Auto Color Correction Question

Once you've used Auto Color Correction (Shft+Cntr+B) and then saved, is there any way you can undo this command to bring a photo back to its original state? [I know ideally you should save the modified version with a different name/number, but I forgot to do this!]

If one has done a Save (and closed the Image File), instead of a Save_As, or Save_As_a_Copy, I know of no way to Undo.
One might be able to "deconstruct" the effects of the Auto Color Filter, by using other Filters/Adjustments, but it will require a lot of hand-work, time and experimentation.
I have a workflow, that keeps this from happening. Where possible, I use Adjustment Layers, so that the underlying Background Layer is not touched. In the cases, where I cannot apply the necessary adjustment/effect in an Adjustment Layer, I Duplicate (Ctrl+J) that Background Layer, and apply the adjustment/effect to that. When done, I always Save the working PSD, with all Layers and Adjustment Layers. Actually, I always do a Save_As, so that my originals are never overwritten, but you acknowledge that you know that part now.
Maybe others will be able to help you get started with the "deconstruction," but I'd look into a Color Balance Adjustment Layer, and work with it for a bit.
Good luck,
Hunt

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Color correction questions

I have a few questions about the color correction tools in Premiere CS4.
1. Suppose that the colors in my shot are basically correct, but the blacks have a tint to them. Which is the best color correction filter to use to correct for this?
2. Do any of the color correction filters desaturate secondary colors? I have a shot that would probably look fine if I could just desaturate the yellows.
I know that this can be done in Photoshop.
3. Is there a good technique in Premiere for matching colors between two scenes or cameras? I know Avid's color correction has a specific setting for this.
Thanks in adance!
J. D.

1) tint in black probably means white balance was off a bit ( not matched to your light source).
Can try to correct WB overall and get rid of black tint ( use eye dropper and choose the black area that's supposed to be black and make it black...see what happens to the rest of your image colors )
2) maybe broadcast colors...which has some tendency to imitate "selective color" in photoshop, as you adjust stuff ...
3) no ...except maybe ( again ) broadcast colors ... but probably you have to do by eye or LUT...but basically no
I'm kinda new at this so dont take my word as gospel...someone else may have cool ideas ( they usually do )

Scopes / Color-Correction Question

When I apply a color-correction effect - RGB Curves for instance - before I make a single adjustment the scopes jump to new values, as if I had made an adjustment. When I click the eyeball to turn the effect off the scopes all go back to their original values.
The Composite Video doesn't change until I actually make an adjustment, but the scopes all register some change - before I make a change.
What is going on here? It seems so basic I must be missing something simple.
Any help would be appreciated - Thank You!
[edit: btw the changes in the scopes are not small or barely noticeable - they're huge and obvious. Thanks again.]

We made tests raw video files from various camcorders: Sony EX1, Panasonic AG-AC160, Panasonic TM900. In all this tests the pixels shift and even more: changes the tones of the video (particularly in the midtones) just when we apply (without change anything) any tool of Color Correction tab. The "All Scopes" show this clearly. The same problem when we use Colorista II or Magic Bullet Looks. For us this video is the proof of the situation, please watch in 720p:
I remember perfectly that when I was talking about this issue, someone replied: "go to a different NLE!", with plenty of irony, of course. But the problem is not me, canoli99, Ann Bens or others who have seen this problem. The problem is in Premiere and somehow we received this confirmation from Steve Hoeg/Adobe "It can be fixed but we cannot commit to any timeframe. Fixing and testing changes can often take months".
Only one detail that could help solve this bug: if we apply any tool of Color Correction tab on a AVCHD [4:2:0/8 bit] in the timeline, the problem occurs and the scopes jumped. BUT if we convert the same AVCHD to Cineform [4:2:2 or 4:4:4, 10 bit], put this new file Cineform in the timeline and then apply the same tool of Color Correction tab, the problem disappears and the scopes don't jumped.

Color Correction Question...

I'm a new user of Final Cut Pro v.5. I've been given dark, grainy footage, and when I brighten it by increasing the midrange in the 3-way color corrector, the graininess becomes extremely pronounced. Is there any way to reduce or get rid of the graininess?

