Color Correction split screen comparison

I'm looking for a way to Color Correct a Multiclip made up of 3 angles from an interview.
I would like to do a split screen so I can match colors of one angle to the next.
FCP had a thing where you could split screen and select part of the screen as last edit, next edit, in point etc.
I only see in Premiere to do a comparison split screen of the CC on and off.
Thanks
Paul

Simply I would line up whichever was the Reference Clip and and CC / grade the other to match.
Check with scopes later but primary work is done to "eyeball" and in the case of the 1st Clip..Use the Reference Monitor with a scope.

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Best procedure for setting iMac screen for color correction

Hi All
I know the iMac screen is not ideal for color correction, but I would like to know the best way to set the color space of the iMac screen to achieve the best possible result when color correcting.
Specs: iMac 21.5” 3.06GHz Core 2 Duo
Cheers
-j-

use Generic RGB
any other profile is for colour managed still photography

Workflow for Green Screen Multicam, Color Correction. (CC 2014)

Hi
What is the best workflow to do a music video shot with 7 cameras (each with 4 takes) on a green screen which would also include green screen stills.
All shot with Consumer Grade cameras at 1920/1080 at the highest resolution (I think 30 fps)
The way I am going about is not efficient.
My tasks are:
Key each 20 minute clip (to get about 2 usable minutes)
Rotate my DSLR video (shot in landscape so I could take stills as well)
Color correct all clips
Create a new cleaned up movie for each clip including: Proper format. Keyed with new background, Color Corrected, Re-encoded as a new movie, Re-imported as 7 new movies, begin to edit.
I was watching some movies about pasting attributes which look helpful and also about nesting sequences which looks like it could save time.
What is the best workflow steps to do all this? Am I going about it the right way by creating new movie clips which are keyed with a new background, color corrected, and reencoded including all the garbage footage? Then create a new multicam project to edit the cleaned up footage?
HELP!

Temporary solution for this was "export xml" after all. I had to disable all graphics and textlayers and delete colorcorrections, and flatten multicam, so i had to redo all grading ja graphics stuff in older premiere after importin FCP xml. But got the work done in time. Won't use cc 2014 in near future unless someone figures out what is wrong with green frames. (well actually now im exporting from older AME, will she if the green frames pops out there too, wouldn't be too much surprised....)

27" iMac split screen problem?

I went through the other threads but did not see a similar issue to this. I've had my iMac for a couple of weeks now with no problem. Today I was using it and this thick red/purple vertical stripe appeared all the way down the monitor, seemingly distorting my background image. After a few minutes the red bar went away but my screen now looks like a split screen with the left side being slightly darker than the right. The split screen only impacts the coloring, the Icons and everything still show up in the correct place. Has this issue been seen by anyone else?

Check MacRumors there was a picture of an IMac with similar issues there.

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

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.

Multiple Secondary Color Correction Possible?

I'm having a strange problem trying to use the secondary color correction inside the 3 way color corrector. It seems to work ok for the 1st filter, but if I try to use it for a a second or more instance of the filter, it seems to behave strangely or not at all.
I can select a color using the eyedropper, and sometimes it will show up in the color swatch, sometimes not.
If I chose to show the 'mask' of the results, it will usually show the clip as white in the program monitor, so I can't see where I'm masking.
I have a feeling that this might have to do with multiple masks interacting with the secondary color correction, and they somehow counteract each other. It doesn't seem very intuitive about how to fix it though.
I'm also noticing pretty intense banding with the 3 way, I know I can smooth it with the other controls in the color corrector, but I'm also wondering if this might have to do with some secret sequence or screen preview setting that I may have read about before.
Thanks for any advice.

The mask should change from white to composite image when you select the left-hand eyedropper. Is this not happening?

Color Correcting Monitor on Set

Not quite a FCP question, but...
We have a monitor on set that is used as part of the background. Of course it comes up blue on camera. I've tried adding various amounts of a red overlay to my projects, but I still can't seem to get it right. I know there's no magic formula, but does anyone have a suggestion of how much of what color to use that would at least get me in the ballpark?

Your monitor is white-balanced for a color temp of approx. 5600K (Daylight)and your studio lighting is most probably running at 3200K ("Tungsten"). While "CTO" gels can be put in front of the monitor screen to color-correct for the difference in color temp., your other options are to re-balance the colorimetry of the monitor (tricky at-best if there isn't a menu selection to do so), or to light your studio with 5600K lighting fixtures (either Compact fluorescent or "HMI"(Very expensive to rent HMI fixtures). I'm an engineer in the television broadcast world, and I've been dealing with this problem quite regularly over the years. Your own eyes can correct for color temp. differences, but a video camera's imaging sensors have to do it electronically.

