RED Color Correction Confusion

I'm re-editing a short shot on the RED.  There's definitely some color correction applied to it.  However, there are no video filters applied.  I'm trying to figure out what was done to achieve the color correction.  When I copy the clip to a different sequence, the color correction disappears.  I don't want to ask the filmmakers that gave it to me because I don't want to sound baffled, which I am.  Does anyone have any idea how footage can be corrected within FCP without filters?

No number or release date for that version is yet available. What was being accessed, how it was being connected, rendered... proxy or not, was sort of sketchy -- logical output from a "Mysterium" sensor, I guess. They keep on telling us that we'll be working with the 4K files.... More will be revealed, I assume in the next few months. I just hope the Emperor is fully clothed.
jPo

Similar Messages

  • RED Color Correction

    I have heard that Color may be able to, or may soon be able to reconnect all of the media you have been working with (lower res files) to the raw R3D files for color correction.
    Does anyone know if this is true. Or if upon output it then outputs at a higher resolution as your online?
    Cheers,
    Jesse

    No number or release date for that version is yet available. What was being accessed, how it was being connected, rendered... proxy or not, was sort of sketchy -- logical output from a "Mysterium" sensor, I guess. They keep on telling us that we'll be working with the 4K files.... More will be revealed, I assume in the next few months. I just hope the Emperor is fully clothed.
    jPo

  • I downloaded CS6 Red Plug-In and added to Package Contents, replaced the current files with the new without backing up, now my RED footage thumbnails and color-correction don't WORK! How do I get my old importerRed file back!!?? HELP!

    I downloaded CS6 Red Plug-In and added to Package Contents, replaced the current files with the new without backing up, now my RED footage thumbnails and color-correction don't WORK! How do I get my old importerRed file back!!?? HELP!

    Try asking in the Premiere Pro  forum seems to be an Adobe Lab for Premiere Pro

  • 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.

  • How do I load color corrected RMD (RED) files in CS5.

    I have edited RED footage in cs5.
    I now have received color corrected RMD files - however I don't see the color correction on any clips in the timeline.
    What do I need to do to make sure edited footage (R3D files) on the timeline reflect color correction.
    I tried replacing footage, it didn't work - if I import the R3D again, apply the cuts and place on timeline I see color correction but I am sure there's a better way to do this. Any pointers will be great.
    Thanks.
    RV

    The following text from Adobe seems to indicate that there is "more" with CS5.5:
    (taken from: http://www.adobe.com/products/premiere/extend.displayTab2.html#REDSupport)
    The RED R3D Source Settings dialog box in Adobe Premiere Pro CS5.5 offers extensive control over the look of RED raw footage. In conjunction with the ability to change color settings per clip, you can save combinations of adjustments as custom presets, which can be applied to individual or multiple clips. The controls in the Source Settings dialog box include:
    Debayer Detail — Vary the level of detail extracted from the image sensor.
    Chroma — Denoise the red/blue channels.
    OLPF Compensation — Eliminate color Moire fringes by controlling the optical low-pass filter (OLPF) that refines edge detail.
    Maximum Bit Depth — Use this global setting to choose between 32-bit float and 8-bit.
    White Balance — Manipulate Kelvin, Tint, and Saturation levels.
    Timecode — Select the timecode track to use from the R3D file.
    Color Settings — Adjust the ISO setting, exposure, red, green, blue, brightness, contrast, and highlight levels.
    Color Space — Select the desired color space from among Camera RGB For RAW; Rec 709, the standard color space for HD; and REDspace, which is a more saturated variation of Camera RGB.
    Gamma Curve — Override the gamma curve selection using several preset gamma curves.
    User Curve — Use a custom curve created by the camera operator.
    Jim

