Color Correction Workflow Question

If I am color correcting on the "original clip" - and then pulling that color corrected "original clip" into its own "clip sequence" that I then pull into a "master sequence", along with all the other "clip sequences" that make up my edit, and I am trimming those "clip sequences" to get just the snippet I need...
Is that creating a longer rendering time than if I...
Do not color correct on the actual "original clip" - still put the "original clip" into its own "clip sequence" - trim and resize that "clip sequence" to just the snippet I need, and then do the color correcting on that "clip sequence" instead of the "original clip" itself?
I'm hoping there is no descernable difference in the approach, but I thought I'd throw it out there.
Thanks.

Good enough for me.
BTW Jim the workflow set-up you held my hand through (http://forums.adobe.com/message/5522489#5522489) is what I'm utilizing here - so far it has truly changed the way I approach everything for the better.

Similar Messages

  • AE CS6 - 3D Compositing and Color Correction workflow

    AE CS6 - 3D Compositing and Color Correction workflow
    Hello everybody,
    I have some questions about work flow in AE concerning compositing and Color Correction. I saw many tuts about (f.e. Lynda.com Premiere Pro Color Correction and Enhancement... and tuts by Andrew Davis here in creative.cow).
    Essentially, he have this CC work flow:
    GRADING (primary and secondary)
    Adjusting Tonality (Brightness and Contrast)
    Adjusting Colors (White balance and fix color dominance)
    MATCHING
    Conforming colors of different clip shoted with different camera and lighting set up.
    ENANCHING LOOK
    Giving to all clips a unique "look"
    But what does it  happen if we have NOT just some clips but ALSO a 3D object (rendered in a 3d sw or, actually also a 3d object inserted by 3D Element by videocopilot)
    or/and
    a keyed clip from a green screen shot?
    How does this footage (3d object and green screen keyed shot) transform
    the aforementioned work flow?
    We have to consider that this footage (3d object and green screen keyed shot) must to be pre-multiplied to make a right compositing but when you make CC it must be again "straight"... (NOT pre-multiplied)
    Is really hard also understand how dale this work flow between AE and Pre Pro if you want to make CC in Pre Pro after compositing in AE.
    I try to present a work flow for this (very common) situation:
    I have a landscape clip as a background
    a keyed clip (pre-multiplied) with a Character watching sky
    and a 3d (pre-multiplied) object U.F.O. on sky.
    When I have done compositing, how make I a right CC of all footage if I have two clip (3d object and green screen keyed shot) still  pre-multiplied?
    I think, but I'm not sure, that should be a good idea to send to Pre Pro a composited Comp with separate layers (by dynamic links)  to have  all single separate layers (Background, 3d object and green screen keyed shot.. but also the Color Warping...!). Than, in Pre Pro you should make a CC (Grading)  just for a BG and than try to Match (Matching) this color corrected BG with 3d obj and keyed shoot. But we have a problem at this point cause our 3d object and green screen keyed shot are still pre-multiplied, and before make matching we have to re- multiplied theme, but how? And if we re pre-multiplied them, compositing will be also right?
    Or maybe, before exporting comp from AE to Pre Pro, he have to create both layers for 3d object and green screen keyed shot, one pre-multiplied and one "Stright"? But, again, how to combine them to have a right compositing and a a right CC?
    Anybody can help me to understand or maybe suggest any tuts to dale this common issue in AE- Pre Pro?
    Many, many thanks!

    Dave is correct. (And so is Mylenium. No need to be rude, when he was jsut trying to explain that you were introducing unnecessary complexity.)
    The color matting is removed to interpret the alpha channel when you import the footage. After that, any color correction that you do to a layer based ont hat footage item doesn't have anything to do with whether the channels were straight or premultiplied for the source item.
    You color-correct your individual items to amke them match as part of the compositing process in After Effects. Then, if you want to do a color grade of the shot in Premiere Pro along with other shots, you'd be working on the single rendered/flattened composite, so the details of the original elements that went into the composite are irrelevant.

  • Color correction workflow

    I like to color correct my clips before I start working on the timeline.  Is there a way to color correct and save the color corrected clip so I don't have to redo color once I lay it on the timeline again?  Or this is not the right way of doing things?

    Generally you don't color correct before you edit, correction being based not on one clip but on the clips around it. If you want to you can open a clip into the timeline from the browser.  Any color correction applied there will be applied to each use of the clip.

