Color correction - match two scenes

Hello
USING CS4
I posted this question earlier this week but got no response. So I decided to repost with a link to the video.
I need to more closely match the colors of the wall in this sample exceprt clip
http://www.youtube.com/user/rowbyville?feature=mhw5
In the wide shot the wall has a creamy background. In the second close up insert shot, the wall is a harsh white.
I need to get the harsh white wall to match the creamy color of the wide shot.
For this test I have repeated the shots over and over and over
Thanks for any suggestions, Perhaps a good online video tutorial?
...Rowby

Hi Curt,
Thanks for responding.
I am trying the fast color corrector.
I am wondering, after I click on the white balance eyedropper and click on the white wall -- is there a way I could use another eyedropper to click on an imported TIF of the other scene (or on another monitor) so that I could "very easily" match or at least get closer to the actual color of the other clip.
Then at least I would be able to get to the desired wall color faster.
Or is, it, as I am suspecting, more than just matching the color...
I will also look on YouTube for some help on understanding the subtlties of all of the controls of the "Fast Color Corrector".
Your comments (and anyone else's comments) are appreciated.
...Rowby

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Color correction - matching color from two captures?

Hi, Shooting inside the same room with the same light, I seem to have got the walls a little more yellow in one of my takes. There is a subject (blue shirt) and a mechanical system (painted blue) with the background an off white paint on a block wall. I have used Color Corrector but can't seem to get it just right. Is there a way I can sample the color in a good frame, then use the sample to correctly match the incorrect segment? Thanks.

Here's a trick that may help. Try applying the 3 way color corrector filter, reducing the saturation to 0 and limiting the effect to high luma areas (the white walls). I had a shoot a few years ago with flourescent lights that created a color fluctuation that was only visible in white areas. This fixed it.

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
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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

MultiCamera Editing-Color Correction

I have done a shoot with two cameras. Loaded the two tapes into FCP and ready for MultiCamera editing. What if I would like to color correct the two clips to have them look similar, before I do the MultiCam edit. After the edit the clips are individual clips and need to be color corrected separately. I know you can copy CC to other clips, but it would be nice to CC the entire clip once, before doing the MultiCam process.
Thanks,
-carmen

Or, bring the clips into Color, do the grade, bake in the changes and send it back to FCP before multicliping the project.
If the original material is HDV, color will spit out ProRes files suitable for elegant editing.
x

Removing color casts, and correcting colors to match reference materials? any guides/tutorial/videos

I have been looking for tutorials showing how to use SpeedGrade. I am now comfortable with the UI enough to use it after watching these: http://www.youtube.com/user/AdobeTV/videos?query=speedgrade
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Some of the older 80's and 90's anime on film, the film has aged and that is where the color cast came from. There is also a loss of color information across the board. For instance in the below picture. The sky is supposed to be more blue instead of teal/sea green.
Another thing is back in the 80s and 90s a lot of Anime worked from limited color palletes; something like maybe 16 colors total, so a lot of colors are used repeatedly. So even with only a limited amount of reference material I should be able to get the corrections close. (I dont have reference clips for every single episode, only a handful of scenes from a handful of episodes.)
I have some reference material showing approximately what the colors should be. So my next question is if anyone knows of any tutorials/guides/videos showing how to use SpeedGrade to color correct a clip so that the colors match up with the colors used in a reference clip
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When I watched the websiminar: http://seminars.adobeconnect.com/_a227210/p738pxm9zs0/ at about 43 minutes into it, a feature is shown that automatically adjust the color using a clip that contains a colorchart.
I was wondering if a tool like that could analyse a clip start to finish, to create a pallete of used colors, and then compare that to the colors used in another clip and correct them. (a feature like this would probably be more useful/accurate in anime than it would liveaction but who knows.)
Another UI related question:
I did have one question, the only place I see to access the colorwheels is in the looks tab, my video I am working on, just manages to fit at 100% in the monitor.
So I would prefer to hide or collapse the different looks(maybe even with a hotkey) so that I can access the color tools that it is covering, I attached a picture of what I am talking about. I know pressing "P" hides everything at the bottom, and figured maybe there is already a way to hide/minimize/collapse the look presets to access the tools behind them without shrinking down the size of the monitor preview.

