Color correction canon D7

I just shot a commercial on a Canon D7 1920x1080 24p. I have a Panasonic BT1700W. My colors on the monitor differs more with my apple screen than when I use my Varicam2700. What color bar settings do I have to use in FCP to correct as best as possible.
Thanks Dolph

Your colors will ALWAYS differ more. Why you should care what it looks like in the CANVAS as opposed to the actual broadcast monitor is beyond me. Never trust the Canvas. ONLY the broadcast monitor. The Canvas is designed only to show you an image so you can edit.
Oh, how are you getting the signal to that monitor?

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Resolved Color Correction issue with MAC OS X and Canon pro 9000

Problem: Unable to set the Color Correction option to NONE. I have looked all over the net and it seems that there are lots of people with this problem. After months and months of battling with this issue I have finally come up with the answer. Its all down to the fact that MAC OS X comes with a pre installed driver for the Canon Pixma Pro 9000. To cut a long story short this driver needs to be deleted from your system files before you update your driver, which you need to download from the canon website. I downloaded version 4.8.6. The new driver does not seem to work with the default driver still on the comp. After following directions below you should finally be able to get your Color Correction option on your driver working.
First things first... go to the following location and delete the canon pro 9000 driver.
Location: /Library/Printers/PPDs/Contents/Resources
File Name: CanonIJPro900series.ppd.gz
(make a backup of this file if you wish )
Once you have deleted the driver you need to restart your mac.
After rebooting install the new Canon Pro 9000 driver. I suggest installing version 4.8.6(this one worked for me)
Reboot Mac again just for good measure then do a test print and you should now be able to set COLOR CORRECTION to NONE.
I know there are a lot of people out there having the same problem so if you are reading this please pass the solution on to others.

Hi Japamac,
Indeed a new cable just bought solved this problem.
Still wandering why my MacbookPro was able to print and my PowerMac not, maybe another driver issue?
Thank's anyway for your reply.

Canon iPF printers No Color Correction fix for LR4

Once again because of Canon's use of a special casing file to identify applications that when choosing application manages color printing, set No Color Correction instead of Color in the printer driver, Adobe Photoshop Lightroom 4 needs to be added to the AppColorMatchingInfo.xml file.
This file includes all previous updates and Photoshop CS6
http://www.dypinc.com/Canon/AppColorMatchingInfo.xml.zip
The file goes here.
/Library/Printers/Canon/GARO/Frameworks/GARO_CUPS.framework/Versions/A/Resources/AppColorM atchingInfo.xml
Make sure you save the original in case you want to go back to it.
Doyle

Lightroom 3.2 final release has the internal name of Lightroom 3 so it is already listed in the AppColorMatchingInfo.xml. That is if you have installed the x300 drivers or have replaced the AppColorMatchingInfo.xml file with my version.
Doyle

Configuring an external Monitor for Color Correction?

I currently have my Mac Book Pro 17in connected by the mini DV port and one USB port to a Mac 30" Cinema Display for editing on FCP7. I use it in a two monitor configuration with my Bin on the laptop screen and the FCP interface on the Cinema display. This works well for me.
I also have an external ESata drive via PCI slot. I would like to connect an external video monitor as well for quality checks and Color correction purposes. I am also looking for advice on what sort of external video monitor I should get and how would I connect it to the laptop or via some external third party device. I would be hoping to use a video monitor connected via a hdmi connection. Most of the work I do is supplied on drives, original material EX3 or Canon and some on HDV (Camera) that I ingest via Firewire800. Many thanks in advance.

Sorry Mark, you can't always have everything ... with the Matrox MXO2 (or similar, like Motu HDX-SDI) you wouldn't be able to use your eSATA drive at the same time as the I/O device as they both use the ExpressCard/34 port ... you would have to use a FW800 drive for your media instead. On the plus side the MXO2 includes a calibration tool which can help you calibrate your LCD/LED screen via HDMI for accurate color reproduction.
An alternative device would be the AJA IoHD (or perhaps Motu V4HD) which connects via FW800. It's a superb piece of kit but is costly and doesn't offer any calibration utility ... that said, a good quality plasma display, such as a Panasonic Pro Plasma, can be found relatively cheaply and many of these have built in picture controls suitable for getting an accurate calibration.
The future is much brighter for Mac laptop users with the introduction of the Thunderbolt connector on the latest MBP revisions. As with FireWire and ExpressCard, you can expect to see I/O devices, hard drives and monitors etc that will connect directly via that connection, greatly expanding the capabilities of a simple laptop setup.

