Pinnacle Systems Color Correction - 3.5 User’s Guide
Avid® Color Correction Guide
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Footage
Arri — Courtesy of Arri/Fauer — John Fauer, Inc.
Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS.
Canyonlands — Courtesy of the National Park Service/Department of the Interior.
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Eco Challenge Morocco — Courtesy of Discovery Communications, Inc.
It’s Shuttletime — Courtesy of BCP & Canadian Airlines.
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Saturn “Calvin Egg” — Courtesy of Cossette Communications.
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"The Big Swell" — Courtesy of Swell Pictures, Inc.
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Editor/Producer Bryan Foote.
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Ice Island — Courtesy of Kurtis Productions, Ltd.
Tornados + Belle Isle footage — Courtesy of KWTV News 9.
WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA.
Women in Sports – Paragliding — Courtesy of Legendary Entertainment, Inc.
GOT FOOTAGE?
Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators — Broadcasters — Content
creators of every genre — Just finished an incredible project and want to share it with the world?
Send us your reels and we may use your footage in our show reel or demo!*
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*Note: Avid cannot guarantee the use of materials submitted.
Avid Color Correction Guide • 0130-07987-01 • February 2009 • This document is distributed by Avid in online
(electronic) form only, and is not available for purchase in printed form.
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Contents
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Chapter 1 Understanding Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Color Correction Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Understanding Image Display in Color Correction Monitors . . . . . . . . . . . . . . . 16
Customizing Image Display in Color Correction Monitors . . . . . . . . . . . . . . . . . 17
Source Menu Commands in Color Correction Monitors. . . . . . . . . . . . . . . . . . . 17
Adjusting the Dual Split Image Display in Color Correction Monitors. . . . . . . . . 18
Displaying 16:9 Video in Color Correction Monitors. . . . . . . . . . . . . . . . . . . . . . 19
Using the Play Loop Button in Color Correction Mode. . . . . . . . . . . . . . . . . . . . 19
The Color Correction Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Understanding the Group and Subdividing Tabs . . . . . . . . . . . . . . . . . . . . . . . . 20
Displaying Group and Subdividing Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Understanding Interaction Between Color Correction Groups . . . . . . . . . . . . . . 21
Working with the Enable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Understanding Interaction Between Enable Buttons . . . . . . . . . . . . . . . . . . . . . 23
Using the Color Correction Tool Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Customizing Color Correction Mode Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Correction Mode Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Adding Comments to Color Correction Effects. . . . . . . . . . . . . . . . . . . . . . . . . . 26
Working with Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
How Color Correction Effect Templates Save Settings . . . . . . . . . . . . . . . . . . . 29
Saving a Color Correction Effect Template to a Bin. . . . . . . . . . . . . . . . . . . . . . 29
Saving a Color Correction Effect Template to a Bucket . . . . . . . . . . . . . . . . . . . 30
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Clearing Color Correction Effect Templates from Buckets . . . . . . . . . . . . . . . . 31
Applying Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Chapter 2 Performing Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
General Workflow for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Using Automatic Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Understanding Automatic Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Adjusting Contrast and Balance Automatically . . . . . . . . . . . . . . . . . . . . . . . . . 36
Understanding the Remove Color Cast Buttons . . . . . . . . . . . . . . . . . . . . . . . . 37
Using the Remove Color Cast Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Considerations When Using Automatic Color Correction . . . . . . . . . . . . . . . . . 39
Using the Color Match Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Making a Correction with the Color Match Control . . . . . . . . . . . . . . . . . . . . . . 41
Match Type Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Understanding NaturalMatch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Color Match Example Using NaturalMatch . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Saving Custom Colors to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Getting RGB Information Using the Color Match Control . . . . . . . . . . . . . . . . . 46
The HSL (Hue, Saturation, Luminance) Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Making Corrections Using the Controls Tab in the HSL Group. . . . . . . . . . . . . 47
Using the Sliders in the Controls Tab of the HSL Group. . . . . . . . . . . . . . . . . . 48
Controls Tab Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Understanding the Hue Offsets Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Understanding the ChromaWheel Controls in the Hue Offsets Tab . . . . . . . . . 51
Making Corrections Using the Hue Offsets Tab . . . . . . . . . . . . . . . . . . . . . . . . 52
Hue Offsets Tab Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Using the ChromaWheel Crosshair Pointers. . . . . . . . . . . . . . . . . . . . . . . . . . . 54
