Color correcting green night shot

I have a project where the client shot a wedding and the camera's night shot (filter) was on. Thus, the entire thing is bluish/green. I've tried the 3-way color corrector, but it's not looking anywhere near what the real colors are. Maybe there is really no way to fix that (using FCP)? Any other suggestions out there or has anyone else had this issue and been able to make it look somewhat better?
Thanks again.
Britt
G5   Mac OS X (10.3.9)  

Brittney
This is the DVD Studio Pro forum, so you may also want to repost. Anyway, have you looked at the scopes to see what is going on in Final Cut? What you can do to start is try to get the contrast set as much as possible to be balanced (I am assuming mosst contrast is gone?) See where your black and whites are and try to get them back as much as possible. Though a short cut and not the best way, use thhe eye dropper to get a sense of how far off the blacks and whites are. (You probably can use a tux and a wedding gown?) And of course it will change from shot to sshot.
If it is blue green sounds like there is too much Cyan ultimately? Are you missing Reds? Not sure what you are seeing though (is this like night scenes from Blair Witch?) I do underwater stuff, so my sense of Blue/Green is a bit different

Similar Messages

  • Easiest and best settings for color correction for GoPro shot with protune active.

    Hi,
    Is there anyone that has a great preseting that works similar to the protune setting i GoPro studio. The movie gets really colorful and sharp. I'm using a swedish installation of Elements so if possible give me some hint under what meny etc I should change. Maybe its possible to import a presetting?
    BR
    Anders

    Welcome to the forum.
    First off, you need to go and buy a hardware monitor calibrator, such as an OptixXR or similar. This will build a custom monitor profile for your specific screen. Without this starting point you can forget ANY attempt at accurate colour matching.
    Never (and I mean never) use a working space such as sRGB or Adobe98 as your monitor profile, that's not what they are designed for. Working spaces control what colours are possible in the image, monitor profiles control how those colours are shown on screen. Aperture uses it's own working space so you don't have to worry about that too much.
    To answer the rest far too briefly, I'd suggest setting the proofing profile to sRGB and of course use sRGB for the export preset. The gamma setting you will have to adjust depending on how dark the Lightjet prints look compared to your screen. You will have to do test-strips to start with.
    Your images looking crap on flickr on Windows machines is partly because Windows web browsers generally do NO colour correction, and only partly to do with the different gamma.
    Ian

  • Workflow for Green Screen Multicam, Color Correction. (CC 2014)

    Hi
    What is the best workflow to do a music video shot with 7 cameras (each with 4 takes) on a green screen which would also include green screen stills.
    All shot with Consumer Grade cameras at 1920/1080 at the highest resolution (I think 30 fps)
    The way I am going about is not efficient.
    My tasks are:
    Key each 20 minute clip (to get about 2 usable minutes)
    Rotate my DSLR video (shot in landscape so I could take stills as well)
    Color correct all clips
    Create a new cleaned up movie for each clip including: Proper format. Keyed with new background, Color Corrected, Re-encoded as a new movie, Re-imported as 7 new movies, begin to edit.
    I was watching some movies about pasting attributes which look helpful and also about nesting sequences which looks like it could save time.
    What is the best workflow steps to do all this? Am I going about it the right way by creating new movie clips which are keyed with a new background, color corrected, and reencoded including all the garbage footage? Then create a new multicam project to edit the cleaned up footage?
    HELP!

    Temporary solution for this was "export xml" after all. I had to disable all graphics and textlayers and delete colorcorrections, and flatten multicam, so i had to redo all grading ja graphics stuff in older premiere after importin FCP xml. But got the work done in time. Won't use cc 2014 in near future unless someone figures out what is wrong with green frames. (well actually now im exporting from older AME, will she if the green frames pops out there too, wouldn't be too much surprised....)

  • New to color correction - need help on too bright shot

    Need help to fix this shot!  I've been messing around with color corrector 3 way and nothing seems to help.   I'm new to color correction and would greatly appreciate any advice. 
    Thanks,
    Jenny

    When you see white pixels in an overexposed shot, it means that there's often no pixel data to work with.
    While the best option is a reshoot (this time with proper monitoring), you may want to try the "Captain's Blowout Fixer" filter available here: http://pistolerapost.com/pluginz/index.html
    It let's you looks to see which color channel has the most remaining pixel data (if any) and work with it to overcome production screw-ups like this.  Make sure you watch the tutorial on how to properly use the filter.
    -DH

