Color Correct Keyframing

I have footage shot under flourescent lights with an old camera. The white balance drifts considerably. I've been trying like heck to "catch the drift" and am making good progress with keyframes on cc 3-way. However, if I have to move across the zero setting from reds to blues between keyframes the setting moves around the center and not through it. Is there any way to make sure the shift stays linear to match the original footage? The color shifts in the face of the interview subject and in the white, highlights, everything. Also since the drift happens subtely, cutting and starting a new clip doesn't work.
And I've already tried to go B&W and don't like it.
I just want the thing to go linear instead of circular. Is there any way to do this?
Thanks.

Not sure but an easier workaround might be to cut the clip in two, then add cc to the first part and a different cc to the second and apply a dissolve between the two... adjust the dissolve length till it suits you.
rh

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Color correction shape mask keyframes!!!

Using FCPX for color correction, but when I add a shape mask and animate it using keyframes, I have no way to smooth the keyframes and control their smoothness!!! Someone PLEASE tell me I'm just missing on the way to do it... I tried everything.
Thanks

I created some animatable masks (keyframeable on-screen control points). It's three keying effects: a single 4 point mask (like the one that comes with FCPX), a two 4 point set (essentially an 8-point), and a four 4 point set (essentially a 16-point.)
Please watch the video for best use guides. Most of the time, layering on 2 or more single 4 point mask shapes is quite addequte to do most of your masking needs.
http://www.youtube.com/watch?v=H_l2K6rXwGw
These effects are free. You can use them any way you like, but please don't redistribute (or sell) them -- direct people to the above link instead.

Color correction filter and keyframes

After lots of projects in FCE, I should know this!
I have a clip with a color correction filter and keyframes at either end of the clip.
Question: If I break the clip in two, am I correct that the color correction filter and keyframes are no longer shared by the two clips? Changes made to one clip's keyframes no longer effect the other clip's color correction settings?

That's correct.

How to keyframe the color correction

Hi!
Is there any way to do keyframing in color correction, but use a pen tool in motion tab for each individual parameter separetly?
User manual gives an impression that it might be possible to make keyframes in color correctors visual view:
http://koti.welho.com/tsuonio1/Color-Corrector-missing-but.jpg
So that when there is a clip where exposure changes, it could be corrected in color corrector, and add the keyframe so that values changes gradually from previous keyframe.

Thanks for answering.
In a way it does automatically add keyframes:
I have a *color corrector* tab in a separate window, and everytime I make changes in it, the new keyframe appears in filters tab graph-line-indicator of that particular parameter.
Message was edited by: TRST

Add keyframes color-correcting a clip

I'm using Final Cut Pro 10.1.4 on an iMac with Yosemite 10.10.1.
When I try adding multiple sequential color corrections in a single clip, there is no way to add keyframes to each correction.
In the video inspector the add keyframe symbol does not appear.
In the show video animation window, if I clik "control k" the keyframe symbol does appear, but if I add more than 1 keyframe only the last one is active, so I can only correct the entire clip.
Is there any way to add more than 1 sequential correction using keyframes, instead of cutting che clip into multiple segment and correcting each one of them?

I have an RGB Channel Mixer that can be keyframed.
First, I recommend turning on Video Scopes (RGB Parade) and turning off the Color board for the title (you do not want to accidentally color grade the title).
RGB Channel Mixer is a title effect, so just drag it over the region you need to color "mix". You can use this effect in conjunction with the color board for the storyline clip. (Do not color correct the channel mixer!
You can toggle the view with the channel mixer selected — type 'v'.
You can download it here: RGB Channel Mixer
It won't hurt to try it and if you don't like it - just delete it. (It's still a bit of an experiment at this point.)
The effect works by mixing the red, green and blue channels separately against a black background solid. The Amount values use opacity to change the mix. The Boost values are different. They add a little "gain" in the channel. There's a subtle difference between the two. Contrast and Brightness controls are added to help with the lack of range assist (shadow, mids, highlights).

How to keyframe color-correction effects.