The Curves Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Understanding ChromaCurve Graphs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Making Corrections Using the Curves Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Adjusting ChromaCurve Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
ChromaCurve Graphs and the Color Match Control . . . . . . . . . . . . . . . . . . . . . 61
Examples of ChromaCurve Graph Adjustments . . . . . . . . . . . . . . . . . . . . . . . . 62
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Keyframing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Displaying the Effect Editor with Color Correction Mode . . . . . . . . . . . . . . . . . . 69
Keyframeable Color Correction Parameter Reference. . . . . . . . . . . . . . . . . . . . 71
Working with Keyframes in the Color Correction Monitor. . . . . . . . . . . . . . . . . . 71
Working with the Waveform Monitors and Vectorscope Monitor . . . . . . . . . . . . . . . 73
Displaying a Waveform Monitor or Vectorscope Monitor . . . . . . . . . . . . . . . . . . 73
Waveform and Vectorscope Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Using the Waveform and Vectorscope Information . . . . . . . . . . . . . . . . . . . . . . 82
Applying Color Corrections to an Entire Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . 83
Using Color Correction Effects in the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . 84
Selecting AutoCorrect Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
AutoCorrect Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Working with the Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Chapter 3 Color Correction Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Guiding Principles for Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Goals of Color Correction: Restoration and Adaptation . . . . . . . . . . . . . . . . . . . 88
Restoring the Original Look . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Adapting the Original Look . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Stages of Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Correcting Tonal Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Neutralizing Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Achieving Shot-to-Shot Consistency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Achieving a Final Look . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Examples of Color Correction Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Example 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Example 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Chapter 4 Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Overview of Safe Color Limits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Safe Color Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Understanding the Graphical View of Safe Color Settings . . . . . . . . . . . . . . . . . . . 103
Understanding Safe Color Warnings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Safe Color Warnings in the Color Match Control . . . . . . . . . . . . . . . . . . . . . . . 106
Making Adjustments to Achieve Safe Color Values . . . . . . . . . . . . . . . . . . . . . 106
9
Safe Color Limits with Waveform and Vectorscope Information . . . . . . . . . . . . . . 107
Working with the Safe Color Limiter Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Understanding the Safe Color Limiter Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Applying the Safe Color Limiter Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Adjusting the Safe Color Limiter Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Using the Safe Color Limiter Analysis Display . . . . . . . . . . . . . . . . . . . . . . . . 111
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
10
Using This Guide
This guide expands on the basic information for color correction that appears in the Basics
Guide for your Avid editing application and that is also available as the “Color Correction
Basics” chapter in the Help. This guide provides you with all the information you need to
use the more advanced color correction features of your Avid editing application, such as
customizations of the color correction user interface and manual color correction
procedures. Examples of color correction techniques and typical color correction problems
help you understand what to look for when you are correcting color in a sequence. Thorough
cross-references to other parts of your Avid documentation make it easy for you to find
additional information.
This guide is intended for all users of Avid editing applications, from beginning to advanced.
Unless noted otherwise, the material in this document applies to the Windows
Windows Vista
document were captured on a Windows system, but the information applies to both Windows
and Mac OS X systems. Where differences exist, both Windows and Mac OS X screen shots
are shown.
The documentation describes the features and hardware of all models and applies to both
n
the Windows and Mac OS X operating systems. Your system might not contain certain
features and hardware that are covered in the documentation, and might not be available on
both Windows and Mac OS X.
®
, and Mac OS® X operating systems.The majority of screen shots in this
®
XP,
Symbols and Conventions
Avid documentation uses the following symbols and conventions:
Symbol or Convention Meaning or Action
n
c
A note provides important related information, reminders,
recommendations, and strong suggestions.
A caution means that a specific action you take could cause harm to
your computer or cause you to lose data.
Symbol or Convention Meaning or Action
w
> This symbol indicates menu commands (and subcommands) in the
(Windows), (Windows
only), (Macintosh), or
(Macintosh only)
Bold font Bold font is primarily used in task instructions to identify user interface
Italic font Italic font is used to emphasize certain words and to indicate variables.