  • Color grading workflow question

    Lets say I want to color grade my whole Final Cut project, should I grade each RAW clip individually then edit in FCP? If you do grade each RAW file wouldn't take take too long since I only use a portion of the raw clip? or should I import that whole, edited, FCP project to Grade in after effects? How do you color grade each individual clip when after effects recognizes your edit as a single clip?

    Traditionally, color grading is the last step in a project before final delivery.
    The reasons: any other way of doing it results in much unnecessary AE render time and excessive drive space to store extraneous footage.
    It IS possible to do it the way you want.
    Just make sure that you have 1) the time and 2) the storage to indulge your workflow preferences.

  • Color correction gels - Question

    If trying to match sun light (coming in from window) I just put the Blue Gel (CTB) on the light (Halogen pepper light). This will basicly match lighting right?

    Yes. A good color temp meter and a few rolls of Rosco can match almost anything to anything. Also, unlike with film, one can do some creative work with setting the White Balance in the camera, though you will want your light sources to be close to in balance.
    Good luck,
    Hunt

  • Underwater color correction

    Hi,
    I am  an amateur underwater photographer and videographer. For stills I shoot Raw, use strobes and color correction in ACR is not a problem.
    Due to the density of water, the maximum distance that strobes or video lights are effective is about 5 feet so most videos are shot with available light.  The deeper I am the more the red channel diminishes and at 50-60 feet it is all but gone. I have been using PP CS6 for editing and found that the big 4 effrects (Fast color corrector, 3-way CC, RGB CC and RGB Curves) while fine for topside work are all but useless for the extreme color corrections needed at depth.  What does work reasonably well is the Channel mixer effect, for restoring the red channel (centering the blob on the Vectorscope), and RGB curves for fine tuning of individual channel, shadows and highlights.  I am capturing stills and video with a Sony NEX7.  The video is 1080P @ 60fps with a data rate of 28 Mbps.  While this workflow works pretty well on most clips, there are some that don't correct to my liking so I am looking for suggestions.
    Her is a few clips shot of a Whale Shark in a few feet of water http://viejo.smugmug.com/Underwater/Baja/La-Paz-2013/i-s2scspthttp://
    I was looking at Colorista II and see that there appears to be a nice HSL capability that would allow some nice control of 8 colors.  Water also robs a bit of contrast and the a local contrast in Colorista II looks like it would address that.
    My questions are:
    Is there a better color correction workflow for my needs?
    Is Colorista II capable of the red channel restoration that I get with Channel Mixer?
    What other features does Colorista II have that aren't found in PP CS6?
    Thanks,
    Larry Garvey

    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.

  • Multicam and Color Correcting

    Is there a way that I can set the color correction for one camera, and it applies to all of the cuts. When I drag the filter onto the clip it asks to apply it to the source angle, or to the multiclip. I have tried both, and it will only apply to that one clip and not all of the other clips that are from that camera. Will I have to apply to each individual clip, or is there and easier way?

    hi Rod
    color correction workflow for Multiclip projects is no different than for any other FCP project
    that is, correction is applied on a clip by clip basis
    you can only apply a universal correction to a clip (or angle) by applying the correction to the source before you start editing with it ... thereafter, every instance of that clip will have the filter applied
    of course, you can apply the color correction filter to an angle of your multiclip and every instance of that angle that you cut in will have the filter applied
    (i did notice before, that even though the clip may be color corrected, the multiclip display only shows the unfiltered clip, and the filtered clip only displays correctly once it is cut into the timeline)
    sure, it might be nice if there was an option somewhere to force a filter applied to a master clip (or angle) to be applied to every other instance of that clip ... but there isn't!
    good luck
    Andy
    Message was edited by: Andy Mees

  • Workflow KeyLight Before Color correction?

    WHat is the best workflow when working in green screen.
    Should the color removal (green screen). in Keylight  come before any color correction?
    In this specific case I am dealing with a medium shot of a person. Talking head, not much movement.
    I assume getting rid of the green screen should come first since then I am only am dealing with the remaining image (specifically the medium shot of the person.)  For example, I need to enhance the hue a bit on the person's face, and it seems to me that first getting rid of the green, making it alpha/transparent, first makes sense.
    Or does it?
    Thanks
    Rowby

