Remove Color Correction Preset?

Being able to save a color correction preset is great (in the sprocket menu in the color board.)
But to avoid clutter, and since I'll probably never use the one I just created again after this project, anybody know how to remove them?
Is it possible at this point? Can't find it anywhere in the manual, or in any associated menus.

Many thanks sir.
Hadn't looked in the movies folder, since all my events and projects are on external drives.
Cheers.

Similar Messages

Color Correction preset plug-in

Yes, I too have entered the PLUG-IN making arena. Well...kinda. This is a 3-way Color Correction preset that I made and turned into a plugin.
I had a look for my recreations that I really loved...a preset in Magic Bullet. But the render time was going to be NUTS...so I saw how close I could come using the 3-Way Color Correction tool. Well, I nailed it. I got it to look EXACTLY the same. At first it was completely RT...no rendering whatsoever. But I have to limit the Luma so that my whites stayed white while all the other colors were affected, so now it is a light green render. Still...what would have taken me 10 minutes to render now takes me under 1 min...that that is a HUGE bonus.
Here it is for you to enjoy:
[link removed at author's request - moderator]
It is called SR Color Reversal (SR=Shane Ross). Color Reversal film stock is very colorful, but has a low "latitude"...difference between darks and brights, so the image "pops."
Unzip it and install it into your PLUGINS folder in the following path:
HARD DRIVE>LIBRARY>APPLICATION SUPPORT>FINAL CUT PRO SYSTEM SUPPORT>PLUGINS. It will appear in the Color Correction folder in the Effects tab. And it is completely modifyable...as it is a 3-way CC preset. The colors and saturation should be set, but depending on how your footage is lit, you need only adjust the LOWs and MIDs slider to brighten the image. But not too much. How I retain the rich color is by crushing the blacks.
Play with it and let me know how it works. Built with FCP 5.0.4.
Many thanks to Graeme Nattress for assistance in writing this. I did it while wearing my Nattress Logo shirt, as to get the 'Nattress Mojo' while coding.
Shane

Yeah. When I have the time I will do all of my favorite "looks" I have created.
I didn't realize how easy it was to save the presets as a plugin.
Plus I have to figure out how to limit the controls, so that there are only a couple sliders to adjust.
Now if I can only make the plugin my producer requested...one that lengthens the time of the show, but keeps the same pace. Anyone?
Shane

Removing color correction targets

After color correcting using a threshold adjustment layer and placing your black and white targets on the image, how do you remove the targets when you're done? They seem to save with the image.
Thanks in advance.
Kevin

Choose that tool and click 'clear' in toolbar (CS3)

Removing color casts, and correcting colors to match reference materials? any guides/tutorial/videos

I have been looking for tutorials showing how to use SpeedGrade. I am now comfortable with the UI enough to use it after watching these: http://www.youtube.com/user/AdobeTV/videos?query=speedgrade
I am looking for tutorials that show how to do a couple things, first I would like to be able to remove any color casts. In photoshop to do this you can use a curves layer and use the set white point color picker and click somplace that is supposed to be white. and in premier you could do something similar using the Fast Color Corrector. So basically I am looking for a way to target an area in a frame that should be grays, In Anime, the eyes generally will always be shades of gray, so that is what I would target usually when working with anime in photoshop/premiere. If anyone knows of a tutorial that shows how to do this type of color cast removal color correction in SpeedGrade could you please share a link.
Some of the older 80's and 90's anime on film, the film has aged and that is where the color cast came from. There is also a loss of color information across the board. For instance in the below picture. The sky is supposed to be more blue instead of teal/sea green.
Another thing is back in the 80s and 90s a lot of Anime worked from limited color palletes; something like maybe 16 colors total, so a lot of colors are used repeatedly. So even with only a limited amount of reference material I should be able to get the corrections close. (I dont have reference clips for every single episode, only a handful of scenes from a handful of episodes.)
I have some reference material showing approximately what the colors should be. So my next question is if anyone knows of any tutorials/guides/videos showing how to use SpeedGrade to color correct a clip so that the colors match up with the colors used in a reference clip
I was also wondering about auto correction based on a reference clip, although I am guessing this is still not possible.
When I watched the websiminar: http://seminars.adobeconnect.com/_a227210/p738pxm9zs0/ at about 43 minutes into it, a feature is shown that automatically adjust the color using a clip that contains a colorchart.
I was wondering if a tool like that could analyse a clip start to finish, to create a pallete of used colors, and then compare that to the colors used in another clip and correct them. (a feature like this would probably be more useful/accurate in anime than it would liveaction but who knows.)
Another UI related question:
I did have one question, the only place I see to access the colorwheels is in the looks tab, my video I am working on, just manages to fit at 100% in the monitor.
So I would prefer to hide or collapse the different looks(maybe even with a hotkey) so that I can access the color tools that it is covering, I attached a picture of what I am talking about. I know pressing "P" hides everything at the bottom, and figured maybe there is already a way to hide/minimize/collapse the look presets to access the tools behind them without shrinking down the size of the monitor preview.