  • Color Management Confusion-Photoshop and monitors

    Ok, so I am asking this question because I am literally at my wits end with this color management stuff. I have become so confused in the past few days that I can’t even think straight. Anyway, I am hoping you all can help me “understand” how it all work. Let me start with some background information (since I know it will probably be asked)
    am a photographer, I utilize Lightroom 4 and CS3 (I know its old but I am planning on getting CS6 soon).
    put my pictures on the web that I will assume will be viewed on multiple different browsers.
    also will be sending my pictures to print at mpix or whcc. I may decide to print my own but haven’t really made that determination at this point.
    have a mac book pro that I work from.
    Ok, so I need to get a monitor to work with but I am unsure if I should just buy the thunderbolt mac monitor or get a wide gamut monitor. I have heard so many people say that the wide gamut monitors just messed them up. Also, I am bit confused on the nature of monitor profiles and how they work with photoshop and lightroom. I would assume the monitor applies a profile at all times? I also don’t understand the existence of the prophoto and wide gamut profiles for the mac monitors… they clearly are not wide-gamut monitors, so how do these profiles exist for them, and why would they be useful (if you set the profile to prophoto for example, it is all washed out as expected). Are these profiles “assigning” a profile to the color? I am assuming so because if they were converting them to just a standard rgb then you wouldn’t have the faded colors (correct?).
    I just am so nervous that I am going to create something that looks great in Lightroom or Photoshop but that looks awful on the browser, or worse, on a different monitor (standard monitor) and I would have no idea that it looked bad. Or, if I send something to a printer only to get a mess back.
    Also, please let me know if I correct in this. If I am in photoshop and I have an untagged image (send via a friend), and lets just say it is really a prophoto image (although my friend didn’t tell me) and I say to assign the prophoto profile (upon import to photoshop). If that truly is the correct profile, the image should look correct. Now consider two scenarios from there: 1) I embed that profile in the image, if I upload that to the web (I know to be cautious, you should always use srgb for web), if the person has a color managed browser, the image would properly appear, because the browser would recognize the profile (in this case “prophoto”) and convert it to whatever it needed to be. But, if it was not a color managed browser, I run the risk that the web browser will just assign a profile, which will wash the photo out most likely, correct? Ok… and scenario 2) after I get the image from my friend and assign the prophoto profile (since that is the correct profile the image was actually created in, although it was untagged when it was sent to me), the image will look correct… BUT, is photoshop displaying the prophoto profile, or is it converting to RGB for my viewing, or is my monitor converting it to rgb for my viewing? I guess I just don’t understand how the monitor fits into all of this. You HAVE to use your monitor to see your images, and since most monitors (including my current one are standard gamut) it would make sense that you actually can’t see anything in the prophoto profile, and you are truly looking at an srgb profile since that is all your monitor can display.
    Oh ya, and what benefit is the color match rgb? It seems everyone speaks of the srgb, prophoto, and argb.. but never some of the others.. so maybe I am just lost. I would even appreciate a link to some tutorials if you think those would be helpful.
    I am seriously confused.. I would really appreciate the help.

