Grainy/"Pixelated" after color correction

Any time I do color correction or color grading (only slight adjustments), my footage appears to be very grainy/"pixelated." Has anyone else encountered this issue?

First image is raw footage. Second image is color corrected and not rendered. Third image is color corrected and rendered so I can export, but appears very grainy/pixelated. This is the case everytime I try to color correct a clip.

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Video tear after color correction

I'm operating Mac- CS6 build 6.0.2 and my original media is fine. After color correction ( auto color with just a little white clip boost) there is a tear or dropped frame that occurs intermittently in about 3 minuntes of my sequence. Rendering has not resovled the issue nor has a test export solved the problem. Any thoughts on what is causing the issue. All other areas in my sequence are fine with the same correction.

You're welcome.
https://blogs.adobe.com/kevinmonahan/2013/09/11/marking-posts-as-correct-or-helpful-on-the -adobe-forums/

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Thanks.

I tested both, before and after the CHV denoise filter. It`s quite similar, but I tend to prefer after.
I`m not thinking about crushing the black to denoise the clip
The CHV filter worked very well, the grainy aspect is gone.
Now I need to get the dark areas of the image to be black. From what I understand, the blacks should be at 0 on the waveform monitor.
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Photos look like film negatives after color correcting

I tried following Scott Kelby's instructions for color correcting digital images in PSE 10. I was entering the values he gave for the R,G and Blue channels. I got off track and probably missed a step. Anyway, now when I try any of the auto correction features, my images look like film negatives and not like a regular digital image. How can I re-enable the auto correction features (levels, color correction, etc.) ?

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Stab in the dark:
What are your "Playback Video" settings set to under the "RT" pop-up menu in the upper left corner of the Sequence window?
Also, what color appears above the clip in the Sequence?
What does the clip look like if your render it?
XDCAM footage should color correct well, whether it's the native data stream or converted to another codec that's good for editing.
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Hello All,
I am new short film movie producer and have just started using Adobe Premiere CS6 and Audition CS6. Comparing my flat footage before adding it to a sequence and color correcting it and rendering it, it looks fair. But after all these transitions it now looks pixelated along with very jagged edges. This is my first short film for my first client and I am at my witts ends! I have tried to copy the sequence and transfer it to a new sequence with differnt settings comparing the pixel aspect ration, fps, trying to match the clips specs and I am so stuck. Can anyone please offer any suggestions or let me know if there are procedures I have overlooked. Thanks Adobe Community.
Michael Diaz

Let's back up a step - what camera do you use? If it's an HDV model, then yes you have anamorphic footage. Simply choose an HDV sequence preset to match. If your camera shoots 720p or full 1920x1080, those are square pixel (1.0) formats and are not anamorphic (anamorphic does NOT mean widescreen, it means "stretched to widescreen" basically).
In any case, drag a clip to the New Item button for best results until you get more educated and confident about the different formats you may be working with.
If you copied and pasted the contents of the SD sequence into an HD sequence, all filters and effects you had applied before should remain intact and not need reworking, except possible for titles and things involving scaling (since the size has changed).
As for exporting, you typically will NOT want an anamorphic export, except for widescreen DVD. You will not see anamorphic mentioned though, just choose "MPEG-2 DVD" and an appropriate widescreen preset and Adobe knows what to do from there. For web/computer viewing, best to avoid anamorphic footage, since many players assume 1.0 PAR and do not adjust the image for non-square pixels. So if working with 1440x1080 footage, and exporting to web or YouTube for instance, export as 1920x1080 (1.0) or 1280x720 (720p) so the viewer sees the proper 16:9 output, or the image may be squished otherwise!
Thanks
Jeff

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.
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Masked color correction - new Pr Pro CC features or still use After Effects?

I am finally getting around to this project. I know in CS6 the solution was to use After Effects. I think I kept putting it off as I was not as familiar with that program as I am with PrPro.
Anyway this is the issue. I have 2 hours of old video I have captured that due to an internal camera malfunction (that was not discovered until the end of the tape)
that has 5 or 6 cyan tinted narrow horizontal transparent bars running through it. The image is there under the bars, it is just viewed through this cyan
tint. The rest of the image outside of the bars is fine and the image inside the bars is fine, it just has a tint. This is old SD footage.
An AE expert said I can make an Adjustment Layer in AE and use the Mask Shape Tool to draw several boxes around the problem cyan areas, apply the Curves and Hue/Saturation effect to the adjustment layer, then color correct. Some feathering would be needed (I know PS too so I can handle that part ) I think I recall back with PrProCS6, I could do this adjustment but only one bar at a time. I could be wrong about that.
But anyway, sounds pretty easy in AE. But since I live in PrPro CC 2014 now, and I saw some recent new features with masks and adjustments, I was wondering if I could perform the same adjustments right in Pr Pro CC 2014? If I need to use AE CC 2014, no worries, I have that installed.
Thanks for the help as always! This is family footage that I would really like to rescue.
BJBBJB1

Thanks so much Dave. It fixed the problem.
Raoul.

