Color correction with a HD TV

Can I use my new Panasonic HD TV model TH-42PX80U as a NTSC monitor for secondary color correction using both Final Cut Pro out of a Macbook Pro intel? What cable I can use to conect via HDMI? Will the color acuracy will be similar to that of a NTSC color correction monitor? will my TV do a decent job for NTSC? THANK YOU FOR YOUR HELP!
I am not sure I have this HDMI cable to be use in my macbook pro does it comes with it?

I have to go back to the avid because they work on avid: adding titles, outputting to digibeta and so on
FCP does all this..there are hundreds of editors and facilities doing this daily, on broadcast television shows. I have been doing this for over 2 years.
As far as I know, there is compression-decompression going to tape and back even in fcp, so there IS a little loss.
Where did you hear that? It is incorrect. Outputting via a capture card to digibeta results in no quality loss whatsoever.
If you have an "official" source of information saying otherwise, please do let us know.
I looked at the AJA website and Decklink website and neither of them say that they compress-decompress upon output. If footage is captured via firewire, there is no quality loss, as was done on the Avid...and similarly with FCP. If you capture with a capture card as a different codec, it will compress it into that codec, but depending on the codec, there is little loss, nothing you'd notice. But Avid does the same thing, capturing to a different codec will result in unnoticable loss in quality. Outputting DV to digibeta...there will be a conversion to the digibeta format, that is unavoidable...on AVID as well as FCP. But again, unnoticable.
Can you point to an "official" Avid site that says there is no compression-decompression upon output?
the broadcast safe filter doesnt cut illegal blacks, cuts off only the values that are too high.
Uhm...where did you hear that? It cuts off the top and bottom. Although I don't rely on this solely...I color correct each clip until it falls within range, then add the Broadcast Safe filter, just in case.
FCP handles adding titles and outputting to digibeta, but then you'd need to invest in a capture card. But, since you are in DV land, why not output to a DV tape and then they capture that DV tape...that is a lossless transfer?
Shane

Similar Messages

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.

RED Raw color correction with "curves"

Hi there,
i was wondering, if, when i am color correcting RED Raw files with the effect "curves" (for example) am I working with the full dynamic range of the RAW footage?
Is the range different, if I work in the RAW-Ediotr that i reach through the "interpret footage" dialogue box?
We are trying optimize the workflow for a certain project and would rather use effects on the footage layers, rather than interpret them (yeah, we´re really lazy).
Thanks a mill,
Björn

Yes, you are working with the full range from the .r3d files when applying effects in After Effects. In fact, you have more problems with colors clipping if you manipulate things like exposure in the RED settings than if you manipulate them in After Effects with effects (though that is better now than it used to be).
You should work with your project in 32-bpc color to make sure that you're preserving color information all the way through the pipeline.

Color correction with third party options

I have been shopping and researching for a third party plugin for FCPX for color correction/grading.
Specifically, I have been looking at options like HyColor Pro and Hawaiki AutoGrade ... I asume, these options are utilizing the built in color controls found in FCP and offer a different UI context for manipulation.
Since I currently am not using such an option, If I use a third party option, and want to sync the look to other clips, is this possible with the "Match Color" feature.

Hi,
As the error message suggests, it is not supported to add this app into a site template. To work around this issue, it is recommended to remove this app from your
site before saving it as template.
The KB article below would provide more details about this issue:
https://support.microsoft.com/en-us/kb/2885566?wa=wsignin1.0
To install this app to the specific sites you want in a batch, administrators can also use the App Catalog to push apps to specific site collections, managed paths,
and site templates.
More information about this:
http://blogs.msdn.com/b/richard_dizeregas_blog/archive/2013/03/04/sharepoint-2013-app-deployment-through-quot-app-stapling-quot.aspx
https://msdn.microsoft.com/en-us/library/office/fp179896.aspx?f=255&MSPPError=-2147217396
I would also suggest you submit a feedback to the Office Developer Platform if there any expectation about the future version of Office 365 SharePoint Online:
http://officespdev.uservoice.com/
It
is a place for customers provide feedback about Microsoft Office products. What’s more, if a feedback is high voted there by other customers, it will be promising that Microsoft
Product Team will take it into consideration when designing the next version in the future.
Thanks
Patrick Liang
TechNet Community Support
Please remember to mark the replies as answers if they help, and unmark the answers if they provide no help. If you have feedback for TechNet Support, contact
[email protected]

Color correction with .mts files

Hi,I´m editing .mts files in premiere pro, but I want to do the color correction in a diferent program, but since must of the programs don´t support mts files, what would you recomend? after that, I want to get back to premiere to finish my worflow, but I don´t wan´t any compression, any advice? I would love to correct in Da Vinci..