Color correction for PrE 10 ?

Are there any plugins available for PrE 10 to do proper color correction ?
By default there is a 3-way color corrector but it is quite limited (no range definition for midtones, no secondaries). There is a "Color Fixer" in NewBlue Video Essentials but it appears to be mostly automatic. Basically what I am looking for is something similar to Colorista or Color Finesse that is compatible with PrE.

As Premiere is not a Color Managed Workspace, the calibrated computer monitor will not be 100% correct. To do advanced CC, I think that you will find Adobe After Effects (a Color Managed Workspace) to be more what you are looking for. PrPro adds many CC Effects, but is still not a Color Managed Workspace, so one needs to output to a calibrated broadcast monitor for critical CC work.
Also, as Video is likely displayed on myriad devices, from computer monitors to a plethora of TV sets (of various levels of calibration), one can only CC to broadcast standards, and then hope for the best with the viewer's equipment. PrE is designed for consumer output, where PrPro includes broadcast capabilities and After Effects is designed around broadcast. The difference between PrE and PrPro is similar to a comparison of Photoshop and Photoshop Elements, in that Photoshop offers CMYK output for commercial printing, where PSElements does not.
Until fairly recently, PrE offered scant few Effects to manually CC footage. The addition of the Three-way CC Effect is a big bonus, but as you have found out, for broadcast work, it is lacking.
I do not know of any CC plug-ins, that will function better in PrE, but places to look would be the NewBlue FX portfolio, and the Red Giant portfolio. Also, make sure that when checking out host applications for their plug-ins, you see Premiere Elements, as most will work in Premiere Pro, but fewer in Premiere Elements, due to differences between those programs.
Good luck,
Hunt

Problem with split screen quicktime movie to iDVD

hey folks, i've just spent two 6-hour renderings for naught and have the following problem:
QT Pro 6.5.2
iDVD 5
OS 10.3.9
I pulled together a Quicktime movie consisting of talking head interview, then split screen (two clips simultaneously), back to talking head, then split screen again, etc etc.
the first time i rendered the composite Quicktime movie to iDVD, my split screen background was a sickly lime green color. blech
so, i added a black slide in TIFF format ONLY to the split screen video portions. played around with the Layers property until my split screen video clips were in front of the black background. recut and pasted my full Quicktime movie again.
However, upon my second iDVD rendering, a funny thing ocurred. Now, when the DVD gets to a split screen portion, the VERY LAST FRAME OF THE PREVIOUS TALKING HEAD CLIP freezes, and appears in the background of my split screen clips.
What gives?
I plan to do some testing, but sure would like to shortcut this problem, it's eating away at my weekend and i need to get this project done.
thanks for any insight you can give
mike

Some ideas given in your iDVD post:
http://discussions.apple.com/thread.jspa?threadID=958281&tstart=0

Color correction doesnt come through well on DVD project on TV

I burned my short film onto a DVD and played it back on a SD television. The film has many color grading tweaks and I noticed that they barely come through on the TV. Definitely not representative of what i have ont he timeline. Any clue as to why this is?

cfg_2451 wrote:
VidNoob wrote:
I burned my short film onto a DVD and played it back on a SD television. The film has many color grading tweaks and I noticed that they barely come through on the TV. Definitely not representative of what i have ont he timeline. Any clue as to why this is?
Does your monitor show you the Rec.709 colorspace? And is it fully calibrated?
If not, you're not getting WYSIWYG, so there's no way you can know what the output is going to look like without burning a DVD and playing it. Then you can iterate, making changes in PPro and burning more DVDs, until you get what you want.
Very few computer monitors can show you Rec.709. To get that, you need either a production monitor, or a fully calibrated HDTV (look for one that's easy to calibrate (supports ISFccc Calibration Mode). If you use a TV, you need to make sure you're getting the proper signal to it also, but PPro using the NVIDIA graphics boards can do this without extra hardware (driving the HDMI port). If you set the driver up correctly.
But if you don't have a production monitor, or a calibrated HDTV, you're really just shooting in the dark when it comes to color correction and especially color grading. Not what you want to hear I know. But that's the current state of the art.
I'm pretty certain it doesnt show the rec.709 colorspace. My monitor isnt even widescreen. I actually had no idea about the rec.709 space until just now when you mentioned it. I am a vidnoob hence the screen name
I have a geforce 560TI card. Do you know if I can buy a cable that goes from the card to maybe an S video adapter I can plug into the TV to then color correct my project on the TV when doing things intended for TV playback? There's a DVI port on the back of my graphics card and my TV has an S video female port.