Courier Bold font
Ctrl+key or mouse action Press and hold the first key while you press the last key or perform the
If You Need Help
A warning describes an action that could cause you physical harm.
Follow the guidelines in this document or on the unit itself when
handling electrical equipment.
order you select them. For example, File > Import means to open the
File menu and then select the Import command.
This symbol indicates a single-step procedure. Multiple arrows in a list
indicate that you perform one of the actions listed.
This text indicates that the information applies only to the specified
operating system, either Windows or Macintosh OS X.
items and keyboard sequences.
Courier Bold font identifies text that you type.
mouse action. For example, Command+Option+C or Ctrl+drag.
12
If you are having trouble using your Avid product:
1. Retry the action, carefully following the instructions given for that task in this guide. It
is especially important to check each step of your workflow.
2. Check the latest information that might have become available after the documentation
was published:
- If the latest information for your Avid product is provided as printed release notes,
they ship with your application and are also available online.
If the latest information for your Avid product is provided as a ReadMe file, it is
supplied on your Avid installation CD or DVD as a PDF document
(README_product.pdf) and is also available online.
You should always check online for the most up-to-date release notes or ReadMe
because the online version is updated whenever new information becomes
available. To view these online versions, select ReadMe from the Help menu, or visit
the Knowledge Base at www.avid.com/readme.
3. Check the documentation that came with your Avid application or your hardware for
maintenance or hardware-related issues.
4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are
available 24 hours per day, 7 days per week. Search this online Knowledge Base to find
answers, to view error messages, to access troubleshooting tips, to download updates,
and to read or join online message-board discussions.
Accessing the Online Library
The Online Library for your Avid editing application contains all the product documentation
in PDF format, including a Master Glossary of all specialized terminology used in the
documentation for Avid products.
The Online Library for your Avid editing application is installed along with the application
itself.
You will need Adobe® Reader® to view the PDF documentation online. You can download
n
the latest version from the Adobe web site.
To access the Online Library, do one of the following:
Accessing the Online Library
t From your Avid editing application, select Help > Online Library
t (Windows only) From the Windows desktop, select Start > All Programs > Avid > Avid
editing application > Online Library
t Browse to the Online Library folder, and then double-click the MainMenu file.
The Online Library folder is in the same location as the application itself, for example:
(Windows) C:\Program Files\Avid\Avid editing application\Online Library
(Macintosh) MacintoshHD/Applications/Avid editing application/Online Library
Accessing the Goodies Folder
Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies
folder by browsing the DVD. This folder contains programs and files you might find useful
when trying to perform functions beyond the scope of your Avid editing application.
The information in the Goodies folder is provided solely for your reference and as
suggestions for you to decide if any of these products fit into your process. Avid is not
responsible for the manufacture, support, or sales of these products. Avid is also not
responsible for any loss of data or time, or any other adverse results related to the use of
these products. All risks of using such products or accessing such Web sites are entirely your
13
own. The Web sites listed in the Goodies folder are not under the control of Avid, and Avid
is not responsible for their content, any changes or updates to them, or the collection of any
personal data or information by the operators of such Web sites. All information and product
availability is subject to change without notice.
How to Order Documentation
To order additional copies of this documentation from within the United States, call Avid
Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United
States, contact your local Avid representative.
Avid Training Services
Avid makes lifelong learning, career advancement, and personal development easy and
convenient. Avid understands that the knowledge you need to differentiate yourself is always
changing, and Avid continually updates course content and offers new training delivery
methods that accommodate your pressured and competitive work environment.
To learn about Avid's new online learning environment, Avid Learning Excellerator™
(ALEX), visit http://learn.avid.com.
14
For information on courses/schedules, training centers, certifications, courseware, and
books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID
(800-949-2843).
1 Understanding Color Correction Mode
As it does with other modes (such as Trim mode and Effect mode), your Avid editing
application changes the screen display to provide a specialized interface for Color
Correction mode. This interface includes the Color Correction tool itself (containing the
controls for adjusting color), and a reconfigured monitor window that allows you to view
several segments in your sequence side-by-side.
“Color Correction Mode Basics” in the Help provides basic information on how to enter
Color Correction mode and descriptions of the main elements of the Color Correction mode
display.
