into Curves.
| | 04:49 | Curves work in the RGB color space, which
means that luma and chroma are combined.
| | 04:54 | Therefore, any changes we make will
affect both parts of the signal, luma
| | 04:59 | and chroma together.
| | 05:01 | Now, if you've worked in Photoshop or
other applications that use curves, this
| | 05:05 | basically works in the same way.
| | 05:07 | We have a red, green, and blue curve,
and we have a master curve, or luma curve,
| | 05:12 | which is red plus green plus blue.
| | 05:15 | Now we already have control points in the
black and white regions of each of our curves.
| | 05:22 | And you can see that we have them
likewise in each of our color channels.
| | 05:26 | And we can either
manipulate these control points.
| | 05:29 | You can kind of see that as I drag
this around, the image changes. And you can
| | 05:35 | also add control points and
make it brighter and darker.
| | 05:38 | And the same thing, you know,
over here in the other curves.
| | 05:41 | If I add a control point and move towards
blue, you can obviously see what happens.
| | 05:45 | But the cool part about this is that
I'm adding it in the middle. And we will
| | 05:49 | definitely go into all the specifics
about adding control points and where to
| | 05:53 | add them and how to
manipulate in a future movie.
| | 05:57 | To the right of my curves I have a
Master Saturation and then Master Gain, Gamma,
| | 06:02 | and Setup controls as well.
| | 06:04 | Now these are pretty much
identical to the controls within the HSL.
| | 06:08 | In fact, you can see that the
values that I have over here in HSL are
| | 06:14 | likewise applied in curves.
| | 06:16 | So this basically allows me to use these
controls without needing to go back to the HSL.
| | 06:20 | So this is kind of a duplicate version of those.
| | 06:23 | And then we also have our Color Match
controls over here, which again allows
| | 06:27 | us to make some very nice shot-to-shot
corrections and our color correction buckets.
| | 06:32 | And we have some automatic color
correction tools down here as well, and we will
| | 06:36 | explore all of those in future movies.
| | 06:39 | We also have these buttons
next to every single adjustment.
| | 06:42 | These are enable buttons, so let me
just make kind of a drastic change here.
| | 06:48 | And if I deselect it, you can see
that the change is no longer applied.
| | 06:53 | We still have the adjustment
made; we are just not viewing it.
| | 06:56 | If I want to reset it altogether, I
Option+Click on Enable button, or Alt+Click
| | 07:02 | on a PC, and then any adjustment is removed.
| | 07:05 | So same thing here, if I wanted to make
an adjustment, I can disable that and it
| | 07:12 | goes away, or I can Option+Click
on this and it resets.
| | 07:17 | So that's just a very brief
tour of our Color Correction tool.
| | 07:20 | Again, we have two groups, HSL, just
the YUV color space for everything is
| | 07:26 | separate as far as luma and chroma.
| | 07:28 | And our Curves in the RGB color space,
where everything is pretty intertwined.
| | 07:34 | Now let's come up to our three windows here.
| | 07:36 | By default, it will probably say
Previous, Current, and Next. And this is
| | 07:41 | basically the shot that I'm
correcting. Is Current, and you will pretty
| | 07:44 | much never change that.
| | 07:46 | And this is the shot right before.
And this is the shot right after.
| | 07:50 | Now these can be
populated with what ever you want.
| | 07:53 | If I click on this menu here, you can see
that I can have various choices with the shots.
| | 08:00 | I can leave it empty, I can
put the entire sequence in.
| | 08:03 | I can have the second previous, the
second next, and I can also show you
| | 08:08 | the reference shot.
| | 08:09 | If I want to basically establish a
shot as a reference shot, I can load it up
| | 08:14 | here, and then it will stay
as I'm correcting other shots.
| | 08:18 | So let's say, for example, that I
want this shot here to be my reference.
| | 08:23 | I am going to go ahead and reference it.
| | 08:26 | It's now placed in the reference shot.
And as I come back here, I can now
| | 08:30 | reference that shot here. And then
maybe over here I want to put a video
| | 08:33 | scope, because these are other options that
you have available to you to correct your shot.
| | 08:38 | You know that you not only need your
eyes, but you need the scopes to show you
| | 08:42 | information about your video signal.
| | 08:44 | So we have lots of video scopes to work with.
| | 08:47 | We will go into many of
these throughout this course.
| | 08:49 | Now you do have some buttons below
your monitor. It allows you to see things
| | 08:54 | like before and after.
| | 08:55 | And it also allows you to go to various
shots as well as remove your correction.
| | 09:01 | So as you can see, the color
correction workspace has a lot of features.
| | 09:05 | When you're ready to go back to regular
Source/Record mode after being in Color
| | 09:08 | Correction mode, you can simply come up
to Windows > Workspaces and then back to
| | 09:13 | Source/Record Editing.
| | 09:14 | And then also keep in mind you have
your different mode buttons down here.
| | 09:18 | You can operate it there as well.
| | 09:20 | As you can see, the color
correction workspace has a lot of features.
| | 09:24 | We will be going over each of these in
detail, but this movie should give you a
| | 09:27 | basic overview of the main functions.
| | 09:30 | Now let's get started!
| | Collapse this transcript |
|
|
2. Stage 1: Manually Correcting Luma and Chroma (HSL Group)Setting accurate whites and blacks| 00:00 | In a previous movie we went
through the various stages of the color
| | 00:03 | correction process.
| | 00:04 | As a reminder, stage 1 is where we get
individual shots looking good as far as
| | 00:09 | luma and chroma levels are concerned.
And the very first part of this process is
| | 00:13 | setting accurate black and white values.
| | 00:16 | We will take a look at how
to do that in this movie.
| | 00:18 | All right, so we have already kind of
evaluated the shot, we know that the
| | 00:23 | whites are too dim and the blacks are
too milky, and it does have an overall
| | 00:29 | general blue color cast.
| | 00:30 | We are not going to worry about that
color cast about anything related to chroma
| | 00:35 | in this movie though.
| | 00:36 | Right now we're just concerned with
getting those accurate whites and blacks.
| | 00:40 | So let's get into Color Correction
mode. I am going to go ahead and choose
| | 00:45 | Workspaces and Color Correction. And if
you look down here on the timeline, we
| | 00:50 | have V2 monitored and that's so we can
see our secondary video track as we come
| | 00:57 | over our picture-in-picture here.
| | 01:00 | We don't want to actually apply the
correction to V2, however. We want to make
| | 01:04 | sure to apply it to V1, so we can
keep our monitor here. But we just want to
| | 01:08 | deselect V2, and right now we have the
current shot right here in the middle.
| | 01:14 | And now we have the
previous and next shots here on V1.
| | 01:19 | Again, if I had V2 selected we wouldn't
have a previous shot, and we would have
| | 01:23 | the next shot which is way down here
that's not what we want, we want to make
| | 01:26 | sure to just correct V1.
| | 01:28 | All right, so we are set up there, and we
actually want to choose a different option
| | 01:33 | to go in our left monitor here.
| | 01:35 | So we don't want to worry about previous right
now. Let's go ahead and load the Y Waveform.
| | 01:41 | Now the Y Waveform shows us our luma value.
| | 01:44 | That shows us our light and dark values
of our current shot, and it doesn't take
| | 01:51 | into consideration chroma or color.
| | 01:54 | So if this was a totally black and
white image--which I can make it black and
| | 01:58 | white by taking down its saturation--notice
that my Y Waveform is pretty much the same.
| | 02:06 | So this is basically just like we are
correcting the black and white image.
| | 02:10 | I am going to go ahead and reset this
value by Option clicking, or Alt-click on a
| | 02:14 | PC, and we are going to go
ahead and head back to Hue Offsets.
| | 02:20 | Let's talk about a couple more
things with the Y Waveform monitor here.
| | 02:24 | At the bottom we have black, and at the
top we have white, and it's very hard to
| | 02:29 | see these numbers at the current
video quality setting that we are at.
| | 02:33 | I am going to just temporarily
move this to yellow, so this best
| | 02:38 | performance. And you can see that when
I do that, you can actually see these
| | 02:41 | numbers a lot better.
| | 02:42 | So at 16 we have got video black.
| | 02:46 | So we want the darkest part of our
image to rest right along that line.
| | 02:53 | If I don't have any black values in my
image, then it's not going to rest on
| | 02:57 | that line. So polar bear in a snowstorm. We are
not going to have anything down here next 16.
| | 03:02 | But we do have some nice true
black images that should be down there.
| | 03:06 | So we will want to lower this to that value.
| | 03:10 | Here, and you can't really see the two
here, but this is 235 on the digital bit
| | 03:15 | scale, and that's representing video white.
| | 03:18 | So if we look at our image, and we do
have white values--which we do--then we want
| | 03:23 | to those to rest right up here along this line.
| | 03:27 | So 16 is equal to 0%, and 235 is equal to 100%.
| | 03:33 | Notice that you can go above these.
We can go all the way up to 255, and we
| | 03:38 | can go all the way down to 0, but that's
getting into these super black and super white areas.
| | 03:43 | So we want to avoid that if we can.
| | 03:46 | Now this graph goes from left to right
exactly representing the image here in
| | 03:52 | the current monitor.
| | 03:53 | So as we proceed here, here is
the guy, and here is the background.
| | 03:59 | So this clump here in the trace, so we
kind of have a clump here and a clump
| | 04:06 | here, those are just
like values of luma, all right?
| | 04:09 | So, we have kind of a darker clump here.
It's probably like the shadow of his
| | 04:15 | face here, maybe some hair, maybe some
of his clothes, kind of a lot of really
| | 04:19 | like luma values all right here.
| | 04:22 | And then here we have a large
clump, and that's pretty much the sea.
| | 04:26 | So the blue right here is all about 50% luma.
| | 04:32 | So the trace, whether it's fine or
whether it's clumped together, that tells you
| | 04:37 | a little bit about how the values
are distributed across the image.
| | 04:42 | All right, so with that, we have black-
to-white and we have left-to-right
| | 04:48 | represented of this image.
| | 04:50 | We are going to go ahead and ask
ourselves where in the image is it's
| | 04:54 | supposed to be black, and we've got
several black areas right here which are
| | 04:58 | about right here in the trace.
| | 05:01 | We want to lower that, and we are
going to do that with this Setup control.
| | 05:05 | So I am just going to click on the
Setup control, and if I drag to the left, you
| | 05:10 | can see the image updating in the
current monitor. And as soon as I release, you
| | 05:15 | can see the trace in the
Y Waveform update as well.
| | 05:18 | Now if I go too far, you can see that
it's getting into that super black region.
| | 05:23 | That's not what we want.
| | 05:24 | We wanted it to rest right along 16 or 0%.
| | 05:28 | So I am going to go ahead and raise that
a little bit, and if I want to make fine
| | 05:31 | adjustments I hold down Shift and then
drag to the left. And you can see that I'm
| | 05:36 | making very fine adjustments.
| | 05:38 | And if I'm a little bit below, it's okay.
We can clip those values later, but
| | 05:44 | I'm going to go ahead and just raise that a
little bit, so it's resting right along that line.
| | 05:50 | And then we are going to come in and try to get
our white or lightest values up to video white.
| | 05:56 | So I am going to go ahead and drag this
to the right. And again, we want to make
| | 06:01 | sure that we don't go too far above 235.
| | 06:04 | Again, we can clip that if
we need to. But here we go.
| | 06:08 | So we have broadened our contrast
range. You can see that when we actually
| | 06:13 | drag that up to 235 it sort of took
it away from my video black region, and
| | 06:19 | that happened it is kind of a dance if
you drag too far in one region, if you
| | 06:24 | drag too far on one control, it can
affect other controls. They have it rather
| | 06:28 | overlapping nature.
| | 06:29 | So I am just going to go back down a
little bit on my setup, and then I am going
| | 06:34 | to Shift+Drag this to make a
very fine adjustment up to 235.
| | 06:37 | All right, so I like where my
blacks are. I like where my whites are.
| | 06:41 | My gamma is my midtones, so if you
generally want something brighter or
| | 06:46 | generally darker, you can control that with gamma.
| | 06:49 | This is a bright sunny day, so I'm
going to go ahead and brighten this up
| | 06:52 | a little bit, like so.
| | 06:54 | And this is looking pretty good. I am
going to go a little bit down with my setup,
| | 06:59 | because I did affect that.
| | 07:01 | And all right, I am kind of liking how this looks.
| | 07:04 | Now one thing you want to do
throughout the process is to always look at
| | 07:08 | where you came from.
| | 07:09 | So I've got my Dual Split button right here.
| | 07:12 | If I click on Dual Split, this is the
before, and by default it splits it into two.
| | 07:20 | What I like to do is actually just drag this
over to the right and then treat it as a toggle.
| | 07:25 | So if I click on--here is kind of the
after and before. And I am actually going
| | 07:31 | to make sure that I have my video
quality all the way up to full greens so that
| | 07:37 | we see this at full resolution here.
And just be aware that we aren't able to
| | 07:41 | really see these numbers very well,
depending on what your resolution is.
| | 07:45 | We are at a lower resolution, or
recording right now so it is impacted.
| | 07:49 | But again, we still have a color cast
here, and we need to warm up his flesh tones.
| | 07:54 | That fine. That's part of the next few stages.
| | 07:57 | But for right now we have accurate
blacks and accurate whites as far as our luma
| | 08:03 | signal was concerned.
| | 08:04 | We just want to do one last thing.
| | 08:06 | You noticed that we do have a couple of
pixels right below video black and maybe
| | 08:12 | a couple of pixels right above video white.
| | 08:14 | Let's go ahead and just clamp those. Go
over to controls and click on Clip Low
| | 08:19 | and Clip High. And you'll notice that
they got brought right into the legal
| | 08:24 | levels, and we're going to talk a lot
more about getting things legal for
| | 08:28 | broadcast. But this is just one thing
that you can do to clip low and clip high,
| | 08:33 | and we don't have to
worry about it going forward.
| | 08:35 | All right, so we are all set up. We've
got our blacks and whites, and in the next
| | 08:39 | movie we will take a look at
how to remove our color cast.
| | Collapse this transcript |
| Removing color casts| 00:00 | Now that we've set accurate blacks and
whites, it's time to see if the image has
| | 00:04 | any unwanted color casts.
| | 00:06 | Now the key here is unwanted, as
sometimes footage is intentionally shot with
| | 00:11 | gels and filters to give it a color cast.
| | 00:13 | So make sure to check that you're not
removing something that should be there.
| | 00:17 | But assuming that's not the case like
in this image here, let's go over the
| | 00:21 | process for measuring, and then
neutralizing our image appropriately.
| | 00:25 | Now the process of neutralizing an
image involves removing color casts from the
| | 00:29 | neutral colors in the image.
| | 00:32 | There are three neutral colors: black,
white, and neutral gray. Because not many
| | 00:37 | images have a perfect neutral gray,
we're really only looking to neutralize the
| | 00:40 | black and white values.
| | 00:42 | Now we've already done all of the work
in setting our blacks and whites, which is
| | 00:46 | why it's important to do
that first. So we're good to go.
| | 00:49 | Let's switch our Y Waveform video scope
to another one that will help us add a
| | 00:54 | little bit better for
color casts, the RGB Parade.
| | 00:58 | And as you see here we have the
same image three times in each of the
| | 01:03 | three color channels.
| | 01:04 | So here's the red, green, and blue.
And going from left to right across the
| | 01:10 | image, you can see that here is our guy.
| | 01:13 | And here he is again, and these are
relatively equal, we're little bit higher in
| | 01:18 | the greens. You can see everything
falls apart in the blues. Everything is
| | 01:22 | stretched out because we have a lot of
color cast in our midtones for blues
| | 01:27 | as well as our highlights.
| | 01:28 | So when we're looking to neutralize our
blacks and whites, we can expect to have
| | 01:32 | a color cast in the highlights
and shadows, which we already knew.
| | 01:36 | Let's take a quick moment to look at how to
remove color cast before actually doing it.
| | 01:42 | We have here a color wheel that we have
in Media Composer. And if we start at 0 degrees,
| | 01:49 | we have our red value--moving clockwise to
magenta and then blue. And then 180 degrees is
| | 01:57 | cyan--directly opposite of
red--so it's its opposite.
| | 02:01 | And then moving to green and then yellow.
| | 02:04 | So if you look at colors that are
opposite of one another on the color wheel
| | 02:08 | that gives a clue about how
we neutralize color casts.
| | 02:11 | So take a look at blue. So to
neutralize an image that has a color cast of blue,
| | 02:17 | you're going to add what's
opposite. So we're going to add yellow.
| | 02:21 | Let's go ahead and go back into Media
Composer. And we're going to first attack
| | 02:26 | the white, so we're going to deal
with our highlight chroma wheel.
| | 02:29 | We have our blue here, and we want to
drag in the opposite direction of yellow.
| | 02:33 | Before we do that, we're
going to just take a measurement.
| | 02:37 | We do so over here with the color match
swatches, which we know from the tour in
| | 02:41 | chapter 1, allows us to match color
from shot to shot. It also allows us to
| | 02:47 | measure our colors in the red,
green, and blue channels.
| | 02:51 | I'm going to click and hold, and then
without releasing the mouse I'm going to
| | 02:56 | come up here into the image. You can see
that it's updating in real time, telling
| | 03:00 | me information about the
red, green, and blue channels.
| | 03:04 | And I can come up here and sample some
whites up here in the ocean, or maybe over
| | 03:08 | here on his shirt. And I'm
going to go ahead and release.
| | 03:12 | I've got a red value of 212, green
of 224, blue of 255, and that is fairly
| | 03:20 | indicative of what we
have here in the RGB Parade.
| | 03:24 | Now before we resample, I am going to
show you one thing to do in order to make
| | 03:28 | this as accurate as possible.
| | 03:30 | If I come over to Settings and then
Correction, I'm going to turn on something
| | 03:35 | called 3x3 Averaging, that's simply
going to average a 3x3 or a 9-pixel square
| | 03:42 | right around where I release my mouse.
| | 03:45 | That prevents me from sampling any
stray pixels that might have a different
| | 03:49 | value than the ones around them.
| | 03:51 | So I didn't do that the first time,
but from now on we'll do that, say OK.
| | 03:55 | And then I'm going to make my adjustment.
