Color correcting using gray card & FCP6?

with still photography, I can color correct rather quickly using a WhiBal card from http://www.rawworkflow.com/products/whibal/index.html .
Is it possible do perform some rudimentary correction using this with FCP6 - until I add the other pieces of equipment I'll need to do it properly.
I've got an Gretag Macbeth Eye-One monitor calibrator
http://www.rawworkflow.com/products/gmb/eye-one_display2.html
and I was hoping to limp along for a bit.
What would the workflow look like in FCP6 if this is possible?

Use your 3-way color corrector.
Click the eyedropper for the WHITES and select the white
Click the eyedropper for the MIDS and select a gray
Click the eyedropper for the BLACKS and select a black.
That will get you matched.
Good luck,
CaptM

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If you color correct using the Proxy Media settings, are the changes you've made still going to be applied to the video when you switch back over to "Original Media?"

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When I run LR on the primary monitor green leaves turn orange, if I had to guess I would say I'm loosing the green information. If I move LR to display 2 or 3 the colors are as they should be.
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I have to go back to the avid because they work on avid: adding titles, outputting to digibeta and so on
FCP does all this..there are hundreds of editors and facilities doing this daily, on broadcast television shows. I have been doing this for over 2 years.
As far as I know, there is compression-decompression going to tape and back even in fcp, so there IS a little loss.
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If you have an "official" source of information saying otherwise, please do let us know.
I looked at the AJA website and Decklink website and neither of them say that they compress-decompress upon output. If footage is captured via firewire, there is no quality loss, as was done on the Avid...and similarly with FCP. If you capture with a capture card as a different codec, it will compress it into that codec, but depending on the codec, there is little loss, nothing you'd notice. But Avid does the same thing, capturing to a different codec will result in unnoticable loss in quality. Outputting DV to digibeta...there will be a conversion to the digibeta format, that is unavoidable...on AVID as well as FCP. But again, unnoticable.
Can you point to an "official" Avid site that says there is no compression-decompression upon output?
the broadcast safe filter doesnt cut illegal blacks, cuts off only the values that are too high.
Uhm...where did you hear that? It cuts off the top and bottom. Although I don't rely on this solely...I color correct each clip until it falls within range, then add the Broadcast Safe filter, just in case.
FCP handles adding titles and outputting to digibeta, but then you'd need to invest in a capture card. But, since you are in DV land, why not output to a DV tape and then they capture that DV tape...that is a lossless transfer?
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My HD TV as NTSC Monitor for secondary color correction

Can I use my new Panasonic HD TV model TH-42PX80U as a NTSC monitor for secondary color correction using both Final Cut Pro out of a Macbook Pro intel? What cable I can use to conect via HDMI? Will the color acuracy will be similar to that of a NTSC color correction monitor? will my TV do a decent job for NTSC? THANK YOU FOR YOUR HELP!
I am not sure I have this HDMI cable to be use in my macbook pro does it comes with it?

Can I use my new Panasonic HD TV model TH-42PX80U as a NTSC monitor for secondary color correction using both Final Cut Pro out of a Macbook Pro intel?
Yes, but I would only trust it if you are going to be making DVDs, and ONLY if you properly set it up. I would not rely on it for broadcast color correction. The reason broadcast monitors exist is to have a standard...HDTVs don't have a standard. Go to best buy and look at all of them....none of them match. BUT, as a nice simple solution for DVD, I'd use it.
But the only way you are going to get a signal to it is with the Matrox MXO. It will do component to the monitor, or you can get a DVI to HDMI adapter...if you do that the MXO software will allow you to set the monitor up to color bars. That option is only available from of the DVI out of the box.
Will the color acuracy will be similar to that of a NTSC color correction monitor?
No...it would be similar to color correcting NTSC on your home television...because that it what it is.
will my TV do a decent job for NTSC?
I doubt it. Taking an SD image and blowing it up huge on this HD TV...scaled up. I wouldn't think so. I wouldn't use it for SD color correction.
I am not sure I have this HDMI cable to be use in my macbook pro does it comes with it?
You have a DVI port on your MacBook Pro. And they make DVI to HDMI cable adapters I'm sure.
http://library.creativecow.net/articles/ross_shane/MXO.php
Shane

