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)

Similar Messages

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.

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

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).

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.

Where Would You Color-Correct in This Workflow?

I shot talent in front of a green screen. I am putting the pre-liminary edit together in FCP. From there, I'll use Automatic Duck to move the project to After Effects. There, I'll use Keylight to remove the greenscreen using Keylight. Then I want to insert a solid orange background and eventually return to FCP. Given gamma issues going back and forth with FCP/AE and the potential for an alpha channel I'm curious where one should color correct the talent.

why not shoot the talent against orange and save yourself a lot of work?
There's a lot to be said about practicals, but it takes a lot of lighting if you want an "electronically flat" background. Even the lens will be working against you. White is particularly difficult.
But if you still wanted to engineer the shot as a matte-screen, why not use the target bg colour as the matte colour? Because of how cameras and codecs work. Its a fundamental issue.
Usually there's a primary sensor which is producing a tristimulus representation of the scene. Then those values are perverted and compromised in ways that allow it to be stored in an economically feasible way. If only there was a way of recording the original sensor values that didn't require a skyscraper full of recording medium! I'm thinking specifically about the so-called "4K" RED and what you would actually need to store an RGB motion picture file of about 45.59 MegaBytes per frame. And even then there would be issues with the de-Bayering.
Until further notice, orange is a combination of all three values of red, blue and green. Mattes work better with a single primary like blue or green. Red is out for obvious reasons (flesh tone), and blue is usually regarded as too low-luminance and noisy to be useful. Green it is.
Green is also the major Luminance contribution (about 60%) to the Y signal in YCbCr, so its a better choice. Its a trade-off that will require de-coding and spill control, but this is our reality.
So, shooting it as intentioned -- maybe. You would still need a fair amount of time and effort to do it right -- spill, flare, evenness, footprints on the set, cyclorama blending... let me count the ways...
jPo
Message was edited by: JP Owens

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 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

Color correction with third party options

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

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

Color Correcting Help!

I shot a bunch of timelapse clips (12 and 15fps) with two GoPro3's and transcoded them in the GoPro software, Cineform Studio, because PP5.5 apparently does not natively handle MP4's. I made them universally 1080 and 29.97fps AVI's for import into Premiere 5.5 (on my mac).
While doing so, I also did minor color corrections. However, as I start to lay them side by side in Premiere I see that I did a poor job and that they look very different.
As a result, I have two problems:
1) I have no idea how to use Premiere's color many correcting tools.
2) Assuming I can figure a tool out, if I must correct each clip in the sequence individually, then there is no reason why I will not again make them all look different from each other.
Is there a way to make all the clips conform to a target value, with each changing the appropriate amount from it's own, current values to match it? For example, can I take one clip, adjust it's values (basically just white balance, brightness and contrast), and ask the rest to match it regardless of how close or far they currently are from it? I hope I've asked this question correctly.

The Three Way Color Corrector is probably the
most intuitive CC effect for a beginner in a hurry.
Here are a couple of short tutorials:
Three-way Color Corrector effect (CS6)
http://helpx.adobe.com/premiere-pro/using/three-way-color-corrector-cs6.html
Using the Three Way Color Corrector
http://www.video2brain.com/en/lessons/using-the-three-way-color-corrector
You can copy > paste the Three Way Color Corrector effect
from one clip to another as a starting point for additional clips.
Also, you can use an Adjustment Layer to apply a single
color correction effect across multiple clips.
Here's a short tutorial + documentation:
Using the New Adjustment Layers in Premiere Pro CS6
http://tv.adobe.com/watch/cs6-creative-cloud-feature-tour-for-video/using-the-new-adjustme nt-layers-in-premiere-pro-cs6/
Adobe Premiere Pro Help / Adjustment Layers (CS6)
http://helpx.adobe.com/premiere-pro/using/help-tutorials-adjustment-layers.html

Color Correcting Clips With Dissolves

When you're color correcting clips in a sequence with dissolves, are you color correcting the entire clip or just the part before or after the dissolve?
Do you have to remove other effects to color correct the whole clip?
Sure hope not but there seems to be a color change in playback when I hit the dissolves between clips.
Haven't rendered yet but have made a lot of changes to the color in a long and cutty sequence.

I imagine that the color changes you are seeing are because the sequence is not fully rendered. Do a test by fully rendering just a section.
And yes, you are color correcting the clip including any transitions in and out.
Message was edited by: Michael Grenadier

Color correction in batch resizing.