    rowby wrote:
    ...seems to me that first getting rid of the green, making it alpha/transparent, first makes sense.
    Or does it?
    Generally - yes, but you may find situations, where pre-key adjustments are unavoidable. The real question is, whether the green is green enough, if you get my meaning. There may be situations, where you need to compensate for insufficient lighting or color shifts from non-ideal lighting conditions (sunlight shifting colors, for instance). In those cases, you would try to clean up the green as much as you can without regard to the rest of the footage - as long as they facilitate generating a clean matte, nobody will mind. Once you have gnerated a proper Alpha, it is easy to introduce it into an untreated footage via matte modes and channel operations. That's the one thing you should keep in mind. In most cases of course you will want to do a direct key and if there is enough contrast, there should be no problems. Indeed you would then do the color correction after the key. This also applies to compressed footage like HDV or AVCHD - any pre-key corrections may in fact have an adverse effect and make things harder, as they also increase the intensity of artifacts. Anyway, all theory aside, you only know when you try. The more you do this stuff, the better wil lyou be able to gauge what's required.
    Mylenium

  • FCP + After Effects + Color Workflow Question

    Forgive me if this is a naive question. I would like to know what is the best way to work between FCP, Color, and After Effects. This is the first project I'm working on that requires all three applications.
    All my shots are done in DVCPro HD and imported into FCP. DVCPro is not really supported in Color so I learned that they should be converted to ProRes (right?). In Color I will be adding a vignette effect and color grading so I know it has to be last otherwise my texts and mattes in AE will look like they're on top of the video.
    My problem with that is almost every shot will have an AE effect in it so it's easier to dump the whole timeline into AE using popcorn's XML script. But once I export it from AE and put it back into FCP it is one clip but color correction and effects has to be done differently for each clip and I can't do that in Color with the single AE clip I just rendered. So I'm kind of lost, is my only option to add effects in AE one clip at a time and return them to FCP?
    Also am I right that Color only supports Apple ProRes? DVCPro HD hasn't worked so far.
    Your help is greatly appreciated. Thanks.
    DP

    Hello David.
    Regarding your question about DVCPro HD support, it is supported as an Importable format, but Color cannot render out in DVCPro HD. Color supports ProRes across the board. Here's a list of supported formats:
    http://documentation.apple.com/en/color/usermanual/index.html#chapter=4%26sectio n=9%26tasks=true
    After Effects really isn't part of my normal workflow, so I can't really comment on it, other than I've had a lot of problems with 10.0.1 and ProRes. That problem has caused me to eliminate AE from any workflow that I use here.

  • 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 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 )

  • 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.

  • 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....)

  • Auto Color Correction Question

    Once you've used Auto Color Correction (Shft+Cntr+B) and then saved, is there any way you can undo this command to bring a photo back to its original state?  [I know ideally you should save the modified version with a different name/number, but I forgot to do this!]

    If one has done a Save (and closed the Image File), instead of a Save_As, or Save_As_a_Copy, I know of no way to Undo.
    One might be able to "deconstruct" the effects of the Auto Color Filter, by using other Filters/Adjustments, but it will require a lot of hand-work, time and experimentation.
    I have a workflow, that keeps this from happening. Where possible, I use Adjustment Layers, so that the underlying Background Layer is not touched. In the cases, where I cannot apply the necessary adjustment/effect in an Adjustment Layer, I Duplicate (Ctrl+J)  that Background Layer, and apply the adjustment/effect to that. When done, I always Save the working PSD, with all Layers and Adjustment Layers. Actually, I always do a Save_As, so that my originals are never overwritten, but you acknowledge that you know that part now.
    Maybe others will be able to help you get started with the "deconstruction," but I'd look into a Color Balance Adjustment Layer, and work with it for a bit.
    Good luck,
    Hunt

  • Where to put color correction into workflow

    I am having fun going through some 1200 images from a 2 week trip in Montana, Wyoming... lots of blue and green and a few snow capped mountains. As I work through the several I would like to print big, where would you place color correction in the workflow.... I use levels (the sliders), highlights/shadows, and saturation mostly. And then color correction somewhere in here.
    Thanks.

    Peter,
    I agree with Jim that the order may change but as a general practice if I need to adjust color I do it after any lighting (levels or shadows/highlight) changes since they usually change the color in my pictures. Most of the time I adjust saturation selectively particularly if sky and/or water are concerned. As a final step I apply various amounts of unsharp mask. From the 3 cameras I have owned (2 Olympus and the current Panasonic) I have never found a picture that couldn't be greatly improved either overall or selectively by LIGHT application of usm.
    Being basically lazy I always give Auto Smart Fix a shot as a first try and either go from there or undo it. :)
    Bob

Maybe you are looking for