I'm going to take my highlight chroma
| | 04:00 | wheel, and then I'm going to drag away
from blue toward yellow and release.
| | 04:05 | You can see that my RGB Parade updated.
I now have a little bit of trace in the
| | 04:11 | blue, but the clump got moved down,
right in line with the red and green.
| | 04:15 | Let's go ahead and resample
and see where we're at.
| | 04:21 | Well, we did bring down the blues,
but we also brought down the reds.
| | 04:25 | Everything is becoming a
little bit more in line here.
| | 04:29 | We can keep tweaking. It
is a meticulous process.
| | 04:31 | It definitely gives you appreciation for
the power of automatic color correction.
| | 04:36 | But auto color correction does not
always work, especially in extreme color
| | 04:40 | balance or contrast problems.
| | 04:42 | So you will need to do this
meticulously every now and then.
| | 04:46 | So we can keep going and keep tweaking.
| | 04:48 | But for the purposes of this
demonstration, we're going to move on to our shadows
| | 04:52 | and get those more in line as well.
| | 04:54 | So, we keep going, but for right now
I am going to go ahead and take my
| | 04:58 | shadow chroma wheel.
| | 04:59 | And we'll first sample our
black and see where that's at.
| | 05:03 | We're at 11, 16, and 34.
| | 05:05 | Ideally you want these units
to be around 10 units apart.
| | 05:10 | Right now we're a little bit too far.
We've got too much blue in our shadows.
| | 05:14 | So we're going to take our shadow
chroma wheel and again drag away from
| | 05:19 | blue towards yellow.
| | 05:20 | And not quite as much this time,
because it's not quite as blue, but maybe
| | 05:26 | just a little bit here.
| | 05:28 | And we'll go ahead--you saw the RGB
Parade update, and we'll go ahead and resample.
| | 05:33 | Again, I'm just clicking and holding. And
then I'm going to release over the black here.
| | 05:38 | And we're better, we're at Red 16,
Green 20, Blue 23. That's pretty good.
| | 05:45 | I mean, again, you want those probably
within about 10 units of one another, and we are.
| | 05:50 | And so, again, you can keep
tweaking if you want to.
| | 05:52 | Try to get them all as close to 16
as possible. But that's fairly good.
| | 05:56 | So, let's go ahead and take
a look at the before and after.
| | 05:59 | It's a subtle difference, but if I
click on this Enable button here on the
| | 06:03 | highlights and this Enable button here
on the shadows. This basically shows us
| | 06:07 | where we were at before we did
any of the color neutralization.
| | 06:11 | Again, look in the RGB Parade and also in
the current monitor as I enable those again.
| | 06:18 | So some subtle differences. But now
we've neutralized our blacks and whites, and
| | 06:22 | we're poised to do the next big phase,
which is to adjust our hue and saturation.
| | 06:28 | Again, we're going to be focusing
primarily on the skin tones, so we're going to
| | 06:31 | warm those up significantly, which
we'll look at in the next movie.
| | Collapse this transcript |
| Correcting flesh tones| 00:00 | Once you've set accurate black and
white values for your image, you're ready to
| | 00:04 | make adjustments to the hue and saturation.
| | 00:06 | Now because our image is of a person, we'll
be focusing primarily on the flesh tones.
| | 00:11 | The human eye is very sensitive to
accurate flesh tones, so make sure to spend
| | 00:14 | some time with this to get it just right.
| | 00:16 | All right, so we've got our RGB Parade.
I did a tiny bit more tweaking since the
| | 00:21 | last movie to get these a
little bit more accurate.
| | 00:24 | So we've got our blacks and whites where
they should be as far as luma is concerned.
| | 00:29 | We've also neutralized them and we're going
to move from the RGB Parade to the Vectorscope.
| | 00:34 | Now the Vectorscope measures chroma
only, so it measures no luma at all.
| | 00:41 | And it measures it in the same way
that we measure our chroma wheel color.
| | 00:45 | So if we start here, this is red,
magenta, blue, cyan, green, and yellow.
| | 00:54 | And again if we're at full quality,
those are hard to read, so I'll temporarily
| | 00:59 | move to Best Performance so
that we can actually read those.
| | 01:04 | So the angle around the Vectorscope
indicates hue, or our color, and measuring out
| | 01:12 | from the center indicates our saturation values.
| | 01:16 | So a completely desaturated image would
have no values on the Vectorscope.
| | 01:21 | The trace would be absent.
It'd be a little green dot in the middle.
| | 01:25 | And right now we have the saturation
extending to about a third of the way out
| | 01:31 | from the center, so we
definitely have some saturation.
| | 01:34 | But where it really counts, in our
flesh tones, it's really pretty dingy.
| | 01:40 | So we're going to make some improvements there.
| | 01:42 | One thing you should be aware of is that
there is an imaginary line that extends
| | 01:47 | right here in between yellow and red,
and it's called the Flesh Tone Line.
| | 01:51 | And regardless of race, it's where
the values of chroma should align for
| | 01:57 | basically any human face.
| | 02:00 | So we want to make sure that the hues
align right along this imaginary line right here.
| | 02:05 | So we're going to be focusing primarily
in the midtones, because our flesh tones
| | 02:10 | are in the midtones.
| | 02:12 | And first of all, we want to
increase the red and yellow here.
| | 02:16 | We want to warm it up, so
it's really dark and dingy.
| | 02:19 | We're going to go ahead and just
drag up and to the left. And watch how this
| | 02:25 | affects it right in the image
as well as in our Vectorscope.
| | 02:30 | And you don't want to go too much
because take a look at how that affects the
| | 02:34 | rest of the background. So in the
water, it's a little bit too red.
| | 02:39 | But you want to kind of just ride that flesh
tone line up to make it just a little warmer.
| | 02:46 | And this is where you can also head back
and add some more luma adjustments as well.
| | 02:52 | If I wanted to just brighten the gamma
up just a tiny bit, I can come in and add
| | 02:57 | just a little bit of brightness there.
| | 03:00 | And I'm going to actually
move back to my highest quality.
| | 03:06 | We lose our definition as far as
where we're able to see our hues.
| | 03:10 | But we know right here that we're
really interested between red and yellow, and
| | 03:14 | I'm going to continue to
just warm that up just slightly.
| | 03:17 | And then I'm going to ahead over to Controls,
because I want to also increase the saturation.
| | 03:23 | So again, our saturation control.
It's only available over here.
| | 03:27 | We really don't have much in the way
of controlling saturation on the
| | 03:32 | Hue Offsets tab, except if I was to drag it
way out, this would of course saturate
| | 03:36 | it quite a bit--but only in that color
channel. It's really not a good tool to
| | 03:41 | use for general saturation across the image.
| | 03:44 | Okay, so I'm going to head back over
to controls and then bump my saturation
| | 03:49 | up a little bit here.
| | 03:51 | You can see the values
increase in the Vectorscope as well.
| | 03:55 | If I want to make fine adjustments, I
hold down Shift and I can make very fine
| | 04:00 | adjustments, like so.
| | 04:01 | Let's go ahead and take a look
at the before and after here.
| | 04:05 | If I wanted to see the entire before and
after, I again can click on my Dual Split.
| | 04:12 | That's where we came from and
that's what we've got right now.
| | 04:15 | It's looking pretty good.
| | 04:17 | I think we might be a little too saturated
still, so go back a little bit to the left.
| | 04:24 | And we're looking pretty good as
far as our flesh tones are concerned.
| | 04:30 | I think what I would do next is actually
increase the contrast just a little bit
| | 04:34 | to make it pop just a little bit more.
| | 04:36 | This is where the color
correction process becomes organic.
| | 04:39 | Once you complete all three stages,
you can head back to previous steps to
| | 04:43 | continue to improve the image.
| | 04:45 | So in the next movie we'll go through all
three stages on one shot to do this in practice.
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| Performing color correction in HSL, from start to finish| 00:00 | In this movie I'd like to go through
all three stages of the color correction
| | 00:04 | process from start to finish so that
you can see how it all fits together in
| | 00:09 | correcting one shot.
| | 00:11 | Okay, so we start by setting our blacks and
whites. I'm going to bring up the Y Waveform.
| | 00:17 | And you can see here that we have some
overblown whites and our blacks are way
| | 00:21 | too high. So let's start off by setting
our blacks. We'll go ahead and make sure
| | 00:26 | that the darkest values rest near 0% or
16. I'll go ahead and Shift+Drag to make
| | 00:34 | fine adjustment here, and rest right along here.
| | 00:39 | And the reason we're doing this is
because we do have black values here, and
| | 00:44 | we want to make sure that they are
represented correctly here on the Y Waveform.
| | 00:49 | We're going to go ahead and bring up our gain as
well. It was too high. Now it got brought down.
| | 00:57 | Again, like I said, this is kind of a
dance. You're going to go back and forth
| | 01:00 | until you have stretched the video
signal and you have achieved a good tonal
| | 01:06 | range and good contrast.
| | 01:10 | The next thing we want to go ahead
and make some decisions about our gamma.
| | 01:14 | And we can either brighten the image up--
| | 01:17 | this is more of a
subjective choice--or darken it.
| | 01:20 | Again, this is a bright sunny day, so
we'll probably want to brighten that
| | 01:23 | up just a bit here.
| | 01:25 | And again, I'm going to go ahead and
just drive these down just a little bit
| | 01:28 | below 16, because we can always clip
those. So that makes it pop just a little
| | 01:33 | bit more if you crunch your
blacks and whites ever so slightly.
| | 01:37 | So we're going to head on over under Controls
and set our clip values at 16 and 235.
| | 01:41 | You can see that everything was
clamped. And just a little bit more.
| | 01:48 | All right, so that looks good. We have a
good tonal range. Let's take a look at
| | 01:51 | our before and after.
| | 01:52 | This is before, and this is after.
| | 01:55 | And if we want to actually see the
difference in the video signal, we're going
| | 01:58 | to have to disable. That's where we
came from, and here is where we have arrived.
| | 02:06 | All right, looks good. Now let's head on
over into our RGB Parade and take a look
| | 02:14 | at our color cast. We do not have our
channels aligned. Again, we have a blue
| | 02:19 | color cast, so we're going to
have to measure that and fix that.
| | 02:23 | Let's go ahead and measure our whites first.
| | 02:25 | So go ahead and click and drag and
release. And we're not too bad, 223, 208, 229.
| | 02:35 | Let's go ahead and sample our
blacks to see where they're at.
| | 02:40 | So we definitely have some
inconsistencies in the blacks. Let's go ahead and
| | 02:46 | drag toward red. So we need
to add some red into that.
| | 02:53 | Okay you saw this shift.
This now is right in line there.
| | 02:56 | I think this is going to be pretty good.
| | 02:57 | Go ahead and resample. Do a
side-by-side comparison here.
| | 03:01 | 25, 14, 13. Again, ideally we want
it at 16, 16, 16. This is fairly good.
| | 03:07 | Again, you want it within
about 10, and we're just about there.
| | 03:11 | So I'm going to call that good for
neutralizing or neutral colors, our blacks and whites.
| | 03:17 | Let's go ahead and move to the
Vectorscope. And you can see that we have values
| | 03:24 | in between yellow and red and also in
between blue and cyan. That makes sense
| | 03:29 | because those are basically
the colors that we see here.
| | 03:31 | We do have people in the shots, so we
do have some flesh tones that we want to
| | 03:36 | make sure that we get accurate.
| | 03:38 | So we're going to warm this up just slightly.
| | 03:40 | Let's go ahead and take our midtone
chroma wheel, and I'm going to just drag it
| | 03:45 | around and see what it does, like drag
of course near green everything kind of
| | 03:50 | gets a little bit too green.
| | 03:53 | So I'm going to pop right in there.
| | 03:57 | I think that's looking really nice.
| | 03:58 | So I think as far as my chroma is
concerned. This looks really good.
| | 04:02 | I'm going to pop back over to Controls and
then just bump up the saturation just a bit here.
| | 04:09 | And you can see that
reflected in the Vectorscope.
| | 04:12 | Let's go ahead and look at a before and after.
| | 04:13 | Here is before.
Here's after.
| | 04:17 | I'm going to head back in and just
crunch my blacks and whites just a little
| | 04:22 | bit to make it pop just a little bit more.
| | 04:26 | And ideally I would be looking at the Y
Waveform when I did that. Looking good!
| | 04:29 | All right, so that's basically taking the
entire process from start to finish by
| | 04:36 | setting our white and blacks, by
neutralizing our whites and blacks, and then by
| | 04:42 | taking a look at our hue and saturation values.
| | 04:45 | And by and large we just warmed those
up and then increased our saturation just
| | 04:50 | a little bit. And I think
this is looking really nice.
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|
|
3. Stage 1: Manually Correcting Luma and Chroma (Curves Group)Working in the Curves group| 00:00 | In the last chapter we went through
all of the ways to correct the luma and
| | 00:04 | chroma of individual shots
using the tools in the HSL group.
| | 00:08 | In this chapter we are going to take a
look at how to use the controls within
| | 00:11 | the Curves group to help
you achieve similar results.
| | 00:15 | Now as you remember, HSL controls let
you work in the YUV color space where luma
| | 00:20 | and chroma are affected separately.
| | 00:23 | In Curves, you work in the RGB color space,
where luma and chroma are affected together.
| | 00:28 | So any changes you make in your
image's brightness can also affect your
| | 00:32 | chroma and vice-versa.
| | 00:34 | I'm going to head on into Curves.
| | 00:36 | I am going to go ahead
and click on the Curves tab.
| | 00:38 | And as you see here there are four main
controls: a Red curve, Green, Blue, and a
| | 00:45 | Master curve, which is basically our luma curve.
| | 00:48 | And before we get started, I want to
talk a little bit about how the various
| | 00:52 | colors make up the luma signal.
| | 00:55 | The green channel makes up about 59% of luma,
| | 00:58 | the red channel makes up about 30%,
and the blue channel makes up about 11%.
| | 01:03 | Now this means that if you make
adjustments within the green curve, it's going
| | 01:07 | to affect the luma or brightness of
your clip a lot more than if you adjust the
| | 01:12 | blue curve, so keep that in mind.
| | 01:14 | Okay, so what's the Curves group all about?
| | 01:17 | Well, when you use Curves to perform
color correction, you can often apply pretty
| | 01:21 | complex adjustments using just a few
control points on the Curve controls.
| | 01:25 | This is nice, especially after we
learned all of the various controls, sliders,
| | 01:30 | wheels, and switches in the HSL group.
| | 01:32 | It also offers you
greater control and flexibility.
| | 01:35 | Some people make broad adjustments in HSL
and then make finer adjustment in curves.
| | 01:41 | Others prefer to work in
only one group or another.
| | 01:44 | Let's take a look at some
basic mechanics of curves.
| | 01:48 | In each of the curves we have two
control points at the very bottom and very
| | 01:52 | top. And it's a linear curve, which
means that it's going from the blackest
| | 01:57 | values to the lightest
values in a linear fashion.
| | 02:01 | Which means it goes from the blackest
values to the lightest values representing
| | 02:05 | the entire tonal range.
| | 02:08 | You add control points by simply
clicking on the curve, and if you drag up and to
| | 02:14 | the left, you're going to brighten the image.
| | 02:17 | If you drag down and to the right,
you're darkening the image.
| | 02:22 | To delete a control point, you
just select it and press Delete.
| | 02:26 | In addition to adding control points
and manipulating them manually, you can
| | 02:31 | also input values down here
in the boxes below the curve.
| | 02:36 | So, for example, I'm going to go ahead
and delete this one, but I am going to
| | 02:41 | select this control point down
here. And you'll notice that I am at 0.
| | 02:45 | Well, we know that 0 is in the super
black region, so I'm going to actually
| | 02:52 | just change this to 16.
| | 02:55 | And you can see that I now have a
black point at 16, which means that I can't
| | 03:01 | go below video black.
| | 03:03 | I can do the same up here.
| | 03:05 | Right here it's at 255
in the super white region.
| | 03:08 | I am just going to move that to 235, and
you can see here that we've clipped our
| | 03:15 | values at video black and video white.