    I am not surprised you are confused about colour management because its a confusing subject. Luckily you own a Mac so you can get to grips with what the problems that colour management solves using the "colorSync Utility" and you will find this in Applications >> Utilities >> colorSync Utility. If you own a windows computer then I am sorry but you will be out of luck here and you should know better when you buy your next computer!! I am not sure why Apple gave us this application but it is really useful and all will help you understand Color Management.
    1. Launch Applications >> Utilities >> ColorSync Utility.
    2. You will see a list of "Installed ColorSync Profiles". Choose Adobe RGB 1998 which I hope you have chosen in you camera preferences.
    3.You will see a 3D representation of the Adobe 1998 Colour space. This represents all the colors this colour space will hold.
    4. Top left hand corner you will see a little arrow pointing down next to "Lab Plot". Click on this and a drop down menu will appear.
        Choose "Hold For Comparison"
    5. Now somewhere in the "Installed ColorSync Profiles" list you will find the profile for you monitor. Choose this.
    6. You will now see a new colour space inside the Adobe 1998 Colour space. If you have a cheap monitor the colour space will be small
    inside the Adobe 1998 profile. This means that you monitor cannot show you all the colors that are missing.
    7. Now choose a printer profile say, if you use them a profile for an Epson paper or any printer profile you have and you will see another profile in the Adobe 1998 box which shows you the only colors that your printer can print. If you like choose your monitor profile then hold for comparison then the printer profile and it will clearly show the mis match between you monitor and printer.
    8. Now choose SRGB and this will show you what colors a person using an average Windows monitor can see, poor people.
    So this is the problem, all devises can reproduce only a certain range of colors. The adobe 1998 profile does not show all the colors our eyes can see " choose Generic Lab" profile, then "hold for comparison" then Adobe 1998 and you will see Adobe 1998 is a small profile but is a good average of our collective colour vision.
    So how to solve all these missing colour problems. Well if you think of each devise, including you camera as speaking a different language from you monitor and printer then it is easy to understand that you need some sort of translator so that they all know exactly what colour is being talked bout pixel by pixel in an image. This is held in the ICC profile, but an ICC profile has o do more than this.
    Say you camera can produce a specific red we will call for demo purposes "001" and your monitor cannot produce it, how do you solve this? Well it is very easy to fool our eyes. Our eyes work by comparison so if the profile maps red "001 to the nearest red that the monitor can show and then proportionally remaps all other reds to fit within the reds the monitor can show us then we actually think we are seeing a full range of reds. The problem comes if we use the wrong profile for this. The red 001 could be re mapped anywhere and could be outside what the monitor can show. Say that happens but the printer can reproduce that red 001. We would see an image on the monitor with not many reds and when we printed it we would be shocked to find reds on the print. Worst, we would see an image on the monitor without reds and would correct for this and end up with a print with heavy reds and would not be able to work out why.
    So to solve this we should:
    1. use the correct camera profile when we are opening "Raw" files.
    2. Make sure you have the correct monitor ICC profile selected in "System Preferences" >> Displays.
    3. In photoshop we should make sure that the " Edit >> colour settings " are set to Adobe 1998 for RGB.
    4. If you are going to print you own photo in Photoshop go to "View >> Proof Setup >> Custom" and a box will
    open. Choose the profile of your printer and paper and choose "Perceptual" for rendering intent and then " OK". If you cannot find
    a profile for you printer and paper go to the printer of paper manufactures web site and download the profiles and instal
    them.
    5. You can now adjust the colors and contrast and photoshop will simulate how the output devise will deal with this. If you
    are using an outside printing house, they will supply you with their ICC profile to download so just follow the same procedure and
    choose their ICC profile and and do you colour correction.
    If you have a cheap monitor you will still not get a 100% result but you will get closer. You really need a monitor that you can  calibrate
    regularly because generic ICC profiles are just that. They are made from the results of many monitors and so are 90% or worse accurate.
    If you want to see a flag ship monitor at work go to http://www.eizo.com/global/support/db/products/software/CG223W#tab02 and go
    to the bottom of the page and download the Eizo Coloredge CG223W monitor profile, instal it on your mac then open then ope
    Launch Applications >> Utilities >> ColorSync Utility choose Adobe 1998 the hold and compare it with the  Eizo Coloredge CG223W
    profile. This is not the top of the range Eizo monitors that we use but you will see that this monitor will show most of the missing colour you monitor does not. This is actually a good tip if you are buying a monitor. Download the monitors profile and see how good it really is.
    The weak link still is printing. The colors you see in RGB on a back lit RGB screen are very hard to reproduce by CYMK inks on paper. Here you really should have a profile made for your printer and chosen paper. If you don't want the expense of buying a calibrator and doing it yourself, there are on line services that will do this for you.
    One final point you must remember. If you are using soft proofing in Photoshop ( "View >> Proof Setup >> Custom" as explained above), when you print you MUST choose in "Colour Handling" "Photoshop Manages Colour" and in the next step when the printing box appears
    you will see a drop down box with "Layout" in it. Click on this and choose "Colour Management and choose "Off No Colour Management". If you do not do this Photoshop will manage the colour then the printer will do it again and the print will be a disaster.
    This is a starting point really. Colour management is difficult but just try to remember that you need a translator between each step in the process to make it work so you have to make sure the correct profiles are being used by you camera, the program you use for opening the Raw photo files (Please don't use jpegs straight from the camera, but thats another subject), the correct monitor profile and output profile. If you don't check these it is like chinese whispers and your picture will be printed in Double Dutch!!.
    Hope that helps. I am on location In Italy for a couple of months so will be unlikely to be able to reply to any questions for a while. Will try to check back and see how you are getting on. Drop me a line at [email protected] if you have any questions. Good luck.
    Paul Williams