There is a special grading filter called "Color match" which can assist in cross-referencing the black/white/gray levels from one playhead to another but it's not documented yet. The suggested way to set black/white/gray points in Sg is to adjust it visually, using the waveforms as a guide, but there's no chance of doing that for something as small as a character's eye. There's no "eyedropper" picker on the primary grading panel because Sg isn't a correcting tool, but a cinematic grading tool. 99% of the time the end result of an Sg grading session is a long way from what the camera pixels actually recorded.
If all you are doing is reversing a color cast then Speedgrade isn't the right tool to use - you should be working in Premiere Pro (with the Fast or 3-Way Color Correctors). If you're a Photoshop person the UI is much more recognizable, it'll handle all the native footage you can throw at it, and you get your B-G-W eyedroppers.
In Speedgrade CS6 you cannot hide the Presets panel in the Look or Mask tab. The UI is really designed for use in a two-monitor system (which all professional colorists will have), and/or with a hardware controller (which means you can keep the entire bottom panel hidden).

Color Correction -- render does NOT match preview

Something seems very odd about Color Correction.
I select a clip that is too dark. I adjust the slider to lighten it up while previewing. It looks perfect.
Now I APPLY and the rendered video is very different. Typically now way too light.
So I adjust render, adjust render, adjust render. This seems a crazy way to do edit!
Why doesn't the render match the preview?
PS: Sometimes only part of a clip renders with the remainder being black. What's going on?

Hi
Not really knowing.
a. The tool in iMovie HD 6 crude near of no use
b. How do You judge the result. On Your Mac monitor - Not so good just an approx.
I connect my miniDV tape Camera via FireWire
Connect the analog out to a small TV/Monitor
Set in iMovie "Playback via Camera"
This picture on the TV/Monitor is very close to my final product
c. Color-correcting tool in iMovie'08 are better than in previous versions
BUT the link "Playback to Camera" Doesn't exist any longer (MAJOR FAULTH)
d. This made me taking the step over to FinalCut Express with Near Pro tools to
do this. And a setting can be copied and applied to several clips that need same
correction.
Yours Bengt W

Use color match results in color correction

I'm trying to do some color corrections on my video footage. Color Match gets me most of the way there, but I still need to tweak the color via color correction, and then even after that I think I need to use color mask. Color mask doesn't seem to work very well for me. I think what's happening is that the color mask is only operating on top of the color correction and is ignoring the color match (which is where most of the color change is from). It may be that I don't know what I am talking about, but is there a way to figure out exactly what color changes were made via color match and then apply them manually as a color correction instead?

Nope sorry. Add it to the feature requests. It would be great if all these auto corrections actually used the color panel and showed what they were doing, similar to white balancing in the 3-way.

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 dilemma-puzzled

Hi
I have FCP3 on a G4 733 Apple. I shot some footage with a Panasonic 100A. I neglected to keep the white balance Auto function off or set it to preset mode. The colors shifted back in forth from warm to cooler. I attempted to correct this with the 3 way and 2 way color corrector filters. I tried the tint filter. It seems to get closer to matching the colors than the color corrector. My problem is the colors on the tape cross-faded into each other. It wasn't a straight cut. I wanted to use the pointer and take a sample from the clip that had the colors I wanted to use and copy it to a key frame or another clip so that I may maintain color continuity. If you have a solution it will be appreciated. Thanks.
Kim

did you get this figured out? this a huge problem, correcting for gradual color temp changes but it can be fixed. the ATW on the panasonic is great and i confess, i use it a lot but i also have the ATW Lock feature mapped to the user 2 button so once the auto white gets to where i want it, i can lock it. it's no substitute for manual white/black balancing, however.
there two ways to approach this and various methods for both ways. which ever way you choose, i believe it's best to isolate the color temp changes by placing edits points before the color changes and after it finishes.
one way is to match the shot you think looks best and the three way color corrector is the only tool you need for this job. find the scene you like best, apply the three way to everything else. use the match hue function to bring those other shots to match your main shot. you may want to futz a bit with some of the other levels as the match hue, while doing a decent job, isn't perfect. copy the three way filter from one of your blue shots to the clips you made that isolated the color temp change. apply it. you'll need to keyframe the levels to match the color change accordingly. painstaking but doable.
the other method is to take all the clips to fcp's version of white and i think i would do this. make a sequence of only your clips you want to color correct. isolate the color temp change again. apply the three way to everything. use the auto white function to change everything, except for the clips containing the color temp change. on those clips you will layer a copy of the three way filter from the previous clip and a copy from the following clip. if you keyframe each filter appropriately, you won't see a color change. once you have this sequence tweaked to the where everything looks consistent which is the goal of this method, export a new self-contained quicktime clip and use that instead of your original clips. apply color enhancement as wanted. very painstaking but also doable. you won't have the original timecode to use but if the edit isn't completed, not a big deal.
it's all painstaking. the least amount of work is the captain's original mention of making it all black and white! one good thing though, you'll remember this and it won't happen again.