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.

After Effects Color Correction Eye Dropper

I use the Color Correction Eye dropper for clothing videos and recently it stopped letting me select the dropper. I've tried restarting the program and computer. Would I need to re-install After Effects?

We are going to need a lot more information.
What exact point number version of AE are you using? 12.2.1? 11.0.4?
What effect are you using?
How are you using it?
Screenshots showing things like your comp window, timeline, and effects panel would all be helpful in demonstrating your issue.

Premiere Pro CS3 then After Effects CS3 for Color Correction?

Hello All,
I'm at a bit of a loss here, it seems like it's a no brainer to be able to do this. I'm trying to edit my film in Premiere and then use After Effects to do color correction using Color Finesse 2. But there doesn't seem to be ANY way to keep a project so you can continue to edit in premiere while you also keep all your color correction??
You can do color correction in AE and export a premiere project but premiere won't recognize the Color Finesse Filter so you lose all you color correction!
Or I can edit the whole project in premiere and open it in after effects to do color correction, but then if there is a single edit change that needs to be done in premiere again i've once again lost my Color Correction to bring it back.
Is this really the case that I can't use these expensive packages together this way? It seems like there has to be a solution! If Adobe just made it so Premiere kept the "links" to your filters in the project, instead of killing an unrecognizable one. Then when you opened it back in after effects after your edit your Color Correction would still be there.
Any one have any advice?
Thanks,
-Ethan

Thanks for all the suggestions guys, all good ideas.
Aanarav, Your idea to just get Color Finesse for premiere I suppose I could do. It's $545 which isn't exactly pocket change, but it would probably be worth it, if there is another way other than breaking the bank book for software I already own i'd like to try to get away with it.
Steven Gotz
Dynamic link is unfortunately a feature only of the production studio package which is like $1100 upgrade from what I have...so that's kinda out of the question for me.
Jon Sands
Great idea here. I really thought it might work since premiere seems to use what are called after effects plugin files too. But after copying and pasting for a while it doesn't look like it actually sees it as a plugin anywhere I paste it. :( If anyone knows of a way to get that to work I would be seriously grateful!
I guess it sounds like the only way out is to spend cash, sigh such is so often the case is seems.
-Ethan

Color correction in after effects

I was wondering how you put a color correction pack into after effects once you download it. all help is appreciated.

> Color Finesse may not be in the AE tryout version.
There is no difference between the trial version and the non-trial version. See this page for details:
http://blogs.adobe.com/aftereffects/2011/04/improved-trial-version-for-after-effects-cs5-5 .html
See this page for information about color grading with After Effects:
http://help.adobe.com/en_US/aftereffects/cs/using/WSB48B246A-E34D-4d3f-A0A4-B932FD3F12E6a. html#WSB1713828-3801-4025-B9E6-E87E487AD828a
(Ignore the part on that page about Color Finesse not being in the trial version. That's wrong.)

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Help!??? I am having trouble with PS CS-6 displaying/ producing/ saving grainy pictures when import NEF files!!!
When I import all NEF or RAW files into CS6 from Bridge and Camera Raw from the Nikon D200 and D5000, they become grainy/ pixelated. However, RAW files from the D800 did not have problem. I set the Color Space in my Nikons to AdobeRGB, in PS Camera Raw 8.5 to AdobeRGB, in PS CS-6 ColorSpace to AdobeRGB, and Save As Jpeg with Max quality (12). When comparing between CS-6 produced file and the original, I can see a big drop in quality and the picture become grainy and pixelated. What can I do to make this right? Any help/ suggestion is appreciated.
Thank you!
HN

Can you show us a screen-shot of the raw in Camera Raw that shows this noise, or if you only see it in the saved JPG, then show us a side-by-side of the raw in Camera Raw and the JPG? Show the same area of the photo and zoom to 100%.
It is normal for raw photos to have grain but you can mostly remove it with the Luminance Noise-Reduction sliders in the Detail tab of Camera Raw.
The amount of grain depends on the ISO sensitivity setting on the camera.

Grainy/"Pixelated" after color correction

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