Hello Donna... welcome to the forum...
Have a look at this:
http://discussions.apple.com/thread.jspa?messageID=1067315&#1067315

Color correcting question

I know this is a popular effect and I tried to search before asking.
Does anyone know how to remove certain colors like make everything black and white except the red and yellow flowers. or to make everything black and white except the people?
I have fcp5.0 studio

http://www.lafcpug.org/tutorials/basicpleasantvilleprint.html

Color correcting auto white balance footage

I shot some video yesterday and at the time of the shoot, I made sure to set my white balance, however after looking at the footage I notice the color temperature slightly shifts constantly. I don't know why this happened, but it's too late to investigate, my project is due in less than a week.
The good news is that I've realized that that there's a white object in the bg of the shot the entire time that is pure white so i could color correct by setting that as the white point in FCP. The only problem is that since it shifts every 3 seconds or so i would have to keyframe a LOT. Is there any plug-in or application that will let me track that white object in the background so it can set a custom white points for every frame?
Running Final Cut Pro 6.0.2
PS: I found Avid has auto color correction -- basically what I'm looking for I guess. Unfortunately I don't have Avid.

there's no auto color correction feature directly in FCP
there are 3rd party plugs to allow you to track objects but i'm not aware of any way to link that to a color correction

? about image resolution/color correction when apple prints photo book

My first time making a photo book. I color correct and sharpen all of my images in Adobe Lightroom 2 first. Then I save the jpegs and import into iPhoto to make a book. Is there an option for turning off auto color correction when the file is uploaded to apple for printing? Is there an accurate way to tell how the photos will print on the specific paper they use? Also, what print resolution should the photos be set to? Is 180 dpi enough? Thanks in advance.

first read the Apple pages - http://www.apple.com/support/photoservices/preparation_tips/ - and all of its links
Second - I suspect you will be disappointed. Based on reports on these forums almost everyone who uses iPhoto exclusively to preprocess photos is extremely happy with the results. very often people you over process their photos using a third party program (including Lightroom, Photoshop, etc) are unhappy because the printing process is optimized for point and shoot cameras and iPhoto processing - it is NOT a professional desktop book process
There are no options re color correction - it is built in again aimed at sRGB, point and shoot cameras and iPhoto processing
Plus there have been reported incompatibilities between iPhoto and Lightroom
The print resolution is what it is - if it will be less than 180 dpi you will get a waarning - it can be greater
The papers they print on are specified here - http://support.apple.com/kb/HT3412
LN

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

Auto-select clip under playhead? (for color correction)

Hi all
Another newbie question concerning color correction in FCS2.
When moving from clip to clip in the timeline, the viewer (which contains the 3-way color correction filter) doesn't refresh until I remember to double-click on the current clip to select it. In other words, if I change a filter on one clip, then move in the timeline to the next clip, the viewer still contains the previous clip's filter, and if I forget, I'll start fiddling with it, thinking I'm now looking at the current clip.
Still with me?
So, my question is, is there an "auto-select" feature whereby, as I move my playhead along the timeline, clips on a selected track (eg V1) will automatically get selected and loaded into the viewer?
I know there is an auto-select feature for tracks, which I've enabled for my video track, but it doesn't seem to be meant for what I want.
Thanks!
Matt

If you set the SYNC to OPEN, what is being played in the time line (and displayed in the Canvas view) will also be displayed in the Viewer.
Just a point of clarification - the Viewer doesn't hold the CC filter, it will only display the filters that have already been applied to currently displayed clip. If the next clip displayed in the viewer has not had the 3way CC applied, the 3way CC won't display as part of the filters on that clip.
Good luck,
x

Color correction, muzzle flares and smoke questions

A couple of days ago I directed an action sequence called 'Silent takedown' using Premiere CS5 and After Effects. The goal was to do a very fast paced editing style but still within the realm of 'classic' action films from '90 like Face/Off and Mission Impossible 2. I've got some question regarding visual effects done in After effects. Tell me if you thought they were good or bad. Also the color correction was done in AE and PP. Does the overall movie look good?
Here's a full link again: http://www.youtube.com/watch?v=O62_hYOmlaY
Thanks for watchin'