So we not only have the ability to
| | 03:20 | manipulate, but we also can input
values in a very specific manner.
| | 03:25 | If we want to measure RGB information, we
can use the eyedropper just like we did before.
| | 03:31 | But when we do it this time, again I'm
going to Click and Hold and measure my white.
| | 03:36 | But notice what happens in the curves.
| | 03:40 | We have crosshairs at the
values where this is sampled.
| | 03:44 | So I have red 180, green 187, and blue 207.
And they're represented right here.
| | 03:53 | And we will use that to our
advantage a little bit later in the course.
| | 03:56 | If I'd like to disable the adjustments
I've made in a curve, I can go ahead and
| | 04:00 | click on the Enable button.
| | 04:01 | And if I'd like to reset the curve
entirely, I Option+Click, or Alt+Click on a
| | 04:06 | PC, and the curve is reset.
| | 04:10 | Let's go over some basic adjustments
that we'll make on a frequent basis.
| | 04:14 | If I want to reduce my Gain,
I drag my white point down.
| | 04:19 | You can see that it's being
affected here in the Current monitor.
| | 04:23 | Let's display the Y Waveform so you can see
this in action on the video scope as well.
| | 04:29 | If I want to increase my
Gain, I drag to the left.
| | 04:34 | This has the potential of overdriving
the whites, as you can see, so if I'm
| | 04:39 | going to brighten up an image, it's
often nice to just go ahead and type in 235
| | 04:45 | here, so that everything rests
along the upper limits appropriately.
| | 04:50 | If I want to increase my
setup, I drag my black point up.
| | 04:55 | If I want to decrease my
setup, I drag it to the right.
| | 04:59 | Again, I have the ability to go below video
black, so I can always clip that off, like so.
| | 05:07 | If I want to increase my contrast, I just drag
my white and my black point near one another.
| | 05:14 | If I want to decrease
contrast, I do the opposite.
| | 05:18 | If I want to adjust only my shadows,
my highlights or my midtones, I am just
| | 05:22 | going to add control points
around the area that I want to adjust.
| | 05:26 | And if you remember in HSL, I really
only had gain, gamma, and setup. This is
| | 05:32 | from above 0 to 25%, this is from about 25
to 75, and this is from about 75 to 100.
| | 05:39 | Those are fixed values, but in
Curves I can set that however I want.
| | 05:44 | So if I would like to generally
brighten an image, but then decrease the values
| | 05:50 | in the shadows, I can do that really
intricately, and I can keep going and really
| | 05:57 | get it exactly how I want it.
| | 05:59 | Now this is not really what I'm going
for. I am just demoing this, so I am just
| | 06:03 | going to go ahead and delete those two points.
| | 06:05 | But as you can see, you have
tremendous control because you can set up to
| | 06:10 | 16 control points in one graph.
| | 06:13 | Now the cool thing is this that you can do
the same exact things in each of these graphs.
| | 06:17 | So if I wanted to reduce my blue gain,
I can do that so it's basically taking
| | 06:22 | the blues down in the highlights.
| | 06:24 | If I wanted to decrease my blue in the
gamma, you can do it like so. And you can
| | 06:30 | obviously really go, you know, pretty significant.
| | 06:34 | You can produce really extreme adjustments,
but most of the time you are just tweaking it.
| | 06:39 | And same thing here, if I wanted to
reduce my green gain. This is just bringing
| | 06:44 | down the greens in my highlights.
If I wanted to raise the green in the
| | 06:47 | shadows. And you can see what happens
here in the midtones and you can really
| | 06:52 | control it by adding more control points.
| | 06:54 | So we haven't really corrected this
image yet, we're just kind of going through
| | 06:58 | the mechanics of adding control
points and adjusting these curves.
| | 07:03 | In the next movie we will go through a
typical curves workflow to correct the
| | 07:06 | luma and chroma of our image.
| | Collapse this transcript |
| Performing color correction in Curves, from start to finish| 00:00 | Now that we've been introduced to the
tools and the Curves group, let's put it to use.
| | 00:04 | We'll follow the same basic
workflow that we followed before.
| | 00:08 | First we'll adjust the luma, and then
we'll adjust the chroma, by fixing any
| | 00:11 | color cast in the image.
| | 00:13 | Throughout the process, we'll be
monitoring and measuring our adjustments with
| | 00:16 | several of the video scopes.
| | 00:18 | I have the Y Waveform video scope loaded
now, and we have no adjustments made so far.
| | 00:24 | So what am I going to do is map my
blacks to video black and my whites to video
| | 00:30 | whites, which we'll do here in the Master curve.
| | 00:32 | So I'm going to go ahead and just click
on my black point here, and just move it
| | 00:38 | over to the right until everything
rests along about 16. And we're a little bit far.
| | 00:46 | We are a little bit under. That's fine
because of what I'm going to do next.
| | 00:49 | I'm going to go ahead and just
click in here and type in 16, and now
| | 00:54 | everything is legal.
| | 00:55 | Let's do the same thing for our whites.
| | 00:57 | I'm going to go ahead and just increase
those until they're slightly above and
| | 01:04 | let's bring them into legal limits by
just typing in 235. Okay, looks good.
| | 01:12 | Now, let's go ahead and
take a look at our gamma.
| | 01:15 | We can choose any part of the
curve that we want to adjust our gamma.
| | 01:20 | If we wanted to adjust upper gamma,
we can do so by just clicking up here.
| | 01:25 | Middle gamma, lower, and what I'd actually
like to do is place it about right there.
| | 01:33 | We can of course come back.
| | 01:34 | This is a very organic process, and we can
come back if we need to, to fix that.
| | 01:38 | And I like that so far for my contrast range.
| | 01:43 | Now let's move to the RGB Parade. And
we have our blues that are slightly
| | 01:50 | higher in the highlights.
| | 01:52 | So I'm just going to drag my gain
of my blues down. And you can see the
| | 01:57 | adjustment made both in the image as well as
in the RGB Parade. And let's move our Reds up.
| | 02:04 | So to do that, I drag to the left. And
it's looking pretty good. He's looking
| | 02:11 | much less blue, and let's go ahead and measure.
| | 02:14 | So let's go ahead and measure our whites.
| | 02:16 | 232, 224, 217, that's really
good for just eyeballing it.
| | 02:23 | And let's measure our
blacks to make sure they're okay.
| | 02:25 | 36, 32, 31, they're all still just a little
high, but they are very close to one another.
| | 02:33 | There's no color cast.
| | 02:34 | So what this is telling me is that
my blacks are free from a color cast.
| | 02:39 | They are a little light.
| | 02:40 | I want to bring them a little bit closer to 16.
| | 02:42 | So I'll come back later and
add a little bit more contrast.
| | 02:46 | All right, let's move over to the
Vectorscope, and we're pretty good on
| | 02:54 | our flesh tones here.
| | 02:55 | If I wanted to warm them up slightly,
I could come in and just drag red up
| | 03:01 | just a tiny bit and maybe blue down
just a tiny bit, because when you're warming
| | 03:07 | up flesh tones you want to add
red and you want to add yellow.
| | 03:10 | Let's do it before and after,
just for the heck of it.
| | 03:14 | Let's go ahead and do Dual Split.
| | 03:16 | That's before and after, looking pretty good.
| | 03:19 | Let's add some saturation.
| | 03:20 | Again, we have the Saturation slider right here.
| | 03:24 | It's the same saturation slider that
we had over here, but we don't have to
| | 03:28 | do those two steps.
| | 03:29 | We can stay right in the curves and
just add some saturation right on in.
| | 03:35 | You can see it reflected both in
the image and in the Vectorscope.
| | 03:39 | And I said before I'd like to add
just a little more contrast to my image.
| | 03:42 | So I'm going to take my black point and
drag it over just a little bit further
| | 03:46 | to the right, like so. And I need to
make sure that we are right at 16.
| | 03:54 | There we are. 18, 16, 16, just about perfect.
| | 03:59 | So that was a good move, and I'm just
going to go through and look at all
| | 04:04 | three of them again.
| | 04:05 | That looks good, that
looks good, and that looks good.
| | 04:12 | I think the image looks great,
especially from where we came from.
| | 04:16 | We did lose detail in the highlights
because it was shot with too much gain.
| | 04:19 | You can't get that back really.
| | 04:21 | But that considered,
everything else looks really good.
| | 04:24 | As you can see, making adjustments in
Curves is pretty fast and pretty powerful,
| | 04:28 | once you get the hang of
working with your control points.
| | 04:31 | Remember, you can have up to 16
control points in each graph.
| | 04:34 | So you can really perform
some intricate corrections,
| | 04:37 | fine tuning until you get the
image exactly how you want it.
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4. Using Automatic Color Correction Techniques during Stage 1Using automatic color correction controls in HSL| 00:00 | We've just gone through all the manual
ways of color correcting your footage in
| | 00:04 | both HSL and Curves.
| | 00:06 | Well, as with most things, it's best to teach you
the hard way before teaching you the easy way.
| | 00:11 | Not only so you can appreciate the
process, but also so you can learn.
| | 00:15 | By watching how Media Composer
corrects footage automatically, you can get a
| | 00:19 | good idea of how to do the same things manually.
| | 00:22 | Also, you should be aware that
Auto Correction doesn't always work.
| | 00:26 | It really only works when your
correction needs are not too substantial.
| | 00:30 | So it probably wouldn't work, for example,
if you have significant color balance
| | 00:34 | problems or extreme light conditions.
| | 00:37 | And at the very least, if it does work,
you'll most likely need to perform manual
| | 00:41 | tweaks to get it just right.
| | 00:42 | In this movie we'll explore the HSL
automatic controls, and in the next movie
| | 00:47 | we'll take a look at the
Curves automatic controls.
| | 00:50 | If you've watched the previous
movies on performing manual corrections in
| | 00:52 | HSL, you know that we set the blacks and
whites first, and then we eliminated the color cast.
| | 00:58 | Now you follow the same workflow in
auto correcting. Let's take a look.
| | 01:02 | Okay, so we're familiar with this shot
by now. And what we're going to do is just
| | 01:07 | populate the left monitor with the Y Waveform
and the right monitor with the RGB Parade,
| | 01:13 | because we're going to look at
both luma corrections as well as
| | 01:17 | Color Balance corrections.
| | 01:18 | All right, so we're going to come down to
this row of buttons right here. And if
| | 01:23 | you look at this one, this is Auto-Contrast.
| | 01:26 | It's going to set the white
and black values simultaneously.
| | 01:30 | To the left is Auto Black,
and to the right is Auto White.
| | 01:35 | Now you don't use those too often on
their own because this one does both in one.
| | 01:41 | So I'm going to go ahead and just press
Auto Contrast. Make sure to take a look
| | 01:44 | in the Current monitor as well as in
the Y Waveform. And you can see that our
| | 01:48 | tonal range opens significantly.
| | 01:51 | We could still stand to probably
tweak the blacks just a little bit more.
| | 01:54 | But when the trace is kind of clumped
in the middle of there, Media Composer
| | 01:59 | doesn't always map the whites and
blacks to video white and video black.
| | 02:04 | Okay, so that's our Auto Contrast.
| | 02:06 | If we come over to RGB Parade, we know
that we still have a color balance issue.
| | 02:12 | That's when we come down to this
button right here, which is Auto Balance.
| | 02:15 | When I click on the Auto Balance button,
Media Composer is going to analyze the
| | 02:19 | shot and balance the footage.
| | 02:21 | Go ahead and click. Make sure to look
in the Current monitor as well of the RGB
| | 02:25 | Parade. And you can see that evened out
fairly well, and it looks a lot better.
| | 02:31 | Let's take a look at the before and after.
| | 02:34 | That's before and that's after.
Looks a lot better.
| | 02:37 | But it still needs some adjustments.
| | 02:39 | As we've mentioned before, we're
probably going to need to tweak the blacks and
| | 02:43 | introduce a little bit more contrast.
| | 02:45 | And notice how it didn't
change the gamma whatsoever.
| | 02:49 | It changed my gain, and it changed my
setup, but my midtones are unaffected.
| | 02:54 | So, anytime I perform an automatic
correction, I'm going to need to attack
| | 02:58 | my midtones manually.
| | 03:00 | Let see how the HSL automatic
corrections work on a different shot.
| | 03:03 | I'm going to press this button here
to go to my next uncorrected shot.
| | 03:07 | And we're familiar with this one as well.
| | 03:10 | Notice again that we have been
traced clumped in the middle.
| | 03:12 | So it might not correct for
full auto black and auto white.
| | 03:17 | But let's take a look and see how it does.
| | 03:19 | Go ahead and press Auto Contrast. And
it brought my blacks down significantly,
| | 03:25 | but really didn't do much to my whites.
| | 03:27 | Let's see how it does with Auto Balance.
| | 03:29 | Again, take a look in the RGB Parade,
where we have lots of color cast--especially
| | 03:33 | in highlights. And press Auto Balance.
And again, that looks a lot better.
| | 03:38 | But I'm going to need to do some tweaking.
| | 03:40 | Again, to open up the contrast, we're
going our whites up. And again, we'll
| | 03:45 | probably need to tweak our gamma.
| | 03:46 | I'm not going to perform those manual
corrections right now because I want to
| | 03:49 | show you one more thing.
| | 03:51 | Let's head back to this image here. And
I'm going to just split this in half and
| | 03:57 | I am going to deselect my audio tracks
and just split my video track in half.
| | 04:01 | When I leave this correction here, I'm
going to remove it from the last part.
| | 04:07 | So I'm going to do some comparing.
| | 04:08 | All right, so this is the Auto
Contrast, Auto Balance application.
| | 04:12 | Let's move over to this uncorrected
half, and we're going to perform the Auto
| | 04:17 | Contrast again just in the same way.
| | 04:20 | But this time instead of letting Media
Composer choose where to perform the auto
| | 04:25 | balance, I'm going to tell it where to.
| | 04:28 | And the way I do that is through
these eyedropper buttons right here
| | 04:32 | underneath my chroma wheels.
| | 04:34 | As you can see, these are Remove
Color Cast buttons from the shadows,
| | 04:39 | midtones, and highlights.
| | 04:41 | We're primarily going to be working in
highlights and shadows so that we can
| | 04:44 | neutralize our whites and our blacks.
| | 04:48 | Let's go ahead and take the blacks first.
| | 04:51 | I'm going to go ahead and click
on this, and this becomes a button.
| | 04:54 | I'm not depressing the eyedropper this time.
| | 04:57 | I am just going to click exactly where
I would like to remove the color cast.
| | 05:02 | So this is what I would like to be purely black.
| | 05:05 | I'm going to go ahead and click right here.
| | 05:07 | Watch in the RGB Parade as
well as in the Current monitor.
| | 05:10 | You can see that our blacks were neutralized.
And let's do the same thing in the highlights.
| | 05:16 | Go ahead and grab his shorts right here.
| | 05:19 | All right, and let's go ahead and
compare that method to the previous one.
| | 05:24 | So this is kind of the assisted
automatic where we told it where to neutralize,
| | 05:30 | and this is the purely
automatic where it analyzed it.
| | 05:34 | So there is a difference.
| | 05:36 | This one's a little warmer.
