| | | | Re: No Video-Out with Apple Color 1.5 by Ray Chung on Aug 17, 2009 at 5:04:23 pm in the Blackmagic Design Forum Agreed...in the 'Decklink' section of System Preferences, choose "black' instead of 'extended desktop', if it is set to the former. You'll have to restart after changing the setup. Color 1.5 works fine with my Multibridge Pro 2 monitoring out. | | | | |
| | | | Re: "save to snapshot" result sin different color by Bob Pit on Aug 17, 2009 at 4:49:21 pm in the Sony Vegas Forum Eric
>>>
Could it be that the color correction is happening twice? Meaning that you are applying color correction at the track (or project level), then taking a snap shot and adding it back to the same track (or the project level color correction | | | | |
| | | | Re: Will a Matrox benefit me? by Damon Gaskin on Aug 17, 2009 at 4:11:09 pm in the Matrox Video Systems Forum As the others have said, you do not need a "supercomputer", simply because say, the X2, there aren't a lot of times you really need to render. And when you do, the rendering is extremely fast!
64 bit "is" the way to go, as Jeff stated, because yo | | | | |
| | | | Re: PNG-24 Transparency Issue by Raven Plenty on Aug 17, 2009 at 3:26:54 pm in the Apple Final Cut Pro Forum [Rafael Amador] "Make sure that all the corners of all the layer have some color information.
If there is any fully transparent corner, pint [paint?] few pixels."
But I'm not going to paint a few pixels in an area that is supposed to be transpar | | | | |
| | | | Re: No Video-Out with Apple Color 1.5 by Tal Rom on Aug 17, 2009 at 3:14:18 pm in the Blackmagic Design Forum If you updated the Multibridge Pro Driver, check if the control panel in the system preferences is not set to "extended desktop"
it should set to "Black"
Tal Rom
PrePost
Production & Post Workflow Solution
Israel | | | | |
| | | | Re: "save to snapshot" result sin different color by D. Eric Franks on Aug 17, 2009 at 3:04:45 pm in the Sony Vegas Forum Could it be that the color correction is happening twice? Meaning that you are applying color correction at the track (or project level), then taking a snap shot and adding it back to the same track (or the project level color correction is hitting i | | | | |
| | | | Re: Skin by Bob Sliga on Aug 17, 2009 at 1:45:09 pm in the Apple Color Forum HI Rafael,
The type of looks you are describing in the daVinci sessions are done using the defocus board and HSL selections.
In Color this can be accomplished in the Color FX Room using the HSl and the Blur nodes.
If you haven't already downlo | | | | |
| | | | Would like to use Color 1.5 for a personal project by Jan Bliddal on Aug 17, 2009 at 1:29:36 pm in the Apple Color Forum I have decided that I will try to learn how to use Color for a personal project. Problem is I have a Canon XH-A1 HDV camcorder and Colors does not support HDV do to HDV small color space. I can see in the Spec that ProRes HQ is supported. Will I be a | | | | |
| | | | No Video-Out with Apple Color 1.5 by Kurro Gonzalez on Aug 17, 2009 at 12:45:18 pm in the Blackmagic Design Forum Hi everybody. I've got a problem with a Multibridge Pro 2. The thing is that I've been using Apple Color since it appeared on FCS 2. It worked perfectly and I could check the results of my color corrections on a broadcast HD monitor trough the Multib | | | | |
| | | | Re: Article: Apple BluRay Support by walter biscardi on Aug 17, 2009 at 11:03:50 am in the Apple Final Cut Pro Forum [Jeff Handy] "The licensing is ridiculously expensive - untouchable for small businesses for a distribution format."
Not through NetBlender's DoStudio. We're a small shop (3 employees, 3 edit suites) and have been doing BluRay authoring / distrib | | | | |
| | | | Re: Alpha Issues by Campbell Morgan on Aug 17, 2009 at 11:00:26 am in the MAYA Forum I've been struggling with this for ages and have tried a number of bizarre workarounds that I've seen elsewhere on the web such as nesting two surface shaders, then using a color blend etc... The solution is actually frustratingly simple:
On the | | | | |
| | | | Re: Skin by walter biscardi on Aug 17, 2009 at 10:57:24 am in the Apple Color Forum [Rafael Metz] " When sitting in telecine or tape2tape I saw often the colorist using a denoiser in the da Vinci system or on the optical way putting some SoftFX or Blackpromist in the optical line of the film scanner"
You can download the Nattress | | | | |
| | | | WM9 and color space by Johannes Nyholm on Aug 17, 2009 at 9:58:33 am in the Adobe After Effects Forum Hi,
I´m using After Effects CS3 and try to render a Windows Media 9 file. But I don´t get the colors right. The blacks are too light and the whites too dark (I´ve checked the file in both VLC and Media Player). I guess it could be a color space issu | | | | |
| | | | Re: After Effects SWF export color change by Chris Brearley on Aug 17, 2009 at 8:40:55 am in the Adobe After Effects Forum Hmmm, that sounds a little strange. Off to the top of my head I couldn't tell you what the problem might be. If you'd like to send me a copy of your project I'd be more than happy to take a look for you.
