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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.
Besides blacks and whites, the human eye is very perceptive to skin tones. By using the vectorscope, you can adjust chroma hues and saturation as well as correct the hues of skin tones. We'll take a look at using the vectorscope in this movie. All right! So we have set our accurate blacks and whites. We've removed our colorcast. Let's head on over to the vectorscope. I will click here and pull down and choose Vectorscope. And because of the resolution I'm recording at, we can't really see these values, so I want to draw your attention to what they say, and then we'll come right back in here and look at Kim's vectorscope.
All right! So the vectorscope represents the hues that go around the color wheel, starting with red, then magenta, blue, cyan, green, and yellow. So keep that in mind as we are looking at Kim's vectorscope. If this was just a blank image with a little green dot in the middle, this would be a desaturated or a black-and-white image. So as you go out from the center, the saturation increases.
So this measures hue by where this green trace is lying within these colors, and then it also measures saturation. So the further out it goes, the more saturated it is. You want to make sure that the trace does not go beyond the edge of the circle, because that represents illegal chroma values; you want to keep everything inside. You also have an invisible line that runs right in between yellow and red. And this is called the I line, and it represents the line upon which all flesh tones should reside.
So Kim's flesh tones are right here, and they're the correct hue, but they're really not saturated enough. Flesh tones in general should extend about one third the way out from the center of the circle. So we want to bring her flesh tones out in saturation, and just looking at this for her other hues, we have the red out here, which she has a lot of red on, so no surprise there. And we also have some low levels of saturation in the green-cyan-blue region right here.
So there's the green and the blue that probably represent those values. All right! So in general we want to use this to correct our flesh tones. Again, I don't think we're going to need to make any hue adjustments; we just want to increase the saturation. You won't see any saturation sliders here in the Hue Offsets tab. We need to switch to Controls, and here's our Saturation. We can click and drag, or we can hold down Shift to get a finer control, and I'm actually just going to drag out.
And we're increasing the saturation of the red obviously, but we're looking at the flesh tones here, and it's about one third of the way out from the circle, and then she's really looking nice here. She's not so pale, and her tones are really warming up, maybe just a little bit more and back a little bit. Okay, so I like that. I think that's a really nice corrected image. I want to show you the before-and-after. But before I do, I want to do one more thing to our image.
I'm going to load the Y Waveform. And if you notice here, we have a couple of peaking values right here, which represent the specular highlights, or the light on this coat rack here, the light on the metal. In the beginning I told you that you could have values that went above white if it was a specular highlight, which is light on metal, light on glass, light on water, something where we have some glinting, but we do need to bring that back down within legal levels for our correction.
So we just need to click on this box here. It's going to clip all of our blacks that are below 16 at 16, and it's going to clip all of our whites that are above 235 at 235. So when I click on this box, go ahead and watch this right here, and you see that it got brought down within legal levels. All right! This image is now good to go. This is the before and this is the after. I think it looks really nice. And I'm going to save this out to its own bin.
Now before doing that, I'm going to show you the before-and-after from where we came from right after fixing our colorcast. So this is what the image looked like before we added our saturation, and this is what the image looked like after we added some saturation. As you can see, it really warms her up and it makes a big difference. All right! So back into Color Correction, and I'm going to create a new bin and I'm going to call this CC Template for color- correction template, and I'm just going to grab the Create FX Template icon here and drop it in my bin.
And it's already aptly named Kim CC for Kim color correction. I can now apply this to all the shots of Kim so that she's corrected across the board. So over the last three movies, we took you through the color-correction process of setting your whites and blacks, removing your colorcasts, and adjusting your hue and saturation in regard to flesh tones. In the next movie, we'll take a look at how you can actually do all of this automatically with some automatic color-correction techniques.
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