This one's a little cooler.
| | 05:39 | But regardless, either method
is going to need further tweaks.
| | 05:42 | We're going to need to open up the
contrast range just a little bit more.
| | 05:45 | We might want to change some values in
our chroma wheels so that our balance
| | 05:49 | works a little bit better, and we're
also going to need to change our gamma.
| | 05:54 | So just to show you there, we'll go
ahead and manually tweak just a little
| | 06:00 | bit to get this looking just right. And
the sunny day so we will kind of up the
| | 06:06 | gamma a little bit.
| | 06:07 | And I'd like to warm it
up just a little bit more.
| | 06:10 | So as you can see, the shot looks really nice.
| | 06:13 | We have adjusted the midtones to warm
those up and we've also introduced some
| | 06:19 | gamma adjustments and
we've opened up our contrast.
| | 06:22 | Now if you remember, when I perform to
be Remove Color Cast on this shot, I was
| | 06:29 | able to remove the color cast from the
highlights and from the shadows, but there
| | 06:32 | were no Midtone adjustments.
| | 06:34 | That's why this ended up being bluer. And
when Media Composer did it, it actually
| | 06:39 | did adjust for midtones.
| | 06:40 | But the truth of the matter is, is that
if you're going to adjust for midtones,
| | 06:44 | you're going to need to find an area in
the frame that should be color neutral.
| | 06:47 | So that is neutral gray.
| | 06:49 | We could probably sample these rocks or
the shadow, but by and large you'll just
| | 06:54 | want to remove the color cast from
your highlights and shadows and then tweak
| | 06:57 | your midtones manually.
| | 06:59 | So if I came back and did some manual
tweaks here, just warm that up a bit.
| | 07:04 | And again, perform some manual tweaks
to get this looking just right.
| | 07:11 | And I can come in and clip my low
and high. And here's a manually tweaked
| | 07:16 | automatic correction.
| | 07:18 | These are pretty close.
| | 07:20 | Not exactly the same, but you get
different results with different ways of
| | 07:25 | performing automatic corrections.
| | 07:27 | Automatic Color Correction can
give you a really nice head start for
| | 07:30 | correcting your footage.
| | 07:31 | But as you can see, in almost all
cases you'll need to implement manual
| | 07:35 | correction strategies to tweak it
further, and in some cases automatic
| | 07:39 | correction doesn't work well at all.
| | 07:41 | So be smart about when you use
these tools and how to combine them with
| | 07:44 | Manual Correction tools.
| | Collapse this transcript |
| Using automatic color correction controls in Curves| 00:00 | We've already seen all the
Automatic Color Correction tools that are
| | 00:03 | available in the HSL group.
| | 00:06 | There are quite a few
available in the Curves group as well.
| | 00:09 | Go ahead and switch over to Curves.
| | 00:12 | The main difference about using the
Curves automatic controls is that you should
| | 00:16 | generally perform them in
the opposite order as HSL.
| | 00:20 | That is instead of performing the
Auto Contrast and then the Auto Balance,
| | 00:23 | you just do it in the opposite order, first
applying Auto Balance and then Auto Contrast.
| | 00:28 | This is because the order of
processing in Curves is reversed.
| | 00:31 | It processes the Red, Green, and Blue
channels before it processes the Master curve.
| | 00:37 | Let's take a look. All right!
| | 00:39 | We have this shot loaded again, and we are
looking at the Y Waveform and the RGB Parade.
| | 00:45 | If yours doesn't show this, just
make sure to load it from the list.
| | 00:49 | And we're going to come down here to these
controls right at the bottom right of the window.
| | 00:57 | This is my Auto Contrast,
and this is my Auto Balance.
| | 01:00 | So, first I'm going to click on the
Auto Balance controls and make sure to
| | 01:04 | look in the RGB Parade.
| | 01:07 | Everything was balanced appropriately
across the red, green, and blue channels.
| | 01:10 | You'll notice here in the red,
green, and blue channels
| | 01:12 | that control points were placed appropriately.
| | 01:17 | And now we're going to go ahead and
perform our Auto Contrast and make sure
| | 01:20 | to look in the Master curve here, as well
as in the Y Waveform in the current monitor
| | 01:25 | when I do this.
| | 01:27 | Okay, so this adjustment has adjusted
my contrast. We've brought our blacks
| | 01:33 | down and our whites up.
| | 01:35 | And things are looking pretty good.
| | 01:36 | Let's go ahead and take a
look at the before and after.
| | 01:39 | Here's before and after.
| | 01:41 | Again, notice that it's made no gamma
adjustments across the board. We're only
| | 01:47 | affecting high and low. But if I
wanted to tweak gamma, I'd have to come in,
| | 01:51 | apply a control point, and then
manually tweak it or input values down here.
| | 01:58 | I'm just going to delete this control
point because I do want to make a comparison.
| | 02:02 | So this is the automatic color
correction for curves using the Auto Balance.
| | 02:08 | Now, remember the eyedropper from HSL?
There is also an eyedropper, which is our
| | 02:13 | Remove Color Cast button for Curves.
| | 02:15 | So, I'm going to, again, split this
in half, and we'll do a comparison here.
| | 02:20 | Let's go ahead and make an Add Edit, and
then we'll come over here and remove the
| | 02:24 | effect, and we'll do it all over again.
| | 02:27 | So, this time I am going to perform the
Auto Contrast first because we need to
| | 02:32 | set our whites and blacks appropriately.
| | 02:34 | So we'll just do the Auto Contrast.
| | 02:36 | And now I'm going to come in with my
Remove Color Cast button and click all of
| | 02:42 | the places in the image where I
would like to remove the color cast.
| | 02:46 | So, this is the one instance in which I perform
it in the reverse order that I would normally.
| | 02:52 | So, I'm going to Auto Contrast and
then I'm going to balance my shot by
| | 02:56 | removing the color cast.
| | 02:57 | Again, this is an assisted automatic as
I'm telling Media Composer where to look.
| | 03:01 | So, again we'll come in, and I'm going
to click on his black pants. Take a look
| | 03:06 | as the adjustments are made.
| | 03:08 | Okay, so we're now in line along the
shadows. We have a control point added
| | 03:13 | along the R, G, and B curves. Let's do it again.
| | 03:16 | There's no need to pick different
eyedropper, you just pick the same eyedropper
| | 03:20 | every time. And now I'm going
to come in and get his pants.
| | 03:23 | Again, take a look at where the control
points are added on the red, green, and blue curves.
| | 03:29 | And you can actually keep going
and the curves will continue to form.
| | 03:33 | So, if I wanted to get his hat here--
and you can see that points continue to be
| | 03:39 | added--and it's really, really
neutralizing my image beautifully.
| | 03:44 | And we'll pick just one more area of white.
| | 03:48 | And you can see that once the curves just
stop really forming, you're probably done.
| | 03:54 | So, it added a control point, but
there really wasn't much that was done on
| | 03:57 | that last adjustment.
| | 03:59 | So, this is about as far as I'm going to get.
| | 04:01 | Let's go ahead and take a look at the
total automatic, which is the first one here.
| | 04:07 | And then this is the assisted automatic
where we told Media Composer where to look.
| | 04:13 | So, you can see there is a difference.
And I'm not saying one is right and one is
| | 04:19 | wrong, but there're different approaches.
| | 04:23 | Either way, you probably will need to
go in and just adjust your contrast and
| | 04:28 | your gamma a little bit more.
| | 04:30 | So, if I were to take this from start
to finish, this was a wonderful start, but
| | 04:35 | I'm going to need to adjust my
contrast just a little bit more.
| | 04:38 | So, I'm just going to drag this over to
the right just a little bit. And I want
| | 04:42 | to make sure that I'm clipping right at
16, and we'll go ahead and just brighten
| | 04:46 | this up just a little bit.
| | 04:47 | So I'll place a control point on my Master
curve and get my gamma up just a little bit.
| | 04:53 | So I think this is looking really nice.
| | 04:56 | Again, here's the before and after. Really nice.
| | 05:00 | As you can see, you can achieve similar
results with the Curves automatic color
| | 05:04 | correction controls, but it's not identical.
| | 05:06 | So be sure to experiment with each
set of controls to see how
| | 05:11 | Now, you may grow to prefer one group
or another, or you may like to use them in
| | 05:16 | various situations with different footage.
| | 05:18 | In the next movie we'll put it all
together by learning how to configure the
| | 05:18 | each works in different situations.
| | 05:21 | color correction effect, where we can
perform all of the steps and combine it
| | 05:26 | into one single effect.
| | Collapse this transcript |
| Using the Color Correction effect| 00:00 | As we've learned in the last couple of
movies, we know that with HSL Automatic
| | 00:04 | corrections we should apply Auto
Contrast and then Auto Balance, and with Curves
| | 00:09 | automatic corrections we should apply
Auto Balance and then Auto Contrast.
| | 00:14 | Well, rather than needing to remember
this--and in order to make the process
| | 00:17 | easier--Media Composer offers the
ability to combine these steps into one.
| | 00:21 | As you can see here, I'm back in
Source Record mode, and I'm going to go to
| | 00:26 | my Effects tab, and in the Image category
you'll see an effect called Color Correction.
| | 00:33 | Well, if I head on over to this shots
and drag it over to apply, you'll notice
| | 00:38 | that it doesn't do a thing.
| | 00:40 | Well, that's because you
need to configure it first.
| | 00:43 | Let's go ahead and remove this, and
let's take the steps to configure the Color
| | 00:47 | Correction effect, so that this will work.
| | 00:49 | If I come into Settings and go to
Correction and double-click on it to open it,
| | 00:55 | there's an AutoCorrect tab. And I'm
going to press that. And here we have an
| | 00:59 | announcement, "When applying Color
Correction from the Effect palette, perform the
| | 01:03 | following operations:" and
right now it says Nothing.
| | 01:06 | Well, that's why you didn't see anything happen.
| | 01:08 | But if I pull down this list, take a
look at all of the choices that I get.
| | 01:13 | I can have various options
in HSL as well as Curves.
| | 01:17 | So, what's first in HSL?
| | 01:19 | Auto Contrast and then Auto Balance.
| | 01:23 | We're not going to worry with
Auto Black or Auto White because
| | 01:26 | Auto Contrast does that in one.
| | 01:28 | Okay, so you want to stick with one group.
Don't want to cross over to the next.
| | 01:32 | So, we're good to go here, HSL
Auto Contrast then HSL Auto Balance.
| | 01:36 | I'm going to say OK. Then I'm going to come back
to the Image category > Color Correction effect
| | 01:42 | and apply it, and there you go.
| | 01:45 | We had an Auto Contrast and Auto
Balance applied, and we're not even in
| | 01:49 | Color Correction mode.
| | 01:51 | We can, of course, come back into Color
Correction mode and tweak this further,
| | 01:56 | because you can see in HSL that both
luma adjustments as well as my chroma wheel
| | 02:03 | adjustments were made, and I can go in
and tweak it further if I want, like so.
| | 02:12 | Up the saturation.
Whatever I want to do.
| | 02:15 | So, it's just a starting place, but I
was able to do it very, very quickly
| | 02:20 | without even entering Color
Correction mode. All right!
| | 02:23 | Let's go ahead and remove that and
head back into Source Record mode. And this
| | 02:30 | time I want to configure
the correction for curves.
| | 02:35 | So, I'm going to change this to Curves
Auto Balance and then Curves Auto Contrast.
| | 02:41 | Okay, and we'll go ahead into
the Color Correction effect, apply it.
| | 02:49 | And here is the Curves adjustment.
| | 02:51 | So, if I head into Color Correction
mode and I click on the Curves tab, you'll
| | 02:57 | see that it added the control points
where necessary, and I can come and tweak it
| | 03:02 | further, however I like.
| | 03:09 | Okay?
All right!
| | 03:11 | So, I'm going to go ahead and remove
that because we want to talk about how to
| | 03:14 | do this very, very quickly.
| | 03:15 | I'm going to go back into Source
Record mode, and let's pick one.
| | 03:21 | I kind of liked the way that curves
looked better than HSL, so I'm going to
| | 03:26 | leave it on Curves, and I want to
basically apply the correction to every shot in
| | 03:31 | the sequence at once.
| | 03:33 | Well, there's a couple of
ways that I can do this.
| | 03:36 | I can drag a big lasso around all of
my video clips, so that they're all
| | 03:40 | selected, and then I can come over to
my Color Correction effect and then just
| | 03:46 | double-click. And it takes just a
little bit, but now we have all of the
| | 03:51 | corrections applied onto every shot,
and the show already looks a lot better.
| | 03:58 | It definitely does still have some issues.
| | 04:01 | But not too bad. We can go in
and tweak those as necessary.
| | 04:07 | Another way to do that--let me just
undo. Command+Z. Be aware that if you park
| | 04:13 | your playhead on the timeline and
then use your Select Right or Select Left
| | 04:18 | buttons, you're able to select the clip
that you're on as well at all clips to
| | 04:23 | the right or to the left of that.
| | 04:24 | So, I can just click on Select Right.
| | 04:26 | I have everything selected. And one
thing that it did before was it applied a
| | 04:33 | correction where I didn't want it.
| | 04:34 | So, I'm just going to deselect that. I'm
going to head on over into Segment mode
| | 04:38 | here and select everything here.
| | 04:41 | I am going to Shift+Click this off, and
this one as well, so that I just have my
| | 04:46 | clip selected and not the filler space above it.
| | 04:50 | So, that's going to help us out a lot.
| | 04:51 | I'm going to double-click on Color Correction.
| | 04:55 | It takes just a little bit, and
again, everything was applied.
| | 04:59 | So, again, it does have some issues.
| | 05:01 | I'm looking primarily at this. We'll
need to definitely fix that, and you know
| | 05:06 | here. But otherwise it's a really good
starting place to go back and tweak it
| | 05:10 | manually to perfection.
| | 05:12 | Just one thing to keep in mind though,
it's the middle frame that's analyzed
| | 05:16 | during automatic correction.
| | 05:18 | So, keep that in mind if a shot
changes significantly from start to finish.
| | 05:22 | Otherwise, if it doesn't, you're good
to go, and you can continue
| | 05:24 | to manually tweak the shots.
| | Collapse this transcript |
|
|
5. Stage 2: Achieving Shot-to-Shot ConsistencyEstablishing shot-to-shot consistency| 00:00 | Okay. We've now spent a fair amount of time
making sure you have the tools to correct
| | 00:05 | the luma and chroma in your individual shots.
| | 00:07 | You have a lot of resources--both
manual and automatic--to get your shots
| | 00:11 | looking their best.
| | 00:13 | Now it's time to make sure the
shots work well together. That is, we're
| | 00:17 | establishing shot-to-shot consistency.
| | 00:19 | Let's go ahead and take a look through
our sequence and see what's working and
| | 00:23 | what still needs to be adjusted so
that everything matches appropriately.
| | 00:26 | Now we've corrected just a couple of
shots, and all the rest need to be corrected.
| | 00:31 | So here is our corrected shot here, and
this one here. They're looking good, and
| | 00:36 | I think they look good next to one another.
| | 00:39 | I'm going to just go ahead and scrub
through this, and then I'm going to pull up
| | 00:43 | the first frame of every shot in the
sequence, so that we can take a look at all
| | 00:47 | of the different lighting schemes and
colors to see all of the best ways to
| | 00:51 | match them together. All right!
| | 00:53 | So these look good, but as I start from
the beginning, we've corrected this one,
| | 00:59 | this looks nice, and this one still
looks flat. And keep going. We've got a lot
| | 01:06 | of different types of lighting, have
definitely some color saturation, contrast
| | 01:13 | issues. And these really don't look like
they were even taken on the same day or
| | 01:21 | same time of day, for the most part. All right!
| | 01:24 | Let's take a look at everything all together.
| | 01:27 | I'm going to open up my Source
Media bin and open up Biking selects.
| | 01:31 | I'm going to open up in the
same tab as this. Just release.
| | 01:36 | And let's go ahead and expand this.
| | 01:39 | I'm going to Frame view, and I'm going
to increase the size of my thumbnails by
| | 01:45 | pressing Command+L repeatedly, and
let's go ahead and fill the window here.
| | 01:53 | Okay, and now we're kind of able
to look at everything together.
| | 01:57 | So you can see that we have some very
blue shots and some very desaturated pale
| | 02:04 | shots, and we also have basic contrast
problems across the board. All right!
| | 02:12 | But there are shots that look like one another.
| | 02:15 | We have these that's basically in the
same family, we have these that are
| | 02:19 | basically in the same family, these
have similar lighting conditions, and all
| | 02:27 | the shots of the bikers kind of look alike.
| | 02:30 | So we have some places to start,
but we're going to need to make those
| | 02:36 | adjustments across the board.
| | 02:37 | And now we know basically what we need
to do, let's go ahead and use some of the
| | 02:41 | tools in Color Correction workspace both
manual and automatic to make it happen.
| | Collapse this transcript |
| Using color correction templates| 00:00 | In this movie we're going to take a
look at all of the various ways that
| | 00:03 | Media Composer allows you to save your color
correction templates to apply to other
| | 00:08 | shots in the timeline.
| | 00:10 | One of the most important things you
can do to achieve shot-to-shot correction
| | 00:14 | is to save your color correction
templates and then apply them to other shots.
| | 00:19 | Then you can tweak the corrections
from there, but at least you start with
| | 00:22 | a baseline grade that can be useful for
matching shots with similar lighting conditions.
| | 00:28 | All right, so this is a shot that I like, and I
would like to save this out as a template.
| | 00:33 | I'm going to first create a new bin, and
I'm just going to call it CC Templates.
| | 00:41 | And I'll go ahead and just drag right into this
bin right here, so we have both of them open.
| | 00:48 | And the way that you save a color
correction template is you just come over to
| | 00:52 | this icon right here, and then drag,
and it's automatically going to name it
| | 00:58 | the name of the shot.