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 in Final Cut Express HD

I'm editing a stage production of A Midsummer Nights Dream that was shot on two different cameras. The set is very bright and vivid, and i have read and re-read the FCE Help page on the color correction topic. I have corrected my master shots (wides). What i want to know is how i can adjust the colors of my close-ups:
1. the subject (Bottom in this case) is lit in a blue light (moon light).
2. the set (the woods) are lit by a bright green light.
What I want to do is match the colors to the master, but if i adjust to match the blue light on Bottom, the background loses its bright green. Likewise, if i try and make the green brighter to match the master shot, Bottom turns green too.
The help file mentions Limit Effect, but doesn't expand on it. Bear in mind i'm an 18 year old student, i pretty much need to be spoon-fed a solution!
Any help would be very very gratefully recieved, as i'm a bit pushed for time and trying to finish it this weekend (A-levels are looming...)
Thanks in advance,
James.
iMac G5 Mac OS X (10.4.6) 17", 2.0GHz, 1Gb RAM

Limit effect is not going to help you in this case. You really need to control the overall image and get a balance between the wide and the CU. Color match Bottom's skin tone so it appears correct to you. Leave some of the blue cast to not lose the moonlight effect. Then color match the wide shot so that it has the same look as the corrected CU.

Color correction, muzzle flares and smoke questions

A couple of days ago I directed an action sequence called 'Silent takedown' using Premiere CS5 and After Effects. The goal was to do a very fast paced editing style but still within the realm of 'classic' action films from '90 like Face/Off and Mission Impossible 2. I've got some question regarding visual effects done in After effects. Tell me if you thought they were good or bad. Also the color correction was done in AE and PP. Does the overall movie look good?
Here's a full link again: http://www.youtube.com/watch?v=O62_hYOmlaY
Thanks for watchin'

Well, aside from it being quite disturbing to have a team of 14 year olds turning everyone to blood soup it's got some great camera work.
Your first mistake might have been thinking there's anything worth copying in mission impossible 2. Sorry, had to be said.
Todd's right. The clouds of blood is comical. Maybe tone that down? Right now it just looks like a string of video copilot tutorials one after another. You need to hide effects, and make them feel seamless.
Ask yourselves what are you trying to showcase. If it's post production, you have to tweak those effects and make them look classy. There are shots where bullet holes are appearing in glass and there's little breakage, and no reaction from the actors. You can't just glue in effects. If the actors don't react, you can't use the shot, or it should be changed so you don't notice. Add a shake etc.
If it's editing, then that has to be solid too.
You've got time shifting all over the place without it being stylistic. For example, the guys who walk up off the top are shown in a wide shot that you re-use for the security cam. They enter, put their masks on, walks softly up to the guards and take them out, but then we are inside and the scarface guy is watching action that happened minutes ago on the monitor. If you're going to jump around in time, you need to find a stylistic way to do that. Why not bring the scarface guy's scenes into the lead up, show the monitor, (drop that long shot at the top) to introduce the guys sneaking up. This introduced tension (will scarface notice???) gives you an idea of who the guards are watching out for and drops that opening super wide of the two kids going up against the wall. That shot doesn't work because when you show them super-wide, you get a feeling for how exposed they are and what a terrible job they're doing of "sneaking" up. But it works as security cam footage...
Another example is when you have one of your agents say "good morning gentlemen. He says something strange to men who are in masks and they give him enough time to put a gun to his head and pull the trigger in spite of the face that they're holding their own guns. Then you have the camera exposure flash cuts to the other agent sneaking up...
If you want to make this effect work, you need to use editing to explain why the second guard didn't reflexively shoot the first agent. have the agent say, "good morning gentleman" and start the action of raising the gun. Then flash cut to the other agent sneaking up, then back the the first agent shooting, then back to the second guard being shot. Then all of a sudden you have a frenetic action scene. Right now the pacing feels slow and unrealistic.
The effects go off the rails a bit at the end. The muzzle flashes don't aim in the right direction, and the particle smoke becomes very obviously added in post. One shot in particular is a dude walking through a black smoke cloud from behind a van. Loose that smoke in the second to jump cuts. And if oyu're going to have a smoky enclosed space. you have to add atmosphere in other shots.
If you're not going to use practical effects for the gunshots, you need to cut away. Having a guy explode with particles and stock footage will always be "funny" without having some squibs on set. I know it makes it harder and more complicated, but you have to have the whole package, or it'll always just look like kids messing around and...
... oop, my render is done.

