Video tear after color correction

I'm operating Mac- CS6 build 6.0.2 and my original media is fine. After color correction ( auto color with just a little white clip boost) there is a tear or dropped frame that occurs intermittently in about 3 minuntes of my sequence. Rendering has not resovled the issue nor has a test export solved the problem. Any thoughts on what is causing the issue. All other areas in my sequence are fine with the same correction.

You're welcome.
https://blogs.adobe.com/kevinmonahan/2013/09/11/marking-posts-as-correct-or-helpful-on-the -adobe-forums/

Similar Messages

Video looks lousy after color correction or cropping

I'm a Sony Vegas user new to FCP. Today I imported some filed from a Sony EX1 XDCAM. I transcoded to proRES422 and all looked fine in the timeline. But, I tried to colorcorrect and once I rendered the image had noticeable deterioration in sharpness and also it introduced some weird purplish noise in the darker areas. I had the same problem when I attempted a simple zoom and crop in motion for a proRES file. What's going on here?
I'm just using a Macbook with an integrated card but I was under the impression FCP is powered by the CPU. I've got 2 gigs of Ram. Speed and smooth playing video isn't a problem.
What could be going on here?

Stab in the dark:
What are your "Playback Video" settings set to under the "RT" pop-up menu in the upper left corner of the Sequence window?
Also, what color appears above the clip in the Sequence?
What does the clip look like if your render it?
XDCAM footage should color correct well, whether it's the native data stream or converted to another codec that's good for editing.
It might not hold up to being scaled, regardless of how it's currently compressed. The picture is farily compressed as soon as it's recorded as XDCAM. Converting to something like ProRes, or Animation at best, or Photo-JPEG at best, only minimizes a compression generation loss when re-compressing later transitions, superimpositions, exporting and so forth.
-Warren

Denoise before or after color corrections?

I am using a CHV filter to denoise a HDV footage that was shooted with auto gain on. It works very well.
However, I want to get the blacks darker. Should I do the color correction before or after the denoise process?
Considering the fact that making the blacks darker will increase the "grainy" aspect of the video, what is the best way to do this?
Thanks.

I tested both, before and after the CHV denoise filter. It`s quite similar, but I tend to prefer after.
I`m not thinking about crushing the black to denoise the clip
The CHV filter worked very well, the grainy aspect is gone.
Now I need to get the dark areas of the image to be black. From what I understand, the blacks should be at 0 on the waveform monitor.
When I get make the blacks darker, to be at 0, the grainy aspect comes back a little bit. I guess is a physical thing and there is no miracle solution...
Any suggestion is welcomed...
Thanks.

Photos look like film negatives after color correcting

I tried following Scott Kelby's instructions for color correcting digital images in PSE 10. I was entering the values he gave for the R,G and Blue channels. I got off track and probably missed a step. Anyway, now when I try any of the auto correction features, my images look like film negatives and not like a regular digital image. How can I re-enable the auto correction features (levels, color correction, etc.) ?

Make an levels adjustment layer and Alt (option) click on the Auto button in the levels dialog.
Then in the Auto Color correction Options set the RGB values for
Shadows RGB 0,0,0
Midtones RGB 128,128,128
Highlights RGB 255,255,255
Then check Save as Defaults

Grainy/"Pixelated" after color correction

Any time I do color correction or color grading (only slight adjustments), my footage appears to be very grainy/"pixelated." Has anyone else encountered this issue?

First image is raw footage. Second image is color corrected and not rendered. Third image is color corrected and rendered so I can export, but appears very grainy/pixelated. This is the case everytime I try to color correct a clip.

Exportation problems color correction

When the file is exported after color correction, the video moves frame by frame, doubling the running time of the video.

At first I thought a reboot cured the problem, but apparently not.

FCPX Color Correction affecting transparencies

I have a problem where color corrections applied to a video clip are effecting a transparent graphic above the video, where 100% white is somehow being given a luminosity above 100%.
I created a screencapture video showing the problem to clearify: http://youtu.be/cX37HmPASok
This is what the transparent shadow should look like when it is on a 100% white background: http://imgur.com/a/ksiYY#0
But this is what it looks like when the exposure of the object below it is increased to clip the white highlight: http://imgur.com/a/ksiYY#1
I don't understand why increasing the exposure doesn't max the brightness out at 100% white. How do I keep the luminosity from effecting my transparency?
THANKS!

TOOOO perfect! Thanks Tom. I was able to find two videos that elaborated on your comment to solidify a solution.
The Broadcast Safe Filter is definitely the solution, but for some reason it gets applied BEFORE the Color Correction gets applied (which I see is why your compound clip work-around is necessary).
http://www.youtube.com/watch?v=Y6Edju6ktL8
I also came across this video today though that offers a simpler solution. By creating an empty Title template in Motion, I can apply the Broadcast Safe Filter to it and span it across the entire video above the color corrected footage but under my transparent slides.
http://www.fcp.co/final-cut-pro/tutorials/945-how-to-build-and-use-adjustment-la yers-in-final-cut-pro-x
I'll have to reconstruct my color management process in the future, but this is a quick solution for me right now.
Thanks!

