Color correction like in Aperture

Hi
Im using Aperture for my photos, and there is a nice preset in Adjustment -> Presets -> Quick fix, which makes the color correction for us.
Is there such option in FCP X ?
Im not good in color correction so i would like to use feature like this.
Thank you

I don't care for it but you could try the balance color function under the magic wand in the toolbar.

Similar Messages

Fix 'Recovery' slider & add 'Color Correction' slider to Tone Curve

My requests:
1.) Please change the behavior of the 'Recovery' slider so that it attacks very-blown-out-highlights more rigorously than less-blown-out-highlights.
2.) Please add a 'Color Correction' slider to the Tone Curve that is analogous to the 'Color Correction' slider built into the 'Shadows/Highlights' tool in Adobe Photoshop & Apple Aperture.
To more clearly understand what I'm asking for, let me compare Aperture vs. LR's handling of Highlight Recovery, and why I prefer how Aperture recovers my highlights with its Shadows/Highlights tool vs. how LR recovers my highlights with the 'Recovery' slider OR Tone Curve.
1.) Aperture's 'Shadows/Highlights' tool recovers highlights by attacking the brightest parts of the highlights more harshly than the lesser bright parts of the highlights (th extent of luminosities attacked is adjustable using the 'High Tonal Width' slider). LR's "Recovery' tool doesn't seem to, among highlights, preferentially attack the brighter parts of the highlights over the less bright highlights. In fact, sometimes it leaves THE brightest parts of my image nearly untouched! I've posted an image below that shows this.
2.) Aperture's 'Highlights' tool recovers highlights WHILE maintaining color saturation (you can control the extent to which this saturation is maintained using the 'Color Correction' slider under Advanced settings fo the Shadows/Highlights tool). LR's 'Highlights' within the Tone Curve desaturates colors as highlights are 'recovered' by bringing 'Highlights' down. Again, I've posted an image below that shows this.
Here is an image that clearly shows the different behaviors of Aperture's Shadows/Highlights tool vs. LR's Recovery tool vs. LR's 'Highlights' slider within the Tone Curve:
http://web.mac.com/rishisanyal/Lightroom/HighlightRecovery_LRvsAperture.jpg
I believe that LR's 'Recovery' slider has much room for improvement (i.e. attack the blown-out highlights more harshly than the less-blown-out highlights), and the addition, to LR's Tone Curve, of a similar 'Color Correction' slider as Aperture's & PS CS3's very own 'Shadows/Highlights' tools have, would be very welcome.
Thank you for your consideration,
Rishi

More for your eyes to feast on:
http://web.mac.com/rishisanyal/Lightroom/HighlightRecovery_LRvsAperture_2.jpg
http://web.mac.com/rishisanyal/Lightroom/LR_FailsToDecreaseBlownOutHighlights.jpg
Funny thing is, LR just seems unwilling to touch (255,255,255) blown-out highlights. In all my test images with a blown-out sun, LR leaves the sun at (255,255,255) after all combinations of exposure, recovery, and Tone Curve manipulations. Whereas Aperture will bring it down to something like (128,128,128). Which seems more logical, to me, if one is trying to darken the image or darken highlights... right?
Also, if you look at the Seattle & Mt. Rainier image, no matter what I try, LR will not get rid of that brighter 'halo' to the upper left of Mt. Rainier. It just won't! 'Recovery' ends up highlighting just that bubble, and decreasing the Highlights in the Tone Curve just turns it into a grey, desaturated, halo. I'm telling, it just won't get rid of that halo! It has a love affair with it! :)
Aperture immediately gets rid of it with its Highlight slider, and Photoshop's 'Shadows/Highlights' tool also gets rid of it after a bit of manipulations/tweaking.
Now, I try to avoid Aperture at all costs, but, for all these images, seems like I need to use Aperture as my 'external editor' just to fix the highlights!
Any suggestions are very much welcome & appreciated.

PSE 8: any color correction controls like RGB as in Photoshop?

I used to have Photoshop 7 and often used the RGB controls to make color corrections.
Now I have Elements 8 and I miss having RGB controls.
Is there a way in PSE 8 I can simply adjust R, G, and B individually like I've been used to?
If not, what is the closest substitute in PSE 8?

There are no channel specific correction available but host of other things you can try are:
Under Enhance Menu you have all those Auto operations to correct all automatically.
Apart from this there are Enhance->Adjust Color and under Adjust Lighting.
You can also try Adjustment layer under Layer->New Adjustment layer after creating a layer or duplicating your original one and check if it helps
Thanks,
Garry

Photos look like film negatives after color correcting

I tried following Scott Kelby's instructions for color correcting digital images in PSE 10. I was entering the values he gave for the R,G and Blue channels. I got off track and probably missed a step. Anyway, now when I try any of the auto correction features, my images look like film negatives and not like a regular digital image. How can I re-enable the auto correction features (levels, color correction, etc.) ?