There is a special grading filter called "Color match" which can assist in cross-referencing the black/white/gray levels from one playhead to another but it's not documented yet. The suggested way to set black/white/gray points in Sg is to adjust it visually, using the waveforms as a guide, but there's no chance of doing that for something as small as a character's eye. There's no "eyedropper" picker on the primary grading panel because Sg isn't a correcting tool, but a cinematic grading tool. 99% of the time the end result of an Sg grading session is a long way from what the camera pixels actually recorded.
If all you are doing is reversing a color cast then Speedgrade isn't the right tool to use - you should be working in Premiere Pro (with the Fast or 3-Way Color Correctors). If you're a Photoshop person the UI is much more recognizable, it'll handle all the native footage you can throw at it, and you get your B-G-W eyedroppers.
In Speedgrade CS6 you cannot hide the Presets panel in the Look or Mask tab. The UI is really designed for use in a two-monitor system (which all professional colorists will have), and/or with a hardware controller (which means you can keep the entire bottom panel hidden).

Removing fast color correction

While removing color correction from a clip. I notice a gray like box image in the center of my screen. How do remove this before exporting file/media?

Hi DCb,
Have you tried deleting media cache files? Find them in Preferences > Media > Media Cache Files
See if that helps.
Thanks,
Kevin

Color Board Preset Won't Save

I'm feeling really dumb here. Someone stop me if this sounds wrong...
This is straight from the help...
Save a color correction preset
In the Timeline, select a clip that has the color correction look you want to save, and open the Color Board.
Choose Save Preset from the Action pop-up menu (the little gear icon) in the lower-right corner of the Color Board.
Type a name for the preset and click OK.
OK, so I do that, and go back to that preset list, except... my named preset is nowhere to be found.
Any chance there's something else I've done that could affect this? It seems so remarkably straight forward.

I'm having the same issue - not finding a 'saved' preset...
When I go to delete the two preference files you indicate, this is where it gets interesting. I had first downloaded the trial version of FCP X, then purchased the application.
When I look in the folder I see:
User > Library > Preferences > com.apple.FinalCut.plist and
User > Library > Preferences > com.apple.FinalCutTrial.LSSharedFileList.plist. (note "trial")
Yikes! I wonder how many other FC files have "trial" associated with them? What to do?

Can't see color correction until render

whenever i add like "fast color corrector" or "three way color corrector" the entire video goes black. i have to render each and everytime i make changes to view what i actually did. is there anyway to fix this?

I'm using Adobe CS6. I just got it today.
The footage file is a .MOV (shot with my Nikon D5100).
All i did was drag the video in the program, draged it to the workspace then draged one of the color correction presets to the file and the in the "program area" went black. Once i hit the Enter key, it will show the differnce, as i make a change the video will go straight to black again.
I'm lost and don't know what to do!

HT4589 Is there a recomended way to delete proxy and optimized clips once a project is completed and is ready for archive? also, can proxy and optimized clips be removed (to save space) once a project is ready for color correction and the original clips a

Is there a recomended way to delete proxy and optimized clips once a project is completed and is ready for archive? also, can proxy and optimized clips be removed (to save space) once a project is ready for color correction and the original clips are used

No, they are NOT the same as proxy or optimized.
When you add a clip to your timeline and, say, apply an effect to it, or superimpose a title on the clip, FCP X has to make many calculations to determine what color each pixel of each frame should be. If a section of your timeline is not rendered, it has to do all these calculations every time you play those frames. A render file has the frames already "calculated", so it plays fast and smoothly.
For simple compositions and a fast computer, you may avoid rendering completely - and you may also choose to only render the portions where playback stutters.
Render files can be safely deleted. FCP X can recreate them if needed (either automatically if you have "background render" on, or on demand, when you select the "render" or "render all" commands).