The following main topics in this chapter provides more detailed information on how to
control and customize the Color Correction mode display:
• Color Correction Monitors
• The Color Correction Tool
• Working with Color Correction Effect Templates
Color Correction Monitors
The monitor window in Color Correction mode displays three monitors. The default display
and basic behavior of these three monitors is described in “Understanding Color Correction
Monitors” and “Using Monitor Buttons in Color Correction Mode” in the Help.
• Understanding Image Display in Color Correction Monitors
• Customizing Image Display in Color Correction Monitors
• Source Menu Commands in Color Correction Monitors
• Adjusting the Dual Split Image Display in Color Correction Monitors
• Displaying 16:9 Video in Color Correction Monitors
• Using the Play Loop Button in Color Correction Mode
1 Understanding Color Correction Mode
The position indicator
is on segment B in the
Timeline. The three
monitors display
segments A, B, and C.
Example 1
The position indicator
has moved to segment C.
All three monitors have
updated so that they now
display segments B, C,
and D.
Example 2
Understanding Image Display in Color Correction Monitors
By default, the center monitor shows the current segment (the segment the position indicator
is on in the Timeline). The left monitor shows the previous segment (the segment before the
current segment), and the right monitor shows the next segment (the segment after the
current segment).
When you move in the sequence by clicking a monitor button or by placing the position
indicator on a new segment in the Timeline, all three monitors update to maintain the same
relationship between displayed segments.
The following illustrations show the default monitor display behavior.
16
Color Correction Monitors
Customizing Image Display in Color Correction Monitors
You can customize the type of image that displays in each monitor in Color Correction
mode. For example, you can display segments other than the default previous, current, and
next segments, or you can display the entire sequence in one monitor. You can also replace
video image display with a waveform or vectorscope display to help you analyze images as
you correct.
To configure the display in a monitor:
t Click the monitor’s Source menu, and select one of the commands described in “Source
Menu Commands in Color Correction Monitors” on page 17.
Source Menu Commands in Color Correction Monitors
The following table describes the commands available in the Source menu for monitors in
Color Correction mode.
Command Description
Empty Displays no image (black).
Entire Sequence Makes the entire sequence available in the monitor. This is useful when you want to
compare shots from many different places in a sequence. For example, you can
display the current segment and the next segment in two monitors for immediate
shot-to-shot comparison and display the entire sequence in the third monitor so that
you can quickly navigate to any other part of the sequence you want to view. When
you change the current segment, the entire sequence updates to that segment.
You can use the Play Loop button in the Command palette to play the whole
n
sequence in the active monitor even if the monitor is not set to Entire
Sequence. For more information, see “Using the Play Loop Button in Color
Correction Mode” on page 19.
Reference Locks the current frame (the frame the position indicator is on) in the monitor. When
the other monitors update as you navigate in the Timeline, this frame continues to
display as a reference. This is useful if you want to use a specific place in your
sequence as a reference against which to compare all other shots, for example, a
segment that contains optimal skin tones.
To lock the current frame as a reference, right-click (Windows) or Ctrl+Shift+click
(Macintosh) in the Composer window or the Color Correction tool, and select
Reference Current.
Current Displays the current segment. This option is not available in the Source menu if
another monitor is already set to Current.
Previous Displays the segment immediately before the current segment.
17
1 Understanding Color Correction Mode
Command Description
Next Displays the segment immediately after the current segment.
Second Previous Displays the segment two segments before the current segment (the segment the
position indicator is on in the Timeline).
Second Next Displays the segment two segments after the current segment.
Waveform and
Vectorscope commands
• Quad Display
• RGB Histogram
•RGB Parade
• Vectorscope
•Y Waveform
• YC Waveform
• YCbCr Histogram
•YCbCr Parade
These commands configure the monitor as a Waveform monitor or Vectorscope
monitor. Your Avid editing application displays the information for the currently
active monitor. For more information, see “Working with the Waveform Monitors
and Vectorscope Monitor” on page 73.
Adjusting the Dual Split Image Display in Color Correction Monitors
You can use the Dual Split button below a monitor to split the image display so that it shows
the image before and after the current color correction adjustments are applied. For
information on this basic procedure, see “Using Monitor Buttons in Color Correction Mode”
in the Help.