YOu want to color grade this in DaVinci...which doesn't support .mts...but you don't want to recompress the footage into something that DaVinci will work with? You don't want ANY compression? Not possible...if you want to go to DaVinci. You will need to compress to something it recognizes, and then guess what? You will compress again when you render out of DaVinci...but if you send ProRes or DNxHD the recompress won't really have any degredation.
or use Speedgrade...

Color correcting with curves

I'm following an old tutorial on color correcting images from digital cameras using curves.
1. Is using the curves to color correct more accurate than using levels?
2. It has me enter for shadows: r=20, g=20, b=20 highlights:r=240, g=240, b=240 and midtones: r=128, g=128. b=128 and to save them as defaults. What are these values based on? Are these values good to use for all digital images?
3. It also has me set the default RGB working space to Adobe RGB (1998). Is this still the best color space for working with digital camera images?
Thanks

function(){return A.apply(null,[this].concat($A(arguments)))}
StanWelks wrote:
1. Is using the curves to color correct more accurate than using levels?
2. It has me enter for shadows: r=20, g=20, b=20 highlights:r=240, g=240, b=240 and midtones: r=128, g=128. b=128 and to save them as defaults. What are these values based on? Are these values good to use for all digital images?
3. It also has me set the default RGB working space to Adobe RGB (1998). Is this still the best color space for working with digital camera images?
No, No, and No.
The long answers are more complicated.
Curves is not more accurate than levels, just different. Curves is just another way to manipulate image data. You can do more complex things with Curves than you can with levels - for example by setting multiple points. Though I'm not quite sure what specific defaults you're being instructed to change, I don't think I'd change any defaults per one tutorial if you're not familiar with Photoshop. Use Photoshop with Adobe's defaults until you understand why you'd want to change them. Otherwise you'll get used to it working a different way than everyone else, and that could cause ongoing confusion.
Your working space choice is basically defining the default way you want to work, and there's no one "right" setting. Your choice will be highly dependent on what you do with your images after you Photoshop them, and how you want it to act when there are choices to be made. Again, I'd suggest leaving it on Adobe's default (sRGB) until after you read up on color management and really understand why you want to use one color space or another. It's a big, complex subject that will take some time to get one's head around, but it's well worth doing.
-Noel

Color Correcting With a Broadcast Monitor?

I have read the threads and recognize that it is suggested to color correct on an external monitor. I saw a few suggestion that you could use a standard TV with a blue filter to replace the blue only switch. Is there an advantage to color correcting on my LCD TV rather than my powerbook?
Thanks

I'm sorry, I literally wrote the word "NO" and was called away, for some reason feeling compelled to hit "send".
In the sense of a real signal check there is little difference difference between your LCD as a video monitor and seeing it on a computer monitor.
But:
- it' frees up screen space.
- it will probably be more adjustable and capable of getting closer to video gamma and color than the computer screen.
So I guess the answer should have been "Yes, but..."
The buts are:
- it still won't be close enough to avideo gamma and color to be useful as a reference monitor,
- the timing won;'t allow you to see motion artifacts and interlace as they really are.
To answer the last part: yes, it should be different going through the camera and receiving a video signal as opposed to the DVI.
But really not for color correction.

After effects color corrected clip not showing correctly in Premiere

Hello all,
I have recently made a short film with a few effects in Premiere and After effects CS4. I have used the Dynamic Link to accomplish this. I have added color correction with Color Finesse in After effects. The problem is I some of the color correction is not showing up in Premiere once it has finished. Some of them are adjustment layers and some are not and the ones that are showing up are diverse like that as well. I have rendered the footage and rendered the premiere time line, it fixes it at first but won't build a DVD the right way then the fixes just seem to disappear when scrolling through the timeline.
Is anyone else haveing this problem?
Do you think it's something wrong that an update will fix?
Maybe a new codec?

Describe the exect DL steps you took.