  • Fixing Footage Shot with wrong filter on Sony F900, color correction, underexposed film

    Hello everyone...
    I am new to the forums but have been with Adobe since CS3.  I love Premier Pro and have fully abandones FCP 2-3 years ago for the first CS5.  I was out shooting a SONY F900, which i am not used to (as I work primarily with small format and dslr workflows) and I made the TOTAL ROOKIE MISTAKE of shooting on the 1A rollable filter setting... rather than the 1B which is for indoor tungsten.   I didn't have a monitor with me or available, so through the BW view finder... i had no idea it was wrong.  The result is that I lost a stop and a half in an already lowlight setting... and the minus blue filter of the 1A (or daylight / 56K) setting removed color depth and turned every thing kind of washed out orange. 
    I am confident that i can bring it back to acceptable through color correction and i have been training on Speed grade tutorials like crazy.  I am proficient in Premier and After Effects workflows but have never dealt directly with this. 
    Any help of steps to take in general would be appreciated and I thank you in advance for your help.
    Cheers!
    Dustin

    Yeah... I feel like a tool for it.  I have been shooting for a decade and a started on full broadcast shoulder mounts.  I just have drifted sooo farrr over the past five years that I forgot about it.  No excuse on my end.  I have "colorista" for after effects.  Part of the red giant suite right?  Or am i mistaken?...  Would you share the best simple approach to the settings for that plugin.  Thanks in advance,
    D

  • Color Correction in Final Cut Express HD

    I'm editing a stage production of A Midsummer Nights Dream that was shot on two different cameras. The set is very bright and vivid, and i have read and re-read the FCE Help page on the color correction topic. I have corrected my master shots (wides). What i want to know is how i can adjust the colors of my close-ups:
    1. the subject (Bottom in this case) is lit in a blue light (moon light).
    2. the set (the woods) are lit by a bright green light.
    What I want to do is match the colors to the master, but if i adjust to match the blue light on Bottom, the background loses its bright green. Likewise, if i try and make the green brighter to match the master shot, Bottom turns green too.
    The help file mentions Limit Effect, but doesn't expand on it. Bear in mind i'm an 18 year old student, i pretty much need to be spoon-fed a solution!
    Any help would be very very gratefully recieved, as i'm a bit pushed for time and trying to finish it this weekend (A-levels are looming...)
    Thanks in advance,
    James.
    iMac G5   Mac OS X (10.4.6)   17", 2.0GHz, 1Gb RAM

    Limit effect is not going to help you in this case. You really need to control the overall image and get a balance between the wide and the CU. Color match Bottom's skin tone so it appears correct to you. Leave some of the blue cast to not lose the moonlight effect. Then color match the wide shot so that it has the same look as the corrected CU.

  • Color correction

    there was a thread on cs5 about this that interested me, so I started new thing here cause Im using cs3..
    Shooternz, your help in the cs5 thread was great...and this is what I did....in my particular circumstances...
    ( I have to say that this is really the first time I'm sorta getting serious about CC and using the scopes etc...to try to learn this better )
    I know the basics and the monitor stuff and the way people shoot properly exposed grayscale, color etc on set for calibration ( using film mostly in my experience, but done with digital too as I've seen )...
    Sooo, here's the thing... I shot this clip as a test to see how long the music had to be to get a mssg across later on ( an insert shot that I will shoot on the day in the right location etc )... so this was a timing test sorta....didnt care about the lighting.
    However, since I shot it I've tried to make it as good as I can ( why not ? )
    I had a flourescent unit ( drop down ceiling 32K flourescents ) above...but it read about 36k on color meter and needed color correction at that ( LB and CC correction ..know what I mean ? )...so OK...who cares, its a test and timing only sooooo I dont put gels on the light and just shoot.
    Soooo, I DID IN FACT put a grayscale down to fix it later if possible....even though it wasn't lit right....
    This is what it looks like basically...
    pretty terrible...very yellow and compressed tones etc...not good...
    Soo, following your suggestions in thread in cs5, using waveform and vectorgraph, I come up with this instead..
    WAYY BETTER !  ( thank you ! )....but...not perfect...thats OK, I didnt light it right...but better ....
    Now, though, when I paste attributes of this to the clip in question I end up with this pixelation or "splotchy " stuff..as shown here
    Now, my experience using psd tells me that if you try to correct too much, there's a sorta " limit" to what you can do, and things start just plain getting screwed up..."splotchy" like this...  but if I had some way to just pick on the "yellow" gamma or something maybe I could get rid of it ....OR do a color replacement ( change ??? )... like pick out that particular color and change it to something closer to the white???  Have you ever dealt with this type thing ???  I know I started out all wrong to begin with but am wondering what you think ??
    Thanks !
    Rod
    ps...this was a dumb test so please dont , you know, put much into this...I know I shot it all screwed up to begin with..