Make an levels adjustment layer and Alt (option) click on the Auto button in the levels dialog.
Then in the Auto Color correction Options set the RGB values for
Shadows RGB 0,0,0
Midtones RGB 128,128,128
Highlights RGB 255,255,255
Then check Save as Defaults

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/

PS CS3 Color Correction plugin

Hi,
I've been doing a lot of color correction/adjustment lately in Photoshop CS3, Premiere Pro CS3 and After Effects CS3.
In Premiere Pro CS3 and After Effects CS3 I work with a plugin from Synthetic Aperture called 'Color Finesse' which is just so amazing to work with.
Unfortunately they don't offer that plugin for Photoshop.
I am looking for a Photoshop plugin that can provide the same depth and ease of use.
There are two things that I like especially in Color Finesse:
1. that u see the graph of each color channel (Master/Red/Green/Blue) aligned UNDER each other ALL the time
2. specific color channel correction/adjustment via RGB, CMY & YCbCr. Especially YCbCr is so powerful.
Is there a plugin for Photoshop that provides the same options ?
I worked with PS Curves, Curvemeister 3 & Power Retouche Pro but they don't provide the powerful controls and ease of use.
Thanx for your help in advance !
Mike

I've not used it, but Magic Bullet Colorista is one option.

How is "No Color Management" invoked in Aperture 3 compared to Aperture 2.

I have 2 printers, a Canon IP8500 and a Hiti S420 dye-sub . Both printers were used succesfully with Aperture 2 and Leopard. Upgrading to Snow Leopard seemed to destroy previous colour management by Aperture and this was not cured, either by OSX version 10.6 or the introduction of Aperture 3. The arrival of !0.6 prompted Apple to include (in its OSX updates) Drivers for major Printer manufacturers, such as Canon and Epson, but not for Hiti and lesser known printers. Notwithstanding current practice of Drivers for the Canon being upgraded with upgrades to Apple OSX, print colour has not recovered its former high standard and prints display a dark reddish cast, which is correctable only by wasteful trial and error gamma adjustments. The Hiti displays the same problems and I have to conclude that two management profiles, Apple's and the printer's, are being applied to the output print.
In Photoshop, print setting includes the ability to invoke "No color Management" and one can of course shell out from Aperture to an outside editor such as Photoshop, but what a pain! And, anyway, the colour is still somewhat out of balance, suggesting that 10.6 was not the milestone it was cracked up to be.
Questions to the Aperture Team at Apple's support have elicited extracts from the Manual as follows:
Turning Off Color Management in Your Printer
For best results, you should turn off color management in your printer - How is not explained - when printing an image using Aperture. By default, most printers are set to convert the image to the printer’s color space. However, Aperture is designed to perform this conversion internally. Each printer manufacturer creates its own Print dialog. This means the setting for turning off color management in your printer varies depending upon the manufacturer of your printer and the printer model.
Note: If you have multiple printers connected to your computer, you should create a print preset and turn off color management for each printer.
To turn off color management for your printer
Refer to the owner’s manual that came with your printer.
Due to "Each printer manufacturer creates its own Print dialog." I have no insight what dialog you should use to prevent your Printer to double up an additional Profile.
This does not actually advance my case. 1) Apple provide the Driver for Canon 2) There is no instruction how to create a Print Preset, nor what it should contain 3) There is no explanation of how to invoke controls, as in Aperture 2.

Creating and Modifying Print Presets
The above link is to a section of the User Manual.
(Added)
There are also Print Presets for your printer (printing from Aperture goes through two dialogs -- one of Aperture's, and one from your printer). Usually, you can change settings and then select something like "Save as new Preset" from the drop-down Preset selector.
Message was edited by: Kirby Krieger

Looking for a particular color correction tutorial

I am looking for an online tutorial on how to do color correction if the video one is working with has color bars. This happens on a lot of analog videotapes that come to me. I know what my scopes are suppposed to look like when analyzing color bars, but I need something that shows me how to get from A to B.
If I Google some varient of "color correction video color bars," all I get is information on calibrating monitors.
I am using Premiere CS5.5
Thanks in adavnce for any response!
J. D.

