Color Correction: Correcting Yellow Overcast

Hi Folks,
In my three cam shoot, one of the cameras was not white balanced.
We shot inside a theatre and the camera's image has a pronounced
overcast of yellow. Using the Three Way Color Correction in FCP
helps somewhat, but the white in the clip never looks quite balanced.
Suggestions please.
Iby

You can correct yellow in white by using the white balance control in Three Way. Select the eye dropper and click on something in the Canvas that is supposed to be white.
You can also compensate yellow in white by moving towards blue.

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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.

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.

Underwater Color Correction--D800 Video

I just came back from a dive trip to Cozumel and tried my new D800's video capabilities.
I'm happy to report that, with color correction in FCP, the D800 does a great job without a red filter or lights.
I didn't have much chance to experiment with this--too many other new things to try--but here's a quick preview.
This is an uncorrected frame shooting without lights, auto white balance and programed exposure and shutter speed in about 40 feet of water (sunny day topside):
I did a quick and dirty color correction using the three way color correction tool in FCP. Not surprisingly, the corrections added red:
The final looks great to me:
I also tested use of the Magic Filter for a few dives. I did not get better resuls, and worse, I had to do a lot of color correction on my stills to make them usable.
This may be of limited interest to those who don't dive, but I was really happy to see that I could dive and do both stills and video without a filter and still restore with FCP the reds, oranges and yellows lost below 15 or so feet.

For shallow water, auto level seems to work pretty well.
I used auto levels in Photoshop Elements 11 for most of these shots.
https://www.facebook.com/friends/requests/?ref=tn&fcref=ffb#!/roy.yumori/photos_albums
The manta ray is at 50 ft and is from a freeze frame from a video. There is almost no red. So it is too blue. I used auto levels in Premiere Pro CC and it was better than the original, but not great.

Color correction slows down editing

In CS 5.5 I adjusted the curves for color correction for the first time and then renedered the 12min video for 1hour 20min. I now see a couple of minor clip edits I want to make. However, Premiere is acting very slow and choppy. Is the color correcting I did slowing the edit process down?

Truthfully, what I would recommend is to turn off all CC,
edit, nail your timings... then color correct.
I always have considered and treated CC as a 'final touch'
that can't really be done full justice until the cut itself is solid.
But...
If you have clips that really need to be CC'ed as you are editing,
you should Preview Render those clips for smooth playback
in the Timeline as you continue to edit.
Also:
Red, yellow, and green render bars and what they mean
http://blogs.adobe.com/premierepro/2011/02/red-yellow-and-green-render-bars.html

Color correction questions

I have a few questions about the color correction tools in Premiere CS4.
1. Suppose that the colors in my shot are basically correct, but the blacks have a tint to them. Which is the best color correction filter to use to correct for this?
2. Do any of the color correction filters desaturate secondary colors? I have a shot that would probably look fine if I could just desaturate the yellows.
I know that this can be done in Photoshop.
3. Is there a good technique in Premiere for matching colors between two scenes or cameras? I know Avid's color correction has a specific setting for this.
Thanks in adance!
J. D.

1) tint in black probably means white balance was off a bit ( not matched to your light source).
Can try to correct WB overall and get rid of black tint ( use eye dropper and choose the black area that's supposed to be black and make it black...see what happens to the rest of your image colors )
2) maybe broadcast colors...which has some tendency to imitate "selective color" in photoshop, as you adjust stuff ...
3) no ...except maybe ( again ) broadcast colors ... but probably you have to do by eye or LUT...but basically no
I'm kinda new at this so dont take my word as gospel...someone else may have cool ideas ( they usually do )

Color correction on magenta skin tones / white shirt

I want to color correct a shot that is very blue/ magenta.
I would like the skin tones to be less magenta and more orange/yellow.
I get the best results by adding yellow on the Midtones and Shadows.
My problem is that the Highlights are going yellow, specially a white shirt. I get a better result by by then adding blue on the Highlights. I'm wondering if it's the right thing to do... Also, some Midtones are still too magenta.
I could isolate the skin tones as secondaries, but still, I have to color correct other parts of the image.
Any tip? Should I use the advanced settings?
I know my question as no miracle answer and that color correction should be done by a pro, but I would appreciate any suggestion, thanks.

cariocastyle wrote:
I want to color correct a shot that is very blue/ magenta.
I would like the skin tones to be less magenta and more orange/yellow.
I get the best results by adding yellow on the Midtones and Shadows.
I'm wondering if it's the right thing to do...
I don't know, what does your eye tell you?
Before anyone can suggest any sort of solution, you need to provide a still as Mr. Owens asked for and then provide some direction for what you want.
No 2 people on the face of the earth see exactly the same. Color is entirely subjective. If you like what you're doing (I would ask, how you're seeing anything accurately from an iMac) then who cares what anyone else thinks? Unless, someone is paying you for your talent, then you'd best have the best rig money can buy as anything less is a lie.