Well, aside from it being quite disturbing to have a team of 14 year olds turning everyone to blood soup it's got some great camera work.
Your first mistake might have been thinking there's anything worth copying in mission impossible 2. Sorry, had to be said.
Todd's right. The clouds of blood is comical. Maybe tone that down? Right now it just looks like a string of video copilot tutorials one after another. You need to hide effects, and make them feel seamless.
Ask yourselves what are you trying to showcase. If it's post production, you have to tweak those effects and make them look classy. There are shots where bullet holes are appearing in glass and there's little breakage, and no reaction from the actors. You can't just glue in effects. If the actors don't react, you can't use the shot, or it should be changed so you don't notice. Add a shake etc.
If it's editing, then that has to be solid too.
You've got time shifting all over the place without it being stylistic. For example, the guys who walk up off the top are shown in a wide shot that you re-use for the security cam. They enter, put their masks on, walks softly up to the guards and take them out, but then we are inside and the scarface guy is watching action that happened minutes ago on the monitor. If you're going to jump around in time, you need to find a stylistic way to do that. Why not bring the scarface guy's scenes into the lead up, show the monitor, (drop that long shot at the top) to introduce the guys sneaking up. This introduced tension (will scarface notice???) gives you an idea of who the guards are watching out for and drops that opening super wide of the two kids going up against the wall. That shot doesn't work because when you show them super-wide, you get a feeling for how exposed they are and what a terrible job they're doing of "sneaking" up. But it works as security cam footage...
Another example is when you have one of your agents say "good morning gentlemen. He says something strange to men who are in masks and they give him enough time to put a gun to his head and pull the trigger in spite of the face that they're holding their own guns. Then you have the camera exposure flash cuts to the other agent sneaking up...
If you want to make this effect work, you need to use editing to explain why the second guard didn't reflexively shoot the first agent. have the agent say, "good morning gentleman" and start the action of raising the gun. Then flash cut to the other agent sneaking up, then back the the first agent shooting, then back to the second guard being shot. Then all of a sudden you have a frenetic action scene. Right now the pacing feels slow and unrealistic.
The effects go off the rails a bit at the end. The muzzle flashes don't aim in the right direction, and the particle smoke becomes very obviously added in post. One shot in particular is a dude walking through a black smoke cloud from behind a van. Loose that smoke in the second to jump cuts. And if oyu're going to have a smoky enclosed space. you have to add atmosphere in other shots.
If you're not going to use practical effects for the gunshots, you need to cut away. Having a guy explode with particles and stock footage will always be "funny" without having some squibs on set. I know it makes it harder and more complicated, but you have to have the whole package, or it'll always just look like kids messing around and...
... oop, my render is done.

Color Correction Auto Levels results uneven

Good Mornig,
My Color Correction Auto Levels results are uneven. I applied them to a short clip to Test, and they look fine when they apply...but every now and then there is a flicker for a few frames/seconds and it reverts to original colors. I have a 6month old computer 64bit, 12gigs ram....and it is only a 5 minute clip.
Any suggestions??
Thanks in advance

did somemore testing and i think you will be correct.
Why is this?...is it because Auto is "too broad a brush" or my computer doesn't have enough power (12 gigs ram??)
or is it a software weakness. is this usually the same for other, similar, effects??

Question on Color Correction / gamma

I'm correcting footage shot with a "flat" camera style. When I correct the footage using SA Color Finesse in AE, I feel like I'm pretty clear on using the HSL controls - except for gamma. My goal is to set Pedestal to crush the blacks a bit around 0 and Gain to bring the brightest white point toward 100. But Gamma is throwing me and making my footage look inconsistent I think. Is there a proper way to work with these controls? What if you have footage where there's no real black or white? Thanks!

[Sorry for the slow response. The flu hit Synthetic Aperture Global HQ hard.]
I wouldn't use the automatic color match tool to try to correct a problem in the extreme highlights (white). Because white (or near white) is so far to one extreme, automated color matching tends to make changes which aren't right for the rests of the image.
If the problem is one of overall incorrect color balance, try the Auto Color tool instead. In the full UI it's located in the Levels tab, in the lower-right corner. The Auto Color button is also available in the simplified interface within AE. (Like all auto color tools, it can sometimes be fooled and be spectacularly wrong.)
If the problem is one of contaminated whites while the rest of the image has a proper color balance, my approach would be to sample the white with the eyedropper. Note the readings on the individual color channels. For a neutral white all of the color channels whould have equal values. You'll need to adjust the RGB channels to accomplish that. Select the RGB tab, then the Highlights tab. Now use the Red, Green, and Blue Gain controls to balance the color channels to be equal.
Bob Currier
Synthetic Aperture

Color correction novice back with a problem/question.

Hi,
I have been working on color correction for an edit of a live 2 camera shoot concert. Edits are almost all final. I dug into correcting color between the 2 cameras & after some practice got good results.
Tho, I noticed that corrections looked slightly different after rendering them, and again slightly different after exporting to full uncompressed quicktime video.
Saturation levels shifted (less), & some shots showed slightly different color balance. This is a unique shoot because the stage was fully lit in red light & red can be one of the most difficult colors in video (in my experience).
So I eventually started that vicious cycle of correcting not by eye but by anticipating what was needed to get a desired result after rendering & exporting... each time it was lengthy renders & exports before seeing the results.
So I had several versions of the project saved w/ different renderings, etc. All of this is stored on a 250 gig 2nd internal drive which I bought & installed just for editing. All files & edit lists etc were kept there.
So I'm trying to look at different versions after having to put the project aside for a couple of weeks, and every version I open shows me a list of render files that it says it can't find. I've just been choosing to re-render.
(I'm wondering if a routine session of running disk warrior on my drives could have contributed to this?? Thats the only thing I can think of, other than the OSX upgrade to 10.4.4, which also included a quicktime upgrade.)
I'm new at this so I'm trying to figure out if this disappearance of render files is normal? In one version I chose 'search computer for render files' or something to that effect & I watched it go thru my drives one after another & when it got to the 2nd internal drive (where all the render files should be), it spent about 1/10th the time that it spent searching other drives. It really jumped in & out of that drive really quickly.
Its not all the render files that are missing, I looked in the render folder & some have older dates, while a section of them are from tonite when I re-rendered. Then more with the older date.
Anybody have any advice?
Thanks for your help
Duane
G5 tower Mac OS X (10.4.4)