Color Correcting Help!

I shot a bunch of timelapse clips (12 and 15fps) with two GoPro3's and transcoded them in the GoPro software, Cineform Studio, because PP5.5 apparently does not natively handle MP4's. I made them universally 1080 and 29.97fps AVI's for import into Premiere 5.5 (on my mac).
While doing so, I also did minor color corrections. However, as I start to lay them side by side in Premiere I see that I did a poor job and that they look very different.
As a result, I have two problems:
1) I have no idea how to use Premiere's color many correcting tools.
2) Assuming I can figure a tool out, if I must correct each clip in the sequence individually, then there is no reason why I will not again make them all look different from each other.
Is there a way to make all the clips conform to a target value, with each changing the appropriate amount from it's own, current values to match it? For example, can I take one clip, adjust it's values (basically just white balance, brightness and contrast), and ask the rest to match it regardless of how close or far they currently are from it? I hope I've asked this question correctly.

The Three Way Color Corrector is probably the
most intuitive CC effect for a beginner in a hurry.
Here are a couple of short tutorials:
Three-way Color Corrector effect (CS6)
http://helpx.adobe.com/premiere-pro/using/three-way-color-corrector-cs6.html
Using the Three Way Color Corrector
http://www.video2brain.com/en/lessons/using-the-three-way-color-corrector
You can copy > paste the Three Way Color Corrector effect
from one clip to another as a starting point for additional clips.
Also, you can use an Adjustment Layer to apply a single
color correction effect across multiple clips.
Here's a short tutorial + documentation:
Using the New Adjustment Layers in Premiere Pro CS6
http://tv.adobe.com/watch/cs6-creative-cloud-feature-tour-for-video/using-the-new-adjustme nt-layers-in-premiere-pro-cs6/
Adobe Premiere Pro Help / Adjustment Layers (CS6)
http://helpx.adobe.com/premiere-pro/using/help-tutorials-adjustment-layers.html

Color Correcting an Already-Edited Multiclip

So, I'm not that bright. I edited a 2 hour multiclip only to realize at the end that I wanted to do some color correcting on one of the angles to match the other two. Is there a way for me to color correct an entire angle all at once without having to re-edit the multiclip or copy and paste the filter onto each clip in the multiclip? Thanks.

Oh yeah ! paste attributes etc etc, it's brilliant, digital editing isn't it!
I was not quite certain you wanted the same cc for the whole 2 hour clip!
Haven't you got a lot of coninuity light problems ?
Pity I was hoping to find out if the reconnection worked. It should do if you had time code and the other meta data is the same, but maybe the cc instructions would interfere!
Best wishes
john

Color Correcting Multiclip

I have alread compiled my multiclip and I am wanting to color correct one camera angle to match the other two.
I've read you are supposed to do this before you edit the multi clip but alas I didn't do that.
So is there an easy way to correct this one angle? If I correct the first instance of that clip in the timeline it just does it to that first clip and not all of the remaining clips.
Any thoughts?

Alright, thanks again for taking the time to help me out.
So I made a quick screen recording for you to look at instead of a screen shot. Here it is.
http://youtu.be/IKSzWsZRgSc

Color correction - match two scenes

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