T61 Color correction won't stick

Is there some way to make a color correction made (to eliminate a blue tint) stick? I find I must make the correction anew each time I reboot.

when you say the filter was not applied are you saying that the filter disappears from the filter list for the clip?
just for reference heres a workflow i've found helpful when adding and adjusting filters:
before you correct, change your playhead sync mode to open (View > Playhead Sync > Open). that way you can be sure that the clip you are viewing in the canvas window is the same clip you are adjusting in the viewer window. drag and drop the filter or otherwise apply the filter to a clip in the timeline. move the playhead so that you are looking at that clip in the canvas. adjust the settings for the filter controls in the viewer window.

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Color Correction Won't stick

Hello all,
FCP 3.0
I have range check turned on and get the exclamation point.
I apply Color Correction 3 way and lower the whites until I get the green arrow and render. I check the clip again and the filter was not applied. No CC was done.??????
Yet it rendered for the amount of time it said it was going to render. Tried pasting the CC filter forward from the CC window by hitting the 1 and 2 and yet it doesn't work.
Thanks,
Al

when you say the filter was not applied are you saying that the filter disappears from the filter list for the clip?
just for reference heres a workflow i've found helpful when adding and adjusting filters:
before you correct, change your playhead sync mode to open (View > Playhead Sync > Open). that way you can be sure that the clip you are viewing in the canvas window is the same clip you are adjusting in the viewer window. drag and drop the filter or otherwise apply the filter to a clip in the timeline. move the playhead so that you are looking at that clip in the canvas. adjust the settings for the filter controls in the viewer window.

Color profile won't stick.

Since I installed a Matrox M9125 graphics card, colour profiles set in "Color Management" won't stick. The default "Device" for "Common Management" is "Display: Generic Non--PnP Monitor - Matrox M9125PCIe x16". When I select my actual monitor (NEC 2690) from the Device drop down list profiles appear - including one I have made using an Eye-One Display 2 - and I can set it as the default one. However, when I re-open "Color Management" the profile I just set is gone, the profile list is empty and the Device is back to the Generic PnP ...display etc.
The profiles worked fine in my previous vga card (Nvidia) and stayed selected.
I have Vista Ultimate 32Bit and CS3.
Grateful for any help on this.
David

Hi,
I just want to sympathise with the China/Printer issue.
Most of my artwork goes over there and I want to rip my hair out with every new job. Steve is right that we as artists really should go by the printer's specs, but when dealing with a language barrier, not to mention a 12 hour time difference it's so far been imposssible for me to do. I keep a Pantone color picker at my desk and manually enter in the CMYK values. It doesn't always work though.
About your problem, the only thing I can think of is that you have images in your file that were RBG when placed in your file. It might not be what's going on, but something to check anyway.
Good luck,
Cherie

Assigned color profile won't stick

I have documents I need to send to China for production and their assigned color profile doesn't seem to be saving. Under the "edit" menu I've selected "Assign Profile" and checked "working CMYK". Then I save and close my document. When I reopen the document to double check it's color assignment I find that half the time the file has returned to "don't color manage". I'm not doing anything differently but I keep getting different results.
What am I doing wrong?
Thanks,
Christy

Hi,
I just want to sympathise with the China/Printer issue.
Most of my artwork goes over there and I want to rip my hair out with every new job. Steve is right that we as artists really should go by the printer's specs, but when dealing with a language barrier, not to mention a 12 hour time difference it's so far been imposssible for me to do. I keep a Pantone color picker at my desk and manually enter in the CMYK values. It doesn't always work though.
About your problem, the only thing I can think of is that you have images in your file that were RBG when placed in your file. It might not be what's going on, but something to check anyway.
Good luck,
Cherie

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 Finesse vs Colorista 2 Premiere vs After Effects for color correction

Hi,
I want to get in to color correcting of my Canon XF305 footage that is converted to the Blackmagic 10 bits lossless codec.
I have two Eizo calibrated monitors etc , but my only doubt is the choice of the program (to do it in Premiere-pro or After Effects) and with Color Finesse or with Colorista 2.
So if there are people with color correction experience please share it here.
Thanks! David