I have seen the odd question bemoaning the inability of FCP X to keyframe color-corrections but as I have no interest in doing such things I have paid no attention.
However, I discovered in a Ken Stone article that color corrections can be keyframed using a free filter from Ripple Training.
The RT tutorial and a link to the filter can be found here:-
http://www.rippletraining.com/using-the-rt-color-balance-effect-in-final-cut-pro -x.html
Apologies if almost everyone else already knows this, but I am sure there will be somebody (like me) who doesn't.
The original Ken Stone article on all types of FCP X keyframing is here:-
http://www.kenstone.net/fcp_homepage/fcp_x_keyframing_effects_stone.html

One way to 'keyframe' colour correction with FCP X is to add the clip to the storyline, then move the playhead back to the beginning of that clip and use 'Q' in the Event Browser to add the same clip again as a connected clip, above the original.
Colour correct one of the clips, then keyframe the opacity of one of them to effect the change you want.
Andy

Color Correction with in Final Cut Pro 6

Hi All,
I have a showreel of my work, and some of the clips have sections that are darker than I would like them to be, and I would like to correct the color issues. Is it possible to only correct 3 seconds of over dark video, and not have the entire 2 hours thus over bright? I have tried with key frames, and maybe I am not doing the right way.
I put a keyframe on the 1st frame of the clip in question, then on the last frame of the correct section of the clip, then 1 frame later another keyframe, this is now on the incorrect color clip, then 2 more keyframes, last frame of incorrect color, then on the 1st frame of correct video.
Is this ok?
Justine

A better way is to blade (or add edit) at the beginning and end of the section that needs the correction and just apply the color correct filter to that section.

Color Correction Novice rounding home stretch w/ a Q

Hi,
So far, I've received some valuable advice & tips for my 1st attempts at color correction, esp since my production falls outside the normal applications. The help has been great!
I went thru my production and did scene by scene corrections, which lost most of its intimidation with enough practice. I still havent tackled the Keyframe approach to having corrections shift during the course of a scene - I'm hoping to escape without having to do that.
Heres my question -
I did all the corrections, with a calibrated external monitor, and then had the program render all the video effects. Then I chose "print to video". When the program ran, the colors were a little different overall than what I had set in the program (less orange, more pink) and in a few scenes (orig underexposed, but corrected in the process), the color shifted more radically, esp in the shadow / black values which fell greenish.
I didnt see any of this as I was correcting, and the signal path was the same when I printed to dvd, same monitor w/ no calibration changes.
Is this normal? Maybe these shifts happen more discreetly in reg productions, mine is a live stage shoot with a lot of red light.
Thanks for all the help, & Happy New Year
Duane
G5 tower Mac OS X (10.4.2)

Hi,
Thanks for all the info, I'm starting to look at ways of sending what I have to people who need to see it. The project will likely still require some tweaking so this isnt a final mastering step by any means. Just looking for something that looks as good as what I see on the monitor after rendering.
Its looking like (from the lasts posts) that 'out thru firewire -> dvd recorder' isnt the best choice & if I can keep it in the computer & flow it directly to its burner, the opportunities for problems can be minimalized.
I tried exporting to quicktime, that resulted in an FCP Quicktime file that took 3 hrs to create & was almost 13 gig. (program is 50 min) so it looked great but was too huge to put onto a disk.
If anyone has guidance in this area, I'd appreciate it. I'm gonna poke around in those options & then likely post a further question seperately on this subject. I want to get it onto a dv disc via toast 6 (I see Quicktime w/ Compression is an option so I'm gonna explore that)
Thank you all again for the correction help, in that 13 gig version, it looked really great (no green in shadow artifacts ! )
Regards,
Duane
G5 tower Mac OS X (10.4.2)
G5 tower Mac OS X (10.4.2)
G5 tower Mac OS X (10.4.2)

Key frames effect controls and Fast color correction

I just learned about keyframes and gradual transistion of effects and i like that a lot.
Putting it in practice using the Fast color correction feature ; I seemed to miss the key navigation bar (I hoped to find it on the right side of the Fast Color corrector title line or ??? in the effects control panel)
I guess I'm looking at the wrong end of the world, or do keyframes not exist for fast color correction, I seem to notice the keyframe navigation for time Remapping and opacity..... where did I lose the keyframe navigation bar for fast color correction ???
Pro CSS3 on windows XP fully patched
hoping very hard I'm just looking at the wrong side of the world
please give me a hint.

