By Steve Hullfish
Readers will examine the foundations of colour thought and video sign research, together with the diversities among movie and video colour. starting with an research of universal colour corrections, the e-book will introduce the reader to the colour corrections attainable with an array of electronic video software program, reminiscent of ultimate lower professional, premier, Avid, Avid Xpress DV 2.0, After results plug-ins, and different nonlinear software program. colour correction difficulties and ideas are provided with tutorials at the significant other CDROM to make sure that the reader profits a operating wisdom of the techniques.
Color Correction for electronic Video exhibits you ways to take advantage of colour to enhance your storytelling, bring serious emotional cues, and upload impression in your movies. starting with a transparent, concise description of colour and notion thought, this e-book exhibits you the way to research colour correction difficulties and remedy them-whatever NLE or plugin you employ.
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Additional info for Color Correction for Video - Using Desktop Tools to Perfect Your Image
Many applications have Curves controls now. Avid was the first to popularize this method for video corrections (though they’ve been in Adobe apps forever), and Avid still has the “sexiest” of the Curves UIs with a nice color coding that lets you know that pulling down the blue curve will make your correction more yellow. Figure 1-36 Curves control in Avid Media Composer. We’ll use the Avid to balance color using Curves, but you can also use Color’s curves in the Primary room, or Color Finesse’s Curves control.
Watch the video tutorial “Analyzing with the Avid eyedropper” on the DVD. Click and drag from one of the color patches in the upper right corner of the Color Correction window to a neutral color in the Current window and release. This will save the RGB values of that color temporarily. For the purposes of this tutorial, let’s sample a black, gray, and white “chip” from the grayscale_neutral chart. I’ll sample the middle gray chips and the black and white chips that are right in the center of the chart.
Let’s consider the Master graph first. That’s the one on the far right. It controls the levels of all three color channels, so it essentially does the same thing as a Master Gain, Master Set-Up, and Master Gamma control all rolled into one. To adjust set-up (blacks), drag the small purple dot at the lower left corner of the graph. To bring blacks up, drag straight up. To bring blacks down, drag to the right. To bring whites down, grab the small purple dot at the upper right corner of the graph and drag it down.