Color correcting and white balance

There doesn't seem to be any tools specifically for it. What is a good way to white balance in shake? I can't seem to get good results.

I use Mult to match a layer to another by viewing the individual color channels in the viewer.
ColorCorrect is the uber color correction node.
ColorCorrect is similar to the 3Way Color Corrector in FCP but without the graphical interface. Grab an image, apply the nodes and see what happens.
But, as in Motion and After Effects, think of what part of the image you want to adjust whether it's the white/black points or gamma range or whatever and then apply the node suitable for that adjustment.

Similar Messages

  • 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

  • Does any1 know how to color correct for white balance/color grade?

    hey wasup guys just finished my 1st music video now i need 2 color correct & color grade. i willl be making the video black & white so i was told i need 2 get rid of any color cast in my footage. i 4got 2 set the white balance on my 7d when i was shooting sum sceens so i could use any help possible like what is the best color corrector to use or how to white balance my footage any help is greatly appreciated thanks.

    Check the basics and do a Google search. The first three listed will be videos, the next link points to the Adobe Help files.
    The basic tools are the same as in Photoshop but there are a bunch of 3rd party plug-ins out there that make the job easier. If you run one of the tutorials found in your Google Search and are stuck get back to us.

  • Color Checker And White Balance

    Hello Everyone.
    I usually have a shot from my Color Checker and create a Profile for that Day of shooting.
    I have Two choices.
    1- Click on the Gray Color of the Color Checker for a White Balance, and then Export the color checker as a DNG, and create a profile.
    2- Create a DNG from the Color Checker shot, and Later apply the White Balance.
    In other words, when you open the Color Cheker in the Camera Raw, It Is a Flat Image. If I create a white balance from the Color Checker
    and then,  Export it as a DNG to create a Profile Is It more Accurate ?
    Dose It make any different ?
    NOTE:
    I get a better White Balance shooting either the Gray color from the Color Checker, Or a 18% Gray Card, rather than shooting a white color of Color Checker
    or Shooting a white paper.
    UPDATED:
    I was reading this article that you should Aim the Gray-Card one third of angle between Camera and the Main Light or sun.
    It says If you hold it flat next to your object It is Wrong.
    Is this also  how you should  Aim the Color Checker One third of angel between Camera and the Main Light ?
    Please read this article.
    What's a Gray Card and Why You Should Own One
    Also this Article Is opposite of the top
    Using Gray Cards
    Thank you very much For All Your Helps.

    In your initial post you seem to be asking if it makes a difference whether you set the WB on the DNG you create your color profile from or not.  I don’t know that it makes a difference in the color profile but it should be easy enough to test experimentally, by making two DNGs from the same raw file, one where you’ve set the WB to as low as it’ll go, and one where you’ve set the WB to as high as it’ll go, and make a profile from each and see if you get a different look based on which one you use or not.
    Then you talk about which gray patch on a color-checker is better to use for WB, saying you don’t use the white one, but one that is grayer.  My idea is to use whatever patch matches the brightness of whatever you are wanting to get the closest to the right WB.  If you have a midtone subject then use the midtone gray patch.  If you have a light subject use a brighter gray patch, and if you have a very dark subject then maybe use a darker patch, though probably not the darkest because there will be more error in that WB computed from the darker patches, so lighter ones would be preferred if you don’t have any other reason to choose one over the other, though not the brightest one, necessarily, because it could be clipped and unusable.
    Finally you’re asking about the angle of the card with respect to the camera and the mainlight.  You don’t want it to be halfway between the angle of the mainlight and the camera because that would have too much glare to the extent that there is any glare with the specially-prepared surfaces of the color-checker.  You also don’t want it to be flat on to the camera, because that gives too much emphasis to the lighting behind the camera position (blue sky, green plants, red dirt, building walls) as blocked by the camera operator, so 1/3 of the way toward the mainlight angle is a way to mix in the lighting along the horizon with the mainlight to get an average.  If you doubt whether this makes a different take two CC shots, one flat toward the camera and one facing the mainlight, as the two extremes of the color balance variation and see how much different they are when eyedroppering the same gray patch in LR.
    In your situation, with 100% strobes, your only non-strobe-colored lighting would be from reflections of the strobes off other things nearby.  Are you in a completely neutral studio setting and everyone except the model wears neutral clothing?  If there are close by light colored neutral objects such as walls and ceilings, then some of the strobe light will likely reflect from the clothing and off the walls making the color-balance tinged with a bit of the subject’s colors.  You could minimize this by taking your calibration shots without the subject or any non-neutral-colored objects in the vicinity of the strobes so as to minimize the subject reflection coloring the light.  Whether any of this matters depends on how neutral and reflective your studio environment is.  If your entire studio is matte black except for the model and backdrop then you don’t need to worry, but if it’s not, then there would be some reason to care.