APERTURE3 changing all my in camera color corrections while importing?

hey everyone finally made the switch to aperture 3, not sure what im doing wrong but whenever i import the pictures from my PANASONIC GF1 or CANON 50D all the in camera color corrections (for example white balance or conversion to black and white ) those settings are dumped and the original image (raw file) is imported into the program.
is this right? is there a setting to where i can turn this off? alot of times i like working in my camera to get the image how i want it to look. sorry if this is a very noob question thanks for any help

WALTER-MILANO-ITALY wrote:
May I ask you your help ?
I use RAW+Jpg in different cameras and I import Both Raw as Master, leaving the originals on an external HD, that is referenced system.
I am missing something ?? For instance if I take a BW with my EP2 I get a RAW colored and a BW jpeg into Aperture only if I import separate masters.
If you use your normal 'Both RAW as Master' option, can you Control+Click (right-click)and use the set JPEG to Master option to switch to the Black & White version displayed?
Probably I am only wasting time shoting BW in camera because you can do it later from RAW with aperture...
If the JPEG captured what you wanted to see and will work for your purpose, then it is not a waste of time - IMHO.
I shoot RAW+JPEG also and import 'Both JPEG as Master' because most of the time the JPEG works for what I want.
Note - RWBoyer has a great site with a lot of information about Aperture here:
http://photo.rwboyer.com/

I just LOVE Color Correcting in FCP X

Don't ask me about the technical stuff but for some reason, I can now get great color (colour really) from some clips I shot back in 2006. The stuff I shoot these days is usually very consistent but these old clips muddy and have severe colour casts.
The new Color Board in FCP X seems to cope really well.
Being able to drag either of the four buttons to the colour that needs adjustment, slide it up or down for a rough adjustment, and then a tiny bit to the left or right to perfect the job is so user-friendly.
I disliked the old color wheels on FCP Studio, where it all seemed much less precise unless you were able to move a mouse in a perfect circle.
Anyone else have any thoughts on it?

My on-going off-and-on project has been editing and moving my old home movies to DVD so they can languish away digitally instead of as VHS tapes. (This includes quite a few Super-8mm films which were converted to VHS in the mid 80s, so its still all VHS.)
Sprinkled in with this are more current home movie projects such as "How we spent our year" Travelmentaries (commonly called vacation movies), and an annual DVD of our Boy Scout Troop outings for the year.
First I have to say, this has all been hobby and goes along in fits and starts. FCP 3 got old and clunky when it had to be pushed thru Rosetta like a meat grinder, and I messed with iMovie until FCE 4 came along. If I had dedicated myself, probably would have finished all the VHS stuff long ago, but mostly worked on stuff when it occurred to me that peeps in the Super-8 stuff, for instance, might actually enjoy seeing it all again 40 years later. And the color correction stuff was tedious and wearing, making anticipation of the next project less inviting.
In all this, doing a limited amount of color correction and sharpening worked pretty well. But I have to say that having all the parts (color, saturation, exposure) right there working the same with the same 4 "grab and drag" method has actually made the whole job far less imposing.
The one thing I miss about the color wheel, however, is that whatever color over-tinted the clip, dragging the "button" directly away from it pretty much settled the problem. For instance, if shot inside with the yellowish incandescent tinting, blue was the color needed, and it was opposite yellow.
It took a bit to get used to the color bar's method of removing yellow in maybe light tones area and adding a little blue, perhaps, in the mid-tones. But I also quickly found that by playing with the exposure in either area, I can sharpen those old fuzzy VHS tapes -- something I never noticed was happening until I tried it. The sharpen effect works pretty good as a start (used unsharp mask in FCE), but the color bar really sharpens things up, if not overdone.
Personally, I find I am anticipating spending lots of time on my "restoration" projects now, all because of the ease of use and power of FCPX. I finally finished one I started (converting the VHS tapes to DV) in 2009, although in all fairness, it was an extra four hours left over after having processed at least as much at the time. (To make things less intimidating, I have also moved the VHS player and now convert the tapes directly to disk using an otherwise now unused Canon DV camera as an AV to DV convertor.
But I am certainly one of those apparently targetted by Apple with the new FCPX at the expense of losing their loyal professional base. And the Color Bar's ease of use is a major part of that.