| | 00:59 | So I'm just going to rename this Bikers
resting, because there are several shots
| | 01:06 | in the master footage of this basic
scene, and I think they could all use the
| | 01:11 | same basic color correction adjustments.
| | 01:13 | So we've got that one saved out.
| | 01:15 | In this sequence, however, there is really
not too many more that would benefit from that.
| | 01:21 | So I'm going to come right down to
this shot right here, and this does have a
| | 01:27 | Color Correction effect applied to it.
| | 01:30 | I'm going to save this one out
because there are several surrounding it that
| | 01:34 | might benefit from the
adjustments made in this shot.
| | 01:38 | So again, I'm going to click and drag.
| | 01:41 | I'm just going to click inside the name,
and say Bikers riding. And here, I've
| | 01:47 | saved it permanently.
| | 01:49 | But what I'm also going to do is
save it temporarily in one of my buckets.
| | 01:54 | So this is a permanent template, and
then the buckets last as long as this
| | 01:59 | editing session is open.
| | 02:01 | So I'm just going to Option+Click or
Alt+Click on a PC, on C1 here, and now
| | 02:08 | this becomes a button.
| | 02:09 | So if I come over to here, I have two options:
| | 02:13 | I can either click and drag this effect
on top of here, or I can just click on
| | 02:19 | this button, and the adjustments were applied.
| | 02:21 | Now, like I said, we're going to need
to tweak this further. As you can see, we
| | 02:26 | need to open up the Contrast range just
a little bit more. But I think that the
| | 02:31 | basic color balance is looking good, and
I can do may be something similar here.
| | 02:36 | This is a little bluer, so it might
not turn out quite as well. Go ahead
| | 02:40 | and just click on this.
| | 02:41 | And you can see that all of the basic
adjustments were applied, and I can come in
| | 02:46 | and tweak it further if necessary.
| | 02:48 | So you have those two basic options:
| | 02:51 | you can click and drag, or you can use
your buckets, or you can actually use
| | 02:56 | some organizational tools to
help you out a little bit further.
| | 02:59 | I'm going to come to my Source Media
folder, and click and drag my Biking selects.
| | 03:05 | Open. And let's go ahead
and take a look at these again.
| | 03:10 | Now here are all of the shots, and as
we can see, some of them have similar
| | 03:13 | lighting conditions.
| | 03:14 | I'm going to go back to Text View here,
and let's say I have similar lighting
| | 03:19 | conditions among multiple shots.
| | 03:21 | For example, these three, Bikers
ride toward 1, 2, and 3 all might need
| | 03:26 | the same adjustment.
| | 03:27 | Instead of going to look and see
which one is named what, I have some tools
| | 03:32 | that I can use by applying colors here
in this bin, and then applying the same
| | 03:38 | colors in the timeline.
| | 03:39 | It can really help you out.
| | 03:41 | So I'm just going to click on Bikers
ride toward 1 and Shift+Click to select
| | 03:46 | all three, and then right now I
have a Color column available.
| | 03:50 | If you don't, you can just simply go to
the Fast menu, and then choose Columns,
| | 03:56 | and make sure that Color is selected.
| | 03:59 | In fact, just to simplify this, I'm
going to go ahead and just select Color.
| | 04:03 | And then also, I'll select Frame so
that I can see each of these shots, and
| | 04:09 | what they look like. Okay.
| | 04:10 | So I have these three very similar
shots. I'm going to assign them a color.
| | 04:14 | I'll go ahead and give them pink, okay?
| | 04:18 | And you see that nothing really
happened in the timeline yet.
| | 04:22 | But if I come down to the Timeline
Fast menu, and I choose Clip Color and I
| | 04:29 | choose Source, it's going to highlight
all of the clips that match my source
| | 04:33 | clips in the same color.
| | 04:36 | So right now I only have one, but if
I have a few others that match those
| | 04:43 | lighting conditions, I can do that,
and you can see that it's applied there.
| | 04:47 | And let's see if I have
anything similar. I have these two.
| | 04:52 | We'll go ahead and give them a different color.
| | 04:57 | I have these two of the reflection.
| | 04:59 | I'll go ahead and give those a third color.
| | 05:02 | So, if it's too hard to see what's what
in the timeline because you can barely
| | 05:09 | read it--especially when you have a
longer sequence--feel free to use the tool
| | 05:14 | of color to be able to come in.
| | 05:16 | And I'm going to go ahead and go back
into Source/Record mode real quick, so
| | 05:20 | that we can apply these.
| | 05:21 | I'm going to just make sure I'm in
Segment mode here, and I can click, and then
| | 05:31 | I can Shift+Click multiple segments.
| | 05:33 | And if I've saved those out right
here, I can just double-click on Bikers riding,
| | 05:39 | and they're both applied.
| | 05:44 | So I'm going to continue going through
the sequence, applying the templates to
| | 05:47 | similar shots. And in this way we can
perform a few representative corrections
| | 05:53 | and then use those to quickly
apply them to many shots at once.
| | 05:56 | Then you can just tweak each shot,
so that you only have to apply small
| | 06:00 | adjustments rather than starting
over at the drawing board each time.
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| Using the keyboard to perform color correction tasks| 00:00 | All editors should strive to use the
keyboard shortcuts as much as possible to
| | 00:04 | achieve fast and efficient workflows.
| | 00:06 | The same goes for Color Correction
shortcuts, especially when dealing with
| | 00:10 | shot-to-shot correction.
| | 00:12 | However, none of them are mapped to the
keyboard by default; you have to do that.
| | 00:16 | Let's take a look at how. All right!
| | 00:17 | I am going to take my Project window
and widen it out a little bit, because I
| | 00:23 | am going to open up my Settings tab. I
am just going to click on any setting and
| | 00:27 | press K to jump to the keyboard.
| | 00:29 | And I am going to rename this edit because
this is my edit keyboard, the one I use
| | 00:34 | during all of my primary editing.
| | 00:36 | I am going to duplicate this by
pressing Command+D, or Ctrl+D on a PC.
| | 00:40 | I am going to go ahead and
just rename this Color Correction.
| | 00:45 | You can create a different keyboard for
all phases of editing. And then to just
| | 00:50 | move from one to another, you
just click the check mark up here.
| | 00:53 | And we are going to use our
Color Correction keyboard.
| | 00:56 | I am just going to reset my workspace like so.
| | 01:00 | And I am going to go ahead and
open that keyboard, double-click.
| | 01:06 | And from the tools menu, I want to choose
Command palette or press Command+3, or Ctrl+3 on a PC.
| | 01:12 | All right. We are looking for the Color
Correction tab, and you can see that there's a
| | 01:18 | whole lot of controls that
we can map to our keyboard.
| | 01:20 | We are mostly interested in Save
Correction here, which allows us to save a
| | 01:25 | correction to a bin.
| | 01:27 | I am going to go ahead and just
move this to the S key, S for save.
| | 01:32 | And while we are at it, I am going to
go ahead and just map Auto Contrast and
| | 01:36 | Auto Balance to the keyboard as well.
| | 01:38 | Auto Contrast I will put on C,
and Auto Balance I will put on B.
| | 01:43 | Then if you look over here, this
represents the 8 Color Correction buckets that
| | 01:48 | are available during every
Color Correction session.
| | 01:51 | So I am just going to map C1,
2, and 3 to 1, 2, and 3.
| | 01:56 | When you are mapping buttons, you
always want to make sure that
| | 02:01 | 'Button to Button' reassignment is on.
| | 02:02 | All right. So I am going to close my Command
palette and close my Keyboard, move to the
| | 02:08 | Color Correction workspace, and let's head
over to this shot right here. All right!
| | 02:17 | So I am going to just very
quickly perform a basic adjustment.
| | 02:22 | To save my template, I am going to create
a bin, New Bin, and call it CC Templates.
| | 02:29 | I am going to go ahead and just grab
the tab of the bin, drop it in here.
| | 02:33 | So it's ready for me to save.
| | 02:36 | And I'm simply going to press C for
contrast, press B for balance.
| | 02:42 | And this is an interesting correction.
| | 02:45 | Let's take a look at a before and after.
| | 02:47 | Looks like it definitely corrected for
the blue, but perhaps a little bit too much.
| | 02:51 | So let's just do just a little bit of
tweaking. And I am going to go ahead and
| | 02:57 | increase my contrast just a
bit and then bump up my gamma.
| | 03:03 | And as soon as I am happy with that, I am
going to go ahead and just save that to my Bin.
| | 03:12 | Okay, that's good.
| | 03:13 | Press S to save it to my bin, and I am
going to go ahead and just click inside
| | 03:17 | here and call this Bikers sunny. Okay.
| | 03:23 | So very quickly we were able to adjust
the contrast and then the balance and
| | 03:28 | then save our template out
after making just a few tweaks.
| | 03:32 | All right. All of that is great
for keyboard adjustments.
| | 03:34 | I can then apply this template right
onto a similar clip, and we will
| | 03:42 | probably need to do again a few tweaks here.
| | 03:44 | A little bit red and the
mid tones, there we go!
| | 03:47 | Now I am going to go ahead
and do a Bucket Adjustment.
| | 03:49 | Again, a Bucket Adjustment is only
available during this editing session.
| | 03:53 | So I'm going to come back to this
shot here that we just corrected, and if
| | 03:58 | I Option+Click, or Alt+Click on a PC,
on C1, I am going to apply it to my
| | 04:05 | Color Correction Bucket.
| | 04:06 | Now I have also mapped C1
to the 1 key on my keyboard.
| | 04:11 | So if I come to another shot and then
press 1, all the adjustments that I made
| | 04:21 | on this shot are applied.
| | 04:23 | I know it's not that hard to come over
here and just click on this Bucket button.
| | 04:27 | However, when you combine all of the
keyboard shortcuts together, it really,
| | 04:32 | really becomes very efficient. And then
this is applied and I can tweak it as I
| | 04:37 | need to for this shot.
| | 04:40 | So if you are organized and you save
all of your color correction templates--
| | 04:46 | either in bins or in buckets--you
have the ability to very quickly save
| | 04:51 | templates via the keyboard and also
use the templates in your buckets via
| | 04:57 | keyboard shortcuts as well.
| | Collapse this transcript |
| Matching color between shots with Color Match and Natural Match| 00:00 | If you need to match colors between shots,
there are several tools available to you.
| | 00:05 | One is called Color Match, which
replaces one color with another, and the other
| | 00:10 | is called Natural Match, which does
something similar but it replaces the hue
| | 00:15 | without affecting the saturation or luma.
| | 00:18 | Let's take a look at both of these.
| | 00:19 | Let's first take a look at Color Match.
| | 00:21 | When performing a Color Match, one
color is replaced with another and all other
| | 00:26 | color values adjust proportionally.
| | 00:29 | And all tools in the Color
Correction workspace are likewise adjusted to
| | 00:32 | reflect the change.
| | 00:33 | Now there are two Color Match controls,
| | 00:36 | one within the Curves group,
and another within HSL.
| | 00:40 | Now, in HSL you are slightly limited.
In the Controls group you can really
| | 00:45 | only match across Hue, Saturation, or Luminance.
| | 00:48 | And in Hue Offsets group, you can match
between highlights, midtones, and shadows.
| | 00:54 | You have a lot more control in Curves,
and so that's what we are going to
| | 00:57 | work with in this movie.
| | 00:58 | But if you're not getting the results
that you want, you might want to head on
| | 01:02 | over to the HSL group and try
those Color Match controls. Okay.
| | 01:06 | So we have an image that we like, and we
would like to match another image to it.
| | 01:12 | We have several shots in a row that
have the same basic lighting scheme, so
| | 01:15 | let's use this as our model.
| | 01:17 | I want to set this as the reference frame.
| | 01:19 | So I'm going to come over to this
pulldown menu and choose Reference.
| | 01:24 | And now whatever shot I correct in my
middle monitor, I am reflecting against
| | 01:29 | this reference frame. All right!
| | 01:31 | Let's choose this one first.
| | 01:33 | So, you can see here that we have our
blue color cast again, and the sky doesn't
| | 01:38 | really match and we really don't
believe that these two shots belong together.
| | 01:43 | So the first thing that we want to do
is actually adjust the luma value, so we
| | 01:48 | want to set our black and white
points before we try to match color.
| | 01:51 | I am going to come to this pulldown menu and
choose Y Waveform, so that we can monitor this.
| | 01:57 | Let's just give it an Auto
Contrast and brighten it up slightly here.
| | 02:05 | And we still don't really match as far as
color is concerned but our lighting looks
| | 02:09 | a little bit more believable.
| | 02:10 | So this is where Color Match comes into play.
| | 02:13 | I am going to come over to this Color
Match swatch, and we used this before when
| | 02:17 | we wanted to measure our
color values in our image.
| | 02:20 | Well, we are going to do the same thing here.
| | 02:22 | I am going to press and hold and then
release over the area that I'd like to sample.
| | 02:29 | So I have the blue sky in the middle monitor.
| | 02:31 | I want to do the same thing here, press
and hold and release in our reference
| | 02:36 | monitor. And we are saying, can you
please match this color to this color?
| | 02:40 | And we want it to happen across
the Red, Green, and Blue curves.
| | 02:44 | Notice that you can also do it in the
master curve, but for our purposes here,
| | 02:48 | we are going to stick in the Red,
Green, and Blue curves, and I'm going to
| | 02:52 | choose Match Color.
| | 02:53 | And as you can see, my sky
matches really, really well right now.
| | 02:57 | Now again, this matched this color and
adjusted all other colors proportionally.
| | 03:03 | So I am going to need to do a little
bit of tweaking, but at least I know that
| | 03:06 | the control points here, here, and here
reflect this change, so I don't really
| | 03:11 | want to mess with those.
| | 03:12 | But I am going to warm up my midtones
a little bit here. And again, here
| | 03:12 | And I am just doing just a tiny bit of
tweaking across the board to try to
| | 03:26 | bring these more in line. All right.
| | 03:32 | Now I'm starting to really believe that
these two shots come after one another now.
| | 03:36 | I am just going to show you the before again.
| | 03:38 | Here is before, not at all, and here is
after, and we have got matching sky.
| | 03:44 | We have got matching high bright sun.
| | 03:47 | I think we are in good shape.
All right.
| | 03:49 | So Color Match worked really well here.
| | 03:51 | I want to go over to another
sequence where I want to talk a little bit
| | 03:55 | about Natural Match.
| | 03:56 | So I am going to load up the Natural
Match sequence here, and we actually have
| | 04:02 | two of the same guy.
| | 04:04 | Now this has been corrected, we've seen
this many times throughout the course.
| | 04:09 | And this is still uncorrected.
| | 04:11 | So let's go ahead and load
the Color Correction toolset.
| | 04:16 | And if this is not already your
reference frame, you just want to park on it,
| | 04:21 | and then choose Reference from this pulldown
menu, and this is now going to be
| | 04:25 | your reference frame for your Color Correction.
| | 04:27 | Then I come over here, and I'm
ready to match it up. Okay.
| | 04:31 | So when we talk about flesh tones, we
want to probably use Natural Match instead of
| | 04:38 | just a straight color match, because
we want the hue to change but not the
| | 04:43 | saturation or luminance.
| | 04:45 | Now first, you want to map your blacks
and whites, because you need accurate
| | 04:49 | black and white values for
your color values to work.
| | 04:52 | So we are going to do an Auto Contrast,
and we're going to brighten it up
| | 04:56 | a little bit because, again, the Auto
Contrast does not affect gamma. Okay.
| | 05:03 | We are still really blue, so let's
try a little bit of matching here.
| | 05:08 | I am going to switch from
RGB to RGB Natural Match.
| | 05:14 | You can see here that I have
check marks next to both of those.
| | 05:17 | So I'm going to want to sample kind of
the skin right here, to the skin right
| | 05:23 | here, so high sunlight
skin to high sunlight skin.
| | 05:26 | I am going to go ahead and
sample, like so. And here as well.
| | 05:33 | Let's go ahead and match our color.
| | 05:38 | So the flesh tone looks a lot better, it's
warmed up, and it looks a lot like this one.
| | 05:44 | Again, I am going to need to do a little
bit of tweaking to make sure everything
| | 05:48 | else looks good and it looks like I need
to just open up my contrast just a bit.
| | 05:54 | And that looks good, brightening up
my midtones a little bit, and I'm just
| | 06:03 | going to brighten up the blues
in my highlights just a bit.
| | 06:08 | We are looking good there too.
| | 06:10 | So again, here's the before, and here's
the after. And most important, our flesh
| | 06:15 | tone matches really well,
and I think we are good to go.
| | 06:20 | Now, if I want to save this flesh tone
out and use it again--so if this guy was
| | 06:25 | appearing several times in my show--I
might want to just save this, because I
| | 06:29 | don't know if I'd be able to
sample it this perfectly again.
| | 06:32 | I'm simply going to Option+Click, or Alt+Click
on a PC, in this swatch and drag it to my bin.
| | 06:40 | Now, you'll notice that it automatically
named it RosyBrown with the values here.
| | 06:46 | And I am just going to
rename this Flesh Tone Man 1.
| | 06:53 | So instead of a Sequence icon, I have a
little Swatch icon. And then if I have
| | 06:57 | my Color column displayed, it
shows the actual color of that swatch.
| | 07:03 | So if I ever wanted to repopulate that--
let me go ahead and just take these away
| | 07:08 | by double-clicking. And I will go
ahead and just bring this down to black.
| | 07:17 | I'm just going to populate this by
clicking and dragging, and I've repopulated
| | 07:23 | it inside of my Color Swatch box.
| | 07:26 | So that's how you can save out skin
tones, and you can use it again to do
| | 07:31 | another color match on a
different shot on a different day.
| | 07:34 | So this worked really well, I think.