Color Correcting in Final Cut general question

I am finding I'm at the end of a long process with my feature film and I'm preparing to output and yet again I've run up against a wall of my ignorance...
1. It's a dv film I don't want to just output the film and then apply a color correct as I'm afraid of a lot of clipping...so I'm doing the individual clips through the film and I'm finding a lot of them I have to limit the rgb to 90 some go as low as 88, some are just fine at 100 or 97...it was shot on the dvx100 and I looked up the dvx and see it is geared for superwhite...but I want to prepare my film for broadcast...I wonder though if this is why I'm getting a lot that I have to limit the rgb to 90??? I wouldn't have known to tell the DP please don't use the superwhite settings.
So am I doing this right?
After I output the whole thing, do I color correct the quicktime again when I letterbox it (it's 720x480 to be letterboxed to 1:85:1) before encoding it for the mpeg2? Or if I'm doing it this way is it not necessary?
Thank you

Also is it stupid to do this when I already went through the film and applied color correction as what is bothering me is a lot of the color correct with the range check shows that little arrow that shows it's on the edge...those are the clips I'm bringing down to code because a lot of them the rgb is too hot...for just preparing a professional dv is it necessary to do what I'm doing?
I really want to prepare it once and not do different color corrects again so if what I'm doing above is correct for broadcast quality though it's going to look more muted on a dvd but maybe that's my confusion as many of the bright hilights giving it that look are on the verge or are clipped.

Color Correction Monitor

I know this question has come up before, but after reading some posts I thought I'd see if anyone had any feedback on this monitor.
http://www.bhphotovideo.com/c/product/469728-REG/JVCDT_V24L1DU_DTV24L1DU_24_MultiFormat.html
It's the JVC DT-V24L1DU 24" Multi-Format LCD Monitor with 1080p Native Resolution and HD-SDI.
I've got a Kona LHe card with HD-SDI I/O.
Could I do critical color correction with that setup? I'm not at the stage where my color correction is critical yet, but I don't want to be re-buying anything if I don't have to.
Any suggestions?
Lawrence

This isn't an area of color correction per-say but involves general engineering of all the different video signals and how to mix them up and travel back and forth and what not.
Generally speaking, HD video is in a completely different color space than Analog/Digital video. itu-709 vs. itu-601. How are those conversions handled? Is the device you're using accurate? It's just one of the many bains of video engineers that care.
I've heard but not been able to confirm that some JVC hdv cams are in the itu-601 spec which if true would totally throw off how FCP handles color space conversion and the nearest I can tell that it does this is simply through frame size.
How are you monitoring currently? Aside from this monitor, what interface is spitting that video out of your computer? Currently at my house, I use an Aja Kona LHe that spits out component analog to my PVM-14M4U. When I am working with itu-709 video, is that on-the-fly video downconversion completely accurate? Without external scopes I couldn't tell you but I'm relying on the the trustworthiness and reputation of Aja products. I've installed and use many of their products in various facilities and I know them to be of excellent reputation.
As far as your colors being far off, you tell me? Who's your viewing audience, what sort of display are they watching, how's that signal getting there?
I'm hoping some of the more learned folks here can correct or corroborate any of the info I've related this morning.
Good luck, the water gets deeper and much colder very quickly the more you know.

Advice for logical workflow for color correcting and color grading

I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage. Can you advise me as to the most logical workflow for doing this in coordination with PPRO CS5? Are there some tutorials that you recommend? I subscribe to Lynda.com and I think that they have some great tutorials, I am unsure as to where to begin looking and what to search for.
Thanks so much,
Lisa