    Hey Rod
    Your CC looks fine and if the intention was to correct the col temp and exposure issue..you did fine.  I see you have a full scale of tones in the greys.
    Obviously you should start off with a correct  exposure  and that doesn ot necessarily mean a "technically correct" exposure.
    You do not have to shoot and CC / grade to display the full range from Balck to white.
    Its important to rember that the CC and grade (and the composition) are part of "the story"  At times you will want crushed blacks and other times you may want a high key look or compressed tones in the mid.  Then afetr the "tones" you think about what color tells the story.
    Always..... Levels before Color correction!
    BTW - the eye rules but ensure technically that the scopes confirm what you think you see.
    Heres someof my images reflecting different CC for a "fit with the story"
    Flat , clean,compressed mid tones, clinical ( a green screen BTW)
    Dark , compressed toward blacks with detail in mids, juicy highlightsdramatic ( slo mo)
    Full tonal range,hi color, "summer on xmas day"
    full range color and tone, texture "yummy"
    Clean and clinical mid ranges with slight color de-saturation of BG
    FG grade to match bg (key) and fit time of day look.
    Keep in mind...the above shots started in the photography and the cc / grade is enhancement.
    Good luck mate.

  • AE CS6 - 3D Compositing and Color Correction workflow

    AE CS6 - 3D Compositing and Color Correction workflow
    Hello everybody,
    I have some questions about work flow in AE concerning compositing and Color Correction. I saw many tuts about (f.e. Lynda.com Premiere Pro Color Correction and Enhancement... and tuts by Andrew Davis here in creative.cow).
    Essentially, he have this CC work flow:
    GRADING (primary and secondary)
    Adjusting Tonality (Brightness and Contrast)
    Adjusting Colors (White balance and fix color dominance)
    MATCHING
    Conforming colors of different clip shoted with different camera and lighting set up.
    ENANCHING LOOK
    Giving to all clips a unique "look"
    But what does it  happen if we have NOT just some clips but ALSO a 3D object (rendered in a 3d sw or, actually also a 3d object inserted by 3D Element by videocopilot)
    or/and
    a keyed clip from a green screen shot?
    How does this footage (3d object and green screen keyed shot) transform
    the aforementioned work flow?
    We have to consider that this footage (3d object and green screen keyed shot) must to be pre-multiplied to make a right compositing but when you make CC it must be again "straight"... (NOT pre-multiplied)
    Is really hard also understand how dale this work flow between AE and Pre Pro if you want to make CC in Pre Pro after compositing in AE.
    I try to present a work flow for this (very common) situation:
    I have a landscape clip as a background
    a keyed clip (pre-multiplied) with a Character watching sky
    and a 3d (pre-multiplied) object U.F.O. on sky.
    When I have done compositing, how make I a right CC of all footage if I have two clip (3d object and green screen keyed shot) still  pre-multiplied?
    I think, but I'm not sure, that should be a good idea to send to Pre Pro a composited Comp with separate layers (by dynamic links)  to have  all single separate layers (Background, 3d object and green screen keyed shot.. but also the Color Warping...!). Than, in Pre Pro you should make a CC (Grading)  just for a BG and than try to Match (Matching) this color corrected BG with 3d obj and keyed shoot. But we have a problem at this point cause our 3d object and green screen keyed shot are still pre-multiplied, and before make matching we have to re- multiplied theme, but how? And if we re pre-multiplied them, compositing will be also right?
    Or maybe, before exporting comp from AE to Pre Pro, he have to create both layers for 3d object and green screen keyed shot, one pre-multiplied and one "Stright"? But, again, how to combine them to have a right compositing and a a right CC?
    Anybody can help me to understand or maybe suggest any tuts to dale this common issue in AE- Pre Pro?
    Many, many thanks!

    Dave is correct. (And so is Mylenium. No need to be rude, when he was jsut trying to explain that you were introducing unnecessary complexity.)
    The color matting is removed to interpret the alpha channel when you import the footage. After that, any color correction that you do to a layer based ont hat footage item doesn't have anything to do with whether the channels were straight or premultiplied for the source item.
    You color-correct your individual items to amke them match as part of the compositing process in After Effects. Then, if you want to do a color grade of the shot in Premiere Pro along with other shots, you'd be working on the single rendered/flattened composite, so the details of the original elements that went into the composite are irrelevant.