Most Avid editing applications support the display of this split-screen view in the Client
monitor as well as in the monitor window.
18
When Dual Split is turned on, the uncorrected image appears on the left and the image with
currently active corrections applied appears on the right, as shown in the following
illustration.
Color Correction Monitors
Image with currently
active corrections
applied
Uncorrected image
Triangular handle for adjusting
size of uncorrected image
If you are reading a black-and-white hardcopy version of this document, you will find it
n
useful to view the color images in the online version of the document available from the
Online Library for your Avid editing application (Help > Online Library).
To resize the box that contains the split-screen image:
t Drag one of the box’s triangular handles in the monitor.
Displaying 16:9 Video in Color Correction Monitors
The monitor window in Color Correction mode can display wide-screen 16:9 video as well
as standard format 4:3 video in the monitors, just as it can in other modes.
For more information on switching to or from 16:9 display, see “Using the 16:9 Display
Format” in the Help.
Using the Play Loop Button in Color Correction Mode
The Play Loop button has a specialized function in Color Correction mode. The Play Loop
button does not appear in the monitor window but does control the playback of material in
the monitors. You can access the Play Loop button from the Play tab of the Command
palette or from the keyboard if it has been mapped to a keyboard location.
When you click the Play Loop button, your Avid editing application plays the whole
sequence in the active monitor, starting from the current position of the position indicator.
Playback is not limited to the current segment alone, regardless of the Source menu
command selected for the monitor. This is useful whenever you want to view the whole
sequence quickly without switching monitors or making a new Source menu choice.
19
1 Understanding Color Correction Mode
Group tabs Color Correction
Tool buttons
Subdividing tabs
Enable buttons
Color Match control
Color Correction bucketsColor adjustment sliders
HSL group tab Curves group tab
HSL group
subdividing tabs
The Color Correction Tool
In Color Correction mode, you make adjustments to color using the Color Correction tool. It
is also where you control how much and what kind of material you are correcting at any one
time.
The following illustration shows the Color Correction tool in its default configuration.
Understanding the Group and Subdividing Tabs
Avid Color Correction provides two groups of color correction controls, the HSL (Hue,
Saturation, Luminance) group and the Curves group. The controls for each group are
organized in a group tab. The HSL group tab has two further subdividing tabs on the left side
of the tool that subdivide the controls for that group. The Curves group has no subdividing
tabs. The following illustration shows the group and subdividing tabs.
You can make both automatic and manual adjustments using one or both groups of controls.
If you make adjustments in both groups, you can turn either group on or off independently to
control which adjustments are active. When you view the sequence or render the Color
20
Correction effect, your application applies the adjustments from the active groups to create
Click in this area of a tab to display the tab.
Do not click the Enable button.
the final appearance. For more information on the interaction between the two groups, see
“Understanding Interaction Between Color Correction Groups” on page 21.
Each group uses a different kind of control for making adjustments. The HSL group
provides controls for adjusting attributes such as hue, saturation, gain, and gamma. The
Curves group allows you to manipulate points on a graph that control the relationship
between input and output color.
For detailed information on adjusting color using the controls within the color correction
groups, see “Performing Color Corrections” on page 33.
Displaying Group and Subdividing Tabs
To display a color correction group tab:
t Click the tab in the area containing the group name.
Do not click the Enable button when you want to display a color correction group tab.
n
The Color Correction Tool
The tab is highlighted and moves to the front, and the specific controls for that tab
appear.
To switch between group tabs using the keyboard:
t Press the Page Up key or the Page Down key.
To display an HSL subdividing tab:
1. Click the HSL group tab in the area containing the group name.
2. Click the subdividing tab in the area that contains the subdivision name.
The subdividing tab is highlighted and moves to the front, and the specific controls for
that tab appear.
Understanding Interaction Between Color Correction Groups
Understanding how the color correction groups work together is important. Adjustments
made in each group are applied cumulatively to the current segment and its related material.
If you make an adjustment in one group and then go on to make another adjustment in a
different group, the image will show the cumulative effect of both adjustments.
21
1 Understanding Color Correction Mode
The Green and Blue ChromaCurve graphs are adjusted, but the Curves tab is turned off. The Curves tab
adjustments are not currently applied to the segment. Adjustments made in the HSL tab are applied to the
segment because the HSL tab is turned on, even though the HSL controls are not currently visible.