Color Correction for DVD and online

I have a 13" SD TV hooked up to my mac working as a color correction monitor for FCE.
My question is: Should I always color correct using the TV monitor vs looking at the Canvas in FCE? What I'm seeing is the picture in the canvas is darker and more saturated then the view of the TV monitor. Is it best to trust the TV monitor vs the canvas? And should it make any difference if the final project is going to DVD vs online? I'm assuming the ending product (mov file) should look the same if the mov file is viewed from a computer vs on a TV from a DVD. In a nut shell, once the clip is color corrected using the ext monitor, should I be good to go no matter where the file ends up?
Thoughts?
Thanks so much

Hi
I would take some photos with color miss match eg blue tint (Blå-Stick in Swedish)
and with other known color anomalities.
Put them in TimeLine and playback. View TV - corrected or as bad as from start.
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this one did a good job.
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I didn't have much chance to experiment with this--too many other new things to try--but here's a quick preview.
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https://www.facebook.com/friends/requests/?ref=tn&fcref=ffb#!/roy.yumori/photos_albums
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No. Original was created in premiere 5.5 and dynamically linked to encore
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Hi.
I usually work on color correction using Color, but sometimes i use CC in FCP.
I have a clip that need to low down black levels, so i tried CC and CC 3 way, but when i click with eyedrop the blackest part of the clip, instead of blancing blacks, it turns all image to blue. What's happened?
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thanx

To color balance, find anything in the shot that should be white. Using the Color Corrector 3-Way filter, click on the eyedropper for the highlights (the color wheel on the right) then click the white object in the shot on the Canvas window. If you're viewing your edit on a properly calibrated external TV monitor, it should look white there. Do NOT go by what you see in the Canvas as it isn't accurate. You can also use FCP's scopes for evaluation.
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Hello All,
I'm at a bit of a loss here, it seems like it's a no brainer to be able to do this. I'm trying to edit my film in Premiere and then use After Effects to do color correction using Color Finesse 2. But there doesn't seem to be ANY way to keep a project so you can continue to edit in premiere while you also keep all your color correction??
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Or I can edit the whole project in premiere and open it in after effects to do color correction, but then if there is a single edit change that needs to be done in premiere again i've once again lost my Color Correction to bring it back.
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Thanks for all the suggestions guys, all good ideas.
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Dynamic link is unfortunately a feature only of the production studio package which is like $1100 upgrade from what I have...so that's kinda out of the question for me.
Jon Sands
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I guess it sounds like the only way out is to spend cash, sigh such is so often the case is seems.
-Ethan

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

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Hi,
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I've the x-rite passport and I can say only a thing:
Color correction seems to be an opinion!
With Aperture (and Canon RAW) with only white balance you will get an image very very close to the result with x-rite calibrated DNG and Adobe Camera Raw, but...
In both case Colors are very outside of reality!
Adobe Camera RAW and Canon DPP give other different "crazy opinion" on blues reds and greens, and the only program that I found go very closer to reality seems to be CaptureOne.
In my tests I've used two 5600°K Bowens lights to take a photo of x-rite passport and I've tried to compare it with the official datasheets from xrite:
http://xritephoto.com/phproductoverview.aspx?ID=1257&Action=Support&SupportID=5159
Seems very difficult to get real colors from the same RAW file, and every software give a personal opinion from the same data (?!)

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Hi,
I am studying chest feather coloration in Barn Swallows, and take pictures of swallow chests against a white background with gridlines, while always including a gray card in the image. In order to evaluate chest color between birds, the lighting, exposure and white balance for all images must be identical.
I place my tripod in the shade whenever possible and set exposure manually (using the spot meter on a D200) to be 2 stops underexposed, and use fill flash to provide the bulk of the light. This gives me even lighting, but because of the automative flash exposure adjustment, each photo has slightly different luminance.
I was under the impression that adjusting exposure would be a snap by clicking on the gray card in each image and telling my software to adjust it to 18% reflectance. However, Lightroom does not seem have such a feature. This seems very strange given how frequently one is instructed to standardize exposure with a gray card.
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Gernot,
I think the thing to do is to use a consistent setup, which means no TTL on the flash and a set distance from the subject, and minimise ambient light effects (small aperture).
Alternatively you could photograph a "colourchecker" with each bird and use a calibration script on the raw files to sort out the settings each time - a bit lengthy though, expect about 20 minutes a time. However, it would be quite definitive.
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thanks.
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altadena, ca

192,192, 192 is the same gray as a gray card. If all images are shot the same. make your adjustments on the image with the gray card so the gray card reads 192, 192, 192 and apply those corrections to all your images.

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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
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BJBBJB1

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

Color correcting using gray card & FCP6?

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