Removing color correction targets

After color correcting using a threshold adjustment layer and placing your black and white targets on the image, how do you remove the targets when you're done? They seem to save with the image.
Thanks in advance.
Kevin

Choose that tool and click 'clear' in toolbar (CS3)

Masked color correction - new Pr Pro CC features or still use After Effects?

I am finally getting around to this project. I know in CS6 the solution was to use After Effects. I think I kept putting it off as I was not as familiar with that program as I am with PrPro.
Anyway this is the issue. I have 2 hours of old video I have captured that due to an internal camera malfunction (that was not discovered until the end of the tape)
that has 5 or 6 cyan tinted narrow horizontal transparent bars running through it. The image is there under the bars, it is just viewed through this cyan
tint. The rest of the image outside of the bars is fine and the image inside the bars is fine, it just has a tint. This is old SD footage.
An AE expert said I can make an Adjustment Layer in AE and use the Mask Shape Tool to draw several boxes around the problem cyan areas, apply the Curves and Hue/Saturation effect to the adjustment layer, then color correct. Some feathering would be needed (I know PS too so I can handle that part ) I think I recall back with PrProCS6, I could do this adjustment but only one bar at a time. I could be wrong about that.
But anyway, sounds pretty easy in AE. But since I live in PrPro CC 2014 now, and I saw some recent new features with masks and adjustments, I was wondering if I could perform the same adjustments right in Pr Pro CC 2014? If I need to use AE CC 2014, no worries, I have that installed.
Thanks for the help as always! This is family footage that I would really like to rescue.
BJBBJB1

Thanks so much Dave. It fixed the problem.
Raoul.

Transitions not working in Premiere CS6.Video was color corrected in AE 6 and sent back to PPro cs6.

I exported my film to AE6 from Premiere CS6 for color-correction and got it back to Premiere Pro through DYNAMIC LINK.Now,the problem is that AE has discarded all the transitions and also cross-dissolve and film-dissolve don't seem to work on this color-corrected video.I am able to apply the transitions but they don't work....somebody please help!

As Jim said, not all effects and transitions are properly translated when you replace a group of clips with dynamically linked AE composition. Actually you should have noticed that your cross-dissolves etc. had been replaced with black solid layers in After Effects, which didn't reflect your PrPro transitions.
Now you can jump back to your AE project and fix broken transitions there.
For your future work you should keep it in mind and decide whether to replace a group of clips (and, therefore, fix broken transitions in After Effects) or a single clip, taking care of its handles.

Color corrected video washed out by font / graphics

Hi everyone-
I'm running FCP 4.1.1 on a Mac dual G4. I have some DV clips on the timeline which I adjusted using the brightness / contrast function of the Color Correction tool. When I lay font or graphics over it, the clips get all washed out, and look more like the original clips. After rendering, the Viewer tells me that the video clips are still brightness / contrast adjusted, even though they're not. When I remove the font / graphics, they look as I intended (adjusted).
I used these same graphics on other video clips and they worked fine. It seems to be an issue with the adjusted clips.
Can anyone help? Thanks.
Mac dual G4 Mac OS X (10.2.x)

what color is the render bar above these problem clips?
it may be that with these graphic overlays applied then you are seeing only a proxy or preview of the final effect and not a full render
if so, check your Sequence > Render settings and make sure to check the Preview and/or Proxy options
cheers
Andy

Color correcting certain parts of a video

Hello,
I am sorta new to Premiere, having come from Final Cut pro. I have a video that has spots that neec color correction. How do I correct those spots, without correcting the whole video?
Any help is appreciated.

I would suggest doing that in After Effects, not Premiere.
-Import your footage and create a new composition.
-Create an adjustment layer with your corrections (color corrector, curves, etc)
-Draw a mask around the region you want the color correction to actually show up. The rest will be unaffected by the correction.
You can create as many seperate adjustment layers as you want to correct each spot within your frame.
Then export the footage and bring it back into Premiere (or use dynamic linking if your machine can handle it).
If you don't want to use AE or don't have it -- you can follow a similar process in Premiere.
-Select the clip you want to add correction to and make a copy of it. Place it on the track above your original clip.
-Apply your color correction effects to the clip on the top track. Initially it will apply to the full frame and that's OK.
-Once you are done with making corrections apply a Garbage Matte to the top clip (four-point garbate matte, eight...sixteen...whatever).
-Adjust the matte to the shape of the area you want to correct.
(note: to edit the garbage matte points, you have to select the effect in the Video Effects panel)
You should be left with a color corrected region defined by the matte itself. Just repeat until you have all the different areas corrected.