  • Color Correction - FCE has me feeling blue

    I have a clip a few seconds long, shot indoors and lit by a halogen lamp. I know, I know, but's that what I did. It has a strong overall blueish cast which looks very cold.
    Is there a simple way using Color Correction to warm and correct the colors? The Color Correction literature is copious and daunting and I don't really want to spend the time to learn all about Color Correction at this time. I need a quick fix so that I can finish my movie. ( A vast and impatient public is holding its breath.) A suggestion really would be appreciated.
    If I make it yellower, won't that give me an overall green tint? Red, a purple haze?

    If you're interested, Izzy has a free tutorial that as I recall covers the subject of making video feel colder (or in your case) warmer by using the Color Corrector filter. The tutorial video is under chapter 3 on this page:
    http://www.izzyvideo.com/learn-final-cut-express/
    If you don't want to watch a slightly longer tutorial though, Tom's tip should do the trick.

  • Chroma keying and color correction on same clip

    I have an image, with some people shot on a green chroma key background. I want to key it on another image, and desaturate it, except the yellow color.
    I have no problem keying out the green. I can also desaturate the image, with the deaturate filter, but if I apply the color corrector, and work with it to only keep the yellow color in the image, then my chroma keying is lost.
    It kinda turns of the chroma key completely.
    What is the easiest way to chroma key out the green of an image and desaturate everything except the yellow color of the image?
    I have Final Cut Studio, so if it's easier to do it in Motion, then I'll do that...?
    It's shot on HDV, so it's already a little tricky to key out the green perfectly.
    thanks for your help.

    After you key the image, export it as a self contained QT movie. Then re-import it, and color correct it to suit your needs.
    Shane

  • Workflow KeyLight Before Color correction?

    WHat is the best workflow when working in green screen.
    Should the color removal (green screen). in Keylight  come before any color correction?
    In this specific case I am dealing with a medium shot of a person. Talking head, not much movement.
    I assume getting rid of the green screen should come first since then I am only am dealing with the remaining image (specifically the medium shot of the person.)  For example, I need to enhance the hue a bit on the person's face, and it seems to me that first getting rid of the green, making it alpha/transparent, first makes sense.
    Or does it?
    Thanks
    Rowby

    rowby wrote:
    ...seems to me that first getting rid of the green, making it alpha/transparent, first makes sense.
    Or does it?
    Generally - yes, but you may find situations, where pre-key adjustments are unavoidable. The real question is, whether the green is green enough, if you get my meaning. There may be situations, where you need to compensate for insufficient lighting or color shifts from non-ideal lighting conditions (sunlight shifting colors, for instance). In those cases, you would try to clean up the green as much as you can without regard to the rest of the footage - as long as they facilitate generating a clean matte, nobody will mind. Once you have gnerated a proper Alpha, it is easy to introduce it into an untreated footage via matte modes and channel operations. That's the one thing you should keep in mind. In most cases of course you will want to do a direct key and if there is enough contrast, there should be no problems. Indeed you would then do the color correction after the key. This also applies to compressed footage like HDV or AVCHD - any pre-key corrections may in fact have an adverse effect and make things harder, as they also increase the intensity of artifacts. Anyway, all theory aside, you only know when you try. The more you do this stuff, the better wil lyou be able to gauge what's required.
    Mylenium

  • Where to put color correction into workflow

    I am having fun going through some 1200 images from a 2 week trip in Montana, Wyoming... lots of blue and green and a few snow capped mountains. As I work through the several I would like to print big, where would you place color correction in the workflow.... I use levels (the sliders), highlights/shadows, and saturation mostly. And then color correction somewhere in here.
    Thanks.

    Peter,
    I agree with Jim that the order may change but as a general practice if I need to adjust color I do it after any lighting (levels or shadows/highlight) changes since they usually change the color in my pictures. Most of the time I adjust saturation selectively particularly if sky and/or water are concerned. As a final step I apply various amounts of unsharp mask. From the 3 cameras I have owned (2 Olympus and the current Panasonic) I have never found a picture that couldn't be greatly improved either overall or selectively by LIGHT application of usm.
    Being basically lazy I always give Auto Smart Fix a shot as a first try and either go from there or undo it. :)
    Bob

  • Where Would You Color-Correct in This Workflow?