When shooternz said 'gain' I presume he means "what was the benefit". If your original footage can be opened in PP, converting it isn't usually necessary unless you find the scrub performance is really hampered by the camera's codec - and that's more of an issue for line editing rather than color correction as you won't be playing it back and forth very much. PP will edit in 32-bit color space no matter what the footage is, so you don't need to force the ingested material into a higher bit depth.
We get the 'real time' question asked a lot. PP is a non-linear editor so realtime playback and scrubbing are essential, but the exact content of each frame isn't all that important. AE works on individual frames so it's not designed to play back in real time - it has to compose all your effects onto every single frame before it can show you the results, and in every frame it processes every pixel. The realtime monitors in PP don't do that - they show something that looks visually the same but only some of the frames are actually processed, then the rest are interpolated.
AE has some extremely powerful CC tools, but realistically it's intended for use on small clips - if you look at grading workflows in studios their typical AE timelines might only be 20 seconds max, and often only a couple of seconds. It can work with longer clips but it gets painful. The big advantage in AE is the ability to layer up lots of effects with masks, so for example you can color-correct a video clip so it exactly matches another clip or a still image, fine-tuning one coffee cup in the background of a scene or relighting in post by masking up zones of color and exposure adjustment.
PP on the other hand is great for long timelines and cutting together clips into a program - that's what it's designed for - but it works on clips so correcting at a frame-by-frame level is correspondingly horrible. I'd say the 3-way CC in PP is perfectly fine for prosumer and indie work; if you know what you're doing it's possible to replicate any of the motion picture styles people are used to seeing, it's simply that it doesn't have a library of presets and you don't get the same level of spatial controls (there's no masked adjustment layer concept in PP like there is in AE). As shooternz says some of the third-party plugins for PP give you those power tools.
New in CS6, Speedgrade provides a standalone program with more powerful features, though the workflow at the moment isn't all that seamless (SG wants frame images, as do most pro grading applications, so there's a gnarly export-import thing to go through that makes round-tripping a one way street).
A professional colorist will use a standalone grading program for several reasons, but they're not all down to pure 'quality';
pro colorists tend to use special hardware desks with physical versions of the three color wheels, and they only work with certain software.
if you're matching the 'look' of an entire motion picture, being able to store, share and batch process with preset styles and look-up tables (LUTs) is important - MB Looks and the Colorista plugin bundled with AE both have libraries of presets, the native fast and 3-way CC tools in PP don't.
On a big project the grading is done by someone other than the editor, so they don't generally need (or want) access to the master timeline - they'll get an exported mezzanine format from edit (an image sequence or uncompressed video track) so don't care about all the other stuff PP or AE can do.
If your only job is grading then a standalone package is the way to go. If it's one of an army of things you do, from shooting and editing to burning the DVDs and writing the blog, I'd say to stick with the inbuilt tools in PP/AE, have a go in Speedgrade if you have CS6 and some time to teach yourself, but the expense of a standalone grading tool would only be worthwhile if you have a few months spare to learn the skills. There's a reason the best colorists earn top dollar, it's 50% art, 50% science and 100% dedication.

Secondary color correction not working in Premiere CC

Greetings,
I'm unable to build secondary color correction masks in Three Way Color Corrector, RGB Curves etc in the current version of Premiere CC.
In any of these plugins, when I check "show mask" I get the usual white slate filling the frame. But when I use the color picker to make a selection the whole frame stays white. It appears that I'm making selections but it's not building the mask for some reason. When making an extreme color change I can see that the mask is not building as it affects the whole frame.
This started after upgrading to CC. I've recently updated to the most up to date version (yesterday) and am still having the same problem.
Premiere CC 2014.1 Release
8.1.0 (81) Build
Macbook Pro Retina, 15" Late 2013
2Gh Intel Core i7
8Gb
Intel Iris Pro 1536Mb
Yosemite Version 10.10
*note-my Colleague is not having this problem, he's working on the same OS and same CC build but he has an Imac. So I'm guessing this problem is unique to my hardware config.
Anybody else have this problem or know of a fix?