Color correcting more than one clip at a time

Perhaps I am missing something very elementary here... but here is my situation. I have three camera angles, each of the same concert. They are synced and ready to go, each on a separate track. Each needs color correction. I have found the color correction for each that I want. Before I slice up my clips I can very easily color correct each line separately, as the color correction applies to the whole clip. However, this takes about an hour to render because it is so much material. But since I am slicing up each track anyway to form a composite track, wouldn't it make more sense for me to slice up each track as I see fit, delete the unwanted footage, and then color correct each line before I drag them all into one composite track? That way, the color correction would just be applied to the clips that I am using, presumably taking about 1/3 the time to render. Know what I mean? So here is the question: can I select all of the clips on one line and THEN color correct just those? Or do I have to select each little clip and type in the boatload of numbers into the numeric color correction. Or is there another way all together. (Like, is there a way to SAVE the color correction values that I want and call them like "camera one" "camera two" etc... and then just apply those settings to the clips I want?)
With my sound editing program I have presets for this concert. I am able to take each piece, open it up and apply the same equalization, amplification, reverb, etc. that I did for all of the others, thus making them all sound the same. I'm sure FCE has this option for video, doesn't it?
I have 10 more pieces to do and by far this was the most time consuming part of the job. So any help would be most appreciated!
Much thanks!

Apply the color correction to one clip and adjust as needed. Copy the clip. Select all other clips that you want to apply the filter with those settings to. Right-click on one and select Paste Attributes/Filters.
-DH

Best way to go from Final Cut to DVD preserving Color Corrections

What is the best way to take my video project from Final Cut and burn it on a DVD (using DVD Studio), I need to preserve the color corrections I have made (used an external video monitor)? Also my camera shoots at black level IRE 0 and I have edited it that way, but as we all know NTSC TVs use IRE 7.5 is there anyway DVD Studio or FCP can convert the IRE so it matches?

from FC; export to compressor
In compressor, choose appropriate preset (i.e. best quality, >90 minutes, 16x9)
encode the sound as dolby 2 (if you choose "all" you'll get an extra aif file)
take the 2 files (video and audio) into dvd studio to encode.
Not sure about your IRE 7.5 question, I always assumed it was automatically converted but now you have me thinking...

Color correction challenge, PP5.5 Mac, ProRes to WMV

I'm eager to complete my transition from FC Studio to Production Premium CS5.5, but I'm challenged to ensure consistent color in my ProRes to WMV workflow. Any advice would be appreciated.
My shooting gear: EX1R, w and w/o Nanoflash
Editing gear: 2008 MacPro (3.1), OSX 10.6.7, 10 GB RAM, ATI Raedon 4870
Workflow (FCP): Acquire footage, edit native (XD CAM EX/XDCAM HD22), render sequence to ProRes 422, transcode via Quicktime 7 Pro/Flip for Mac to produce WMV files for my PC clients.
Workflow CS5.5 (intended:) Acquire footage, edit native (XDCAM HD 422 via Nanoflash), output sequence to ProRes, transcode to WMV via Quicktime 7 Pro/Flip for Mac HD. After I put a "trial" sequence together in PP5.5, I adjust footage with 3-way color corrector. Here's where the fun starts:
Process: I attempt to create a "master file" from the sequence, using AME with output set for Pro Res. The next intended step would be to open the file in Quicktime Pro 7, then encode via Flip for Mac to produce a smaller WMV file for my clients.
Outcome (1) The results look as though color correction was bypassed completely. After much trial and error, I discovered that when I encoded using ProRes 4444, color corrections were preserved. Yet when I transcoded from 4444 to wmv, (2) the resulting files appeared to have no color correction. No good.
I'm stumped! I thought I was on to something when I noticed the "preset" for outputting XDCAM HD422 was not set for "progressive," but it appears to make no difference.
Sidebar: I experience the same issue regardless of use of XDCAM EX or XDCAM HD422 files. With the latter, I've edited clips in MOV and MXF format. Same outcome.
Until I get this workflow issue sorted out, I'm stalled in completing my transition to PP. I'd like to have acquired gobs more RAM and an Nvidia Quadro 4800 card already, but I need to know that I've fixed this issue first.
Any suggestions most welcome.
Sincerely,
Tom
Raleigh, NC

I finally figured it out! If there are any other FCP to PP traitors out there like me in Mac land, here's a workflow that results in WMVs matching the color corrections created in your PP sequence:
1) Edit native. In my case, I'm working with "XDCAM HD 422," the result of linking a Nanoflash set for 100 mbps/long gop to my EX1R. Both FCP and PP "read" them as 50 mbps files.
2) Export media to AME, checking the box, "Match Sequence Settings." With little delay, this produces a file with an mpeg extension (the mpeg-2 codec). In Quicktime player, this yields silent footage with no audio. Bummer. End of story, I thought.
3) But this time, I brought that same "black" file into Apple Compressor. Using the Flip For Mac plug in, I exported to one of my "regular" settings, 2-pass, VBR, 640x360. The result: a perfect color match with my color corrected PP sequence.
I'm sure there are alternatives to bringing a file that won't play in Quicktime into Compressor. I'll try Quicktime Pro and Streamclip next. But the point -- I think -- is to not bother with any more intermediate formats/files than one has to.
Sighs of relief here.
Tom

I just LOVE Color Correcting in FCP X

Don't ask me about the technical stuff but for some reason, I can now get great color (colour really) from some clips I shot back in 2006. The stuff I shoot these days is usually very consistent but these old clips muddy and have severe colour casts.
The new Color Board in FCP X seems to cope really well.
Being able to drag either of the four buttons to the colour that needs adjustment, slide it up or down for a rough adjustment, and then a tiny bit to the left or right to perfect the job is so user-friendly.
I disliked the old color wheels on FCP Studio, where it all seemed much less precise unless you were able to move a mouse in a perfect circle.
Anyone else have any thoughts on it?

