Color correction lost in m2v

I did some color corrections in FCP6.
I exported in many different formats and tested each with DVDSP:
When DVDSP compresses to m2v, the color corrections are lost.
But when I use iDVD, color corrections are intact and okay!
Any ideas why is this happening?

How are you looking at the DVDs and how are you doing the color corrections? If you are doing these on the computer monitor (color corrections and viewing) it is not going to be accurate. You should color correct to a monitor.
[Here is a article on black levels|http://www.signvideo.com/dv-black-levels-dvd-authoring-mpeg-2-part-1.htm ]
iDVD, I believe, uses a brighter default Gamma than Compressor, so tweaking the Gamma in Compressor could be an option also. Again it depends what "Carrying out color corrections" means - washed out, etc.

Similar Messages

Color Correction Novice rounding home stretch w/ a Q

Hi,
So far, I've received some valuable advice & tips for my 1st attempts at color correction, esp since my production falls outside the normal applications. The help has been great!
I went thru my production and did scene by scene corrections, which lost most of its intimidation with enough practice. I still havent tackled the Keyframe approach to having corrections shift during the course of a scene - I'm hoping to escape without having to do that.
Heres my question -
I did all the corrections, with a calibrated external monitor, and then had the program render all the video effects. Then I chose "print to video". When the program ran, the colors were a little different overall than what I had set in the program (less orange, more pink) and in a few scenes (orig underexposed, but corrected in the process), the color shifted more radically, esp in the shadow / black values which fell greenish.
I didnt see any of this as I was correcting, and the signal path was the same when I printed to dvd, same monitor w/ no calibration changes.
Is this normal? Maybe these shifts happen more discreetly in reg productions, mine is a live stage shoot with a lot of red light.
Thanks for all the help, & Happy New Year
Duane
G5 tower Mac OS X (10.4.2)

Hi,
Thanks for all the info, I'm starting to look at ways of sending what I have to people who need to see it. The project will likely still require some tweaking so this isnt a final mastering step by any means. Just looking for something that looks as good as what I see on the monitor after rendering.
Its looking like (from the lasts posts) that 'out thru firewire -> dvd recorder' isnt the best choice & if I can keep it in the computer & flow it directly to its burner, the opportunities for problems can be minimalized.
I tried exporting to quicktime, that resulted in an FCP Quicktime file that took 3 hrs to create & was almost 13 gig. (program is 50 min) so it looked great but was too huge to put onto a disk.
If anyone has guidance in this area, I'd appreciate it. I'm gonna poke around in those options & then likely post a further question seperately on this subject. I want to get it onto a dv disc via toast 6 (I see Quicktime w/ Compression is an option so I'm gonna explore that)
Thank you all again for the correction help, in that 13 gig version, it looked really great (no green in shadow artifacts ! )
Regards,
Duane
G5 tower Mac OS X (10.4.2)
G5 tower Mac OS X (10.4.2)
G5 tower Mac OS X (10.4.2)

Color Correction for Web

This is sort of a generic post questions. I am working on a project for the web. My final output will be to Digibeta. How do others approached color correcting in this situation? Being the computer monitors generally have such different characteristics than a traditional TV. In the past I correct as if I was going to air but this sometimes makes the online videos over saturated and contrasty. I realize there is really no web standard yet but wonder if anyone out there does a lot of web stuff that has any tips.

sRGB is the recommended color space for internet application.< </div>
You'd need to provide some documentation to support that statement.
sRGB is not necessarily meaningful beyond photographic applications. sRGB was designed to roughly reproduce color regardless of local profiling. The sRGB standard was created in 1996 to, among other things, create a smaller number of colors to increase the likelihood of correct reproduction in printing photographs, The mere presence of Microsoft on the list of supporting companies is reason enough to be skeptical.
http://www.computerworld.com/action/article.do?command=viewArticleBasic&articleI d=67719
When an RGB image from a high-end scanner or other device is imported into an SRGB environment, however, some color information is lost. What SRGB offers is a lowest-common-denominator view of images in business applications and on Web sites.< </div>
This from the wiki:
As the recommended color space for the Internet, sRGB should be used for editing and saving all images intended for publication to the WWW. Images intended for professional printing via a fully color-managed workflow, e.g., prepress output sometimes use another color space such as Adobe RGB (1998), which allows for a wider gamut.
Images intended for the Internet and created in one of the other color spaces may be converted to sRGB when editing, using a suitable editing program, e.g., Paint Shop Pro or Adobe Photoshop; ideally, the original non-sRGB file should be saved and the conversion to sRGB done on a copy, as some loss of image information occurs when converting to another color space.
Due to the standardization of sRGB on the Internet, on computers, and on printers, many low- to medium-end consumer digital cameras and scanners use sRGB as the default (or only available) working color space. Used in conjunction with an inkjet printer, an sRGB image produces what is often regarded as satisfactory for home use. However, consumer-level camera LCDs are typically uncalibrated, meaning that even though the image is being labelled as sRGB, one can't conclude that the image is color-accurate on the LCD.
The two dominant programming interfaces for 3D graphics, OpenGL and Direct3D, have both incorporated sRGB. OpenGL 2.1 incorporates sRGB textures first introduced by the EXTtexturesRGB extension. OpenGL's EXTframebuffersRGB extensionsupports rendering into framebuffers assuming either a linear or sRGB color space. DirectX 9 supports sRGB textures and rendering into sRGB surfaces using Direct3D.<
bogiesan