  • Color correction, color profile, colorsync, wide gamut,

    There hasn't been any reply to the threads about color inconsistency in OS X, so I'm starting another one.
    I'm using a wide-gamut monitor attached to a Mac with built-in display. When Preview displays an image, it applies some color correction to it. This leads to unnecessary color warping.
    If the image is solid red, #FF0000, it displays it as orange, #FF2500. If I copy and paste the image, it further warps the color to brownish-orange, #DF4616 or the like.
    For example, this image, http://upload.wikimedia.org/wikipedia/commons/b/b9/Solid_red.png , shows up fine in Firefox, but when it's color "corrected" thorough Preview or other OS X applications, it becomes something like http://i.imgur.com/gDiTE.png
    Please, before commenting about color calibration, note that *this is not a monitor calibration issue*. My monitors are calibrated well, and no recalibration can fix this.
    This is an OS X color correction issue. OS X applies and re-applies color correction schemes, resulting in warped colors on anything but sRGB monitors. This corrupts image colors whenever they are handled.
    Someone, please address this long-standing issue.

    These forums are the wrong place for getting Apple's attention to your issue. If you want to report this issue to Apple's engineering, send a bug report or an enhancement request via its Bug Reporter system. To do this, join the Apple Developer Connection (ADC)—it's free and available for all Mac users and gets you a look at some development software. Since you already have an Apple username/ID, use that. Once a member, go to Apple BugReporter and file your bug report or enhancement request. The nice thing with this procedure is that you get a response and a follow-up number; thus, starting a dialog with engineering.

  • Color Correction Novice rounding home stretch w/ a Q

    Hi,
    So far, I've received some valuable advice & tips for my 1st attempts at color correction, esp since my production falls outside the normal applications. The help has been great!
    I went thru my production and did scene by scene corrections, which lost most of its intimidation with enough practice. I still havent tackled the Keyframe approach to having corrections shift during the course of a scene - I'm hoping to escape without having to do that.
    Heres my question -
    I did all the corrections, with a calibrated external monitor, and then had the program render all the video effects. Then I chose "print to video". When the program ran, the colors were a little different overall than what I had set in the program (less orange, more pink) and in a few scenes (orig underexposed, but corrected in the process), the color shifted more radically, esp in the shadow / black values which fell greenish.
    I didnt see any of this as I was correcting, and the signal path was the same when I printed to dvd, same monitor w/ no calibration changes.
    Is this normal? Maybe these shifts happen more discreetly in reg productions, mine is a live stage shoot with a lot of red light.
    Thanks for all the help, & Happy New Year
    Duane
    G5 tower   Mac OS X (10.4.2)  

    Hi,
    Thanks for all the info, I'm starting to look at ways of sending what I have to people who need to see it. The project will likely still require some tweaking so this isnt a final mastering step by any means. Just looking for something that looks as good as what I see on the monitor after rendering.
    Its looking like (from the lasts posts) that 'out thru firewire -> dvd recorder' isnt the best choice & if I can keep it in the computer & flow it directly to its burner, the opportunities for problems can be minimalized.
    I tried exporting to quicktime, that resulted in an FCP Quicktime file that took 3 hrs to create & was almost 13 gig. (program is 50 min) so it looked great but was too huge to put onto a disk.
    If anyone has guidance in this area, I'd appreciate it. I'm gonna poke around in those options & then likely post a further question seperately on this subject. I want to get it onto a dv disc via toast 6 (I see Quicktime w/ Compression is an option so I'm gonna explore that)
    Thank you all again for the correction help, in that 13 gig version, it looked really great (no green in shadow artifacts ! )
    Regards,
    Duane
    G5 tower   Mac OS X (10.4.2)  
    G5 tower   Mac OS X (10.4.2)  
    G5 tower   Mac OS X (10.4.2)  

  • Color correction novice back with a problem/question.