My on-going off-and-on project has been editing and moving my old home movies to DVD so they can languish away digitally instead of as VHS tapes. (This includes quite a few Super-8mm films which were converted to VHS in the mid 80s, so its still all VHS.)
Sprinkled in with this are more current home movie projects such as "How we spent our year" Travelmentaries (commonly called vacation movies), and an annual DVD of our Boy Scout Troop outings for the year.
First I have to say, this has all been hobby and goes along in fits and starts. FCP 3 got old and clunky when it had to be pushed thru Rosetta like a meat grinder, and I messed with iMovie until FCE 4 came along. If I had dedicated myself, probably would have finished all the VHS stuff long ago, but mostly worked on stuff when it occurred to me that peeps in the Super-8 stuff, for instance, might actually enjoy seeing it all again 40 years later. And the color correction stuff was tedious and wearing, making anticipation of the next project less inviting.
In all this, doing a limited amount of color correction and sharpening worked pretty well. But I have to say that having all the parts (color, saturation, exposure) right there working the same with the same 4 "grab and drag" method has actually made the whole job far less imposing.
The one thing I miss about the color wheel, however, is that whatever color over-tinted the clip, dragging the "button" directly away from it pretty much settled the problem. For instance, if shot inside with the yellowish incandescent tinting, blue was the color needed, and it was opposite yellow.
It took a bit to get used to the color bar's method of removing yellow in maybe light tones area and adding a little blue, perhaps, in the mid-tones. But I also quickly found that by playing with the exposure in either area, I can sharpen those old fuzzy VHS tapes -- something I never noticed was happening until I tried it. The sharpen effect works pretty good as a start (used unsharp mask in FCE), but the color bar really sharpens things up, if not overdone.
Personally, I find I am anticipating spending lots of time on my "restoration" projects now, all because of the ease of use and power of FCPX. I finally finished one I started (converting the VHS tapes to DV) in 2009, although in all fairness, it was an extra four hours left over after having processed at least as much at the time. (To make things less intimidating, I have also moved the VHS player and now convert the tapes directly to disk using an otherwise now unused Canon DV camera as an AV to DV convertor.
But I am certainly one of those apparently targetted by Apple with the new FCPX at the expense of losing their loyal professional base. And the Color Bar's ease of use is a major part of that.

Color corrected video washed out by font / graphics

Hi everyone-
I'm running FCP 4.1.1 on a Mac dual G4. I have some DV clips on the timeline which I adjusted using the brightness / contrast function of the Color Correction tool. When I lay font or graphics over it, the clips get all washed out, and look more like the original clips. After rendering, the Viewer tells me that the video clips are still brightness / contrast adjusted, even though they're not. When I remove the font / graphics, they look as I intended (adjusted).
I used these same graphics on other video clips and they worked fine. It seems to be an issue with the adjusted clips.
Can anyone help? Thanks.
Mac dual G4 Mac OS X (10.2.x)

what color is the render bar above these problem clips?
it may be that with these graphic overlays applied then you are seeing only a proxy or preview of the final effect and not a full render
if so, check your Sequence > Render settings and make sure to check the Preview and/or Proxy options
cheers
Andy

Color correction like in Aperture

Hi
Im using Aperture for my photos, and there is a nice preset in Adjustment -> Presets -> Quick fix, which makes the color correction for us.
Is there such option in FCP X ?
Im not good in color correction so i would like to use feature like this.
Thank you

I don't care for it but you could try the balance color function under the magic wand in the toolbar.

Color correction applied to multiple clips

When using FCPX, is there a way to apply a color adjustments to all the fragments of the same clip? Or is there a way to batch edit clips without actually having to do all your color correction before editing?

Hi,
google Adjustment Layer for fcpx and you'll probably find a free one, or simply make one yourself if you have motion by creating a title effect, but remove the text item. Put in the correct folder for it to show up in the Title effects broswer and then simply add it to the timeline above all the other clips. Add colour correction or any other effect you want to it. it will effect everything under it.
hth
adam

Remove Color Correction Preset?

Similar Messages

Maybe you are looking for