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In this course, author Ashley Kennedy demonstrates basic and intermediate video editing techniques in Avid Media Composer. The course explains how to build sequences, mix audio, apply effects, and color-correct footage. The course also shows how to create titles, manage and output media, capture and import footage, and troubleshoot common post-production issues.
As you remember from reading the Y Waveform, the true value of video black is 16 and the true value of video white is 235. Black and white should have no colorcast because black is the absence of color and white is all colors together; therefore, black and white are 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 can measure this. All right! So we have our corrected image, as far as setting our blacks and whites, and now we're ready to correct colorcast.
We do that by switching to the RGB Parade, and we measure this graph by looking at the three color channels as we read the image across from left to right three times. So in reading this full image, we come back over to our red, green, and blue, and we need to make sure that our black values are aligned and our white values are aligned. And as we see here, we can immediately tell that there's a pretty strong red colorcast in both our blacks and our whites and so we'll probably need to change the values within our Shadow Chroma wheel and our Highlight Chroma wheel.
So let's take it one step at a time and find out exactly what our blacks are measuring at. To determine this, we come over to our color swatches here. And if I hover my mouse in this box, I get an eyedropper. And if I click down and then bring it up to my image, you'll see the numbers change in the red, green, and blue channels within that box. So I'm just going to release, and we'll take a look at these values. We have Red 46, Green 21 and Blue 15.
Now again, we want these to all be measuring at around 16. We'd really like to have them within 10 of one another. So it looks like we need to bring the red values down. We can isolate this by coming over to our Shadow Chroma wheel and drag away from red. So we're going to decrease the amount of red in our shadows and increase the amount of blue and cyan. So we're just going to grab this cross and drag down.
And as you see, my waveform updated and I'm now in much more alignment. In fact, I might have gone a little bit too far. Let's go ahead and take a measurement. To do that, I'm just going to click and drag with my mouse up to my monitor and release. Yep! And now we have Red 235, Green 26, and Blue 35. So we have a little bit too much blue. Let's go ahead and tweak back a little bit. We might not be able to get it exactly perfect, but as you go through and tweak this, I encourage you to get it as close as possible.
This does look pretty close though. We're in alignment. This is much better. Again, we'll take a measurement, click, drag, and release. And 25, 29, and 30. So we're still riding a little bit high above 16. We might need to go back into my Y Waveform and bring our black values down a little bit. Let's just toggle over there real quick to read those. Yeah, we're a little bit high, so I'm going to go back down with Setup a little bit and back to RGB, and let's take another measurement. 26, 26, 26. All right! So we're within 10.
Again, we might want to go in and tweak a little bit, but this is really great. We've removed the colorcast. Everything is in alignment across the bottom in our blacks. Now we need to do the same thing for our whites. So let's go ahead and take a measurement. We don't have anything exactly pure white, like a white sheet of paper, so we're going to have to rely on this hanger here. And we'll probably not be all the way up at 235, so we're going to try to do something called approach white. So if it's right around 200 or so as long, as all three color channels are aligned, that'll be just fine.
So let's take a measurement, go ahead and click with my eyedropper and release, right there on the hanger. And we've got Red 247, Green 181, Blue 151. Again, we're way too high in the red. Let's drag toward blue and green in our highlights. And you saw the red come down. We're getting in more alignment. So let's take another measurement. 227, 187, 157, so we're getting closer.
I'm going to probably need to tweak with my Midtone Chroma wheel as well because these values are falling into the midtones as well. So sometimes you need to have your Midtone Chroma wheel accompany either the highlight or shadow. Let's bring this down and you can see things adjust. Let's take another measurement. 223, 188, and 165. We still need a little bit more blue across the board, so I'm going to go ahead and keep tweaking. And again, you can get this exactly perfect.
We may not have the capability of getting it aligned exactly right, but this is looking a lot better, and this measurement is a lot better. We've got 213, 204, 189. So we'll need to get a little bit more blue in there, but as you can see, let's take a look at our before and we'll bring that over so we can toggle, and after, so we're looking much, much better. In the next movie, we'll take a look at how to bring out her flesh tones by looking at the vectorscope and manipulating our hue and saturation.
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