After Effects Color Correction Eye Dropper

I use the Color Correction Eye dropper for clothing videos and recently it stopped letting me select the dropper. I've tried restarting the program and computer. Would I need to re-install After Effects?

We are going to need a lot more information.
What exact point number version of AE are you using? 12.2.1? 11.0.4?
What effect are you using?
How are you using it?
Screenshots showing things like your comp window, timeline, and effects panel would all be helpful in demonstrating your issue.

HELP! How do i color correct an area of a video?

Hey
Im new to after effects cs4. I made a time lapse video of the sky. However, the sky is to bright and you can't really see the clouds very well. I would like to change the 'levels' of the sky, but not the buildings at the bottom of the video. So only half of the video will have colour correction on it. How do i do this???? Thanks!

The gist is simple:
Create an adjustment layer.
Draw a mask on the adjustment layer.
Apply the color-correction effect to the adjustment layer.
The devil is in the details. For example, if you need to animate the mask, you may have some rotoscoping to do.
Here's a video that shows how to do this in a case where the item to be color-corrected is moving:
http://www.peachpit.com/podcasts/episode.aspx?e=8822f9a1-93c5-4a00-8697-a54b653c7aaf
This is actually a very basic compositing question, so I'm going to strongly recommend that you begin at the beginning and work your way through the getting-started learning materials.

Color Finesse vs Colorista 2 Premiere vs After Effects for color correction

Hi,
I want to get in to color correcting of my Canon XF305 footage that is converted to the Blackmagic 10 bits lossless codec.
I have two Eizo calibrated monitors etc , but my only doubt is the choice of the program (to do it in Premiere-pro or After Effects) and with Color Finesse or with Colorista 2.
So if there are people with color correction experience please share it here.
Thanks! David

When shooternz said 'gain' I presume he means "what was the benefit". If your original footage can be opened in PP, converting it isn't usually necessary unless you find the scrub performance is really hampered by the camera's codec - and that's more of an issue for line editing rather than color correction as you won't be playing it back and forth very much. PP will edit in 32-bit color space no matter what the footage is, so you don't need to force the ingested material into a higher bit depth.
We get the 'real time' question asked a lot. PP is a non-linear editor so realtime playback and scrubbing are essential, but the exact content of each frame isn't all that important. AE works on individual frames so it's not designed to play back in real time - it has to compose all your effects onto every single frame before it can show you the results, and in every frame it processes every pixel. The realtime monitors in PP don't do that - they show something that looks visually the same but only some of the frames are actually processed, then the rest are interpolated.
AE has some extremely powerful CC tools, but realistically it's intended for use on small clips - if you look at grading workflows in studios their typical AE timelines might only be 20 seconds max, and often only a couple of seconds. It can work with longer clips but it gets painful. The big advantage in AE is the ability to layer up lots of effects with masks, so for example you can color-correct a video clip so it exactly matches another clip or a still image, fine-tuning one coffee cup in the background of a scene or relighting in post by masking up zones of color and exposure adjustment.
PP on the other hand is great for long timelines and cutting together clips into a program - that's what it's designed for - but it works on clips so correcting at a frame-by-frame level is correspondingly horrible. I'd say the 3-way CC in PP is perfectly fine for prosumer and indie work; if you know what you're doing it's possible to replicate any of the motion picture styles people are used to seeing, it's simply that it doesn't have a library of presets and you don't get the same level of spatial controls (there's no masked adjustment layer concept in PP like there is in AE). As shooternz says some of the third-party plugins for PP give you those power tools.
New in CS6, Speedgrade provides a standalone program with more powerful features, though the workflow at the moment isn't all that seamless (SG wants frame images, as do most pro grading applications, so there's a gnarly export-import thing to go through that makes round-tripping a one way street).
A professional colorist will use a standalone grading program for several reasons, but they're not all down to pure 'quality';
pro colorists tend to use special hardware desks with physical versions of the three color wheels, and they only work with certain software.
if you're matching the 'look' of an entire motion picture, being able to store, share and batch process with preset styles and look-up tables (LUTs) is important - MB Looks and the Colorista plugin bundled with AE both have libraries of presets, the native fast and 3-way CC tools in PP don't.
On a big project the grading is done by someone other than the editor, so they don't generally need (or want) access to the master timeline - they'll get an exported mezzanine format from edit (an image sequence or uncompressed video track) so don't care about all the other stuff PP or AE can do.
If your only job is grading then a standalone package is the way to go. If it's one of an army of things you do, from shooting and editing to burning the DVDs and writing the blog, I'd say to stick with the inbuilt tools in PP/AE, have a go in Speedgrade if you have CS6 and some time to teach yourself, but the expense of a standalone grading tool would only be worthwhile if you have a few months spare to learn the skills. There's a reason the best colorists earn top dollar, it's 50% art, 50% science and 100% dedication.

Video tear after color correction

Similar Messages

Maybe you are looking for