Color Correcting Suggestions

I have PP CS3 and am trying to get a certain color enhancement look. I've been adjusting various levels in the color correction tools, but still can't seem to get the look I want.
For example.. here's a video of what i'm trying to Color duplicate.
http://vimeo.com/5699982
Can this be done in Premiere or After Effects? And if so, can you steer me in the right direction to adjust my video accordingly. Thanks
Danny

Danny,
A couple of things that I noticed were:
1.) on the wide shot of the spokesman and the display, the display area was either well lit, with light off of the background, or perhaps tweaked in post to darken just the background area.
2.) there was a fair amount of both yellow and red added in the CU's, as evidenced by the spokesman's skin tone.
You might also want to look into kicking the Saturation up a bit, after you do the CC work.
Good luck,
Hunt

Fast color correction in premiere pro

Hi, I'm having a problem using Fast color correction with two different clips which show the same picture and are of different colors. here are the frames:
This is the correct color; checking the white balance it's perfectly white when check with the front of the raft. Perhaps the saturation should be slightly modified but over all this is exactly what you see when arriving at Red Cavern (the name speaks for itself) on the Colorado.
Here is the same shot taken at the same hour by a friend of mine who gave me some of his footage; everything is either white, pink or grey even the yellow raft on the left has not its true pure yellow which it is in reality:
Although taken at 20 years interval, the shots were done most probably at the same hour. The only difference being a more important set of trees due essentially to the level of water higher on my trip in 1995 than 2 years ago on my friend's one. The beach on the right side of mine being under water or having formed later. Of course the second shot is done with a digital camcorder which did not exist 20 years earlier.
As one can see the reds are washed out and do not correspond to reality. The footage is taken at the Red Cavern on the Colorado
The problem is to correct the second footage to get the same reds as both footage cross dissolve from one to the other and that I wish of course to be nearer as possible of the true colors. I can't check the white balance using Fast color correction on the second footage because there is no pure white visible anywhere. The sand at the base of the cavern or on its right is not white in reality as it consists of deposits either of mud from the river or sandstone of the cavern and the redwall above. Which effect would enable me to correct the second footage to approach as much as possible to the same color of the first one. Most probably FCC is not the right effect to choose.
Thanks in advance for your suggestions.
Claude

I think that's about as nice as you can expect ... years apart, or even just hours apart with sun coming in a different angle on the same rocks (not even depending on any reflection changes!) can oft get massive shifts in "apparent" color. Which is ... real? Either, both, neither? It's actually one of the things that makes going back & shooting in the same place over & over interesting ... it's never EXACTLY the same ... or rarely so.
Ahh, now we're almost into a discussion someone will moan about needing to be continued over on the Sg forum ... tee-hee.
From your comment about transferring clips ... are you using an EDL process? When using "Direct Link" (the "direct to SpeedGrade" command) normally all the "stuff" from the PrPro project are included. There have been the odd instances where Sg doesn't "see" something, but ... I'm curious, I've not run into this for most anything I've done "direct". Either direct or EDL can work, but it does change your work-patterns a ton depending on which you choose.
SpeedGrade is an amazing tool ... and is designed to give a very good basic correction and then allow one to step off the deep-end into stylin' your shots. Especially with the large collection of "legacy" clips you've got from your friend, that seem to be of a similar "look", you can correct those for basics (WB, dynamic range, blacks & whites, hue shifts) using a Primary or two or three and then a Secondary for the hue-shifts. Then save that as a "Look" and anytime you run more of those clips, you can just in a couple clicks throw that Look over top of them and have all your previous work on that footage done bang. Slick as all get out, and I think you'll love that part of it.
Just a bit on my process that has come about since going so heavily into DL ... it used to be enough "work" to export an EDL, load things into Sg, then export out to re-import back into PrPro that like most I did pretty much to edit-lock & then to Sg. That is pretty much History ... it's so fast that when I start putting together a sequence for a new project I'll just throw a number of clips onto the timeline ... DL to Sg, do a Basic grade on them (especially if there's significant skin as I've got a GH3 and it naturally makes skin un-natural so I've a Look to recover skin-looking skin) and go back to PrPro. Now as I'm editing I've got a feel for how good a visual I'll get off that group of clips. Mostly finish my editing, with maybe an occasional minute or two over in Sg (quite literallly) doing something like making something a Master Clip so the other bits of that one get the same grade automatically). Before doing the final export out of PrPro I'll go to Sg and do the rest of the "style" work.
Then back in PrPro thow on my titles & such, pop in any fixed audio from Audition, & out it goes.
I do use some "adjustment layers" added to sequences in PrPro simply to use for additional grading layers to utilize in Sg over groups of clips or occasionally one if I'm doing enough I want to put it "up" on a different layer. Not always ... but sometimes.
Pretty slick for the most part.
Neil