Anyone know good method for batch resizing that doesn't mess up color correction? I have a huge textile swatch library that I would like to batch to a resize, but when I batch resize the fabric textures compress or expand creating a tonal shift. Any good work arounds?

Remove Color Cast is relative simple:
Add the Fast Color Corrector.
Sample an area with the eyedropper from the White Balance' while holding ctrl key down that is supposed to be white.
Done

Need correct Target Id for report logical links

Dear Experts,
I have the following requirement where I need to have 5 Trade Funds related reports to be displayed when I click on the 'xyz' workcenter of my business role.
The standard Group Id (Work Center Link Groups) for the reports is FM-ALL-RE.
The logical links for the 5 reports included in the above Group Id are:
FM-MC13-1
FM-MC13-2
FM-MC13-3
FM-MC13-4
FM-MC14-1
So I did the following:
1. Created a custom workcenter e.g. xyz.
2. In workcenter definition, the Logical Link ID is abc (custom).
3. In logical link definition, abc is assigned to Target ID TSLSDASHWC.
4. Group Id FM-ALL-RE is assigned to workcenter xyz.
5. Workcenter assignment to Navigation Bar Profile and Business Role is done as usual.
But I am not getting the links for the 5 reports when I login using the business role and click on Workcenter xyz.
I have analyzed and found that the issue is happening because of step 3, where it seems the wrong Target Id is assigned.
Can anyone please guide as to which should be the correct Target Id which can solve this issue.
I tried to go through various standard SAP business roles but none of them had any link to my above 5 reports.
regards
Animesh

Hi Animesh,
I have got the feeling that you are correct concerning the SWITCH_ID field.
You have multiple possibilities to check if it is the reason. One would be to:
Set a breakpoint in method CL_CRM_UI_NAVBAR_SRV->TRAVERSE_WC_DEFINITION() for the following code
* remove entries with inactive switch id
IF iv_ignore_switches EQ abap_false.
    LOOP AT lt_wc_infos ASSIGNING <wc_infos> WHERE switch_id_wc_a   IS NOT INITIAL OR
                                                   switch_id_wclg_a IS NOT INITIAL.
      lv_tabix = sy-tabix.
      IF cl_webcuif_switch=>is_switch_active( iv_switch_id = <wc_infos>-switch_id_wc_a ) EQ abap_false OR
         cl_webcuif_switch=>is_switch_active( iv_switch_id = <wc_infos>-switch_id_wclg_a ) EQ abap_false.
        DELETE lt_wc_infos INDEX lv_tabix.
        CONTINUE.
      ENDIF.
    ENDLOOP.
ENDIF.
Then either just jump over the LOOP whenever it is hit or check the contents of LT_WC_INFOS
Now check in WebClient if your links show up
The solution to your problem is afterwards to activate the switch to ensure correct display and (more important) data content.
cheers Carsten

Fixing Footage Shot with wrong filter on Sony F900, color correction, underexposed film

Hello everyone...
I am new to the forums but have been with Adobe since CS3. I love Premier Pro and have fully abandones FCP 2-3 years ago for the first CS5. I was out shooting a SONY F900, which i am not used to (as I work primarily with small format and dslr workflows) and I made the TOTAL ROOKIE MISTAKE of shooting on the 1A rollable filter setting... rather than the 1B which is for indoor tungsten. I didn't have a monitor with me or available, so through the BW view finder... i had no idea it was wrong. The result is that I lost a stop and a half in an already lowlight setting... and the minus blue filter of the 1A (or daylight / 56K) setting removed color depth and turned every thing kind of washed out orange.
I am confident that i can bring it back to acceptable through color correction and i have been training on Speed grade tutorials like crazy. I am proficient in Premier and After Effects workflows but have never dealt directly with this.
Any help of steps to take in general would be appreciated and I thank you in advance for your help.
Cheers!
Dustin

Yeah... I feel like a tool for it. I have been shooting for a decade and a started on full broadcast shoulder mounts. I just have drifted sooo farrr over the past five years that I forgot about it. No excuse on my end. I have "colorista" for after effects. Part of the red giant suite right? Or am i mistaken?... Would you share the best simple approach to the settings for that plugin. Thanks in advance,
D

Removing color correction targets

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