What's the best decklink usage apply for color correction

Hi Guys,
recently i jsut noticed that matrox supplied a very good color corrcetion for Adobe, im using blackmagic hd extreme 2 now, seems it doenst grade color very well compare with matrox, i wonder, any decklink u guys using that grade color very well? Im newbie in color no matter in FCP nor COLOR. Thanks for help guys

What is this footage that you are trying to color? The hardware used really doesn't matter in this case, all they are doing it outputting a signal to your monitor. How that footage looks and how far you can push it isn't dependant on the cards...it is dependent on the footage you have to work with.
I know your English might be poor, so I hope you don't get lost.
Read this first: http://en.wikipedia.org/wiki/Chroma_subsampling
Now, if you have 4:4:4 footage, you can push it very far. Film, HDCAM SR, Viper...all sorts of high end HD can have this sampling. However, a more common high end format is 4:2:2, like DVCPRO HD, HDCAM SR, D5. If you shot HDV...HD on those miniDV tapes, then your chroma sampling is 4:2:0. You are missing information COMPLETELY. So HDV cannot be pushed very far when color correcting. DV is 4:1:1, so it too cannot be pushed very far. If you shot on those formats, there is only so much you can do.
Shane

Color correcting in french final cut

Hi everyone,
I'm using a french version of final cut pro HD 4.5. I can't find the color correction tab with the three cercles, does anyone use a french version so I can fallow propely the path that will lead me to make my color corrections. If not, maybe you can guide me in my task: I shot a video with a white machine. When I did the shooting, I wanted to create a look that cannot identifie any space or room, so I've used white foam core. The problem is that even if I did my white balance, my background and the machine is not white enought to give the impression of a " no where place". It's been a while since I did editing and I've never use color correction before. I know that there are tutorial that exist but time and money are a matter of facte that I can't purchase them for the moment. If anyone can help me and guide me in my task, because I've lost a lot of precious time trying to find a solution, it would be very appreciate.

Jacques,
Merci énormément, j'aurais dû écrire avant, je n'aurais pas perdu autant de temps à trouver que c'était Étalonnage qui correspondait au Color correction.
Maintenant, comment je fais pour isoler mon objet de mon fond et de plus, mon fond n'est pas le même blanc partout, est-ce qu'il y un moyen d'uniformiser le tout sans que mon objet principal soit surexposé?
DAVID,
Your answer was helpful but Jacques was able to identifie the exact term wich help me a lot because the word in french is quite different then color correction.
Now, how I isolate my object from my background and moreover, my background is not the same white everywhere, it there a way of standardizing the whole background without my principal object being over-exposed?

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 + DVD/MPEG Compression Produced Noise

I recently color corrected a 3-hour rock concert using FCP and a broadcast monitor. When played from the timeline the concert looks great however after outputting, MPEG compression and authoring a DVD there's video noise over the image. Almost snow like but different. I'd post a screengrab but I can't seem to take one in DVD Player. Any advice?