I have the same Problem new MAC OS Premier Pro CC or Premier Pro CS6 both have an issue with the Title Tool. If you open the title tool and try to make color changes or change size of the font it sticks at the default color and default font. SOmetimes the title tool will work and then when I exit it's back to the default first type location, default font and default color. Sometimes it will not even let me exit the Title Tool.
Please help I have Projects I'm working on Deadlines and I pay a monthly Fee for Software that works and it's not working.
Model Name:          Mac Pro
Model Identifier:          MacPro5,1
Processor Name:          6-Core Intel Xeon
Processor Speed:          2.4 GHz
Number of Processors:          2
Total Number of Cores:          12
L2 Cache (per Core):          256 KB
L3 Cache (per Processor):          12 MB
Memory:          16 GB
Software OS X 10.9 (13A603)
Graphics ATI Radeon HD 5770 1024 MB

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

Color Correction for DVD and online

I have a 13" SD TV hooked up to my mac working as a color correction monitor for FCE.
My question is: Should I always color correct using the TV monitor vs looking at the Canvas in FCE? What I'm seeing is the picture in the canvas is darker and more saturated then the view of the TV monitor. Is it best to trust the TV monitor vs the canvas? And should it make any difference if the final project is going to DVD vs online? I'm assuming the ending product (mov file) should look the same if the mov file is viewed from a computer vs on a TV from a DVD. In a nut shell, once the clip is color corrected using the ext monitor, should I be good to go no matter where the file ends up?
Thoughts?
Thanks so much

Hi
I would take some photos with color miss match eg blue tint (Blå-Stick in Swedish)
and with other known color anomalities.
Put them in TimeLine and playback. View TV - corrected or as bad as from start.
I use a color corrected CRT-broad-cast monitor but prior to this a small TV and
this one did a good job.
Yours Bengt W

Secondary Color Correction End Softness

Here is a little something that has driven me insane across all versions (sans 8.1 which doesn't work on my machine)...
Lets say you are using secondary color correction to mask out the sky above a mountain range - you know, like every single video tutorial on the subject does - so you get it dialed in as much as you can until you are left with that nasty pixel fakey line along where the heavens meet the earth which screams "hey look everyone this guy is faking the sky color here". But you don't admit defeat yet and you of course go for that trusty almost magical "End Softness" slider. You drag it a bit and see that it indeed does blend/feather/fix your SCC mask up quite nicely except one glaring problem. The End Softness adjustment has also feathered in the very far left/right outside edges of your clip/frame as well - rendering the usefulness of the secondary color correction ... well... completely non-useful.
If it helps to clarify what I mean, the unwanted side effect I am describing also happens when you use Gaussian blur (premiere, photoshop, etc) but is remedied when you simply check the little "Repeat Edge Pixels" box.
Anyone else ever have their secondary color correction attempts utterly deflated by this occurrence?

I would imagine it is something to do with how softness or blurring samples surrounding pixels. When you reach the edge of the frame the edge pixels won't haven't neighbours all the way round for the effect to look at. As you said it is like the gaussian blur. Why there is no 'Repeat Edge Pixels' option, I don't know. I think you are possibly wasting your time asking the why on these forums. As long as you can get to the how, then be happy you achieve the desired outcome you are after

After effects color corrected clip not showing correctly in Premiere

Hello all,
I have recently made a short film with a few effects in Premiere and After effects CS4. I have used the Dynamic Link to accomplish this. I have added color correction with Color Finesse in After effects. The problem is I some of the color correction is not showing up in Premiere once it has finished. Some of them are adjustment layers and some are not and the ones that are showing up are diverse like that as well. I have rendered the footage and rendered the premiere time line, it fixes it at first but won't build a DVD the right way then the fixes just seem to disappear when scrolling through the timeline.
Is anyone else haveing this problem?
Do you think it's something wrong that an update will fix?
Maybe a new codec?