And then in our other sequence, we had a
| | 07:40 | really successful result
between these two shots.
| | 07:43 | Now, that's not always the case.
| | 07:46 | Let's take a look down here, and let's
try to match this shot to this shot, okay?
| | 07:55 | So we want to kind of make sure that
this doesn't look as duskish. I want to
| | 08:02 | match it more towards the daylight scene here.
| | 08:05 | I am going to go ahead and
enter Color Correction mode.
| | 08:09 | Let's go ahead and correct the
shot that we want to be the model.
| | 08:13 | So we will go ahead and Auto Balance,
Auto Contrast, a couple of more changes here.
| | 08:24 | Okay.
All right!
| | 08:28 | So let's make this the reference--go ahead
and reference that. Head back to here.
| | 08:32 | And let me just say that one of the
biggest rules of color matching is that they
| | 08:40 | look like they could be from the same scene.
| | 08:44 | So we already have a hint that
this might not work too well.
| | 08:47 | But we are going to go ahead and try
it anyway, just so I can show you what the
| | 08:50 | results would be on a situation
where it's just not going to work.
| | 08:55 | So I'm going to sample my sky
here, and then sample my sky here.
| | 09:02 | Let's first try it without natural
match, and then we'll try it with.
| | 09:06 | Let's try to get that looking
like it could be from the same place.
| | 09:09 | So we will go ahead and match.
| | 09:12 | So we now have the sky that matches really well.
| | 09:16 | Everything else in the scene just
has this really awful color cast.
| | 09:20 | Let's see if we can warm it up a little
bit, remove some blue from the highlights.
| | 09:29 | Again, as long as we leave these
control points alone, we should maintain the
| | 09:32 | integrity of the sky, which still is
matching. But let's see, we will go ahead
| | 09:37 | and try to brighten it up.
| | 09:43 | As you can see, we are really
not achieving continuity here.
| | 09:46 | This is just not going to match to this shot.
| | 09:49 | I am going to just undo the last few
moves right before we performed the match.
| | 09:55 | And let's try it again with Natural Match.
| | 09:58 | Sometimes this works a little bit better,
because you're just replacing hue, and
| | 10:01 | not the entire saturation and luminance scales.
| | 10:05 | So go ahead, Sample and Sample and Match.
| | 10:09 | Okay, and so it didn't give us that
drastic of a blue color cast, but again,
| | 10:14 | the lighting schemes are probably going to
be just a little too far apart to really work.
| | 10:30 | So probably no matter what I do, we are
probably still not going to be able to
| | 10:34 | make these look like they
are coming from the same place.
| | 10:38 | So, I certainly challenge you to try
Color Matching and Natural Matching
| | 10:42 | between shots yourself.
| | 10:44 | We have a lot of shots to choose from.
| | 10:46 | As you can see, we also do have a
lot of different lighting schemes.
| | 10:50 | So there are some challenges, some of
them work really well here, and then some
| | 10:55 | of them don't work quite as well.
| | 10:57 | But give it a try.
| | 10:59 | It's going to take some practice.
| | 11:00 | You won't get it perfect the first time,
but it's definitely fun to play with.
| | Collapse this transcript |
|
|
6. Other Color Correction ToolsCreating color correction shape masks with the Paint effect| 00:00 | Sometimes you want to apply a color
correction to just a portion of your image
| | 00:05 | rather than the entire frame.
| | 00:07 | Fortunately, the Paint Effect has a wide
array of tools you can use to do just that.
| | 00:12 | Okay, so here I have a shot that
really doesn't work well at all.
| | 00:16 | I mean, I've tried very hard to get
rid of that yellow but I cannot do it.
| | 00:23 | I can add as much blue to the highlights
as possible, and it's just not going to
| | 00:27 | get rid of that yellow.
| | 00:29 | This was the original shot.
| | 00:31 | So you can see that the yellow
existed automatically in the highlights.
| | 00:35 | And I like the water. I just need to
isolate that yellow and get it out of there.
| | 00:40 | So, what I'm going to do is use the
Paint Effect to draw a shape around this
| | 00:46 | area, and it does kind of span the
entire middle part of it as we pan, and we
| | 00:53 | want to just get rid of that yellow right there.
| | 00:57 | So, I'm going to go to the Effect palette,
Image > Paint Effect, and I already have
| | 01:03 | an effect on there, so I
need to auto-nest the effect.
| | 01:06 | I'm going to Option+Drag, or Alt+Drag on
a PC, the Paint Effect on top of my color
| | 01:13 | correction. And nothing happens right
away because we need to open the Effect
| | 01:18 | Editor and we need to draw a shape.
| | 01:21 | Now it needs to basically
encompass this entire region right here.
| | 01:26 | I could do a Freeform or a Polygon, but I'm
just going to draw a Rectangle to keep it simple.
| | 01:33 | Okay. Well, that doesn't look very good.
| | 01:36 | So we will change what's inside of this square.
| | 01:39 | Right now it is set to Solid.
| | 01:42 | We want to change what's in the mode.
| | 01:45 | As you see here, if we kind of look
through this list, most of the options within
| | 01:51 | the mode are color correction options.
| | 01:54 | So, if you start here, we have Colorize,
Hue, Saturation, Luminance, and we have
| | 01:58 | Darken and Lighten options, and then
going down here we have lots of options
| | 02:04 | available all dealing with color correction.
| | 02:08 | So, what I'm going to do first is just
try colorizing it. And by default, the
| | 02:14 | color is red. That's not what we want.
| | 02:15 | We want to make sure to choose the
color that would match the water, and I can
| | 02:22 | come in here and try to choose it from
the color wheel. And you can see that it
| | 02:28 | colorizes that box blue.
| | 02:30 | But a better option is for me to open
this up and then click on my magnifying
| | 02:36 | glass and get the color of the
water and match it perfectly, like so.
| | 02:44 | Let's go ahead and just
expand this a little bit. Okay.
| | 02:48 | And it sort of has a harsh edge right now.
| | 02:52 | If I click outside of here, you can
kind of still see the rectangle shape.
| | 02:58 | So, I am going to come back into my
Effect Editor and I'm going to select the
| | 03:01 | shape and we're going to
introduce some feathering.
| | 03:05 | Feathering is going to blend
the shape into the background.
| | 03:09 | So, I'm going to just grab my
Horizontal and Vertical sliders here, and then the
| | 03:16 | Bias is going to determine whether or
not the feathering is going to apply from
| | 03:23 | the outside of the shape or
towards the inside of the shape.
| | 03:27 | So, I need it to basically feather to
the outside of the shape so that it
| | 03:31 | blends in with the background.
| | 03:33 | And let's just scrub through here and
see how it's working, it still have just a
| | 03:38 | tiny bit of yellow down here.
| | 03:41 | I think I might extend it down just slightly.
| | 03:43 | If you ever run out of room, you can
press the Reduce button right here and just
| | 03:49 | make your shape a little bit bigger
than the frame. And I'll zoom back in and
| | 03:55 | we'll see how this is working. Okay, not bad.
| | 04:00 | So, here I've applied a shape mask in
order to camouflage the problematic area
| | 04:08 | that I had right here.
| | 04:09 | I could then apply other Color
Correction effects on top of both of these and it
| | 04:14 | would affect both the raw
video and the paint shape.
| | 04:16 | But this is a really nice way to
really isolate your corrections.
| | 04:20 | Now keep in mind, we affected
everything inside of our shape uniformly.
| | 04:25 | So everything inside of here
got the same colorized treatment.
| | 04:28 | There may be other things you want to try.
| | 04:30 | In the mode menu, there are lots and
lots of color correction options, including
| | 04:35 | Color Match--which we have talked about
earlier in this course--and we also have
| | 04:40 | things where we can adjust the
brightness, contrast, hue, and saturation of
| | 04:45 | everything inside of our shape.
| | 04:47 | So, definitely experiment with
all of the choices within mode.
| | 04:50 | In the next movie we'll take a look at
how to not only affect what's inside of
| | 04:54 | your shape but also isolate colors via
secondary color correction with the Magic Mask.
| | Collapse this transcript |
| Performing secondary color correction with Magic Mask| 00:00 | In the last movie we learned color
correcting with the Paint Effect, which is
| | 00:04 | great. But if you want to isolate a
specific color within your Paint Effect and
| | 00:09 | change it, you'll need to use the
Magic Mask option. Let's take a look.
| | 00:13 | All right!
| | 00:14 | So we have our problematic yellow foamy
waves here, and we want to change that.
| | 00:19 | And in the last movie we actually just
applied a shape over the whole thing and
| | 00:24 | made it the color of the rest of the ocean.
| | 00:26 | And this time we want to leave everything
as it is but just change the yellow to white.
| | 00:34 | So let's go ahead and get our Paint
Effect. And I'm going to Option+Drag, or
| | 00:40 | Alt+Drag on a PC, the Paint Effect
on top of the Color Correction effect.
| | 00:45 | All right. And then I'm going to go
ahead and open up my Effect Editor.
| | 00:50 | And we want to draw the shape over
the area that is affected.
| | 00:54 | So I'm just going to zoom out just a
little bit so I can get the entire space.
| | 00:59 | And again, I could choose any of these
paint drawing shapes that I want, but
| | 01:03 | again, the Rectangle tool is basic and
easy, so I'll just draw that one. And it
| | 01:09 | draws the big red solid shape,
and that's not what we want.
| | 01:13 | We want to change Solid to Outline.
| | 01:17 | And what this is going to do is it's
going to show through to the raw video,
| | 01:21 | which is going to allow me to select
that yellow that I want to cover up.
| | 01:27 | So down here under Magic Mask, I want to
sample that yellow color by clicking my
| | 01:34 | cursor right inside this box, which is
now there's dark red. And then I'm going
| | 01:38 | to drag over here. And watch these sliders
underneath the Magic Mask update as I go through this.
| | 01:44 | So I'm going to release over the yellow,
and you can see that now the yellow is
| | 01:49 | the color that's affected. All right!
| | 01:50 | So now we're going to come over to
Color, and we're going to tell it what
| | 01:55 | color we want it to be.
| | 01:57 | So let's go ahead and just open this
up. And I just want it to be a nice foamy
| | 02:03 | white, and not super white.
We don't want it to be illegal.
| | 02:07 | So I'm just going to drag it down
slightly to about right here and say OK.
| | 02:13 | And nothing happens yet because I'm
still on Outline mode. All right!
| | 02:17 | I can really choose any of the color
correction options, but for our purposes I'm
| | 02:23 | just going to try Solid. So I'm
just going to change this to Solid.
| | 02:28 | You can see right away that any
color that was yellow is now white.
| | 02:33 | So I'm going to drag this down just
a little bit here, and we have some
| | 02:38 | parameters that we need to change.
| | 02:39 | I'm going to twirl open both mode and
Feathering, because we want to drag our
| | 02:46 | Horizontal and Vertical sliders under
Feathering, which is going to allow us to
| | 02:51 | blend into the background. And then I'm
going to drag my Bias later to left, and
| | 02:57 | this is going to allow me to blend
into the background quite nicely.
| | 03:01 | Notice that everything else was left alone.
| | 03:03 | So I still have my shadow underneath
my wave. My birds are still this darker
| | 03:08 | color rather than turning blue, like
it did before in the last movie, but now
| | 03:12 | I'm only affecting that yellow area.
| | 03:14 | I think I'm going to just drop the
Opacity just a little bit so that it's a
| | 03:22 | little bit more natural. And let's go ahead
and just scroll through and see how we like it.
| | 03:27 | All right, I think it looks really nice.
We've maintained all of the nice detail
| | 03:34 | and texture around these waves.
| | 03:36 | We didn't override them with one big
solid colorized shape, but we've maintained
| | 03:41 | it because we've isolated the color.
We performed secondary color correction.
| | 03:47 | So anytime you want to perform
secondary color correction in Media Composer, you
| | 03:51 | have to apply the Paint Effect, draw a
shape over the area that you would like
| | 03:56 | to affect, and then choose the
appropriate mode option. Which again, if you
| | 04:02 | wanted to do any other type of color
correction option in here, you certainly
| | 04:06 | could, and then it's just going
to affect the color that you chose.
| | 04:11 | Now if you're looking for extremely
powerful secondary color correction, you
| | 04:15 | might want to checkout Media
Composer's big brother Avid Symphony.
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| Keyframing color correction effects over time| 00:00 | Occasionally you might need to
animate color correction effects over time,
| | 00:05 | especially if a shot changes lighting
conditions midway through. Or you may just
| | 00:09 | want to change the
correction stylistically over time.
| | 00:12 | Fortunately you can keyframe your color
correction effects to do this. All right!
| | 00:17 | So we have applied our shot-to-shot
correction, everything is looking really
| | 00:23 | nice, and there is no real changes in
lighting conditions midway through the
| | 00:28 | shots. But what I would like to do is
just shift from a black and white image
| | 00:34 | to a color image as I am fading up on this
bike wheel as the rack focus is happening.
| | 00:41 | So there's no keyframing within the
Color Correction tool, but this is an effect.
| | 00:46 | So if I just click on the Effect mode button,
I can open up the Color Correction Effect.
| | 00:52 | And as you see here,
I have HSL and Curves.
| | 00:57 | Now this is an HSL adjustment, so I'm
just going to twirl down HSL, and here's my
| | 01:03 | Controls tab and my Hue Offsets tab.
| | 01:07 | So I know that Saturation is contained
within Controls, but I really have access
| | 01:13 | to all of these sliders, and
I can keyframe any of them.
| | 01:15 | I'm going to enable my Keyframe
Graphs by clicking on this button in the
| | 01:22 | lower-right. And I already have my
Saturation Graph open. It's probably going to
| | 01:28 | appear closed to you when you open it.
| | 01:30 | So I'm just going to twirl down the
Saturation Graph, and I have here the
| | 01:35 | entire duration of this clip. And right now I
have 100% saturation across the entire thing.
| | 01:42 | So I'm going to need to add some keyframes.
| | 01:44 | At the very beginning I want to add a
keyframe. You can do so by right-clicking
| | 01:48 | and choosing Add Keyframe.
| | 01:50 | You can also press the Apostrophe key
on the keyboard, or you have an Add Keyframe
| | 01:55 | button down here.
| | 01:57 | And I'd like it to basically be full-
color as soon as the Rack Focus is over, so
| | 02:03 | I'm going to add another keyframe.
| | 02:06 | Okay, and right here I'm going to just
drag this down, and so now I'm starting
| | 02:13 | off black and whites and gradually fading up.
| | 02:17 | Right now this is a linear interpolation.
| | 02:20 | If I want this to animate in a
different way, I can right-click and I have some
| | 02:26 | available options here:
| | 02:27 | Shelf, Linear, Spline, and Bezier.
| | 02:31 | Spline is going to give me a
very nice gradual ease-in, ease-out.
| | 02:34 | Bezier is going to give me these
direction handles that I can drag to define
| | 02:40 | the exact curve.
| | 02:42 | So if I want it to be black and white
for a little bit longer and then swoop up
| | 02:46 | to color, I can do that. Go ahead
and play through. (video playing)
| | 02:52 | So I think I like that pretty well.
We're staying on black and white and then
| | 02:56 | we're just very quickly saturating
the image. I think that looks nice.
| | 03:01 | And if you ever want to change anything
else, all you're going to do is make sure
| | 03:07 | that you have the correct tab open,
Controls > Hue Offsets, and then you just make
| | 03:15 | sure to twirl down the graph and
display the appropriate parameter.
| | 03:20 | So if I wanted this to go from one
color to another, this is an entire spectrum
| | 03:33 | of hues, so as I do this it's going
through the entire spectrum. Not exactly
| | 03:39 | what I want, but just to demonstrate that you
have a lot of control over every single parameter.
| | 03:45 | You see that these are slightly offset,
so your keyframes do not have to be in
| | 03:49 | line with one another. Every single
parameter can get its own set of keyframes.
| | 03:54 | I'm going to go ahead and undo that
because that's something that's really not
| | 03:57 | desirable for me, but I do like how
it fades up and gradually saturates.
| | 04:03 | So that's all there is to it.
| | 04:04 | Animating parameters in Color
Correction Effects works the same exact way that
| | 04:09 | you animate parameters in other effects as well.
