By Steve Hullfish
Readers will study the foundations of colour idea and video sign research, together with the diversities among movie and video colour. starting with an research of universal colour corrections, the ebook will introduce the reader to the colour corrections attainable with an array of electronic video software program, equivalent to ultimate reduce professional, best, Avid, Avid Xpress DV 2.0, After results plug-ins, and different nonlinear software program. colour correction difficulties and strategies are awarded with tutorials at the significant other CDROM to make sure that the reader earnings a operating wisdom of the techniques.
Color Correction for electronic Video exhibits you the way to take advantage of colour to enhance your storytelling, carry severe emotional cues, and upload impression for your video clips. starting with a transparent, concise description of colour and notion conception, this ebook indicates you the way to investigate colour correction difficulties and resolve them-whatever NLE or plugin you utilize.
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Extra resources for Color Correction for Video - Using Desktop Tools to Perfect Your Image
Red, green, or blue, so it would also appear as black, or 0 brightness, as shown in Figure 2-10. If you only look at the numbers in the blue row across the bottom of the color bars, you can see that whether the blue channel is on or not alternates from one color bar to the next. There are also patterns in the red and green channels. With red, the first two color bars have 100 Red, and the second pair of bars have 0 Red. The third pair of bars have 100 Red, and the final bar has 0 Red. With the green channel, the first four bars have 100 Green, and the last three have 0 Green.
In After Effects and Premiere use Video Effects>Color Correction>RGB Curves. Final Cut doesn’t have Curves controls except by using Color or the Color Finesse plug-in. The theory behind using Curves is identical to using RGB levels. With Curves, the thing to understand is the relationships of the graphs to the video image and which axis controls what. Looking at Figure 1-36, the colors of the graphs help you to understand the relationships a little better. Let’s consider the Master graph first.
Here are the numbers I came up with: Grayscale_cool White: 146, 226, 253 Gray: 81, 133, 192 Black: 23, 33, 51 Grayscale_warm White: 254, 204, 127 Gray: 162, 120, 72 Black: 32, 28, 25 These values give you a real clue about what’s wrong with these images. In the cool file, blue is elevated across all three tonal ranges. Red is also more deficient than green, and green is also lower than blue. In the warm file, the red channel is elevated in the whites and grays, though the blacks are actually pretty close between the lowest and highest channel.