You will find links to many
free tutorials in the PremiereProPedia that will quickly show you how things are done in Premiere Pro, including how keyframes work.
Cheers
Eddie
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Do all editing before any color correction?

I have just gotten final cut pro x.
I have some experience (very limited a couple of years back, with a Sony Home Movie Studio Platinum).
I am shooting my own music video.
Really enjoying using FCPX atm. Niggles aside (the lack of a manual save feature)
Just curious about workflow/resources.
Should I do all my editing, prior to color correction from a resources standpoint.
Does it make it slower, rendering say a zoom in the transform function with color correction applied, than without?
Eg, I have a clip, I put a keyframe and start and end of the clip. Then I scale the clip to 105% on the end of clip keyframe
to simulate a zoom in.
Should I be doing all that kind of editing, then applying any color correction or video type effects?
cheers
Wiz

Should I do all my editing, prior to color correction from a resources standpoint.
That's the SOP for working with professional video. You organize your media, you edit your media, you mix your audio, you add your transitions and titles, add effects and motion, color correct your video.

Color correction/effects when working with long clips

Hi,
First time poster!
I'm a beginner with Adobe Premiere Pro 5.5. I'm using it right now to do some color correction on badly produced DVD's in my film collection! I was wondering if it is possible when doing color correction effects on a clip if you can apply different effects to different parts of a clip. For example - At the beginning of a clip, the scene is really bright, but, some 30 minutes later, the clip is really dark. Is it possible to darken the beginning and lighten the ending? How would you folks deal with a situation like this? Would you edit the film down to smaller parts? If so, how would you go about that?
Thanks for the help!
Howard

Howard,
Welcome to the forum.
Along with Jon-M-Spear's suggestion (the one that I use most often too), many Effects can be Keyframed, so that they change over time. However, this does take some time, and can involve a lot of fiddling.
If you have a long Clip, and know that you will be adding the same set of Effects, but just with different attributes, you can do one of two things, and both rely on Jon-M's method:
You can create an Effect Preset, and apply that to all of your Cut, let's call them "sub-Clips," even though that term has other meanings, so be careful when using it. Then apply that Preset to all of those sub-Clips. Then, tweak each application of the Preset, as is needed for the individual sub-Clip.
In a similar fashion, you can apply all necessary Effects to the first of your sub-Clips, tweak for it, as is necessary, then Rt-Click on it, chosing Copy. Now, Select all of the rest of the sub-Clips, to which you wish to apply that set of Effects, Rt-Click on them, choosing Paste Attributes, and then tweak, as needed.
A variation on the above would be to apply the Effects to the origianal Clip, and THEN make the Cuts. Go back and tweak each individual sub-Clip.
Good luck,
Hunt

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

What to do about bright spots before color correcting

I have a video of the Lion King show from the Animal Kingdom at Disney World. I shot it on HDV using a tripod, although I occasionally zoomed or panned the camera. This is not an important project, just one I would like to finally get done seeing as how I have had the footage since 2006. Procrastination is a bit of a problem for me as you might infer from that. The export might be my first Blu-Ray export, but more likely it will just end up on Vimeo.
The problem with spotlights is probably familiar to many of you so I thought I would ask for some advice before I even begin. My initial thought was to use a gradient matte over the top 1/3 or 1/2 of the frame at times to dim the spotlights before using an adustment layer to color correct each section. A vignette so to speak that would help focus attention on stage. Or, perhaps a large collection of little circular gradient mattes over each of the brighter spotlights (using AE)
I am not planning on zooming in to the video in Premiere Pro. The shots are the shots and they are staying that way as far as I can tell, unless something really screams for that and I can get away with it. There are quite a few changes in lighting. I attached three examples of what I will be dealing with.
What I would really like to know is how other people would go about this. I haven't researched Speedgrade yet, mainly because I think I might be able to handle this in Premiere Pro and After Effects. Although it may be the perfect opportunity to learn Speedgrade. I have a subscription to the Creative Cloud, so any Adobe product is fair game. I am not planning on buying any third party tools. This is just a hobby project, and I can not justify any additional expense for it.
I don't want to over do the correction. The yellow and blue tints are really there, but I would like to reduce the tint so that just the hint of yellow or blue is visible. I have a feeling that I am going to have to spend some time adjusting curves to deal with some of the dimmer lighting like the last image. Or, is there a set of magic parameters I can change to keep this simple and get close to my goal without a huge effort.
There will be no cutting other than what might be needed at points where colors change dramatically. I would really like to see everything keyframed so all changes are smooth if that makes sense technically. The video is 00;31;31;02 in duration. This is going to be a pretty big project for having zero cuts. The longest I have ever done without a cut as far as I can remember.
Here are three sample frames. Any and all suggestions are welcome. How would you start?

