Selection, Color Correction and Blending

How do I make a selection of ALL the yellow on the Meatball building and make it a deeper yellow the way it has been done in the attached photographs:
BEFORE
AFTER
Someone suggested playing with the Color Range: Select/Color Range and then use the lasso tool plus the option button to delete what you don't need. But that's not working for me. Any other suggestions?
And in the next photo, what is/how do you achieve the blended effect on the area that is the where you would more obviously see that this is made-up of two photos? It's a blending mode right? Which one?
Thanks!

The answer in both cases is it come down to masking. Masking is nothing more then a selection and the selection can have both hard and soft edges to help layer blend better. Blending modes and bend if setting can also help with colors. I'll do a little example with your first image since you did not post both layers for the second image.
You need a good selection of the store not perfect. I started by using select Color range to get a starting point selection. Then I switched to the quick selection brush to improve the selection. Remember when using the quick selection brush you need to use the two modifier keys Shift and Alt. Shift to Add to the selection and Alt to remove from selection. I then saver the selection and then fathered the selection 1 pixel and saved it again. With the feathered selection active I added a hue and saturation adjustment layer. The selection was added into the layer masked added. Adjusting the layer effect only the store because of this. You can adjust the layer using opacity, fill, blend modes and blend if as well as using the adjustment layers sliders and check box. I also activated the selection so you can see the marching ants to get some idea of the selected area. To change the color I checked the colorize checkbox in the adjustment properties and mover the sliders. You can color the store just about any color you want. http://www.mouseprints.net/old/dpr/3-storefront_web.psd

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Selective Color Correction - Adding to multiple channels

Hi - I am using CS3 on a Mac OSX 10.5.6
I am experiencing an oddity when making color adjustments with Selective Color Correction. I am working with RGB images trying to adjust to get colors in gamut and to maintain detail before converting to CMYK. As an example, I have an image comprised of various red items. I want to add cyan to get some detail for the highly saturated areas. Regardless of the Relative or Absolute setting, when I add cyan I am also getting a lot of black added. By the time I get a 3% dot in cyan I may have 10-12% K. When I reduce the black it also reduces the cyan.
Is this because I am in RGB mode? I want to make these adjustments before separating to CMYK so I can keep detail that is getting blown away in the conversion. I would have hoped that because it is controlled with sliders for CMYK it would isolate it's effects to the specific channel but that is not what is happening.
Any ideas?

I am working with RGB images trying to adjust to get colors in gamut and to maintain detail before converting to CMYK.
If you are trying to bring totally oversaturated RGB colors into the CMYK gammut, then ideally you will have to learn about channel mixing. It may be necessary to reproduce the Cyan channel (Red) by finding detail from other channels. Selective color, as you've discovered can only take you so far.
Luminosity blended Hue/saturation adjustments taken to low opacity is another high end tip, and work around. If you cant deal with the complexity of masking and channel mixing

Selective color correction "Lightroom"

I have two suggestions for Lightroom.
1.) Please absolutely for the next update an improved function for a selective color correction. Select with a pipette the color and over an input window the information selectively work on. That One should be able to determine sphere of influence still additionally. At present this is not yet satisfying. (see and compares, Photoshop PlugIN: aurelon "coco", or Software DxO Optics Pro v4.5).
2.) Information window that comparably as in Photoshop the values for RGB 0-255 indicates.

I am working with RGB images trying to adjust to get colors in gamut and to maintain detail before converting to CMYK.
If you are trying to bring totally oversaturated RGB colors into the CMYK gammut, then ideally you will have to learn about channel mixing. It may be necessary to reproduce the Cyan channel (Red) by finding detail from other channels. Selective color, as you've discovered can only take you so far.
Luminosity blended Hue/saturation adjustments taken to low opacity is another high end tip, and work around. If you cant deal with the complexity of masking and channel mixing

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).

