Timeline FX: Colour Correction

Uploaded by SmokeHowTos on 10.09.2012

In the previous video, you looked at time-warping and applying speed changes to segments in the sequence.
We’ll now have a brief run through of colour correction, colour matching and selective colour correction.
Let’s select this segment in the sequence and apply the colour correct Timeline FX.
Like all the other Timeline FX, you can do quick adjustments with the basic parameters in the tool bar.
If you enter the editor, you will be presented with a plethora of controls.
Firstly you have two colour correction tools to choose from.
The first tool is the standard colour corrector.
Here you can adjust masters, shadows, mid-tones and highlights.
There is also a colour wheel for tinting, numerical adjustments, a histogram and curves.
These tools should all be familiar to you if you’ve worked in software of a similar nature.
The current interface is what is referred as the overlay UI.
This interface allows you to see your image full screen, and as you adjust a particular value,
the other controls are temporarily masked.
The other interface you can switch to is the standard interface using this toggle button.
The second colour correction tool is the Colour Warper.
As a standard timeline FX, the colour warper and colour correction FX cannot be mixed together.
You have to choose either one or the other.
So if you are working on a specific shot, working this way should be quite effective.
But when you exit the colour correction tools, you have to take into account that you are working in a sequence
and might have to match one shot off another.
Let’s look at the next shot.
This gladiator is looking quite blue because this could have been shot on a different day with different light and another camera.
Regardless of this, you need to balance the colours with the other segments in the sequence.
To see other points in the timeline at the same time, swipe to the right of the screen and choose the triptych player.
You will now get 3 positioners in the sequence with 3 views.
You have the option to force the positioners to look at the previous, current and next shots
but you can set the positioners to free which means you can scroll to any shot in the sequence.
Now that you have a good point of reference, you can select the bluish shot and add a colour correction to it.
Going into the editor, you are still able to see the triptych player, which will make it easier to colour correct
your shot while matching colours with the previous image.
Let’s switch to the colour warper.
To balance this shot, you could colour correct it manually using the colour wheels, also called tracking balls,
or you could use the automated colour correction.
To match one shot to the other, Click the Select button.
A message will prompt you to select an area to be modified.
With this cursor, click and drag a box on the gladiator’s top.
When you release the cursor, a blue LED appears on the select button telling you it has made a selection.
Press the SELECT button again and the message prompts you to select the area to match to.
On the reference shot, drag the cursor over the gladiator’s top.
As soon as you release the cursor, the colour warper does a match.
It’s pretty much balanced and you can still tweak the shot further if you choose.
I’ll exit the editor and switch back to the standard source-sequence viewers.
The final workflow example is selective colour correction.
I’ll go to the last shot in the sequence where we see some legs running towards the camera.
Let’s say for instance that you have been asked to change the coloured pads on the trousers.
Select the segment and add a colour correction FX to the shot.
Going into the editor, I’ll switch to the colour warper.
The colour warper has up to 3 selectives, also know as secondaries, to isolate colour.
The first thing to do is to switch the colour warper’s mode to work on selective 1.
The image goes monochrome and this is for one specific view only for selectives.
This is called the selective view and it is for picking the colour.
Enable Selective 1 and press Pick Custom.
With the picker, you can click and drag on the padding to select the colour.
To fine-tune the key, you can switch the view from selective view to the MATTE view.
The black area is the region affected by colour correction, the grey is the softness and the white area remains unaffected.
In essence, a chroma key was created by the Diamond Keyer, the colour selection tool located on the right of the interface.
Notice the two diamond shapes inside the colour cube.
The inner diamond is the tolerance and the outer diamond is the softness.
Whatever colour values fall within the diamonds are affected and whatever is outside the diamond shapes remains unaffected.
You can interactively adjust the settings in the diamond keyer by moving the points on the smaller diamond shapes.
You can also adjust your selection by manipulating the grey scale sliders to isolate the colours you wish to remove.
To assist you with fine-tuning the matte, you can click the PLOT button and sample a point on your image.
The black dot appears in the diamond keyer and you can tweak the shape around that point.
Blurring your matte helps to create a subtle colour bleed that is common when dealing with colour correction.
You can set a specific value and by enabling the G button, you can toggle between box and Gaussian blurring.
Now to colour correct the pads, you need to change to the result view.
So even though you are still working on Sel 1, you are seeing the grade in context of the overall grading on this shot.
As an example, you can adjust the Hue slider to change the colour of the pads.
If you want to keep grading the overall image on top of the selectives, just switch back to working on the Master.
Press Exit and you will be able to scrub the result of the correction.
Press render to create the final result before playing it back.
In the next video, You will encounter your first exposure to 3D compositing through the AXIS timeline FX.