Describe the exect DL steps you took.

Color Correcting MOV file

Hello, I have a problem with importing FCP generated XML file into Adobe Premiere Pro, so I can later transfer it to Adobe After Effects for color correcting. So I'm thinking to color correct a high quality MOV file that I can export from Final Cut. Does that make any sense? I'd like to keep highest quality possible for submitting my film to film festivals, DVD etc.
Would such a method adversely affect the quality of the image? What would be the best way to color correct a file?
Also, as a side question, does Color Finesse come built-in into After Effects or one has to purchase it separately. For someone, who is an amateur in color correcting does it make a big difference whether one color correct in After Effects or Color Finesse?
Many thanks

If you export a losslessly encoded movie from Final Cut Pro, then you won't lose any quality by moving your movie back and forth as a QuickTime movie. People often use the Animation codec or the PNG codec in a QuickTime container for lossless encoding of movies for such transfers. The files are big, though, so don't expect to use such files for distribution or realtime playback.
Yes, Color Finesse is included with the full version of After Effects (not with the free trial version, though). See "Color correction and adjustment".

Calibrating FCP for Color Correcting

I'm about to do some color correcting for a video project. The challenging thing is I don't have a TV monitor hooked up to my computer, which is preventing me from seeing what the exact color looks like.
Does anyone know a way I can callibrate my FCP's canvas window to show the same color a TV monitor would show?
Thanks for your help.

TVs aren't used for this, as they vary greatly in every way...brightness, contrast, color...more. TV's aren't designed for broadcast color correction. You can try, but it won't be a true representation. Sorry to be a purist, but in this case, it is true.
Try these articles:
http://www.videouniversity.com/tvbars2.htm
http://www.bluesky-web.com/colorbars.html
What is this for? If you are doing any sort of broadcast work, then you'd better get a broadcast monitor. Can't afford it? Aren't they paying you? Paying for your system?
Shane
"There's no need to fear, UNDERDOG is here!"

Auto-select clip under playhead? (for color correction)

Hi all
Another newbie question concerning color correction in FCS2.
When moving from clip to clip in the timeline, the viewer (which contains the 3-way color correction filter) doesn't refresh until I remember to double-click on the current clip to select it. In other words, if I change a filter on one clip, then move in the timeline to the next clip, the viewer still contains the previous clip's filter, and if I forget, I'll start fiddling with it, thinking I'm now looking at the current clip.
Still with me?
So, my question is, is there an "auto-select" feature whereby, as I move my playhead along the timeline, clips on a selected track (eg V1) will automatically get selected and loaded into the viewer?
I know there is an auto-select feature for tracks, which I've enabled for my video track, but it doesn't seem to be meant for what I want.
Thanks!
Matt

If you set the SYNC to OPEN, what is being played in the time line (and displayed in the Canvas view) will also be displayed in the Viewer.
Just a point of clarification - the Viewer doesn't hold the CC filter, it will only display the filters that have already been applied to currently displayed clip. If the next clip displayed in the viewer has not had the 3way CC applied, the 3way CC won't display as part of the filters on that clip.
Good luck,
x

Color correction with .mts files

Hi,I´m editing .mts files in premiere pro, but I want to do the color correction in a diferent program, but since must of the programs don´t support mts files, what would you recomend? after that, I want to get back to premiere to finish my worflow, but I don´t wan´t any compression, any advice? I would love to correct in Da Vinci..

YOu want to color grade this in DaVinci...which doesn't support .mts...but you don't want to recompress the footage into something that DaVinci will work with? You don't want ANY compression? Not possible...if you want to go to DaVinci. You will need to compress to something it recognizes, and then guess what? You will compress again when you render out of DaVinci...but if you send ProRes or DNxHD the recompress won't really have any degredation.
or use Speedgrade...

T61 Color correction won't stick

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