S-curve color correction in Premiere Elements v11

I'm using the Technicolor Cinestyle profile in my Canon T3i when shooting video. It is recommended to apply an S-curve correction to clips in post-processing. Is that possible in Premiere Elements v11? I didn't see that anywhere in the manual or online.
Jon

Premiere Elements is a consumer product with limited color profile tools. You can do color correction, but it is not nearly advanced enought to do any professional profiling. For that, you're much better off with Premiere Pro CS6.

What color correction setting is best

I just bought the Canon Pixma IP4300. I'm using a lot of ink trying to figure this out, so I thought I'd ask in case there was a default. In Advanced>Color Options>Color Correction, the choices are;
1) Driver matching
2) ColorSync
3) None
Is one of those generally better to use
Also, is it generally better to print from Photoshop(Elements 4) vs iPhoto or Preview?

choosing colorsync over adobe color management is not a popular choice
The only place I chose ColorSync is in OS X print dialog/color options/color correction. I have 3 options to choose; Driver matching, ColorSync, None. Which of the other 2 would I choose if I wanted to maintain Adobe Color Management? Also by Adobe Color Management, I assume what you mean are the adjustments I made in PSE. Is that right.
Have you tried using printer color management
Do you mean not using PS at all & just using the Color Options from the OS X print Dialog. If that's what you mean, I don't like using that because the adjustments are made on a generic OS X provided picture. You can't tell what the adjustments are doing to your photo until you choose Preview. If you don't like what you see, canceling causes you to start from the beginning.
keeping an sRGB image flow if that's what your originals are?
Most of the photos from my Canon SD 700IS are RGB. The others are scanned older photos. I'm embarrassed to say I'm not familiar with an sRGB image work flow
Barbara, To tell you the truth, if I could get 2 things down to a general rule of thumb it would be helpful. 1) In PSE/Print/Color Management, what to save the printer profile to (Same as source?) & 2) In OS X print dialog/color correction, what to save it as, out of my 3 options.
Feel free to tell me when you've run out of answers to all my questions, as I have many!

How to batch process (color correct) multiple MXF files?

Newb here with a question I cannot find an answer for. I'm very new to CS5.5 and am very frustrated with something that should be a simple procedure, at least it was with my last NLE.
I am shooting amateur hockey games using a Canon XF100. Typically I shoot at 720 60p and with all the starts and stops of the game there may be 30-40 MFX files for a game. I'm having no problems importing into CS5.5, the files all show up on the timeline.
I want (need) to be able to color correct ALL these files at once using the fast color corrector and/or the 3 way color balance. For the life of me I cannot seem to do this and I cannot find any answers despite many hours of searches.
Last night I did (after much mucking around) manage to 'nest' the files and do the color correction but when I went to export to Media Encoder (to render as MP4 file) I kept getting error messages and was unable to proceed. This happened 6 times, the encoding would start and then after about 20 minutes, and some progress, it would give me an error message.
Can someone please, pretty please!, explain a simpler way to do this? I feel like I am missing a very obvious step and I'm probably just phrasing the question incorrectly.
Many thanks in advance.
Dave
Adobe CS5.5, Windows 7 Premium
Intel i7
9 GB Ram
500 GB Velociraptor HDD
Dual 27" monitors

Unfortunately, you're doing it exactly in the right way. I just nested a sequence and applied the Fast Color Corrector to the nest and it exported beautifully. Could you try nesting and color correcting a short sequence with clips other than the MXF files generated by the Canon XF100 using the same methodology? I'm trying to see if it's your footage is the issue or something else.