That's exactly right Jonathan, you need to add the 2:3 pulldown, and I can tell you all why. (I read the post from Max Average, but I'm not commenting that separately)
The DVD specification simply does not support video marked as 23.98 fps (which is how Apple wants to call it) or even 23.976 fps (which is what MPEG-2 calls it). This means that for NTSC DVDs you can only use MPEG-2 video files which are marked as 29.97 fps. This is true whether your encoder (like Compressor) is letting you be aware of it or not. There is no "native 23.98 frame rate" on a DVD and the right way of making the decoder believe it is 29.97 instead, is to use 2:3 pulldown. Any other method would just be wasting bandwidth/bitrate or picture quality, depending on which way you want to look at it.
The 2:3 pulldown process, as specified by MPEG-2, is a way for the encoder of describing to the decoder which of its already decoded fields it should be repeating (displaying once more) and when. These field repetitions are designed to increase the interlaced displayed frame rate from 23.976 to 29.97. This "new" frame rate must be explicitely written into the .m2v stream, to be accepted by a DVD authoring tool, e.g., DVD SP.
I am sure many of you may wonder why it is called "pulldown" when in fact the frame rate seems to be going "up" from 24 to 30, as I did myself back in the nineties;-)
The way to wrap ones head around that, is to think about what whould happen if you just mapped 24 FPS film frames onto the NTSC TV standard which has to display frames at nearly 30 fps on a TV. Of course the movie would run 25% FASTER on a TV than it did at the cinema/picture theatre. In that perspective, the solution had to be to SLOW DOWN (pulldown) the presentation speed on a TV. The engineers of that time (this was long before color TV was even invented)
were faced with a need for film (Hollywood movies) to be translated for TV broadcasts). Of course they could not change the 30 fps used for TV broadcasts (29.97 fps came much later when colors were added;-), so they had to come up with a scheme which made each film frame seem to last 25% longer on the TV screen, than it would have otherwise. "Pulling down" the display frequency from, the physical 30 fps to match the experienced 24 fps was accomplished by letting every other frame be displayed for 50% longer on the TV. On average that is of course 25% longer (slower) which was the goal.
I may be monitoring this thread for further comments.
BTW, BitVice 1.7 runs surprisingly well under Rosetta.
Roger Andersson / Innobits AB, Makers of BitVice MPEG-2 Encoder for Mac
http://www.innobits.com/
As per Apple Discussions Terms of Service:
"I may receive some form of compensation, financial or otherwise, from my recommendation or link."

Serious problem with a color correction

Ok so here´s the deal....
I have a 83.62 Gb quicktime movie file. It came from a Black and White color corretion made in Scratch and it was delivered to me wit a Uncompressed 32-bit ARGB codec.
I need to work with it on FCP, so i compressed it to Apple Pro Res 422(HQ) and then imported it to final.
While in final cut, a played the commpressed clip on the viewer and .....(HERE´S THE TRICKY PART).....it losses the color correction on the playback, but as soon as i pause it, it recovers the color correction again.
I´ve asked a few friends about it and nobody seems to understand what´s going on. The clip recognizes the color correction ONLY WHILE PAUSED. Not on playback, not even if I play it the Quicktime application. I´m completly lost.
I have a Mac Pro 2x2.4 Ghz Intel Xeon , with a 6 GB 1066 MHz DDR3 ECC memory and a ATI Radeon HD 5770 1024 MB graphics card. With FCP7 running.
I will greatly aprecciate your advice on this one!

Besides the fact that FCP plays videos at low quality for resources sake, I would suggest you export a two second clip (with current settings) and check about colour correction in quick time. If there is a problem convert original again in compressor but this time in the colour tab select the HD 709 colour space. The 709 space manains grading across conversions.
I underlined the 422 and not the 422 HQ but you get the gist...
Message was edited by: hyphen

Premiere Pro CS3 then After Effects CS3 for Color Correction?

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??
You can do color correction in AE and export a premiere project but premiere won't recognize the Color Finesse Filter so you lose all you color correction!
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.
Is this really the case that I can't use these expensive packages together this way? It seems like there has to be a solution! If Adobe just made it so Premiere kept the "links" to your filters in the project, instead of killing an unrecognizable one. Then when you opened it back in after effects after your edit your Color Correction would still be there.
Any one have any advice?
Thanks,
-Ethan

Thanks for all the suggestions guys, all good ideas.
Aanarav, Your idea to just get Color Finesse for premiere I suppose I could do. It's $545 which isn't exactly pocket change, but it would probably be worth it, if there is another way other than breaking the bank book for software I already own i'd like to try to get away with it.
Steven Gotz
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
Great idea here. I really thought it might work since premiere seems to use what are called after effects plugin files too. But after copying and pasting for a while it doesn't look like it actually sees it as a plugin anywhere I paste it. :( If anyone knows of a way to get that to work I would be seriously grateful!
I guess it sounds like the only way out is to spend cash, sigh such is so often the case is seems.
-Ethan