chrisbrearley@ntlworld.com | | | | |
| | | | Re: Skin by Rafael Metz on Aug 17, 2009 at 7:27:52 am in the Apple Color Forum Nate, thank you for sharing!
Is there a possibility to soften the picture without losing detail in Color? When sitting in telecine or tape2tape I saw often the colorist using a denoiser in the da Vinci system or on the optical way putting some Sof | | | | |
| | | | After Effects dropping frames while rendering. by Anant Raina on Aug 17, 2009 at 4:15:14 am in the Adobe After Effects Forum I'm editing a DV pal timeline in FCP. I exported some footage as an Mov without any compression. I imported this Mov into After effects. I used MB Looks on the footage for color grading. I then re-exported this as an Mov using DV Pal compression.
W | | | | |
| | | | Re: Indie DI with Color, questions.. by Shawn Larkin on Aug 17, 2009 at 3:16:40 am in the Apple Color Forum I don't think Rick Turner is following this thread anymore.
However, out of experience I can say that if you are not using your lab's LUT, I would expect shifts that you won't see in Color.
I think Color is a great DI tool. But unless you actu | | | | |
| | | | CS4 - Possible Color Correction Bug to MPG2 by Andy Urtusuastegui on Aug 17, 2009 at 2:38:30 am in the Adobe Premiere Pro Forum I just want to verify this is a bug others are seeing before I submit the bug report.
1. Create a new timeline of your choice, (size etc does not matter) Make sure "maximum bit depth" is selected.
2. Next, place a clip of your choice (HDV, A | | | | |
| | | | ProRes HQ to mpeg by robert craghead on Aug 17, 2009 at 2:25:55 am in the Compression techniques Forum I have a project that was cut in DVCProHD 720p, sent to Apple Color, and returned to FCP in a ProRes HQ sequence. In the ProRes sequence, all looks great on the preview on CPU as well as monitor.
The problem is when I try to make into a D1 mpeg fo | | | | |
| | | | Re: Skin by Nate Weaver on Aug 17, 2009 at 1:44:14 am in the Apple Color Forum There's is some "retouching" style beauty work done in that shot, but there's also another thing going on there that bears discussion.
Notice how there is no variance in the chroma for the skin...i.e., it is all one vector for the most part. No ru | | | | |
| | | | "save to snapshot" result sin different color by Bob Pit on Aug 16, 2009 at 11:51:53 pm in the Sony Vegas Forum I do "save to snapshot" (either .jpg or .png). The picture is added to the media pool, and from there I add it to the timeline. BUT, the colors of the picture are different (actually better) than the video.
I had done color correction to the vid | | | | |
| | | | Skin by Rafael Metz on Aug 16, 2009 at 10:14:19 pm in the Apple Color Forum Hello,
I think skin is one of the key issues in color grading. Having seen loads of great graded commercials I´d like to know if some of you guys want share your knowledge in grading skins.
One thing e.g. is softening skin within color. I guess t | | | | |
| | | | Re: Difference in Levels in Two Camera Shoot by Pat Ford on Aug 16, 2009 at 10:07:21 pm in the Sony DV Forum Brian...here's some of what I wrote from the lighting pro forum. The thread has been more active there.
A saying I have is that with any major shoot you learn something new. This time it's to be sure the cameras match.
I have done this shoot t | | | | |
| | | | Re: DVD delivery to client-What do you use? by Vince Becquiot on Aug 16, 2009 at 8:24:48 pm in the Event Videographers Forum Epson makes a couple of different versions. We have an Artisan 800 and it has an automatic tray, the old ones were an absolute pain to load, would be faster to hand paint the damn DVD.