  • Color correcting wrong white balance

    I apologize if this question is simplistic in nature but I am still an amateur editor trying to fix some of the videos I have done.
    As a scuba diver, I am constantly white balancing underwater.  However, occassionaly, I while white balance where my subject has the correct color but the background is more redish instead of the nice deep blue sea.  What is the easiest way to color correct the background of a video shot without affecting the frontground subject?
    I imagine levels is a great tool but when I attempted to play around with the numerous settings, I kept on affecting the subject as well as the background.  What is the easiest way to correct the background?  Thanks.

    Here is a good tutorial on what Colin is describing
    3-way Color Corrector for secondary color effects

  • Correcting the white balance?

    I have some clips that are slightly blue on the white. Was wondering whether there was a way to correct the white balance in post-production (FC2)? Thank you.

    I'll add to Andy's reply.
    If you open the Scopes and select the Parade scope, look at the relative traces of red, blue, and green. A well balanced shot of an evenly composed scene will display on the Parade scope with fairly similar red, blue, and green traces.
    So, while you keep an eye on the Parade, move the little circle in the white color wheel slowly away from blue until the red, blue and green traces are mostly even. Then look at the traces in the zero to 20 unit range and do the same thing with the black color wheel. Then again with the mids wheel while looking at the traces in the 40 to 70 unit range.
    That should get you close. After that, it's an art. Make further corrections S-L-O-W-L-Y, with very small changes at a time, until things look right on a properly calibrated external video monitor.
    But before you do all that, look at the waveform monitor scope and adjust sliders at the base of the whiles and blacks color wheels until the trace shows video going from 0 to 100, or close to it, depending on the scene. (Sometimes, a properly displayed shot just doesn't go all the way from 0 to 100, and should not be made to do so. Most times, this will work - do it before the rest of the color correction.)
    NOTE: This is a too-short explanation of basic color correction techniques. If this doesn't make sense, seek the details elsewhere. The Peachpit Apple Training Series book, "Advanced Color Correction and Effects in Final Cut Pro 5" is really good, though it hasn't been updated for FCP 6 (not that it has to be - no changes.)
    http://www.amazon.com/Apple-Pro-Training-Advanced-Correction/dp/0321335481/

  • Tethered and White Balance question

    I am using the latest Aperture and also the latest Aperture Hot Folder to shoot tethered using my Canon5d to my powerbook g4 1.67ghz. The issue is shooting images with the same white balance applied as I shoot. Is there an obvious way to do this that I am missing? Or does anyone have an idea how to do this using Applescript? My main app to shoot is CaptureOne and white balance is quite easy to do using this app. I am trying to integrate Aperture into my shooting workflow not just my post workflow. Any ideas would be appreciated.
    - Rudy

    i don't know what your canon is like, but the D200 also has the ability to 'read' a white balance setting (probably from the same sort of calibration card that you're talking about... i've never tried one, but often want one). this calibrates the in-camera white balance setting based on the light you're shooting with. this again would hopefully get you close to correct without software post production (this is a theme for me: shoot correctly and then spend less time correcting).
    and you've still got the ability to tweak if its not perfect and then lift/stamp those tweaks everywhere else. i like the fact that CapOne had thought of that for tethered shooting, but i also don't like to stretch and pull my image data any further away from the raw data than necessary.
    keep us posted on how you finalize the workflow
    scott
    PowerMac G5 2.5GHz   Mac OS X (10.4.8)   MacBook Pro 2.0GHz

  • Advice for logical workflow for color correcting and color grading

    I am an experienced user of  PPRO CS5.  I am a novice with color correcting and color grading.  I am also just barely competant in AE CS5.  It has been suggested that I use AE for color correcting my footage.  Can you advise me as to the most logical workflow for doing this in coordination with PPRO CS5?  Are there some tutorials that you recommend?  I subscribe to Lynda.com and I think that they have some great tutorials, I am unsure as to where to begin looking and what to search for.
    Thanks so much,
    Lisa

    lisaellensegal wrote:
    I am an experienced user of  PPRO CS5.  I am a novice with color correcting and color grading.  I am also just barely competant in AE CS5.  It has been suggested that I use AE for color correcting my footage.
    You can do it that way, sure. But you don't have to. You can accomplish quite a lot without leaving PPro. This has two major advantages. First, if you aren't using AE for anything else, it gets you out of using AE at all, so gets you out of climbing another set  of learning curves.
    Second, even if you are using AE for other things (I use AE to make motion lower thirds, for example), doing the work in PPro can improve exporting speeds. This is because AE gets restricted to a single processor core in some workflows as discussed in this thread and others (search around if you're interested). This can make exporting take 3x as long or longer, depending on how much footage has to be processed by AE.
    So, how to do color correction without leaving PPro? Use either a luma corrector or luma curve effect to set black and white points, and contrast (use a waveform monitor to help). Then use a three way color corrector effect to get rid of any residual color casts (use the vectorscope to help, and the RGB parade, etc.).
    If you find you have specific colors that need to be fixed, you can apply another three way color correction effect and use it to make that secondary color correction (for example I find the blue dyes used in many labels tend to fluoresce under fluorescent lighting, and has to be desaturated with a secondary color correction or it "blooms" on an HDTV -- IOW, it has to be made "broadcast safe").
    If you want tutorials for using these tools, the ones on Creative Cow by Andrew Devis are quite good, and free. The ones on color correction with PPro cs6 start at tutorial number 47. There's a bunch of them. All good.
    Finally, get a copy of Van Hurkman's Color Correction Handbook. May be the best technical book I've ever read, and it'll certainly point you in the right direction for doing color correction work regardless of which tools you use to do it.

