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Using the RGB Parade to correct color casts

From: Avid Media Composer 5 Essential Training

Video: Using the RGB Parade to correct color casts

Have you ever seen an image that looks just a little bit too blue, too red, too yellow? There are a number of reasons that a shot may exhibit a color cast. But fortunately, this is easily fixed by using color correction. In this movie, we'll take a look at how to use the RGB Parade to help remove a color cast. As we learned in the last lesson, the human eye is very perceptive to accurate whites and blacks. As you remember from the Y Waveform, the true value of video black is 16 and the true value of video white is 235.

Using the RGB Parade to correct color casts

Have you ever seen an image that looks just a little bit too blue, too red, too yellow? There are a number of reasons that a shot may exhibit a color cast. But fortunately, this is easily fixed by using color correction. In this movie, we'll take a look at how to use the RGB Parade to help remove a color cast. As we learned in the last lesson, the human eye is very perceptive to accurate whites and blacks. As you remember from the Y Waveform, the true value of video black is 16 and the true value of video white is 235.

Now because both white and black have no red, green, or blue values, they are called true neutral colors and should read at 16 and 235 across all three color channels of red, green, and blue. Let's take a look at how we measure this. I have the RGP Parade populated in my monitor, which again, I can load by clicking in this menu here. What we're looking at is the entire composite signal from left to right in the red, green, and blue channels.

Composite means that it's both for luma and chroma or light and dark values plus color values. But it's broken out into red, green, and blue channels. So, we have Tony here and we see him from left to right in the current image, and here is Tony left to right in the red, in the green, and in the blue. Now, before we start guessing if this image has a color cast or not, we're going to actually measure if it does by looking at this graph as well as by making a few samples. As I just said, we know that black and white should not have a color cast at all.

Therefore the black values of this image, this value in the fireplace and certain values on his shirt, should be even across red, blue and green. Now, it looks here that we have a higher red value than we do blue and green, by just a little bit. So, we're most likely going to be bringing our reds down just a little bit in the shadows. Likewise, with white, again, this part of the window here, which is represented by this area here, here, and here, should have equal values across red, green, and blue.

Red and green are very similar, and blue is just a little bit lower. So, we're probably going to bump up our blue highlight values. Now, let's take a look at our Color Correction tool, and specifically, at these three wheels in the middle. These are called the Chroma wheels, and these are broken out into the Shadows, Midtones, and Highlights. So, any adjustments that we make in any one of these will affect only those values. Let's go ahead and sample our black and white values and then make the adjustments accordingly.

When I drag my cursor into these boxes here, my cursor becomes an eyedropper, and it allows me to sample an area of this image. As you can see when I drag my eyedropper over the image, the colors change accordingly. So, I'm just going to sample a couple of black values here. Okay, looks like we have a little bit higher in red, but not much. Same thing here in the darkest area of his shirt. Again, just a little bit higher in the red, but not much. We're just going to bump that down a little bit. Okay, let's resample our white values.

All right, again, as we suspected, red and green, very similar. Blue just a little bit low. So, we're going to bump up our blue values and our highlights. So, let's attack our blacks first. We're going to click-and-drag on the center X in our Chroma wheel and dragging it a little bit away from red and let's resample. Okay, everything is really similar now, so we'll leave it there. So, let's take a look at our highlights.

We're a little low on the blues, so we're going to be dragging the X on our highlight chroma wheel towards the blues. Let's resample. All right, it looks like we corrected the blues. The reds are a little low. So, I'm going to go back a little bit, resample, and we're really close here. 186, 187, 188, and let's look at our RGB Parade. Everything looks in line here on the black. Everything looks in line here on the whites.

It looks like we've removed our color casts. Removing color cast is an important part of the color correction process, and as you see it's fairly straightforward. So now that we've set our whites and blacks, removed the color casts from these neutral colors, it's time for us to take a look at the chroma values of our image.