Advice for logical workflow for color correcting and color grading

I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage. Can you advise me as to the most logical workflow for doing this in coordination with PPRO CS5? Are there some tutorials that you recommend? I subscribe to Lynda.com and I think that they have some great tutorials, I am unsure as to where to begin looking and what to search for.
Thanks so much,
Lisa

lisaellensegal wrote:
I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage.
You can do it that way, sure. But you don't have to. You can accomplish quite a lot without leaving PPro. This has two major advantages. First, if you aren't using AE for anything else, it gets you out of using AE at all, so gets you out of climbing another set of learning curves.
Second, even if you are using AE for other things (I use AE to make motion lower thirds, for example), doing the work in PPro can improve exporting speeds. This is because AE gets restricted to a single processor core in some workflows as discussed in this thread and others (search around if you're interested). This can make exporting take 3x as long or longer, depending on how much footage has to be processed by AE.
So, how to do color correction without leaving PPro? Use either a luma corrector or luma curve effect to set black and white points, and contrast (use a waveform monitor to help). Then use a three way color corrector effect to get rid of any residual color casts (use the vectorscope to help, and the RGB parade, etc.).
If you find you have specific colors that need to be fixed, you can apply another three way color correction effect and use it to make that secondary color correction (for example I find the blue dyes used in many labels tend to fluoresce under fluorescent lighting, and has to be desaturated with a secondary color correction or it "blooms" on an HDTV -- IOW, it has to be made "broadcast safe").
If you want tutorials for using these tools, the ones on Creative Cow by Andrew Devis are quite good, and free. The ones on color correction with PPro cs6 start at tutorial number 47. There's a bunch of them. All good.
Finally, get a copy of Van Hurkman's Color Correction Handbook. May be the best technical book I've ever read, and it'll certainly point you in the right direction for doing color correction work regardless of which tools you use to do it.

Shapes Color Correction and more Shapes

Is there a way to apply the same color correction to different shapes? Like a copy paste function. If you save the grade it corrects the whole thing? Can you be that specific?

on the cusp of being kick butt!
Comparing applications on a feature-by-feature basis is sort of a dangerous game of diminishing returns, especially when the ultimate consumer cares not a jot about how a service provider ultimately delivers the product.
A good colorist can accomplish anything with Apple COLOR that any other colorist might with any other system, but as far as development goes, the parent company does not welcome or collaborate with its practitioners in any way even remotely resembling the relationship that other grading software companies have with their customers. So... COLOR, born as Final Touch has been "on the cusp" for about 5 years or more, but as far as consulting with its professional clientele goes, other than Beta-testing with a highly select group of mostly FCP 'insiders'... nada.
To a certain extent, if there was some requirement to come up with an instrument that anybody in the orchestra could play, then Apple has come close to delivering that. Well, actually Silicon Color did, and Apple finally admitted them into the inner sanctum. From that point though, what the virtuosi looked upon as promising, but somewhat crude and not a little bit clumsy -- especially with its notorious roundtrip complications, has not advanced much. I had to laugh when a long-time FCP practitioner announced that he was going to wait for COLOR 2 -- you just can't trust those 1.0 offerings... oh, man, what's in the box these days is FinalTouch, oh maybe about 2.8 or so... maybe 2.8.5 (Release Candidate)? But not 3.0.
The fact that this particular app is packaged as a bonus with the Final Cut Suite makes it difficult to justify development money -- sinking more code into it will not result in a significant enough return when framed against the requirements of the general Final Cut congregation, the vast majority of whom do not even engage in color correction. My deepest fear is that they will "Shake" the app and pillage some of its features into Motion or something equally horrific. "On the cusp" could be just as easily "on the bubble".
As it stands however, it certainly has opened the door for some -- and so we do manage to satisfy a number of clients and make life difficult for competitors while eking out a poverty-level living. ;-P
jPo

Premiere pro can't fast color correct and deinterlace on GPU

I recently posted saying that Premiere Pro could not succcessfully deinterlace a timeline that had footage with different field orders. Since then, I have done some more tests and have realised that the actual issue is that Premiere pro can not deinterlace footage that has a fast color correct effect on it. I replicated the same scenario on other footage and another machine with a different GPU and the same issue exists. Does anyone have any ideas on how i can fix this or am i going to have to export an intermediate for each step? Cheers

OK.
Next try checking Maximum Render Quality. (It'll force some things back to the CPU, including scaling and deinterlacing.)