lisaellensegal wrote:
I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage.
You can do it that way, sure. But you don't have to. You can accomplish quite a lot without leaving PPro. This has two major advantages. First, if you aren't using AE for anything else, it gets you out of using AE at all, so gets you out of climbing another set of learning curves.
Second, even if you are using AE for other things (I use AE to make motion lower thirds, for example), doing the work in PPro can improve exporting speeds. This is because AE gets restricted to a single processor core in some workflows as discussed in this thread and others (search around if you're interested). This can make exporting take 3x as long or longer, depending on how much footage has to be processed by AE.
So, how to do color correction without leaving PPro? Use either a luma corrector or luma curve effect to set black and white points, and contrast (use a waveform monitor to help). Then use a three way color corrector effect to get rid of any residual color casts (use the vectorscope to help, and the RGB parade, etc.).
If you find you have specific colors that need to be fixed, you can apply another three way color correction effect and use it to make that secondary color correction (for example I find the blue dyes used in many labels tend to fluoresce under fluorescent lighting, and has to be desaturated with a secondary color correction or it "blooms" on an HDTV -- IOW, it has to be made "broadcast safe").
If you want tutorials for using these tools, the ones on Creative Cow by Andrew Devis are quite good, and free. The ones on color correction with PPro cs6 start at tutorial number 47. There's a bunch of them. All good.
Finally, get a copy of Van Hurkman's Color Correction Handbook. May be the best technical book I've ever read, and it'll certainly point you in the right direction for doing color correction work regardless of which tools you use to do 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
The problem is to correct the second footage to get the same reds as both footage cross dissolve from one to the other and that I wish of course to be nearer as possible of the true colors. I can't check the white balance using Fast color correction on the second footage because there is no pure white visible anywhere. The sand at the base of the cavern or on its right is not white in reality as it consists of deposits either of mud from the river or sandstone of the cavern and the redwall above. Which effect would enable me to correct the second footage to approach as much as possible to the same color of the first one. Most probably FCC is not the right effect to choose.
Thanks in advance for your suggestions.
Claude

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

Color Correction: different result in Frame Viewer and Canvas

Hi all:
I´m doing some color correction with the 3 way CC tool and i´m having troubles with Frame Viewer: the results are not the same in the Canvas and Frame Viewer. The colors in Frame Viewer are a little bit more saturated and they are also a bit darker. I´ m talking about the half Frame Viewer that is supposed to show me the final result after the color correction.
Mi footage is in HDV 720 25p. Anyone know what is happening????

You'll probably find them lined up at your Chevy dealer.
View>Range Check>Excess Luma.

After Effects Rendered Color Correct Not Showing In Premiere

Hello all,
I have recently made a short film with a few effects in Premiere and After effects CS4. I have used the Dynamic Link to accomplish this. I have added color correction with Color Finesse in After effects. The problem is I some of the color correction is not showing up in Premiere once it has finished. Some of them are adjustment layers and some are not and the ones that are showing up are diverse like that as well. I have rendered the footage and rendered the premiere time line, it fixes it at first but won't build a DVD the right way then the fixes just seem to disappear when scrolling through the timeline.
Is anyone else haveing this problem?
Do you think it's something wrong that an update will fix?
Maybe a new codec?

Mylenium is correct, the LE version of Color Finesse included with CS4 is for use in After Effects only. To use Color Finesse inside of Premiere or AME you'll need to upgrade to the full PI version. You can find information on available upgrade paths at http://www.synthetic-ap.com/cfupgrade
And if anyone has the PI version and the color correction is disappearing when rendered by AME, be sure to update to the latest version of Color Finesse. Version 2.1.10 corrected an issue that would cause that symptom.

FCP export to Vegas for color correction

I work in FCP, I don't have the best eye for color, so I'm having a friend do the color correction with a PC, using Magic Bullet and some other software. Rather than exporting the entire film, or entire scenes, which he'd have to go back and cut into individual shots in order to edit them all individually with their own color treatment, he has me exporting every shot from the film and exporting them to his harddrive or DVDs for him to work on. I've been doing it a scene at a time. It's incredibly tedious, very easy to screw up (if a shot goes a few frames long and under another shot, for example, it's out of sync, and if I forget a shot, mislabel a shot, get out of order when labeling them, etc, it's out of sync, etc), and I'm sure, at some point, I'm going to screw it up and it's going to be very annoying. Is there any more practical way to do this so that he has the markers, the shots are cut already, etc, but he doesn't have to reconstruct it from a thousand shots I've exported one at a time? I don't want to make him go back and make all the cuts himself, either, though that actually seems slightly easier to me.

"I don't have the best eye for color" means I'm color blind. I don't appreciate the "learn the 3 way" comments. You can learn to drive a manual all you want, but if something in your brain tells you train tracks are highways, you're bound to run into trouble. And a train.
The other editor lives an hour away, and he hates working on a Mac. He came here once and tried to edit using my system, but he couldn't get the hang of it. Add to that he came an hour each way to do that, and I had to pay for his gas, that made it very expensive, timely venture. It also means he'd have to have, say, at least 4 hours set aside each time he wanted to edit, to travel here and make it worth his time to do so. At home, he can do it anytime.

Color correction with a HD TV

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