    Hi,
    I have been working on color correction for an edit of a live 2 camera shoot concert. Edits are almost all final. I dug into correcting color between the 2 cameras & after some practice got good results.
    Tho, I noticed that corrections looked slightly different after rendering them, and again slightly different after exporting to full uncompressed quicktime video.
    Saturation levels shifted (less), & some shots showed slightly different color balance. This is a unique shoot because the stage was fully lit in red light & red can be one of the most difficult colors in video (in my experience).
    So I eventually started that vicious cycle of correcting not by eye but by anticipating what was needed to get a desired result after rendering & exporting... each time it was lengthy renders & exports before seeing the results.
    So I had several versions of the project saved w/ different renderings, etc. All of this is stored on a 250 gig 2nd internal drive which I bought & installed just for editing. All files & edit lists etc were kept there.
    So I'm trying to look at different versions after having to put the project aside for a couple of weeks, and every version I open shows me a list of render files that it says it can't find. I've just been choosing to re-render.
    (I'm wondering if a routine session of running disk warrior on my drives could have contributed to this?? Thats the only thing I can think of, other than the OSX upgrade to 10.4.4, which also included a quicktime upgrade.)
    I'm new at this so I'm trying to figure out if this disappearance of render files is normal? In one version I chose 'search computer for render files' or something to that effect & I watched it go thru my drives one after another & when it got to the 2nd internal drive (where all the render files should be), it spent about 1/10th the time that it spent searching other drives. It really jumped in & out of that drive really quickly.
    Its not all the render files that are missing, I looked in the render folder & some have older dates, while a section of them are from tonite when I re-rendered. Then more with the older date.
    Anybody have any advice?
    Thanks for your help
    Duane
    G5 tower   Mac OS X (10.4.4)  

    Hi,
    I have been working on color correction for an edit of a live 2 camera shoot concert. Edits are almost all final. I dug into correcting color between the 2 cameras & after some practice got good results.
    Tho, I noticed that corrections looked slightly different after rendering them, and again slightly different after exporting to full uncompressed quicktime video.
    Saturation levels shifted (less), & some shots showed slightly different color balance. This is a unique shoot because the stage was fully lit in red light & red can be one of the most difficult colors in video (in my experience).
    So I eventually started that vicious cycle of correcting not by eye but by anticipating what was needed to get a desired result after rendering & exporting... each time it was lengthy renders & exports before seeing the results.
    So I had several versions of the project saved w/ different renderings, etc. All of this is stored on a 250 gig 2nd internal drive which I bought & installed just for editing. All files & edit lists etc were kept there.
    So I'm trying to look at different versions after having to put the project aside for a couple of weeks, and every version I open shows me a list of render files that it says it can't find. I've just been choosing to re-render.
    (I'm wondering if a routine session of running disk warrior on my drives could have contributed to this?? Thats the only thing I can think of, other than the OSX upgrade to 10.4.4, which also included a quicktime upgrade.)
    I'm new at this so I'm trying to figure out if this disappearance of render files is normal? In one version I chose 'search computer for render files' or something to that effect & I watched it go thru my drives one after another & when it got to the 2nd internal drive (where all the render files should be), it spent about 1/10th the time that it spent searching other drives. It really jumped in & out of that drive really quickly.
    Its not all the render files that are missing, I looked in the render folder & some have older dates, while a section of them are from tonite when I re-rendered. Then more with the older date.
    Anybody have any advice?
    Thanks for your help
    Duane
    G5 tower   Mac OS X (10.4.4)  

  • Color correction in CS3

    Sorry for my newbness on this but I'm trying to make sure I'm not duplicating or undoing my work from one tool in another.  I recently finished going through Scott Kelby's CS3 for Digital Photographers book and I'm a bit confused on some aspects of color correction.  He starts out having you set WB, exposure, contrast settings, etc. in ACR.  Then when you move it to PS he has you use the curves panel to color correct.  Of course that entails using the black eye dropper and clicking on the blackest/darkest area of the photo, similar for the white dropper, and after a nice little trick to find the right spot......... an area for the midtone dropper. 
    The thing is I've noticed that once I make that first click with the black dropper, that nice contrast I had from ACR adjustments goes out the window and the photo brightens up a lot.  The final steps of putting 3 points on the curve and dropping the blacks end and raising the whites end brings it back a bit but I was thinking isn't setting the WB with the dropper in ACR already color correcting?  Even at the end of the book when he goes through his actual workflow using a provided .dng example he does all the ACR stuff and then moves to PS and uses the curves panel.