Photoshop Color correction and Special color Effects

Can anybody pls tell me , how they create color corrections in movies like Harry Potter, Lord of the Rings. and all the other special color themes they create different images...
I use photoshop a lot but m a amateur to color correction thing .

There are many applications, that can do CC (Color Correction, often referred to as Color Grading, or sometimes just Grading). Premiere Pro has many CC Effects, and these should be done on calibrated NTSC, or PAL, monitors, and not on the computer's monitors. One reason for this is that Premiere is not a Color Managed environment.
Adobe After Effects also has many (actually quite a few more) CC Effects, and is often used for this purpose, even if one is not using it for its normal operation - compositing.
Along with those, there are many 3rd party CC plug-ins, like Red Giant's Colorista.
Once one gets past indie films, Hollywood would use workstations designed specifically for CC, with software not commonly available to the vast majority of the public. Again, the work will be done on constantly calibrated monitors, and by skilled technicians, who do nothing else, all day long. A good starting point would be the Black Magic Da Vinci system, but this really only gets one's foot in the door.
To get a handle on CC for Video, I recommend The Arit and Technique of Digital Color Correction, Hullfish.
Color Correction in Video is a subject, where popluar books will fill a large library.
Good luck,
Hunt

Adobe Premiere Pro Help | Color correction and adjustment

This question was posted in response to the following article: http://helpx.adobe.com/premiere-pro/using/color-correction-adjustment.html

Hi Ann,
I apologize for the incorrect screen shots. I will forward this thread to the new content and community lead, Mallika Yelandur.
Cheers,
Kevin

Color correcting and white balance

There doesn't seem to be any tools specifically for it. What is a good way to white balance in shake? I can't seem to get good results.

I use Mult to match a layer to another by viewing the individual color channels in the viewer.
ColorCorrect is the uber color correction node.
ColorCorrect is similar to the 3Way Color Corrector in FCP but without the graphical interface. Grab an image, apply the nodes and see what happens.
But, as in Motion and After Effects, think of what part of the image you want to adjust whether it's the white/black points or gamma range or whatever and then apply the node suitable for that adjustment.

Selective Color Correction (FCP 4.0)

I've heard that this is possible -- any help/insight would be greatly appreciated:
I have a shot of somebody sitting in a bathtub full of red water...however, unfortunately on the un-color-corrected image, the water registers more pink than red. However, all the other colors in the shot are pretty dead-on, as was intended.
Can somebody tell me how to isolate the water (it's the only pink color in the whole shot) and color time it, and it alone, to a deeper red (i.e. so it doesn't affect the rest of the elements in the image)?
Thanks in advance!
Powerbook 15" Titanium Mac OS X (10.4.6) 1 GHz

You'll need to use the "Limit Effect" feature of the 3-Way Color Corrector filter. This article may help: http://www.kenstone.net/fcphomepage/basic_pleasantvillelook.html
-DH

Color correction and gamma

Hi
is there any software to set my computer screen for TV color/gamma, in order to see how it will look on an ordinary tv? I'm making a short animation, with framepictures from photoshop.
I don't wan't to spend time setting each picture to correct color/gamma, instead I want to set the movie in to correct settings.
I once had one software for my iMac, where I could save different screen-setups, but it disappeared when upgraded to Leopard and I can't remember the name of it.

You're best bet would be to connect a dedicated capture card to a properly calibrated TV ... or use a Matrox MXO: http://www.matrox.com/video/en/products/mxo/
If you're working in a DV sequence, you can output via Firewire to a DV device then connect to your TV monitor.
-DH

Batch Color Correction and Batch Levels oddities...help!

So I have an action that I've been using for the past couple years (?) now that involves opening an image, applying an auto color and auto levels, saving and closing. This has been working for me since probably a couple years ago when I made the action. Yesterday, I was working on a scanning project where I have groups of images in separate folders. I ran the action on the first 2 folders which went fine. When I got to the 3rd folder all the way up to the last one, PS just loads all the images, does the levels and color then fails to save/close them when done. On one of my folders, it gets through a few of them when it drops the ball and just opens all of them. I'm not sure what's going on as there's no real explanation as to why this is happening...especially when I've been using this action (and I even made a new action with still no luck). This is becoming a huge headache. Any feedback/help would be greatly appreciated...especially when last week I had about 300 images I had to work with and PS decided to pull this move on me after doing the first 30 of them fine...which is when I first noticed this happening.
To further add, I set my action to show everything step by step and it seems to happen with select images (in some cases, these select images are entirely what is in the folder). With the select images, it is not doing the actions entirely in order. Typically it does it in this manner:
1-Levels
2-Levels
3-Save
4-Close
What I'm now experiencing is this:
2-Levels
1-Levels
(Skips 3 and 4 since it is starting at 2 and working upward). Hopefully you understand what I'm talking about!