APP - Layer...
Also... Check this site for looking at APPs.. I've posted this before but it's a good site. It just started up a week or so ago.
http://androidapplications.com/

Color correcting more than one clip at a time

Perhaps I am missing something very elementary here... but here is my situation. I have three camera angles, each of the same concert. They are synced and ready to go, each on a separate track. Each needs color correction. I have found the color correction for each that I want. Before I slice up my clips I can very easily color correct each line separately, as the color correction applies to the whole clip. However, this takes about an hour to render because it is so much material. But since I am slicing up each track anyway to form a composite track, wouldn't it make more sense for me to slice up each track as I see fit, delete the unwanted footage, and then color correct each line before I drag them all into one composite track? That way, the color correction would just be applied to the clips that I am using, presumably taking about 1/3 the time to render. Know what I mean? So here is the question: can I select all of the clips on one line and THEN color correct just those? Or do I have to select each little clip and type in the boatload of numbers into the numeric color correction. Or is there another way all together. (Like, is there a way to SAVE the color correction values that I want and call them like "camera one" "camera two" etc... and then just apply those settings to the clips I want?)
With my sound editing program I have presets for this concert. I am able to take each piece, open it up and apply the same equalization, amplification, reverb, etc. that I did for all of the others, thus making them all sound the same. I'm sure FCE has this option for video, doesn't it?
I have 10 more pieces to do and by far this was the most time consuming part of the job. So any help would be most appreciated!
Much thanks!

Apply the color correction to one clip and adjust as needed. Copy the clip. Select all other clips that you want to apply the filter with those settings to. Right-click on one and select Paste Attributes/Filters.
-DH

Masked color correction - new Pr Pro CC features or still use After Effects?

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
tint. The rest of the image outside of the bars is fine and the image inside the bars is fine, it just has a tint. This is old SD footage.
An AE expert said I can make an Adjustment Layer in AE and use the Mask Shape Tool to draw several boxes around the problem cyan areas, apply the Curves and Hue/Saturation effect to the adjustment layer, then color correct. Some feathering would be needed (I know PS too so I can handle that part ) I think I recall back with PrProCS6, I could do this adjustment but only one bar at a time. I could be wrong about that.
But anyway, sounds pretty easy in AE. But since I live in PrPro CC 2014 now, and I saw some recent new features with masks and adjustments, I was wondering if I could perform the same adjustments right in Pr Pro CC 2014? If I need to use AE CC 2014, no worries, I have that installed.
Thanks for the help as always! This is family footage that I would really like to rescue.
BJBBJB1

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

Connecting Color Correction Monitor To My G5 (Help Please)

Hello everyone. I'm getting ready to begin color correction on a DV feature I've just finished audio post on. I have a Macintosh dual 2Gig G5. It's an early G5 that has PC133 slots, however, and is NOT HD compatible or ready. I cannot use an HD video card (AJA, etc) or an HD monitor for cc - and simply cannot afford an AJA IO - so I'm going to work with SD. In the research I've done it looks like the JVC DT V1710CGU - a 17" monitor that is said to have decent critical color correction capabilities is what I might purchase (here's a link to one)
http://images.google.com/imgres?imgurl=htt...s%3Den%26sa%3DN
How would I be able to get my video out to the monitor using my G5? The reason I ask this is because, simple as I thought it was, when I went to purchase the actual monitor and the tech tried to use it to see video from his laptop . . . it didn't work.
He plugged from the computer to the JVC monitor using a DVI to VGA adapter connected to a VGA to RGB cable (the DVI end of the adapter being connected to the computer) and connected that RGB end of the cable into the JVC.
He tried a lot of different monitor formats in his laptop to try to conform the computer's signal for the JVC, but nothing seemed to work. I myself have a Sony DVMC-DA2 analogue to digital media converter that I used to get video from the G5 to view on an external television set. The media converter is connected to the G5 via fire wire, and then connect to the tv using RCA cables, but the tech said that you DON'T want to connect the JVC monitor using RCA cables (composite . . . right?). He said use RGB cables (component).
Does anyone know, again, how to be able to get the JVC DT V1710CGU to output video from my G5 (Final Cut Pro specifically)?
Any help would be appreciated.
Thank you,
Javier Calderon

Thank you much for the prompt reply, David. I really appreciate it.
I just realized right now - after reading your post and investigating, that is - that my Sony DVMC-DA2 has S-Video in and out. This seems that it would be sufficient then, no? So . . . what's the proper connection then? Let me know please if this is it:
Connect my Sony media converter to the G5 via fire wire. Go out of the media converter via S-Video and IN to the JVC color correction monitor . . . via . . . what? Does the JVC monitor have S-Video in?
Thanks again for your help, by the way. You've already clear me up a bit.
Javier

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!

Color Correction with in Final Cut Pro 6

Hi All,
I have a showreel of my work, and some of the clips have sections that are darker than I would like them to be, and I would like to correct the color issues. Is it possible to only correct 3 seconds of over dark video, and not have the entire 2 hours thus over bright? I have tried with key frames, and maybe I am not doing the right way.
I put a keyframe on the 1st frame of the clip in question, then on the last frame of the correct section of the clip, then 1 frame later another keyframe, this is now on the incorrect color clip, then 2 more keyframes, last frame of incorrect color, then on the 1st frame of correct video.
Is this ok?
Justine

A better way is to blade (or add edit) at the beginning and end of the section that needs the correction and just apply the color correct filter to that section.

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

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.

Color correction like in Aperture

Similar Messages

Maybe you are looking for