Show transcript

This video is part of

Image for Avid Media Composer 5 Essential Training
Avid Media Composer 5 Essential Training

74 video lessons · 8244 viewers

Ashley Kennedy
Author

 
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  1. 3m 43s
    1. Welcome
      1m 16s
    2. Using the exercise files
      2m 27s
  2. 22m 59s
    1. Understanding clips and media files
      2m 34s
    2. Understanding the Select Project window
      5m 40s
    3. Working in the Project window
      5m 35s
    4. Setting up and organizing a project
      5m 13s
    5. Saving and backing up
      3m 57s
  3. 50m 15s
    1. Using the Composer Monitor and the timeline
      6m 32s
    2. Adding shots using Splice
      5m 57s
    3. Adding shots using Overwrite
      7m 2s
    4. Removing shots using Extract and Lift
      4m 31s
    5. Using Extract/Splice Segment Mode to switch shots in the timeline
      5m 1s
    6. Using Lift/Overwrite Segment Mode to move shots in the timeline
      5m 59s
    7. Using direct timeline manipulation
      4m 6s
    8. Using subclips and subsequences
      3m 48s
    9. Adding and patching video tracks
      7m 19s
  4. 26m 39s
    1. Understanding trimming
      3m 42s
    2. Using A-side Single-Roller Trim to improve audio timing
      7m 59s
    3. Using B-side Single-Roller Trim to improve audio timing
      5m 41s
    4. Using Dual-Roller Trim to refine video
      6m 5s
    5. Using Ripple Trim and Overwrite Trim
      3m 12s
  5. 24m 8s
    1. Using the J-K-L keys for navigation
      4m 15s
    2. Using navigation shortcuts
      6m 26s
    3. Using the Command palette
      6m 4s
    4. Sorting and sifting clips
      7m 23s
  6. 20m 38s
    1. J-K-L trimming
      4m 11s
    2. On-the-fly trimming
      7m 18s
    3. Advanced trim methods: Slip mode
      5m 18s
    4. Advanced trim methods: Slide mode
      3m 51s
  7. 21m 33s
    1. Using the Audio tool to read audio levels
      6m 18s
    2. Using the Audio Mixer to adjust audio level and pan
      8m 27s
    3. Keyframing audio for intra-segment audio adjustments
      6m 48s
  8. 55m 23s
    1. Using Quick Transition effects
      5m 19s
    2. Using the Effects palette and the Effects Editor
      5m 21s
    3. Keyframing segment effects
      6m 0s
    4. Using nesting and auto-nesting
      5m 49s
    5. Saving effects templates
      5m 34s
    6. Building basic composites using vertical effects
      4m 53s
    7. Using the Picture-in-Picture effect
      6m 41s
    8. Creating basic motion effects
      5m 55s
    9. Using Timewarp
      5m 56s
    10. Using the Color effect
      3m 55s
  9. 9m 48s
    1. Understanding system performance
      5m 58s
    2. Rendering tracks
      3m 50s
  10. 20m 30s
    1. Analyzing footage for problems
      3m 8s
    2. Using the Y-Waveform monitor to set whites and blacks
      5m 34s
    3. Using the RGB Parade to correct color casts
      4m 42s
    4. Using the Vectorscope to improve skin tones
      3m 27s
    5. Correcting color automatically
      3m 39s
  11. 29m 16s
    1. Formatting and enhancing text using Avid Marquee
      6m 52s
    2. Using Marquee to apply shapes and gradients
      4m 23s
    3. Using title templates
      2m 40s
    4. Bringing a title into Media Composer
      3m 42s
    5. Revising the title
      2m 49s
    6. Creating rolling and crawling titles
      4m 40s
    7. Using Auto-Titler
      4m 10s
  12. 22m 3s
    1. Using the Capture tool
      5m 7s
    2. Capturing footage
      4m 26s
    3. Batch-capturing
      4m 46s
    4. Adjusting settings for import
      5m 7s
    5. Using AMA (Avid Media Access) for QuickTime imports
      2m 37s
  13. 16m 54s
    1. Understanding deletion types and cases
      3m 51s
    2. Performing bin deletion
      3m 17s
    3. Understanding the Media tool
      6m 17s
    4. Identifying and deleting media relatives and non-relatives
      3m 29s
  14. 15m 31s
    1. Understanding media delivery types
      2m 28s
    2. Preparing a sequence for digital cut to print to tape
      2m 48s
    3. Performing a digital cut
      5m 8s
    4. Exporting a QuickTime movie or QuickTime reference
      5m 7s
  15. 14m 39s
    1. Solving the offline media problem
      3m 58s
    2. Re-linking media
      2m 19s
    3. Solving Avid settings corruption
      4m 35s
    4. Using the Avid Attic to find and retrieve bins
      3m 47s
  16. 19s
    1. Goodbye
      19s

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