    Noel,
    I understand and respect your opinion about how you edit your images. To each his own.
    But the original poster said: Sorry for my newbness. . .
    So he's rather unfamiliar with Photoshop. Isn't it better to let new users learn a safer way to edit with the ability to return to their original image when they inadvertently make a hash of things? For the original poster and all the other inexperienced users that come to these forums, I like to let them know that there's the equivalent of a seat belt and an air bag that can save them a lot of grief.
    I deal with files from graphic artists that have used Photoshop for years and have never even hear of an adjustment layer, a layer comp or a Smart Object.
    They have files with 40 layers. 30 of which they have turned off since they have to make so many permanent uneditable filter adjustments with every slight variation of filter setting, just in case they might need a certain layer from 3 months ago when they tweaked one object in the file.  So many of their issues could have been solved with simple adjustment layers.
    I want people to understand the versatility of Photoshop and not just learn the same half dozen procedures and stop at that.
    You are absolutely correct that for some uses an adjustment layer isn't necessary, But the OP said that he had forgotten the part he had read about adjustment layers and how he definitely wants to start using them. After my post he remembered that there was another new thing about Photoshop that he wanted to learn. Hurrah!
    Perhaps in the future the OP will return to the forums to help out newbies like he once was himself.

  • Re: my notebook doesn't display the red color

    I think I have the same or a similar problem.  I have a AMD A4-6210APU with radeon r3 graphics 1.8 ghz running 64 bit windows 8.1.
    Since updating the graphics driver last week I have noticed the colour red seems more pink or purple.  This is particularly notable as a lot of my buttons and icons contain scartlet as the principle colour.  I only purchased the laptop in August so I doubt this is due to a deteriation of the hardware and therefore seems to be an issue with either the display driver or the display settings.
    I have attempted to rectify the problem by resetting the display settings to default.
    This partidular model does not appear to have any contrast settings built into the controls, therefore I have no way to adjust the colours manually.

    Hello @pittstop,
    Welcome to the HP Forums, I hope you enjoy your experience! To help you get the most out of the HP Forums I would like to direct your attention to the HP Forums Guide First Time Here? Learn How to Post and More.
    I have read your post on how your notebook doesn't display the red color on the screen, and I would be happy to assist you in this matter!
    To ensure that your system is installed with the correct graphics software, I recommend installing the original software and hardware drivers that first came with your computer. This can be done by following the steps in this document on Using Recovery Manager to Restore Software and Drivers (Windows 8). Once the software is installed, please update the chipset and graphics drivers Using HP Support Assistant (Windows 8).
    I would also encourage you to post your product number for your computer. Below is a is an HP Support document that will demonstrate how to find your computer's product number. In addition, it will also help if you indicate whether your operating system is 32 or 64 bit. The more information you can provide, the better!
    How Do I Find My Model Number or Product Number?
    Is the Windows Version on My Computer 32-bit or 64-bit?
    Please re-post with the results of your troubleshooting, as well as the requested information above. I look forward to your reply!
    Regards
    MechPilot
    I work on behalf of HP
    Please click “Accept as Solution ” if you feel my post solved your issue, it will help others find the solution.
    Click the “Kudos, Thumbs Up" on the right to say “Thanks” for helping!

  • Lightroom 4 won't save color correction to .R3D file

    Really didn't have problems until export. I'm amazed with how fast Lightroom plays playback on .r3d files. Anways after all the color correctrion is done I try to export the file to its original format (r3d) but upon playing the file in Red Cine-X, non of the color corrections I made are saved. It's as if I didn't edit the file at all. However if I choose to save the file as a H264 and play the file, all my corrections are saved. So it only doesn't work if I choose to export my file as the original R3d format. Anyone know whats wrong or how to solve this?

    Hi mikey,
    LR never writes to original files, and it does not do sidecars for videos.
    So in order to view your LR adjustments outside LR you need to use a format which LR can write to, like H264.
    Cornelia

  • 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 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?
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