Premiere pro cc having trouble with color corrected clips

I've been working on a project for a few days and today when I opened premiere pro it gave me a warning about what software it had been running with and how it was no longer available. I'm sorry I've already forgotten the name of the software, but I know I didn't remove anything from my laptop. When I began watching the playback I noticed that color corrected clips were very jumpy and didn't play smoothly, but the ones that had not been color corrected were fine. There were also two lines at the top of my timeline, a red one over all the jumpy clips and a yellow one over the clips that played through completely. This is my first time using premiere pro so I'm not sure what it means or how I could fix it. It may be worth noting that my laptop isn't bad but I don't think it's necessarily the best for editing. Is it possible that memory space or hardware within the laptop are the issue? Any advice will be appreciated, thanks.

Just me today I guess.
The solution to this problem is simple. Download and install the latest Adobe PPro CS3 3.2.0 patch. 50 Mb download, 20 second install time. Everything works great now!

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 - 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

E71 and Color Correction

I have noticed even with the new updated version firmware that when using the camera it still has a blue or purple tint and lacks sharpness.I preceded to http://mosh.nokia.com/content/4F546B0D59DD282DE040050A45300EA2 and D/l this file and installed on the E71.
I took two pictures using the normal camera on the E71 and the conditions were set that both images not use flash. The first image was taken in the living room by the door leading to the deck and the other image was taken in a room just using the overhead fixture.
I then preceded to using the installed program and went to camera-color correction and color corrected blue by adding yellow and increased the contrast slightly. I will add another post so that you might see Roomlight 1.jpg
You decide if its better or worse and i also noticed and using the installed program that the file size just about doubled.
Message Edited by iraf1 on 16-Feb-2009 04:13 PM
Message Edited by iraf1 on 16-Feb-2009 04:17 PM
Message Edited by iraf1 on 16-Feb-2009 04:22 PM
Solved!
Go to Solution.
Attachments:
Living Room.jpg ‏237 KB
Roomlight.jpg ‏257 KB
Living Room1.jpg ‏480 KB

Somebody asked me to make a comparison of that living room photo with and without contrast.
All photos reduced to 640x480 as if they were sent mms.
Original Living room Photo
Living Room Photo color corrected by adding yellow and slight magneta
Living Room Photo same as 1. except contrast added.
Color corrections done on the spot via photoeditor
Message Edited by iraf1 on 17-Feb-2009 11:00 PM
Attachments:
Living Room.jpg ‏75 KB
Living Room1.jpg ‏75 KB
Living Room_Contrast.jpg ‏81 KB

Need help: How to color correct professionally (with examples)

Post to video forum (before and after): Hi, I really need some help I want to color correct this video. I would love if someone had tips, either on:
-How you would correct the original
-What it looks like I'm doing wrong in my attempts (last 2 pictures)
Thanks!

I'd crunch it up a little more with a curves adjustment. These children don't look healthy and stronger contrast will help. Also push the reds toward a slightly more orange tone. They look too purple. There's also still an overall purple tinge which needs to be eliminated. See the included 3 minute quick shot of mine. Not perfect and requires more tweaking (too much yellow now, see the lips), but I think it better represents the feeling one would want to convey.
Mylenium

Color Correction: Correcting Yellow Overcast

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