    I shot talent in front of a green screen. I am putting the pre-liminary edit together in FCP. From there, I'll use Automatic Duck to move the project to After Effects. There, I'll use Keylight to remove the greenscreen using Keylight. Then I want to insert a solid orange background and eventually return to FCP. Given gamma issues going back and forth with FCP/AE and the potential for an alpha channel I'm curious where one should color correct the talent.

    why not shoot the talent against orange and save yourself a lot of work?
    There's a lot to be said about practicals, but it takes a lot of lighting if you want an "electronically flat" background. Even the lens will be working against you. White is particularly difficult.
    But if you still wanted to engineer the shot as a matte-screen, why not use the target bg colour as the matte colour? Because of how cameras and codecs work. Its a fundamental issue.
    Usually there's a primary sensor which is producing a tristimulus representation of the scene. Then those values are perverted and compromised in ways that allow it to be stored in an economically feasible way. If only there was a way of recording the original sensor values that didn't require a skyscraper full of recording medium! I'm thinking specifically about the so-called "4K" RED and what you would actually need to store an RGB motion picture file of about 45.59 MegaBytes per frame. And even then there would be issues with the de-Bayering.
    Until further notice, orange is a combination of all three values of red, blue and green. Mattes work better with a single primary like blue or green. Red is out for obvious reasons (flesh tone), and blue is usually regarded as too low-luminance and noisy to be useful. Green it is.
    Green is also the major Luminance contribution (about 60%) to the Y signal in YCbCr, so its a better choice. Its a trade-off that will require de-coding and spill control, but this is our reality.
    So, shooting it as intentioned -- maybe. You would still need a fair amount of time and effort to do it right -- spill, flare, evenness, footprints on the set, cyclorama blending... let me count the ways...
    jPo
    Message was edited by: JP Owens

  • How to apply 3 way color correction to multiple clips in Final Cut Pro?

    I have multiple clips from the same time and space footage that need color correction. I have worked on one of the clips and found the settings I like.
    Is there a way to apply that correction to other clips without starting from scratch on each one?
    Thanks!

    SoCal (above) listed one way. Another way you can do it if you like the color correction that you have done and want to save it, you can click the picture of the hand in the color correction tab and drag it into the browser. This saves that specific arrangement of colors, highlights, etc.
    Also, this might be a little easier but instead of pasting attributes and right clicking you can just grab the hand (that I just talked about) and drag it onto the clips you want to apply the same color correction to. The hand is located in the color correction tab (in viewer) and is under the "numeric" button.
    Note: All of your clips in your timeline will have different contrasts, brightness, colors, etc. NO clip is going to have the EXACT same attributes as another. It doesn't matter how expensive and professional your camera is. Every shot is different whether you are using artificial lighting or the natural lighting. Having that said, you will probably still need to adjust your different clips a little bit to make them look like they are in the same room at the same time. Hopefully if your lucky or had perfect lighting for all of your shots, you will not have to do much messing around with your contrast, brightness, etc. Good luck!

  • Monitor for color correction

    Hello guys,
    I am a newbie to Color and Color Correction. I have a dual monitor setup with my Mac Pro.
    I have two 24 inches of DELL 2408WFP & DELL 2407WFP. These monitors have different color, and I think it is just stupid how Dell manufactures them.
    Anyways, From what I have learned, I know I am not suppose to do perform color correction for videos on any regular LCD monitors. Can you experts suggest me good color correction monitor? Not too expensive. I am not doing any major flim/music video or anything such. This is just a hobby of mine, and I'd like to learn new things as time goes on. Most of my videos are travel videos & I try to make a cinematography out of it. I also shoot landscapes.
    I hope you guys can direct me right.
    Thanks,
    Lowell

    I think there is a lot of snobery on this forum regarding hardware requirements. If you are not entertaining clients who have just come from a Da Vinci suite, then you CAN live with out a Broadcast monitor that meets EBU specs. The important thing is to use a video monitor and not a computer monitor. You will need a decklink like card to get the video into composite or component format, that later will give a cleaner image but most television is viewed in composite any way. Colorgrading is a matter of comparing the before and after image and comparing the graded shot with the pictures around it. The scopes will keep you informed of the limits and will help you interprit the monitor. Rember if the shot looks better after grading on a cheaper monitor then it will look better on a Grade A monitor with SDI inputs. Don't let the "big" boys put you off, and use the software that you own to inprove your video and your skill-set.
    Good luck from Boaz

Maybe you are looking for