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|
|
7. Stage 3: Developing a Look and FeelUnderstanding how to create a look and feel| 00:00 | Now that we've got each shot corrected
and all of the shots looking good next
| | 00:04 | to one another, we have the option of
giving the entire show a specific look and feel.
| | 00:10 | Now let's just take a look at this
sequence and make sure that we like all
| | 00:14 | of the corrections--and that everything
looks like it's coming from the same world.
| | 00:18 | And I definitely think that it does.
I think we're ready to apply the
| | 00:23 | style if we need to.
| | 00:25 | And I'm going to go ahead and load the
sequence called All, and I've basically
| | 00:29 | just edited our three
treatments one after another.
| | 00:32 | So here's our graphic, gritty,
supersaturated, high contrast sequence. And then
| | 00:38 | after that I've got our Bleach Bypass
and then our Sepia with film grain.
| | 00:46 | And so you can see all of the various treatments
that we are going to explore in this chapter.
| | 00:51 | Now, the way I've done this is to add a video
track above all of the rest of the video tracks.
| | 00:59 | So I've added a third V3, and then you
just apply the correction on that track
| | 01:05 | and it's applied to all of
the clips underneath them.
| | 01:09 | Occasionally you may need to keyframe
your stylized Color Correction effect,
| | 01:14 | or you can do Add Edits. So for
example, right here I needed to kind of tone
| | 01:20 | down the graphic quality while this guy was
on screen, so I just added edits around him.
| | 01:25 | So, by and large, just adding one track
above will do the trick, but sometimes
| | 01:31 | you are going to need to fine-tune
it just a little bit.
| | 01:33 | So if we go back to the Style sequence,
I'm going to add a video track.
| | 01:38 | You can do so by right-clicking and
choosing New Video Track, or you can just
| | 01:42 | press Command+Y, or Ctrl+Y on a PC, and
I'm going to select V3. And I also wanted
| | 01:48 | to monitor V3, so that
we can see our adjustment.
| | 01:50 | I'm going to open up the Color
Correction Workspace, and I'm just going to apply
| | 01:57 | a basic adjustment across the board
so that you can see that everything
| | 02:01 | underneath is effected.
| | 02:02 | And we'll just take down the saturation.
And as you can see, the entire sequence
| | 02:10 | is now in black and white.
| | 02:12 | So as you can see, it's fairly easy to
apply one correction across the board to
| | 02:16 | give your show a whole new look.
| | 02:18 | Just remember, you may need to do some
tweaking with Add Edits or keyframing to
| | 02:22 | make sure the adjustments
affect each shot accurately.
| | 02:25 | All right, now let's get started.
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| Using the Color effect| 00:00 | Before applying our treatments, we'll
explore a very important effect that can
| | 00:04 | often help you at this
stage called the Color Effect.
| | 00:07 | The Color Effect gives you some
similar controls in terms of basic hue,
| | 00:11 | saturation, and luma adjustments, but
not as much control in terms of isolating
| | 00:16 | just the shadows, midtones,
or highlights of your image.
| | 00:19 | It does offer additional controls for
adjusting things like posterization,
| | 00:23 | solarization, and other stylistic
considerations. Let's take a look.
| | 00:28 | Okay, so in the Effect palette, in the
Image category, is your Color Effect.
| | 00:33 | You can just drag it on to V3 or whatever
the top video track is in your sequence.
| | 00:40 | And then you just open up the Effect
Editor. This is not performed in the color
| | 00:44 | correction tool set.
| | 00:45 | I'll go ahead and just zoom back
in so we can see it at full frame.
| | 00:50 | And as you see here, the parameters are really,
really similar to those in color correction.
| | 00:57 | So you have a Brightness
control and you have Contrast.
| | 01:03 | This is exactly like in color correction.
| | 01:06 | You have the ability to Invert your luma so
it basically looks like a film negative.
| | 01:11 | Your luma range, you can set your
white and black point, so if you change
| | 01:16 | this you could really kind of crunch
your blacks and whites and get a very
| | 01:20 | high contrast image.
| | 01:22 | Your gamma allows you to, of course, just
affect the midtones, which you can't see
| | 01:27 | as well right now because I
have my crunched blacks and whites.
| | 01:30 | But we are just basically looking
at some midtone adjustments here.
| | 01:35 | And Luma Clip. This is where you should
pretty much leave this. 235 and 16 will
| | 01:40 | clip at video, black and video white.
| | 01:43 | You can of course adjust this, and it's
going to basically do the exact opposite
| | 01:47 | and make a very low contrast image,
because all of the pixels below black and
| | 01:52 | above white are going to be
clipped at white and black accordingly.
| | 01:57 | I am going to actually just
going to type in 235 to reset this.
| | 02:01 | So all of that should be pretty familiar.
Coming down here, you have the ability
| | 02:06 | to change the hue. So it's basically
a spectrum going all the way around.
| | 02:12 | You can kind of add a cast to
your image if you would like to.
| | 02:16 | Here is your saturation,
desaturation, or supersaturate it.
| | 02:20 | This is where you get into some
controls that are beyond the scope of the
| | 02:24 | Color Correction tool.
| | 02:25 | Posterization is going to clump
together like colors to produce that
| | 02:30 | graphic look, so we'll definitely be using
that when we create our gritty graphic treatment.
| | 02:36 | Solarization, on the other hand, is
basically going to produce that film negative look.
| | 02:41 | So if you go all the way to the right on
solarization, it's just like clicking on
| | 02:46 | Invert, but you can do any
value in between as well.
| | 02:53 | For Color Gain, this is often used
for just giving something a tint.
| | 02:57 | Because all of the parameters are
processed from top-down, once I, for example,
| | 03:04 | desaturate my image, I can then introduce, for
example, a tint by just writing my Color Gain.
| | 03:11 | You can kind of see my cyan and my
red, my magenta and my green, and my
| | 03:21 | yellow and my blue.
| | 03:23 | So this is, you know, a nice way to
produce an effect across the board.
| | 03:29 | This looks like it's going to be way
too contrasty, but this shot pretty cool.
| | 03:34 | But this is just another option
that you might, perhaps, want to use.
| | 03:38 | The Color Effect can give you a lot
of the same controls and also some
| | 03:42 | additional ones as well.
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| Creating a gritty, graphic treatment| 00:00 | There are dozens of different
treatments you can apply to your sequence,
| | 00:03 | and you should definitely
experiment with as many as possible.
| | 00:06 | In the next three movies we'll explore
some of these in detail, starting with a
| | 00:10 | gritty, high contrast, high
saturation graphic look and feel.
| | 00:14 | So we've added a video track above all
the rest of our video tracks, and for this
| | 00:19 | graphic look and feel we're going to
use the color effect which we learned
| | 00:22 | about in the last movie.
| | 00:24 | So I'm going to go to the Effect
palette's Image category, Color Effect, then
| | 00:29 | drop it on. And I'm going to go ahead
and we park on this shot of the three guys
| | 00:37 | and open up to the Effect Editor.
| | 00:40 | All right. So, we have all of
these parameters available to us.
| | 00:43 | First thing, let's go
ahead and attack the contrast.
| | 00:46 | We could increase the Contrast here, but
I like to increase the Black Point and
| | 00:53 | decrease the White Point, and I think it
looks a little bit better and you have a
| | 00:56 | little bit more control.
| | 00:57 | And then let's go ahead and increase
our saturation. And I'm going to just go
| | 01:04 | across and see what it's looking like so far.
| | 01:07 | Okay. All right. So just check in
there and keep going.
| | 01:14 | This is where we're going
to get our graphic quality.
| | 01:16 | I'm going to increase the
posterization quite a lot, and you can see those
| | 01:20 | colors clumped together.
| | 01:22 | Anything that is alike is just going
to clump together, so you can get these
| | 01:25 | bands of color going across.
| | 01:28 | And this is where things should
start looking a lot more graphic, and
| | 01:33 | they definitely are.
| | 01:35 | I think what I'd like to do is
also just warm it up a little bit.
| | 01:39 | So we're going to check out the Color
Gain and increase the Red and decrease the
| | 01:47 | Blue, going more towards the
yellow. And it's looking good.
| | 01:55 | I think it might be a little too saturated,
so I'm going to back-off on that a little bit.
| | 02:09 | Okay. And the one shot I really don't like at
all is this one right here of the guy.
| | 02:16 | So I'll probably need to offset that,
either keyframe it or put Add Edits around
| | 02:20 | it, so that we can see a
little bit more of his flesh tones there.
| | 02:26 | But otherwise, it's looking
pretty much how I expected.
| | 02:30 | Let's go ahead and add those edits and
make sure that he looks as good as possible.
| | 02:36 | All right, so I'm going to Command+Click,
or Ctrl+Click on a PC, right here, near
| | 02:43 | this edit point. It's going to snap to
this edit point. And because I just have
| | 02:47 | V3 selected, I'm just
going to add an edit onto V3.
| | 02:52 | And now I'm going to Command+Option+Click,
or Ctrl+Alt+Click on a PC, to snap to
| | 03:00 | the tail of this edit.
| | 03:01 | So again, we have V3 selected
here. We're going to add our edit.
| | 03:05 | And so now we have one effect applied
over here. That looks fine. That looks good.
| | 03:15 | We need to correct that.
| | 03:17 | Let's see if we need to offset any others.
| | 03:19 | Okay, like all of that just fine.
| | 03:27 | And I think I'll keep everything else the same.
| | 03:30 | So we'll go ahead and just affect this
one by itself. And I think part of the
| | 03:37 | problem is the saturation, so I'll
bring that down. And I also want to adjust my
| | 03:47 | black and white point slightly to open
that up, just brightening him up a little
| | 03:52 | bit, and then I'm going to back off
on the posterization here as well.
| | 04:00 | Okay, let's see what that looks like.
| | 04:02 | All right, that looks a lot
better to me--a lot less severe.
| | 04:05 | And then if we just go through--I'm
just scrubbing through--we shouldn't really
| | 04:11 | be able to tell much difference.
| | 04:12 | I think it looks pretty good. All right!
| | 04:19 | So, we have a treatment
ready to show our client.
| | 04:22 | If they like that graphic gritty
kind of severe quality, I think we've
| | 04:27 | got something for them.
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| Creating a bleach bypass treatment| 00:01 | In this movie we are going to re-
create a Bleach Bypass treatment, which
| | 00:05 | produces an interesting, cool, pale
look by mimicking the procedure in a film
| | 00:10 | processing where you either partially
or completely skip the bleaching step.
| | 00:14 | If you're having trouble thinking of
where you've seen this before, think
| | 00:17 | "Saving Private Ryan."
| | 00:18 | All right, so we've added a video track.
And let's go into our Color Correction
| | 00:24 | Workspace and we are going to do this in Curves.
| | 00:28 | So if I go ahead and click on the
Timeline to make sure that we don't have any
| | 00:34 | corrections--which we don't--I'm going to
go ahead and perform an Auto Balance and
| | 00:40 | then an Auto Contrast. And the
reason I am doing this is so that it will
| | 00:44 | automatically give me the 16 and 235
clipping, which I need to do anyway.
| | 00:51 | So I can do that, but I'm probably not
going to leave these positions where they are.
| | 00:56 | I will go ahead and move them back over
and then make sure that this is at 235.
| | 01:04 | So we have the clipping at the top and
the bottom of the Red, Green, and Blue
| | 01:09 | curves, as well as the Master curve,
so we should be ready to go as far as
| | 01:13 | correcting this image.
| | 01:14 | I'm going to, again, pause on this shot
here. And the first thing I am going to do
| | 01:19 | is just bring down my saturation.
| | 01:21 | I am going to use my Master
Saturation, I am going to bring it down to
| | 01:25 | somewhere around 30%.
| | 01:26 | All right. And then I'm going to add a
control point on my upper gamma and then
| | 01:34 | just kind of bow this curve out just a
little bit, and then I am going to bow
| | 01:39 | it in near my shadows.
| | 01:40 | Okay so, it's kind of like
an S shape but very slight.
| | 01:45 | All right, let's just take a
look at how we are looking.
| | 01:49 | So we definitely desaturated and we
have little bit more contrast here.
| | 01:55 | I am going to now add blue and green
into the upper gamma and lower gamma.
| | 02:04 | Okay, so I'm going to just add a
control point and bow it out just slightly, and
| | 02:10 | then I am going to add this one in the
middle and bow this out slightly here,
| | 02:14 | because a bleach bypass treatment usually
does have a weight toward green and blue.
| | 02:22 | And let's just give it a quick test.
| | 02:26 | Okay, we are getting there.
| | 02:28 | Let's go ahead and take down my reds.
| | 02:33 | Again, when I go away from red, I
am going towards cyan. All right.
| | 02:42 | And then just a little bit more, I am
going to go ahead and just take my general
| | 02:48 | Gain down a tad. And I am
just making very slight tweaks.
| | 03:01 | All right, we are definitely very, very close.
| | 03:05 | I think we might still be
a little bit too bright.
| | 03:08 | I am going to leave my Master Curve
alone and just take my Master Gain down.
| | 03:14 | I think that will help out a lot.
| | 03:17 | Bleach Bypass is often a little bit on
the dimmer side. It's a dreary kind of look.
| | 03:22 | So, kind of bring that down to around 80%.
And I think we've just about got it.
| | 03:35 | I am going to add slightly less blue and
slightly more green in the upper gamma.
| | 03:46 | All right, I think we are going to call that done.
| | 03:50 | So it's not quite Saving Private Ryan,
but it looks pretty good and we have
| | 03:53 | another treatment to show our client.
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| Creating a faded sepia treatment | 00:00 | Sepia is a look you've seen many times before.
| | 00:03 | It adds a certain antiquated quality to
your footage, as it emulates the quality
| | 00:07 | of faded old photographs or film.
| | 00:10 | So for our Sepia treatment, let's make
sure to make it looks a little faded, and
| | 00:14 | we will add in some film grain
to round out the look and feel.
| | 00:19 | Okay, so let's go ahead and park on one
of our images here. Enter the Color
| | 00:25 | Correction workspace.
| | 00:27 | And I'm going to just click on V3
so that it resets everything.
| | 00:33 | We haven't added an adjustment yet, and
we're going to go ahead and do an Auto
| | 00:39 | Balance and Auto Contrast, again, just
so we have the upper and lower limits
| | 00:44 | available to us, so we don't overdrive anything.
| | 00:47 | So the first thing we're going to do
for Sepia is to take down our saturation.
| | 00:52 | The cool thing about Curves is that
saturation is processed before our Curves,
| | 00:56 | so we can add color back into our image.
| | 00:59 | Before we do that, let's go ahead and
soften out the contrast a little bit.
| | 01:03 | Before, we were creating more contrast
by making S-Curves that were shaped like
| | 01:09 | this, and now we'll just do the opposite.
| | 01:11 | We'll drag up on the blacks and down
on the whites, and this is just basically
| | 01:18 | giving us less contrast--
| | 01:19 | so a more faded look. And everything
is still just totally black and white,
| | 01:25 | which is fine. And now we're going to
go ahead and add some control points in
| | 01:29 | the Blue curve and in the Red curve,
because Sepia is going to be kind of a
| | 01:34 | rusty red-yellow color.
| | 01:36 | So those are where we're
going to focus our adjustments.
| | 01:40 | I'm going to go ahead and just add
midpoints right in the middle of the gamma on
| | 01:45 | both Red and Yellow, and then we're
just going to just make some slight tweaks
| | 01:51 | as far as the upper and
lower gamma are concerned.
| | 01:53 | It's looking pretty good.
| | 01:58 | Do the same thing for Red.
| | 02:08 | I'm going to just ride back and forth
on the Green curve to see if we can tweak
| | 02:16 | this just a little bit.
| | 02:17 | I'm going to just have it just
slightly towards green. Okay.
| | 02:21 | I think we are close.
| | 02:23 | I might just give it just a tiny bit
more contrast actually, and a lot more.
| | 02:31 | So I think this is a pretty good Sepia
tone. And now all we want to do is add
| | 02:37 | some film grain to add to
that old-fashioned feel.
| | 02:40 | So we're going to go back to Source/Record
and my Effect palette, and it's in
| | 02:47 | the Illusion FX > Film Grain.
| | 02:50 | Because we already have an effect,
we're going to have to Option+Drag
| | 02:54 | or Alt+Drag on a PC, our Film
Grain onto our color correction.
| | 02:59 | I'm going to open up my Effect Editor,
and there are two parameters in here that
| | 03:08 | we want to adjust: Level and Size.
| | 03:11 | Let me just drag my Size up to about 3,
my Level in the mid 30s, and let's just
| | 03:19 | see what this looks like.
| | 03:20 | I'm going to go ahead and
just play. (video playing)
| | 03:26 | All right!