They're all JPEG, all coming from the same source (Images coming off of a Kodak PS410 scanner). I've also checked to see if they're 'read only' but they aren't. Odd thing is, I've taken this same set of photos to another computer and ran the same action and everything ran fine. As far as memory goes, I don't think that should be an issue as I'm set up with 16gb of RAM. And as far as what I was recently working on, these folders had probably 40 images max in them.
I'll be running another batch on another set of images (coming from a different source) today and see what happens, if anything.

Color correction and "sudo-chroma keying"-can they be done?

So I just wrapped my cousin's wedding, but the ceremony and reception were both held in a bar, which made for less than optimal conditions. Besides the prolific dim lighting, there were neon signs, specifically Miller and Bud Light. Those signs were both blue, so if I put on my outdoor color corrector, the video looked nice, but then if I panned, the regular ambient lighting looked off. If I applied my indoor color corrector for the ambient lighting, it looked good, but as I got close to the neons, it again looked bad. My question is, can I keyframe the 3-Way Color Corrector so that when I'm by the neons, it's as good or the same coloring as when I'm looking everywhere else?
My second issue came during the vows. Being a bar, there was a Budweiser sign on the wall, and it was paper and had just gone up, so it couldn't come down. I knew I was gonna be framing that perfectly, and unfortunately I was. However, the sign has a nice white boarder to it, so my initial and current thought is to chroma key it out and replace it with something like "Congratulations." I wasn't using a tripod, so the image moves slightly and there's 2 people in front of it, the bride and the groom respectively. Would it be easy to chroma out the white boarder which then would give me some space to matte the rest out. But what about around the people? How good of a matte could I do there? I'm thinking of something like the Magic Wand tool from Photoshop, but FCP doesn't have that. The sequence is only ~5 minutes, so not that long, but what would make it easier on me?
I don't have FCS2 yet, but if all goes according to plan, I'll be wiping my system on monday, installing Leopard, and going to FCS2 which means I could smoothecam that clip, so then my matting would be easier. In theory, I also will have Color at my disposal, but from the time I played with it at an Apple Store, it's too much for me, at least at this stage of the game. This wedding was done on the cheap, hence why I'm doing the video for them, so if I need to leave the color as-is, and the Budweiser sign in, so be it, but I'd really like to make this the best that I can, and neither of these experiments have I had much of any really experience with, so the more the merrier.
As always, any thoughts or help is much appreciated,
-Brian

+>can I keyframe the 3-Way Color Corrector so that when I'm by the neons, it's as good or the same coloring as when I'm looking everywhere else?+
good news, yes you can keyframe all the color corrector filters and it should work handily for your situation
+>I'm thinking of something like the Magic Wand tool from Photoshop, but FCP doesn't have that.+
try these, might be just what you need: http://www.lyric.com/fcp-plugins/lyric-effects/index.html
+>The sequence is only ~5 minutes, so not that long, but what would make it easier on me?+
your Brother got married in a bar under a Budweiser sign Brian, I'm guessing he won't mind having his wedding video reflect the reality of the surroundings, so why fake it? ... easiest on you would be to leave it as it is 'cos theres nothing worse than a dodgy effect.
hope that helps
Andy

Selective Color Correction

This may be better done in After Effects - any pointers in Premiere or After Effects will be appreciated. I would like to keep one color in a video clip and make remaining colors sepia or black and white. I found tutorials to single out one color and change that color. But how do the other way - keep single color and change all other colors?
Thanks.
RV

See this:
http://kb2.adobe.com/community/publishing/501/cpsid_50125.html

Selection, Color Correction and Blending

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