Hi,
I have been working on color correction for an edit of a live 2 camera shoot concert. Edits are almost all final. I dug into correcting color between the 2 cameras & after some practice got good results.
Tho, I noticed that corrections looked slightly different after rendering them, and again slightly different after exporting to full uncompressed quicktime video.
Saturation levels shifted (less), & some shots showed slightly different color balance. This is a unique shoot because the stage was fully lit in red light & red can be one of the most difficult colors in video (in my experience).
So I eventually started that vicious cycle of correcting not by eye but by anticipating what was needed to get a desired result after rendering & exporting... each time it was lengthy renders & exports before seeing the results.
So I had several versions of the project saved w/ different renderings, etc. All of this is stored on a 250 gig 2nd internal drive which I bought & installed just for editing. All files & edit lists etc were kept there.
So I'm trying to look at different versions after having to put the project aside for a couple of weeks, and every version I open shows me a list of render files that it says it can't find. I've just been choosing to re-render.
(I'm wondering if a routine session of running disk warrior on my drives could have contributed to this?? Thats the only thing I can think of, other than the OSX upgrade to 10.4.4, which also included a quicktime upgrade.)
I'm new at this so I'm trying to figure out if this disappearance of render files is normal? In one version I chose 'search computer for render files' or something to that effect & I watched it go thru my drives one after another & when it got to the 2nd internal drive (where all the render files should be), it spent about 1/10th the time that it spent searching other drives. It really jumped in & out of that drive really quickly.
Its not all the render files that are missing, I looked in the render folder & some have older dates, while a section of them are from tonite when I re-rendered. Then more with the older date.
Anybody have any advice?
Thanks for your help
Duane
G5 tower Mac OS X (10.4.4)

Color Correcting in Final Cut general question

I am finding I'm at the end of a long process with my feature film and I'm preparing to output and yet again I've run up against a wall of my ignorance...
1. It's a dv film I don't want to just output the film and then apply a color correct as I'm afraid of a lot of clipping...so I'm doing the individual clips through the film and I'm finding a lot of them I have to limit the rgb to 90 some go as low as 88, some are just fine at 100 or 97...it was shot on the dvx100 and I looked up the dvx and see it is geared for superwhite...but I want to prepare my film for broadcast...I wonder though if this is why I'm getting a lot that I have to limit the rgb to 90??? I wouldn't have known to tell the DP please don't use the superwhite settings.
So am I doing this right?
After I output the whole thing, do I color correct the quicktime again when I letterbox it (it's 720x480 to be letterboxed to 1:85:1) before encoding it for the mpeg2? Or if I'm doing it this way is it not necessary?
Thank you

Also is it stupid to do this when I already went through the film and applied color correction as what is bothering me is a lot of the color correct with the range check shows that little arrow that shows it's on the edge...those are the clips I'm bringing down to code because a lot of them the rgb is too hot...for just preparing a professional dv is it necessary to do what I'm doing?
I really want to prepare it once and not do different color corrects again so if what I'm doing above is correct for broadcast quality though it's going to look more muted on a dvd but maybe that's my confusion as many of the bright hilights giving it that look are on the verge or are clipped.

Color Correction Workflow Question

If I am color correcting on the "original clip" - and then pulling that color corrected "original clip" into its own "clip sequence" that I then pull into a "master sequence", along with all the other "clip sequences" that make up my edit, and I am trimming those "clip sequences" to get just the snippet I need...
Is that creating a longer rendering time than if I...
Do not color correct on the actual "original clip" - still put the "original clip" into its own "clip sequence" - trim and resize that "clip sequence" to just the snippet I need, and then do the color correcting on that "clip sequence" instead of the "original clip" itself?
I'm hoping there is no descernable difference in the approach, but I thought I'd throw it out there.
Thanks.

Good enough for me.
BTW Jim the workflow set-up you held my hand through (http://forums.adobe.com/message/5522489#5522489) is what I'm utilizing here - so far it has truly changed the way I approach everything for the better.

Auto Color Correction Question

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