All in all, if budget is an issue, I would look at eBay for a | | | | |
| | | | 4x3 SD to HD thru MXO2 - Best workflow? by Kurt Waddington on Aug 16, 2009 at 7:53:46 pm in the Apple Final Cut Pro Forum Hi all,
I am looking for expert advice on the best workflow to Uprez SD 4x3 Betacam footage to 1080i 59.94. I am editing with FCP7 with input through an MXO2 with MAX. Betacam footage is fed in via component. The MXO2 will only upres to a Pillar b | | | | |
| | | | Re: Problem with transparent images by Filip Vandueren on Aug 16, 2009 at 7:12:34 pm in the Adobe After Effects Forum Just open the Gif in Photoshop, convert to RGB 8bpc and save as a different fileformat that supports alpha channels like PSD or tiff.
GIF is an 8bit format, so it has no real alpha channel, just one color reserved as transparant.
After Effects do | | | | |
| | | | Re: Panasonic AJHD1200A sound capture by walter biscardi on Aug 16, 2009 at 6:52:56 pm in the Apple Final Cut Pro Forum [Carly DeLora] "I herd through the grape vine that there is a way to use the devise to add the sound without having to re-capture. Is this true? If so, How?"
I have never heard of this. I owned that deck for 2 years and then traded it in for the | | | | |
| | | | Re: FCP EDL Software by Ray Chung on Aug 16, 2009 at 6:45:17 pm in the Apple Final Cut Pro Forum Does Scratch have issues with a regular EDL output from FCP? I've been fine opening up an EDL with renamed clips and referencing the original RED files in Color 1.5, but we might be going with Scratch, so anything you find out from this would be ver | | | | |
| | | | Re: Indie DI with Color, questions.. by Andrew Huebscher on Aug 16, 2009 at 4:30:04 pm in the Apple Color Forum Rising Sun Research/CineTal have a nice 3D LUT creation program that is compatible with Apple Color, amongst others. They will also send you test patches to run through your workflow, deliver to a lab, send back to them, and then they will create a | | | | |
| | | | Re: FF yes - IE no by Fernando Mol on Aug 16, 2009 at 4:18:47 pm in the Adobe Dreamweaver Forum The color mode on your image is CMYK, you probably will have to change it to RGB for IE to recognize it.
*Remember to share a link to your site and to rate the posts. This is a free service for you and for us. | | | | |
| | | | Re: Resolution for HD in PAL format by walter biscardi on Aug 16, 2009 at 12:21:21 pm in the Apple Final Cut Pro Forum Those specs depend wholly on what your deliverable will be. Generally PAL is 50i or 25p for HD. Either 720 or 1080.
What does the network / client request?
SD Widescreen is generally not acceptable as HD because it's not HD.
Walter Biscard | | | | |
| | | | Re: FCP Run Slow using External Drive by Margus Voll on Aug 16, 2009 at 7:42:50 am in the Apple Final Cut Pro Forum HI.
Try and go with ProRez. If it works use that. DV has less color information and may give you head ace :)
Option would be replacing external drive to FW 800 or something better.
--
Margus
http://iconstudios.eu | | | | |
| | | | Re: Lighting Difference in Two Cameras? by Pat Ford on Aug 16, 2009 at 7:38:30 am in the Lighting Design Pros Forum Craig,
Thanks so much for taking the time answer my post; you all have been generous with your time.
A saying I have is that with any major shoot you learn something new. This time it's to be sure the cameras match.
I have done this shoot | | | | |
| | | | Re: Thumbnails and still store (cross post with RED forum) by Thadeous Watson on Aug 16, 2009 at 2:59:15 am in the Apple Color Forum That looks like a possible graphics card issue. I know the 2600 card has 256MB of memory and maybe something in Color 1.5 has changed? Try a different card with more memory. I say that because I have a ATI 1900 card and I do not see this issue. | | | | |
| | | | Re: Dreamcolor in FCP by Geoff Schaaf on Aug 16, 2009 at 2:51:40 am in the Apple Color Forum Hi Trevor,
Thanks for the response. I switched the audio/video settings to Blackmagic HDTV 1080P 23.976 RGB (1920x1080). I still find that the color gamut remapping is disabled on the monitor. Is there another control or setting I'm missing?
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| | | | Apple Final Cut Pro | Final Cut Studio 3 is here, and all is good!
Our man in Nepal, Jiggy Gaton, likes to live for danger. He installed a major software upgrade mid-project, with virtually no preparation, just to see what would break. Lo and behold, it all worked! And the more Jiggy works with it, the better he's liking it. Join him in this Creative COW, Real-world, Real-time Report on Final Cut Studio 3. Review Author: Jiggy Gaton |
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| | | | Apple Final Cut Pro | Keyframing Color Correction
In this episode of Final Cut Help, Richard Harrington takes a look at keyframing the three way color corrector in FCP. As details change in a movie clip you can have the filter adjust its values over time. This example uses a video of a bird starting in a bright sky and ending in water which is darker, the contrast transition is controlled by keyframing the saturation and color correction.