Enable button for Curves
tab is turned off.
Enable button for
HSL tab is turned on.
This behavior provides you with a great deal of flexibility. For example, if you are unhappy
with some of your adjustments, you can disable the group that contains those adjustments or
reset its controls to default settings without disrupting other adjustments.
The following illustration shows an example of this kind of control over color correction
groups.
For more information on enabling, disabling, and resetting the groups, see “Working with
the Enable Buttons” on page 22.
If you make adjustments in both groups, keep in mind how the cumulative adjustments will
n
affect the final image. Adjustments might accumulate, or cancel each other out, in ways that
you do not want. Keep each stage of your correction distinct, and do not duplicate the same
adjustment in both groups.
Working with the Enable Buttons
In the Color Correction tool, each group tab, subdividing tab, and individual control has an
Enable button. These buttons provide an immediate visual guide to the status of the controls
while you are making corrections. They also allow you to turn controls on and off in various
combinations and quickly reset controls to their default values.
22
The Color Correction Tool
You cannot reset controls not currently displayed. If you Alt+click (Windows) or
n
Option+click (Macintosh) the Enable button for a tab whose controls are not currently
displayed, you display the controls but do not reset them. Alt+click (Windows) or
Option+click (Macintosh) the button again to reset the controls.
Adjustments to the Gain, Gamma, and Setup controls in the Hue Offsets subtab of the HSL
n
tab enable both the Hue Offsets and the Controls subtabs. This behavior is not consistent
with the normal interaction between Enable buttons but is necessary to ensure that color
corrections will conform correctly if you move your project to an Avid Symphony system. To
turn off adjustments to the Gain, Gamma, and Setup controls you must disable the controls
individually by clicking one or more of their Enable buttons, or you must disable the entire
HSL tab by clicking the HSL tab Enable button.
To turn off adjustments to the Gain, Gamma, and Setup controls you must disable the entire
HSL tab. However, you can reset the Gain, Gamma, and Setup controls
To turn a control or tabbed group of controls on, do one of the following:
t Click the Enable button for the control or tabbed group of controls.
t Adjust any individual control that is linked to the Enable button.
The Enable button changes to pink, and the control or tabbed group of controls becomes
active. Your Avid editing application includes the adjustments in that control or group of
controls when calculating the corrected color.
To turn a control or tab off:
t Click the Enable button for the control or tab.
The Enable button changes to gray.
To reset a control or a tabbed group of controls to its default values:
1. Display the control or group of controls you want to reset.
2. Alt+click (Windows) or Option+click (Macintosh) the Enable button for that control or
group of controls.
All controls linked to that button return to their default values.
Understanding Interaction Between Enable Buttons
The Enable buttons are linked in a hierarchical relationship that mirrors the relationship of
the tabs themselves. When you change the status of an Enable button, the change can affect
several levels of the hierarchy.
23
1 Understanding Color Correction Mode
Color Correction Effect
Template button
Correction Mode Settings button
Safe Color Settings button
Comments button
When you Alt+click (Windows) or Option+click (Macintosh) an Enable button to reset
controls, you automatically reset all controls at a lower level in the hierarchy. For example, if
you Alt+click (Windows) or Option+click (Macintosh) the Enable button for the Red
ChromaCurve™ graph in the Curves tab, only that one control is reset to its default value.
However, if you Alt+click (Windows) or Option+click (Macintosh) the Enable button for the
Curves tab, all the controls in the Curves tab will reset to their default values.
When you turn an Enable button off, your Avid editing application stops including controls
below that button in the hierarchy when it calculates the corrected color for the segment.
Individual controls below that button retain their values and can be reactivated at any time.
Their Enable buttons remain pink.
If you are reading a black-and-white hardcopy version of this document, you will find it
n
useful to view the color images in the online version of the document available from the
Online Library for your Avid editing application (Help > Online Library).
In the following illustration, the Curves tab Enable button is turned off, so none of the
adjustments in the Curves tab are applied to the correction. Individual controls inside the tab
retain their values and can be reactivated by clicking the Curves tab Enable button again.