Premiere Pro CS6 Crashing during color correction

Adobe Premiere pro crashing during color correcting on both new macbook pros with osx 10.8.2. Clips coming off new G Raid drive with thunderbolt. Clips shot on canon mark III. Help.

Hold option down while launching to reset prefs.
Start or open another project with different media. If everything OK, that makes it look like your project or media are corrupt. Start new project with same media. If OK, then your previous project could have been corrupt. And so on.
Deleting your media cache can also banish some crashing.

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

FCE not exporting color corrections (help please)

I see there are some really experienced Final Cut folks here. Anyone care to help with this glitch?
I've imported AVCHD footage from a Canon Vixia in 1920x1080. I edit it in Final Cut Express. I add Color Correction and Brightness / Contrast Filters. Then I export it as regular Quicktime (no compression). For some reason the brightness changes get exported but the color correction changes do not. I have tried rendering the footage before export. No change. It only exports brightness edits.
How can I fix this?
thank you for your help!

Hi and welcome to the forum!
What are your sequence settings? Are you seeing the color changes in your canvas before export?

Printing color on Canon iRC4080i

I just joined a company where I need to print fliers in color from my mac. I have OSX 10.5.8. The printer is a Canon iRC4080i, and I was given the mac printer driver that goes with it. I print through the network - my computer sees the printer, and I can print easily in black and white. But I cannot get it to print color at all.
The office manager says I should have settings where I can choose black and white or color. All I see is "color matching", and then it takes me to "automatic".
The printer driver manual says the printer should be able to automatically tell if I want to print color or black and white, and do so accordingly. But it doesn't really matter what I do, it won't print in color.
Even though the printer driver came with the computer manual, and it says I should be able to print osx 10.4 or later, I'm wondering if the driver needs to be updated. When I click on the print and fax in the system preferences, it says I am using a generic postscript printer for the ir c4080_D printer, driver version 1.0.
Any suggestions on how to get it to print in color? It's getting imperative that I get this solved soon.
Thanks!
Brenda

bmitchellrem wrote:
The printer is not set to B&W since everyone in the company has to print in color.
As I mentioned above, with the correct Canon printer driver installed you will override the default colour setting in the copier. The Generic PS driver on OS X cannot override this default and will print as per this setting. This explains why others in the company are printing in colour and why you would not be.
I uninstalled the printer driver 3.2 version that came with the printer, and installed the PPS version that you suggested.
The v3.2 driver was one of the drivers I mentioned. There was no need to uninstall this driver as it would have worked. With the v3.2 driver being used the colour setting is located under the Quality menu > Color Mode.
The print dialog box did not change. I didn't have any different options for color printing than I had with the other driver version. And it still just printed in B&W, even though on my print preview it looks color and all options I could find pointed to that it should be printing color.
When using the PPD for the C4080, the colour setting is located in Printer Features > Color 1 > Color Mode. The default setting is Printers Default. So if the copier is set to b&w as a default then the document will print in b&W. So open this Color Mode menu and select Color. You will see the other option is Black and White.

Wrong colors with canon pixma ip 4000

Hi!
We have a canon pixma ip 4000 printer, that has worked fine in the past.
Suddenly the photos printed with the printer are somewhat yellowish/greenish (especially faces or other skin). We have tried everything: Changing the cartridges, cleaning the head, reinstalling the drivers.
Then we have called the canon-support. After 20+ minutes of trying everything they said (we have deinstalled the drivers, reinstalled new ones, tests of all different kinds) we tried the printer with another mac and we still had the same problems.
So the canon guy said, the printer was obviously not in order and told us to send it in. We did so and received it back with the note, that no defect could be found.
Back home we connected it to the mac and: Still the exact same problem.
Our mac dealer said, another client has reported the same problem, but he connected the printer to a windows machine and "ta dah" it worked!
So my question is:
Is there a known problem with macos 10.4 and this printer (maybe a problem that came with a certain os patch?) ??
Thanks in advance!
Thomas