Work Flow with FCP and color correction

I am looking for a decent workflow between FCP and motion when I need to apply color correction to the clips.
I have a goup of clips in FCP that I would like to send to motion, animate them and send them back to FCP. Problem is I want to use FCP for the color correction- nicer than motion's. The, all bad options I have come up with are:
1. color correct in FCP and then send to Motion- will not work because filters are not applied in send.
2. Export the clips as one QT self containned movie- I lose the clip partitioning.
3. Exports individual clips to QT then into Motion- I lose the clip ordering
4. Color correct after I get back into FCP from Motion- clip boundaries are lost making applying color correction harder.
Any ideas?
Rick

I've done this two ways - both variations on the methods you have outlined. First and simplest and one I used last week on a PSP project was to apply the color correction to the Motion clip (.motn file) after it came back from Motion. This is simple and easy, but if you've done titling, you may not want to color correct that.
The second is as you said to render and export a self contained movie, then import it and copy it onto the timeline above the original clip that produced it, thus (at least organizationally) maintaining a connection between them. I then send the quicktime to Motion.
Sorry I cannot think of another better way of doing it...
Patrick

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

CS4 - Color Correction Bug with MPG2 export

I just want to verify this is a bug others are seeing before I submit the bug report.
1. Create a new timeline of your choice, (size etc does not matter) Make sure "maximum bit depth" is selected.
2. Next, place a clip of your choice (HDV, AVCHD, or EX1) that has bright sceen in it so the IRE hits 110.
3. Place the Fast Color Correction or Three way color correction effect on the clip. Change somthing (like white balance or whatever)
4. Export the clip to MPG2 BlueRay. Any preset will do.
5. Now bring the just exported M2V clip back into the project and place it on the timeline. The max IRE value will be 100, not 110.
6. If you do step 4 but export the H264 BluRay, the IRE will stay at 110.
I was doing some CC and it was driving me crazy.

Bump. Has anyone seen this problem? Seems like a very comon workflow. CC a clip, then export the MPG2?

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

Exporting Movies Losing Color Correction

I have a movie created in iMovie 08 that I've used color correction on the clips. When I export the movie to an .m4v file or .mov file, the movie plays as expected with the color corrections applied.
However, If a most the .mov file to the web, or convert the .mov or .m4v file to an .flv file for playing in a Flash player, all of the color correction is lost and the video clips return to their originals, which is too dark.
Why am I losing the color correction?

I am using Flash CS3. Here are steps I am taking to import the video:
1. File > Import > Import Video
2. Selecting Videos (I've tried converting both .mov and .m4v files)
3. Selecting "Progressive download from a web server"
4. Choosing Flash 8 - High Quality (700kbps) profile
--- Under Video > Video codec the only two options I have are On2 VP6 or Sorenson Spark
Does this help? Please let me know if there's something more specific that would help answer the question. I'm technically competent, but new to video conversion.
Thanks for the help.

Bad color tint added in m2v encode process

I figure DVD Studio Pro people may have this issue because it involves compressing m2vs
I exported some footage that I had color corrected very specifically, but after it goes through Compressor in an m2v conversion, it comes with this awful red tint. I can go back to the original movie and try to overcompensate, but I shouldn't have this problem.
Anyone else experience this?

Ick...
1) until you know the exceptions to the rule, always use PreparedStatement, never Statement.
2) your database is smart, if you use it smarly. The worst way to use it is as a totally dumb repository of data which you load into your application, as exemplified by your login code.
3) Your resultset is automatically positioned in the right spot for iterating when you recieve it; you don't need to call result.first(), and when you call result.next(), you're moved to the 2nd record, your code skips the first user.
4) Since I almost never use first(), I can't be sure, but I think it fails when you have an empty result set, that might be what's giving the cursor state message...
I'd code this as:
    try{
      // correct the SQL for whatever your column names actually are
      statement = conn.createPreparedStatement("SELECT COUNT(*) FROM USETS where un = ? and pw = ?");
      statement.setString(1,user);
      statement.setString(2,pass);
      ResultSet resultset = statement.executeQuery();
      resultset.next();
       if ( resultset.getInt(1) > 0 ) found = true;
    }catch(Exception ee){
      ee.printStackTrace();
    finally {
      statement.close();
    }One real problem this has is that it's passing a cleartext password over the network; of course your design is storing a cleartext password in the DB, which is also less than ideal. Many secure applications don't actually store the password, they store a salted MD5 hash of the password; when a login request is recieved, the submitted password is hashed and compared to the stored hash.

Color correction lost in m2v

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