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."

Color Correction for movie theaters

I am currently editing a commercial that will be played in a couple of local movie theaters before the movie previews. I am in no way a professional and I'm kind of a Color newbie. I am working on a Mid 2009 15" MacBook Pro with HDV 1080i60 footage. The MBP's display is great and I'm happy with what I've done with my footage but I'm sure the color will look different in the theaters. I was wondering if anyone had some advice on how to color my footage differently for theaters.
I have referenced my color corrected footage on my 22" Dynex TV and it definitely looks a little darker and "warmer", so I'm a little afraid of giving my clips too much of a warm tone (which is the tone I'm going for). I'm also thinking about connecting to a projector to get another reference there.
Let me know what you guys think.
THANKS!
P.S. I have a technical contact number from the theater that I can call if it might help to ask them about it.

Are you delivering a video tape format like HDCAM SR/D5, supplying a QT file or printing back to film.
If its either of the first two methods the main thing is to preview your edit on a properly calibrated (the correct color space and gamma curve etc) monitor or preferably a projector in a suitable grading environment. If it looks good there then it should be ok to go - if the theatre has a properly calibrated set up as well.
As mentioned already you also may want to take into account the environment its likely to be screened in e.g brightness etc and adjust the grade accordingly, as peoples eyes will interpret the visual material differently under different conditions. Though in reality obviously you cant take into account every circumstance it may be shown in - the best thing to do is make sure it looks correct under optimal conditions using correctly calibrated gear.
If you are printing back to film - take care. Going to a film out out is an extremely sensitive and complicated process.
For a start you should really know what stock you are printing back to? You should find this out and obtain a LUT (look Up table) that will emulate this stock on your grading monitor so you know exactly what the final product will look like.
What process are you using to go to film?
I would contact a local post house and ask to speak to their Digital Intermediate specialist.
Good luck
JB

Color correction query

Hi There,
Following gaining a successful resolution to this issue using the 'Screen' mode of the Opacity function, I have now encountered a slightly different issue. Having layered multiple frames, I am experiencing an awful lot of what I think you might call 'noise'. The more I layer the frames of black, the more I lose the pure nice black colour of the night sky and it becomes lighter and more blurry and grey. Is there a color correction or other such function or technique that might eliminate that noise and maintain the clean black color?
Many thanks,
Jim, U.K.

Hi Jim,
Thanks for taking the time. I'll try to explain. So I took a continuous frame of some lights in the dark on the skyline that looked like this...
The frame moves around so they're in a different position on the screen, so I chopped it up and isolated those moments before layering a few frames and adding 'Screen' opacity to it. Effectively therefore the lights appear numerous times in the frame. Here's one of about 5 layers...
Effectively I wish to have these lights all fan out and fill the screen but as you can see the image is becoming grainier and grainier the more I layer and nest the frames. Here's what it looks like after 10...
Not pretty I'm sure you'll agree. I hope you can see what I'm trying to do though. I'm no expert but presumably there is some sort of technical term for the way that the multiple layers of black are obscuring the quality of the image. It's not your average difficulty I admit but if you know of any method by which the body of the image can be restored to that nice dark black whilst the lights remain clear and sharp then you would rescue me from an ongoing frenzied Googling session.
Kind regards,
Jim W., U.K.

Color correction shape mask keyframes!!!

Using FCPX for color correction, but when I add a shape mask and animate it using keyframes, I have no way to smooth the keyframes and control their smoothness!!! Someone PLEASE tell me I'm just missing on the way to do it... I tried everything.
Thanks

I created some animatable masks (keyframeable on-screen control points). It's three keying effects: a single 4 point mask (like the one that comes with FCPX), a two 4 point set (essentially an 8-point), and a four 4 point set (essentially a 16-point.)
Please watch the video for best use guides. Most of the time, layering on 2 or more single 4 point mask shapes is quite addequte to do most of your masking needs.
http://www.youtube.com/watch?v=H_l2K6rXwGw
These effects are free. You can use them any way you like, but please don't redistribute (or sell) them -- direct people to the above link instead.

Color Correction split screen comparison

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