Hello Thomas,
I have a few Canon PIXMA's at work (iP5200R, MP600R, iP6000D, Pro 9000) and I have never experienced this output on 10.4, so I don't believe that any update/patch is at fault.
Is there a particular application you notice this from? There has been a few postings with Aperture users re yellowish tints.
Also, what is the color option set to in the driver? Looking at the iP6000D driver (which I believe may be a similar version) the Color Correction setting is at BJ Standard. Here you can play with the Color Balance, such as knock the yellow down.
Paul

Color Finesse vs Colorista 2 Premiere vs After Effects for color correction

Hi,
I want to get in to color correcting of my Canon XF305 footage that is converted to the Blackmagic 10 bits lossless codec.
I have two Eizo calibrated monitors etc , but my only doubt is the choice of the program (to do it in Premiere-pro or After Effects) and with Color Finesse or with Colorista 2.
So if there are people with color correction experience please share it here.
Thanks! David

When shooternz said 'gain' I presume he means "what was the benefit". If your original footage can be opened in PP, converting it isn't usually necessary unless you find the scrub performance is really hampered by the camera's codec - and that's more of an issue for line editing rather than color correction as you won't be playing it back and forth very much. PP will edit in 32-bit color space no matter what the footage is, so you don't need to force the ingested material into a higher bit depth.
We get the 'real time' question asked a lot. PP is a non-linear editor so realtime playback and scrubbing are essential, but the exact content of each frame isn't all that important. AE works on individual frames so it's not designed to play back in real time - it has to compose all your effects onto every single frame before it can show you the results, and in every frame it processes every pixel. The realtime monitors in PP don't do that - they show something that looks visually the same but only some of the frames are actually processed, then the rest are interpolated.
AE has some extremely powerful CC tools, but realistically it's intended for use on small clips - if you look at grading workflows in studios their typical AE timelines might only be 20 seconds max, and often only a couple of seconds. It can work with longer clips but it gets painful. The big advantage in AE is the ability to layer up lots of effects with masks, so for example you can color-correct a video clip so it exactly matches another clip or a still image, fine-tuning one coffee cup in the background of a scene or relighting in post by masking up zones of color and exposure adjustment.
PP on the other hand is great for long timelines and cutting together clips into a program - that's what it's designed for - but it works on clips so correcting at a frame-by-frame level is correspondingly horrible. I'd say the 3-way CC in PP is perfectly fine for prosumer and indie work; if you know what you're doing it's possible to replicate any of the motion picture styles people are used to seeing, it's simply that it doesn't have a library of presets and you don't get the same level of spatial controls (there's no masked adjustment layer concept in PP like there is in AE). As shooternz says some of the third-party plugins for PP give you those power tools.
New in CS6, Speedgrade provides a standalone program with more powerful features, though the workflow at the moment isn't all that seamless (SG wants frame images, as do most pro grading applications, so there's a gnarly export-import thing to go through that makes round-tripping a one way street).
A professional colorist will use a standalone grading program for several reasons, but they're not all down to pure 'quality';
pro colorists tend to use special hardware desks with physical versions of the three color wheels, and they only work with certain software.
if you're matching the 'look' of an entire motion picture, being able to store, share and batch process with preset styles and look-up tables (LUTs) is important - MB Looks and the Colorista plugin bundled with AE both have libraries of presets, the native fast and 3-way CC tools in PP don't.
On a big project the grading is done by someone other than the editor, so they don't generally need (or want) access to the master timeline - they'll get an exported mezzanine format from edit (an image sequence or uncompressed video track) so don't care about all the other stuff PP or AE can do.
If your only job is grading then a standalone package is the way to go. If it's one of an army of things you do, from shooting and editing to burning the DVDs and writing the blog, I'd say to stick with the inbuilt tools in PP/AE, have a go in Speedgrade if you have CS6 and some time to teach yourself, but the expense of a standalone grading tool would only be worthwhile if you have a few months spare to learn the skills. There's a reason the best colorists earn top dollar, it's 50% art, 50% science and 100% dedication.

Color correction canon D7

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