Oh, I know about the Disney issues. I just like to use my Roku to watch HD videos from Vimeo on my HDTV. It depends on the footage. If it has to be pristine, then Vimeo might not be the best choice, but for most of my footage, it is good enough. Most of the people I show my vacation videos to are friends and family so I just keep the video private and nobody bothers me about it. So far at least

Color correction in very long distance zoom-in

Hi,
I made a shot with the Canon XF305 that's basically a long distance zoom-in from one village to an other (around 1km distance clips-duration=1 minute).
The problem that occurs (because it was taken in the hills with a cloudy sky), that some parts where sunny and other parts with cloud shadow showing color errors.
I made a manual white balance (in the camera before) and the blacks and whites are ok, but I have some problems with mid-red and mid-blue is some parts of the zoom.
What is the best way to color correct something like this. I was thinking about using the scissors tool and separating some part of the clip and then making
some kind of transition between the parts of the clip.
So pro's how is this normally done?!
Thanks! David

Hi David,
That sounds like a good strategy and it is what I would do. It's often easier to correct each section, then use cross dissolves or opacity keyframes to blend sections together rather than keframing the color/brightness. This technique works really well with camera pans as well. Good luck!
Cheers,
Gerry

Color correction dilemma-puzzled

Hi
I have FCP3 on a G4 733 Apple. I shot some footage with a Panasonic 100A. I neglected to keep the white balance Auto function off or set it to preset mode. The colors shifted back in forth from warm to cooler. I attempted to correct this with the 3 way and 2 way color corrector filters. I tried the tint filter. It seems to get closer to matching the colors than the color corrector. My problem is the colors on the tape cross-faded into each other. It wasn't a straight cut. I wanted to use the pointer and take a sample from the clip that had the colors I wanted to use and copy it to a key frame or another clip so that I may maintain color continuity. If you have a solution it will be appreciated. Thanks.
Kim

did you get this figured out? this a huge problem, correcting for gradual color temp changes but it can be fixed. the ATW on the panasonic is great and i confess, i use it a lot but i also have the ATW Lock feature mapped to the user 2 button so once the auto white gets to where i want it, i can lock it. it's no substitute for manual white/black balancing, however.
there two ways to approach this and various methods for both ways. which ever way you choose, i believe it's best to isolate the color temp changes by placing edits points before the color changes and after it finishes.
one way is to match the shot you think looks best and the three way color corrector is the only tool you need for this job. find the scene you like best, apply the three way to everything else. use the match hue function to bring those other shots to match your main shot. you may want to futz a bit with some of the other levels as the match hue, while doing a decent job, isn't perfect. copy the three way filter from one of your blue shots to the clips you made that isolated the color temp change. apply it. you'll need to keyframe the levels to match the color change accordingly. painstaking but doable.
the other method is to take all the clips to fcp's version of white and i think i would do this. make a sequence of only your clips you want to color correct. isolate the color temp change again. apply the three way to everything. use the auto white function to change everything, except for the clips containing the color temp change. on those clips you will layer a copy of the three way filter from the previous clip and a copy from the following clip. if you keyframe each filter appropriately, you won't see a color change. once you have this sequence tweaked to the where everything looks consistent which is the goal of this method, export a new self-contained quicktime clip and use that instead of your original clips. apply color enhancement as wanted. very painstaking but also doable. you won't have the original timecode to use but if the edit isn't completed, not a big deal.
it's all painstaking. the least amount of work is the captain's original mention of making it all black and white! one good thing though, you'll remember this and it won't happen again.

Color Correct Keyframing

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