Using the Color Correction Tool Buttons
24
In addition to the Enable buttons, and specific control buttons within groups, the Color
Correction tool has a group of buttons on the right side that control several important
operations.
Use these buttons to:
• Create Color Correction effect templates.
For more information, see “Working with Color Correction Effect Templates” on page
28.
• Customize the operation of color correction.
For more information, see “Customizing Color Correction Mode Settings” on page 25.
• Set Safe Color limit values.
For more information, see “Safe Color Basics” and “Safe Colors” in the Help.
• Add comments to color-corrected segments.
For more information, see “Adding Comments to Color Correction Effects” on page 26.
Customizing Color Correction Mode Settings
You can customize the appearance and behavior of Color Correction mode by selecting
options in the Correction Mode Settings dialog box.
To customize Color Correction mode:
1. Do one of the following:
The Color Correction Tool
t In the Color Correction tool, click the Correction Mode Settings button.
t In the Project window, click the Settings tab, and then double-click Correction.
The Correction Mode Settings dialog box opens.
2. Select the options you want, as described in “Correction Mode Settings” on page 26.
3. Click OK.
25
1 Understanding Color Correction Mode
Correction Mode Settings
The following table describes the options available in the Correction Mode Settings dialog
box.
Tab Option Description
Features Saved Color Labels Select an item from the menu to control how custom colors are named
in bins. For information on saving custom colors, see “Saving Custom
Colors to a Bin” on page 46.
• None: Your Avid editing application does not supply a name.
• RGB: Your application uses the 8-bit values for the red, green, and
blue components as the name.
• Name: Your application uses the name from the standard HTML
color scheme that most closely matches the color you are saving.
• Name and RGB: Your application uses both the Name and the
RGB information. This is the default option.
Eyedropper 3 x 3
Averaging
Show Eyedropper Info When this option is selected, the numerical RGB values appear on the
Eyedropper Picks from
Anywhere in
Application
AutoCorrect Contains three menus for defining the automatic color corrections that
When this option is selected, your Avid editing application calculates
the color value to pick by averaging the values of a 3 x 3 sample of
pixels centered on the eyedropper’s position. This is often useful for
picking up a color accurately by sight because it compensates for
shifts in color value from one pixel to another. When this option is
deselected, the system selects the color value of the exact pixel at the
eyedropper’s position.
color swatches in the Color Match controls.
When this option is selected, the eyedropper can pick a color from
anywhere in your Avid editing application’s interface, for example the
swatch for a custom color in a bin.
are made when you apply the Color Correction effect from the Effect
Palette. For information on the options available in the AutoCorrect
tab of the Correction Mode Settings dialog box, see “AutoCorrect
Options” on page 85.
Adding Comments to Color Correction Effects
You can add comments to color-corrected segments to assist you in your work. For example,
you might want to briefly note the type of adjustment you made to a segment or to make
notes during a preliminary correction pass of ideas for adjustments to be done later during a
final pass.
26
The Color Correction Tool
The Comments button indicates whether a comment is present on a segment.
If the position indicator is on a segment that has a comment, the icon on the Comments
button is yellow.
If the position indicator is on a segment that has no comment, the icon on the Comments
button is not yellow.
To add a comment to a segment:
1. In Color Correction mode, move the position indicator to the segment to which you
want to add a comment.
For information on entering Color Correction mode, see “Entering and Leaving Color
Correction Mode” in the Help.
2. In the Color Correction tool, click the Comments button.
The Comments dialog box opens.
3. Type your comment in the text window, and click OK.
To remove a comment:
1. In Color Correction mode, move the position indicator to the segment from which you
want to remove the comment.
For information on entering Color Correction mode, see “Entering and Leaving Color
Correction Mode” in the Help.
2. In the Color Correction tool, click the Comments button.
The Comments dialog box opens.
3. Click Remove.
27
1 Understanding Color Correction Mode
To view or edit a comment in the Comments dialog box:
1. In Color Correction mode, move the position indicator to the segment for which you
want to view the comment.
For information on entering Color Correction mode, see “Entering and Leaving Color
Correction Mode” in the Help.
2. In the Color Correction tool, click the Comments button.
The Comments dialog box opens and displays the text of the comment.