I think that works pretty well.
| | 03:30 | We have a really nice sepia tone, it's
faded, we have the Film Grain, and it
| | 03:36 | looks nice and old-fashioned.
| | 03:37 | They're not really wearing old-
fashioned outfits, but sometimes you've gotta
| | 03:40 | mix content and style.
| | 03:43 | Now we have another treatment
that we can present to our client.
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8. Keeping It Legal: Working with Safe ColorsUnderstanding safe color warnings| 00:00 | We've talked about legal luma and
chroma values throughout the course, but now
| | 00:04 | we're really going to hammer down on
it. Because if your show is going to
| | 00:08 | broadcast, you absolutely must pay
attention to keeping everything within legal
| | 00:12 | limits, or it will simply be rejected.
| | 00:14 | Fortunately, there are some very
nice tools within Media Composer's
| | 00:18 | Color Correction tool that will help
you monitor and fix illegal values.
| | 00:23 | In this movie we're going to take
a look at the Safe Color Warnings.
| | 00:26 | The Safe Color Warning feature allows
you to monitor your show and display
| | 00:30 | warnings on screen whenever your composite,
luma, or RGB signals are out of range.
| | 00:36 | Let's go ahead and go into Color Correction.
| | 00:40 | And if you look up here, we
have the Safe Colors Settings.
| | 00:44 | If I click on this, we can see that
we have High and Low limits for our
| | 00:50 | Composite signal, Luminance, and RGB Gamut.
| | 00:54 | Our composite signal is luma plus
chroma, and the standard Low is -20 and the
| | 01:01 | standard High is 110 and the unit is IRE.
| | 01:05 | We want it to warn us if we exceed these limits.
| | 01:09 | For luma, we have 7.5 and 100.
This is equal to 16 and 235.
| | 01:16 | But we're now in the IRE units.
| | 01:19 | And again, we want it to warn us
if we exceed those limits.
| | 01:22 | The RGB Gamut, we can go from 0
to 255 in the 8 Bit digital scale.
| | 01:28 | We can also display IRE.
| | 01:31 | You can see the equivalent values here.
| | 01:33 | I am going to just keep it in 8 Bit.
| | 01:36 | Everything here is standard.
| | 01:37 | So we're going to warn here as well.
| | 01:40 | If anything exceeds any of these values,
Media Composer will tell us. I'll say OK.
| | 01:46 | Notice that our Safe Color
Warning button turns orange.
| | 01:50 | Okay, so let's head on into the first shot here.
| | 01:53 | And as you see, we have an indicator
in the upper-left corner that's going to
| | 01:57 | tell us if anything is out of limits.
| | 02:00 | The first bar refers to our
composite signal, or luma plus chroma.
| | 02:05 | On the first panel, you'll see that
there is a yellow bar in the upper portion.
| | 02:10 | This means that we're exceeding our
composite signal on the upper limits.
| | 02:14 | The second panel indicates our luma
signal. And we have a white bar on the lower
| | 02:20 | portion, which means we are exceeding
in the lower limits or close to black.
| | 02:24 | If you take a look at the third, fourth,
and fifth panels, we're right in the
| | 02:29 | middle, which indicates that
we're just fine on our RGB Gamut.
| | 02:33 | So what this is telling me is that I
have some colors that are too hot in the
| | 02:38 | upper portion, and I have my luma values
that are too dark in the lower portion.
| | 02:45 | If I switch to the Y Waveform, you'll
see that I have some white pixels at the
| | 02:50 | very, very bottom of my Y Waveform.
| | 02:53 | So I'm going to need to take care of
those. And then if I switch to the YC
| | 02:59 | Waveform which we haven't actually
looked at yet, this indicates the luma plus
| | 03:04 | chroma, which is equal to the composite signal.
| | 03:08 | So I have a couple of values right
here and right here that exceed the upper
| | 03:15 | limits of that composite signal.
| | 03:17 | So you have a little bit more leeway as
far as your composite signal is concerned.
| | 03:22 | But we are still exceeding it on the upper end.
| | 03:24 | So we'll need to fix that as well.
| | 03:26 | Let's just go ahead to the next
shot and see what else we've got.
| | 03:30 | So we're fine on the composite signal on
this one as indicated by the YC Waveform.
| | 03:35 | We've got nothing that goes above
or below our upper and lower limits.
| | 03:41 | But on the Y Waveform you can see
that we are exceeding at the very top and
| | 03:46 | at the very bottom.
| | 03:47 | We've just got just a couple of pixels.
| | 03:49 | We've got just a couple of stray
pixels that we'll need to take care of,
| | 03:54 | and so on and so forth.
| | 03:55 | I'm simply going to scrub through so you
can see how each of the shots are registering.
| | 04:02 | It looks like we have illegal
values on all of them so far.
| | 04:05 | Oh, except for this one.
This one is fine, and this one is fine.
| | 04:11 | Everything else looks like--this one is
okay. And you can see that about half
| | 04:22 | the shots have some issues. All right!
| | 04:25 | So our Safe Color Warnings just
basically let us know that the issues are there,
| | 04:30 | but it doesn't do anything.
| | 04:32 | These are only warnings.
| | 04:33 | They don't actually fix the problem.
| | 04:35 | We'll take a look at how to fix the
problem in the rest of this chapter.
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| Manually correcting a show to be broadcast-safe| 00:00 | When you've got illegal luma or
chroma values, you'll need to correct them,
| | 00:03 | either manually, by adjusting some
controls within one of the color correction
| | 00:07 | groups, or automatically, by
applying the Safe Color Limiter Effect.
| | 00:11 | Let's first take a look at all of the ways
we can manually correct our luma and chroma.
| | 00:16 | Okay, so we have been introduced to
the Safe Color warnings indicator, which
| | 00:21 | turn on right here. And in the upper
left corner of our image, we have a five
| | 00:25 | panel display showing us if our
composite signal--which is our luma plus chroma--
| | 00:31 | our luma signal--which is the dark and
light values of our image--and also the
| | 00:35 | red, green, and blue gamut.
| | 00:37 | So we can see if we have any values
out of limits on either the low or the
| | 00:41 | high end. Anything in the middle is fine.
| | 00:44 | You can see in this image that we have
some problems in both the low and the
| | 00:48 | high end of our luma signal.
| | 00:50 | So when we are dealing with luma, we
want to look at the Y Waveform, because
| | 00:53 | this is our luma signal.
| | 00:55 | You can kind of guess where that might be.
We're peaking a little bit in the upper
| | 00:59 | and lower regions right here.
| | 01:02 | And we already know a couple of ways in
order to get it in between 16 and 235.
| | 01:08 | For example, we have the Gain slider
and the Setup slider that controls our
| | 01:13 | light and dark values.
| | 01:15 | We also have our Clip Low and Clip High.
| | 01:18 | This is meant to keep all of our luma
values in between 16 and 235, which is
| | 01:23 | the upper and lower limits.
| | 01:25 | However, notice that we have two groups.
And if you have adjustment in both the
| | 01:30 | HSL and Curves group, just realize that
everything in HSL is processed first and
| | 01:37 | then everything in Curves is processed.
| | 01:40 | So occasionally you might have
limited your signal in HSL, but you might be
| | 01:44 | overdriving in Curves.
| | 01:46 | So my recommendation is for you to
perform most of your limiting effects in Curves.
| | 01:51 | So because we have a luma problem,
let's go to our Master Curve.
| | 01:55 | I want to go ahead and click on my
black point, and we want to make sure that
| | 01:59 | this is at 16. And let's go
ahead and click on our white points.
| | 02:04 | And I'll just make sure this is at 235.
| | 02:10 | You saw that my low end indicator went away.
| | 02:13 | We still have a little bit
of a problem on the high end.
| | 02:16 | You occasionally might need to go just
a tiny bit below 235. I am just going to
| | 02:19 | tap the down arrow, and you can see that
just one tap did it. We are now at 234,
| | 02:25 | and we don't have any
problems at this shot anymore.
| | 02:28 | Our safe warning indicator went away.
| | 02:31 | If we wanted to perform those
adjustments across the board, you can do so by
| | 02:36 | enabling a top video track and
applying that same effect to V3 here.
| | 02:41 | So if I wanted to limit across the
board, I am just going to, again, type in 16 on
| | 02:48 | my black point and 235 on my white point.
| | 02:55 | So let's just look through here. It looks
like we are fairly free from any luma problems.
| | 03:05 | Again, we do have a couple. It looks like
on the low end, which means that we have
| | 03:09 | some level of illegal black left.
| | 03:12 | I am going to go ahead and just park
on that one frame where we have a little
| | 03:15 | bit of problem. And I am going to go
ahead and just raise this just a little bit
| | 03:21 | 'til that goes away--and
usually, it just takes one.
| | 03:24 | And let's just make sure that we don't
have any more luma problems throughout.
| | 03:32 | Okay, I think we are good.
| | 03:33 | It doesn't look like we have any more
problems with our luma signal. And we had
| | 03:38 | a bunch before, so that did it.
| | 03:41 | So our luma is good.
| | 03:42 | We still have a couple of problems in our
composite signal. For example, this shot here.
| | 03:47 | You can see that everything is good,
except we are high on our composite signal.
| | 03:52 | We can enable the YC waveform. It's
luma plus chroma, and this is basically the
| | 03:59 | luma signal in green with the
chroma signal overlaid on top of it.
| | 04:05 | So you can do a little bit of
diagnostics here to see where spatially we are
| | 04:09 | peaking high and low. You can kind
of see that we have a few areas here.
| | 04:13 | And we have some pretty bold yellows and reds.
| | 04:16 | So what I am going to actually look at
instead is the Vectorscope, and see if we
| | 04:22 | have any trace on the outer edge of our circle.
| | 04:25 | And it doesn't really look like we do,
but it only takes one or two pixels.
| | 04:30 | So what I am going to do, because we
have most of the trace in the red and
| | 04:35 | yellow area, is I'm going to just take
my red upper limits here and then just
| | 04:41 | start dragging it down and see if
this goes away. And you see that it did.
| | 04:46 | We brought it down to 236 here, and I
think we might be good. We have a couple
| | 04:51 | of more spots where we have some issues, so I
might just drag it down just a little bit more.
| | 04:55 | You can also just click in this box
and then tap the down arrow, and this
| | 04:58 | value will go down.
| | 05:00 | And I think we are pretty good right there.
| | 05:07 | We have some other values here.
| | 05:09 | Again, we're going to look at the Vectorscope.
| | 05:11 | Looks like we have some really outlying
green area, and that's probably his glasses.
| | 05:15 | So let's do the same thing here.
| | 05:17 | This time I am just going to type
in 235, and you can see that that Safe
| | 05:22 | Color warning went away.
| | 05:24 | Let's just do the same thing
for blue, just for good measure.
| | 05:28 | All right, and let's see if we have any
other warnings across the board. Okay.
| | 05:34 | Right here, it looks like a very strong yellow.
| | 05:37 | Again, I could come in and keep going as
far as diagnosing where my issues are.
| | 05:43 | And just so you know, I am doing it on
one effect above all of my clips. I could
| | 05:47 | also be doing it clip by clip.
| | 05:49 | It really depends on how you'd like to work.
| | 05:52 | However, something that's a lot easier
than manually diagnosing--going through
| | 05:56 | all of the various scopes and
figuring out where we can manually bring down
| | 06:01 | these values--is using an automatic
effect called the Safe Color Limiter.
| | 06:05 | And we are going to
examine that in the next movie.
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| Automatically correcting a show using the Safe Color Limiter effect| 00:00 | It's good to know how to manually
correct your luma and chroma values,
| | 00:03 | in case you have a stray problem here or there.
| | 00:06 | But when you've got many problems--
especially those that are difficult to
| | 00:09 | diagnose--I definitely recommend that
you use the Safe Color Limiter effect.
| | 00:14 | Now the Safe Color Limiter effect is an
effect that can limit the high and low
| | 00:17 | values of the luma signal, the total
composite signal, as well as the RGB color gamut.
| | 00:23 | Now by default, the Safe Color Limiter effect
uses the settings in the Safe Color settings.
| | 00:28 | Now we saw those in the Color
Correction tool, but you can also access them in
| | 00:32 | the Settings tab and Safe
Colors, and it should look familiar.
| | 00:37 | We have the composite signal low and
high end, the luma signal, and the RGB Gamut.
| | 00:43 | Now these might not look as familiar,
because we haven't really been dealing
| | 00:46 | with IRE, but they do have
equivalent values in 8 bit. And that should
| | 00:50 | definitely look familiar, 16 and 235.
| | 00:54 | All right, so I'm going to just go
into the Effect palette. And in the Image
| | 00:59 | category, we have Safe Color Limiter.
I am just going to apply that to V3.
| | 01:04 | And the best part about that is we are
completely done. It's gone through and
| | 01:08 | it's limited all illegal values in my
composite signal, my luma signal, and in my
| | 01:13 | Red, Green, and Blue Gamut.
| | 01:15 | All right, so as we are going
through here, everything looks good.
| | 01:19 | Well, this doesn't look quite as
good because it's not rendered.
| | 01:22 | You can see that the Paint effect that
we applied in a previous movie--which took
| | 01:26 | care of those yellow waves--looks just
fine when we are parked on it, but as we
| | 01:30 | are skimming through, it's
not quite there. Don't worry.
| | 01:32 | We'll render it at the very end.
| | 01:33 | But Safe Color Limiter effect doesn't
need to be rendered, it's good to go.
| | 01:38 | And let's just take a look at a couple
of additional values inside of here that
| | 01:42 | are pretty interesting.
| | 01:43 | I am going to go ahead and
open up the Effect Editor.
| | 01:46 | The really interesting part is up here,
Source Monitor Analysis. And right now
| | 01:51 | it's set to Highlight Out of Range Colors.
| | 01:54 | Now I am going to play through
this, and I want you to look for some
| | 01:57 | really bright pixels.
| | 01:59 | Yellow pixels indicates that the
composite signal was out of limits.
| | 02:04 | White pixels indicates that the
luma signal was out of limits.
| | 02:07 | And the red, green, and blue pixels
indicates if the Red, Green, and Blue Color
| | 02:13 | gamut was out of limits.
| | 02:14 | I am just going to go ahead and play
this, and you can take a look at what I mean.
| | 02:29 | Definitely got some composite out of
limits right here. Definitely have some
| | 02:36 | Red, Green, and Blue out of limits there
and here and there.
| | 02:40 | Just pixels that we wouldn't necessarily have
known we had a problem with were, in fact, illegal.
| | 02:48 | You know, if I looked at this, I have
lots and lots of problems with my blues.
| | 02:54 | Okay, this is blue. And if I go ahead
and look inside my Color Correction Workspace,
| | 03:01 | I have the YC Waveform populated.
| | 03:04 | If you don't, you can just
pull it down from this menu here.
| | 03:08 | We have the chroma overlaid on top of
our luma signal. And it's definitely very,
| | 03:12 | very high here, which indicates that
we had some problems. And the Safe Color
| | 03:16 | Limiter effect solves those problems immediately.
| | 03:19 | I am going to head back to Source/Record
and back into Effect mode, so we can
| | 03:24 | continue to kind of analyze all
of the problems that I've fixed.
| | 03:29 | Again, we have some composite problems there.
| | 03:33 | So we definitely had a lot of things
that it went through and fixed for us.
| | 03:38 | And as you can see, it's very, very
easy to apply, and it's very, very powerful,
| | 03:42 | because you are able to now send
this show to air without any issue.
| | 03:46 | As you can see, adjusting your video
signal to legal levels is an absolute must
| | 03:50 | if your show is going to be broadcast.
| | 03:52 | Now fortunately, Media Composer's Color
Correction tool gives you both manual
| | 03:56 | and automatic controls to quickly and
efficiently bring everything within legal limits.
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ConclusionNext steps| 00:00 | Now that you've completed this course,
you should feel confident to take on the
| | 00:04 | Avid Color Correction
workflow from start to finish.
| | 00:06 | Hopefully you've gained a good
understanding of why each stage of the process is
| | 00:11 | important and why they are all interrelated.
| | 00:13 | And while you may start out a little slow,
you'll gain speed and efficiency in no time.
| | 00:18 | If you should ever run into
questions that this course can't answer,
| | 00:21 | I encourage you to visit the Avid
Support in Avid community's web pages, which
| | 00:25 | contain tutorials, knowledge bases,
and user forums full of people who can
| | 00:30 | answer your questions.
| | 00:31 | And if you need information
on anything else Avid related,
| | 00:35 | I encourage you to check out my other
Avid courses on lynda.com, including
| | 00:39 | Avid Media Composer 6 Essential Training.
| | 00:41 | Good luck as you embark on an
exciting world of color grading, the often
| | 00:45 | overlooked but quite
magical phase of postproduction.
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