  • Viewing ppi and white balance in exif??

    Hi Folks
    I'm wondering if it's possible to see ppi and white balance settings for an image in the metadata panel within LR. I don't see it now and I don't know if it's just not possible, or if I've overlooked a setting somewhere.
    Thanks for your help!

    > What I would like to see is what ppi a given image is at before exporting.
    Before you export, it has none! Only x and y number of pixels per side. When you do export, the ppi setting is read by, say, Photoshop in context of a size to print, although that of course can be subsequently adjusted.
    I generally set 300 ppi for all but newspaper work, and check the box to not uprez any photos. The latter helps when I've severely cropped an image and later want to prep it for printing large-ish: Then when I open it, I see it doesn't have that many original pixels.

  • How do I include metadata information (aperture, shutter speed, ISO and white balance) to each image on contact sheet?

    How do I include metadata information (aperture, shutter speed, ISO and white balance) to each image on contact sheet?

    Just to expand JimHess reply. This are all the EXIF data you can include on a print. As far as I know, WB is not written to any standard EXIF fields.

  • My Vibrance and white balance tool have disappeared! Please help!

    I ALWAYS use my vibrance and white balance tools on my side toolbar and now they're gone! I don't know how to get them back up and running. Thanks so much! By the way, this is in Lightroom 5. Thanks so much!

    Rikk!!! I have spent hours trying to figure out how to get it back!! LOL. Thank you!!! What a silly, frusterating problem so easily solved. I really appreciate your reply!

  • Manual Exposure and White balance control?

    What Webcams provide the ability to manually set the Exposure and White balance?
    I know the nx pro ultra does, but I am having trouble connecting to it from my Java application.
    Also are there any other wideangle webcams out there?

    What Webcams provide the ability to manually set the Exposure and White balance?
    I know the nx pro ultra does, but I am having trouble connecting to it from my Java application.
    Also are there any other wideangle webcams out there?

  • I am on Lightroom 5 and the exposure and white balance adjustment tools on the right side of the scr

    I am on Lightroom 5 and the exposure and white balance adjustment tools on the right side of the screen have disappeared.  How do I restore them?

    Right click on one of the other panel headers e.g Tone Curve and a menu will pop up for you to select Basic.
    How it gets de-selected is not apparent but several users have had this happen since the release of version 5. It has ahppened to me on at least two occasions.

  • HT4589 Is there a recomended way to delete proxy and optimized clips once a project is completed and is ready for archive? also, can proxy and optimized clips be removed (to save space) once a project is ready for color correction and the original clips a

    Is there a recomended way to delete proxy and optimized clips once a project is completed and is ready for archive? also, can proxy and optimized clips be removed (to save space) once a project is ready for color correction and the original clips are used

    No, they are NOT the same as proxy or optimized.
    When you add a clip to your timeline and, say, apply an effect to it, or superimpose a title on the clip, FCP X has to make many calculations to determine what color each pixel of each frame should be. If a section of your timeline is not rendered, it has to do all these calculations every time you play those frames. A render file has the frames already "calculated", so it plays fast and smoothly.
    For simple compositions and a fast computer, you may avoid rendering completely - and you may also choose to only render the portions where playback stutters.
    Render files can be safely deleted. FCP X can recreate them if needed (either automatically if you have "background render" on, or on demand, when you select the "render" or "render all" commands).

  • Correcting wrong white balance setting in RAW .CR2 photo

    I set my camera custom white balance incorrectly and took a days worth of photos in RAW mode. When imported into iPhoto they have terrible coloring (as expected). iPhoto does not seem to have a WB adjustment (Daylight, Tungsten, Fluorescent, etc.), so i opened the .CR2 files with Canon Photo Professional and changed the WB setting for the photos to 'AUTO' correct colors and saved. When i import them back into iPhoto, the while balance is unchanged (but when i re-open them in Canon P P they have correct color). Does anyone know how to get iPhoto to import with this modified WB setting?
    Source: Canon 20D RAW format
    Thanks for any help!

    You would need to export the files from DPP as tiffs or something similar. There is no way iPhoto will see the adjustment by DPP otherwise.
    For White Balance in iPhoto check out the Temperature and Tint pane in the Adjustments - check out the eye dropper.
    Regards
    TD

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