3. (Option) To edit the comment, click in the text window and make your edits using
standard word processing procedures.
To display comments in the Timeline:
t Click the Timeline Fast Menu button, and select Clip Text > Comments.
Your Color Correction comments appear in the Timeline.
Working with Color Correction Effect Templates
Your Avid editing application offers the following versions of Color Correction effect
templates:
28
• The Color Correction buckets provide an easily accessible location within the Color
Correction tool for the short-term storage of Color Correction effect templates.
• The Color Correction Effect Template button allows you to create a template for any
color correction and save it to a bin in the same way that you save other kinds of effect
templates. The Save Correction button in the CC tab of the Command palette performs
the same function.
Like templates for other effects, Color Correction effect templates save all the adjustment
values for a color correction so you can apply those values quickly to another segment. You
can apply all the values at once by dragging the template into the monitor containing the
current segment, or you can apply the values for the controls in a single tab in the Color
Correction tool by dragging the template onto the tab that contains the group of controls you
want to change.
You can also apply a Color Correction effect template to multiple segments at once by
selecting the segments and then double-clicking the effect template icon in the bin or in the
Effect Palette. To do this, you must be in editing or Effects mode.
You can also save custom colors to bins. For more information, see “Saving Custom Colors
n
to a Bin” on page 46.
Working with Color Correction Effect Templates
How Color Correction Effect Templates Save Settings
When you create a Color Correction effect template, the system saves all the Color
Correction settings for the segment. The system remembers both the values set for each
control and the status of each Enable button.
Templates saved to a bin or a bucket do not update when you make new adjustments to the
segment. To save new adjustments, you must save a new template to a bin or a bucket.
You can specify which settings you apply in a template by dragging the template to the active
n
tab in the Color Correction tool. This changes only those settings contained within that tab.
Using this method, you can, for example, apply settings one tab at a time without applying
any other settings that might also be saved in a template.
Saving a Color Correction Effect Template to a Bin
You can save a Color Correction effect template to a bin using either the Color Correction
Effect Template button in the Color Correction tool or the Save Correction button in the CC
tab of the Command palette.
Color correction templates saved to a bin are saved permanently, unlike templates saved to a
bucket, which are not saved beyond the current working session.
To save a Color Correction effect template to a bin:
1. In Color Correction mode, make sure that the position indicator is in the segment that
contains the settings you want to save.
For information on entering Color Correction mode, see “Entering and Leaving Color
Correction Mode” in the Help.
2. Do one of the following:
t Click the Color Correction Effect Template button, press and hold the mouse
button, and then drag the effect icon to a bin.
t With Active Palette selected in the Command palette, click the Save Correction
button in the CC tab.
t If the Save Correction button is mapped to a key, press that key.
A new effect template appears in the bin, containing all the color correction adjustment
values for the segment. The new effect template is identified in the bin by its effect icon.
By default, your Avid editing application names the template using the clip name of the
segment. Effect icons for open bins are also displayed in the Effect Palette.
3. (Option) To rename the template, click the template name and type a new name.
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1 Understanding Color Correction Mode
Buckets C1 and C2 filled (Color
Correction icon appears)
All buckets empty
To permanently save a color correction effect template currently stored in a bucket:
t Click the color correction icon in the bucket and drag it to a bin.
For more information, see “Saving a Color Correction Effect Template to a Bucket” on
page 30.
Saving a Color Correction Effect Template to a Bucket
The Color Correction tool provides eight buckets, located below the Color Match control,
that you can use to save Color Correction effect templates for the duration of a working
session. You can then apply the template quickly to any segment.
The buckets are initially labeled C1 through C8. When you fill a bucket with a Color
Correction effect template, a Color Correction icon appears on the bucket.
Color Correction effect templates saved to buckets do not remain from one session to
another. When you end your session, your Avid editing application deletes the templates.
However, you can save an effect template from a bucket permanently by dragging it to a bin.
For more information, see “Saving a Color Correction Effect Template to a Bin” on page 29.
The Color Correction buckets are also available as buttons in the CC tab of the Command
n
Palette. You can map these buttons to any mappable key on your keyboard or to any
mappable button location in the user interface. For more information, see “The Command
Palette” in the Help.
30
The following illustration shows the Color Correction buckets.
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