Tutorial, Video Tutorial Author: Richard Harrington |
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| | | | Red Giant plug-ins | Creating a Summer Blockbuster Film Look
In this action packed episode of Red Giant TV, Sin City's Visual Effects Supervisor - and the new Creative Director of Red Giant Software - Stu Maschwitz, shows you how to get the Summer Blockbuster look seen in Transformers 2, Terminator: Salvation, and The Taking of Pelham 123. Stu shares valuable techniques for enhancing your footage with Magic Bullet Looks and Colorista - the technologies he invented for his own use on feature films. Tutorial, Video Tutorial Author: Stu Maschwitz |
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| | | | Apple Color | Saturation Curves in Color
In this Apple Color tutorial, Richard Harrington along with color expert Robbie Carman create the Pleasantville effect in Apple Color. Using the secondary curves, specifically the saturation curve, to isolate just the yellow in a taxi cab everything else in the video clip can then be desaturated to create this popular effect.
Tutorial, Video Tutorial Author: Richard Harrington |
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| | | | Apple Color | Custom Shapes in Color - Final Cut Help
In this Apple Color tutorial Richard Harrington and guest Robbie Carman will use user defined shapes to form vinettes to perform a secondary color correction. Learn about where primary and secondary color correction really occurs in Apple Color and other tips and tricks.
Tutorial, Video Tutorial Author: Richard Harrington |
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| | | | Apple Color | Introducing: Stop Staring and Start Grading with Apple Color
Allow us to introduce one of the most eagerly anticipated DVDs in Creative Cow Master Series history, Walter Biscardi's overview of Apple Color. Building on nearly 20 years of professional editing experience, as well as years of experience with Apple Color (and FInal Touch HD before it), he's got the perfect perspective to make working in Color easier than you imagined. It's the disk he wished he had when he started using Color. Feature Author: Walter Biscardi |
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| | | | Adobe Photoshop | Color Range Command
Some free tricks on how to use the color range command in Photoshop. Many people use the old method of utilizing the magic wand tool for selecting areas of color, the color range selection tool has more flexibility and control. Richard walks you through using this tool and shows some new features added in Photoshop CS4. Tutorial, Video Tutorial Author: Richard Harrington |
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| | | | Apple Color | Apple Color: Building Vignettes in the ColorFX Room
Apple Color offers a variety of tools for custom effects, each with different features. Answering a commonly asked question, broadcast editor and Creative Cow leader Walter Biscardi shows you how to take advantage Colors node-based compositing to create a vignette in the ColorFX room. Tutorial, Video Tutorial Author: Walter Biscardi |
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| | | | Sony Vegas | Sony Vegas Pro 9
In this article, CreativeCOW's Jim Harvey takes a look the new release of Vegas Pro 9 and determines ...This is one of the most comprehensive editing suites out there and certainly the most comprehensive version of VEGAS to be released. Review Author: Jim Harvey |
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| | | | Cinematography | Pushing the Limits on Pushing Daisies
Visual Effects Supervisor William Powloski helped create one of the most eye-popping worlds ever seen on TV, as part of a feature film aesthetic on a TV budget and schedule. Although it was canceled after only two seasons, it remains one of the most beautiful and innovative programs to ever air on US television. In an extended version of the original article in The Visual Effects Issue of Creative COW Magazine, here is an exclusive look at how he and his team helped pull it off. Feature, People / Interview Author: William Powloski |
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| | | | Adobe Photoshop | Secondary Color Correction with Curves
A tip on how to use Photoshop CS3 Extended to color correct video clips. Using Adobe Bridge to open the video file with Photoshop, he then uses LAB color mode and adjustment layers to turn a red truck into a green truck. A curves adjustment layer alters the a channel of the video, altering the color and a photo filter adjustment layer finishes it of by creating a cooling effect to the clip. Finally, the video is rendered with Photoshop back out to the hard drive.
Tutorial, Video Tutorial Author: Richard Harrington |
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Podcasts | | | | creative cow extras podcast Colorgrading Monitors: What Works, What Doesn't In this Creative COW extras podcast, Walter Biscardi and Ron Anderson discuss one of the most discussed topics in the Apple Color forum, color grading and monitors. Ron Anderson is a colorist with CineFilm Atlanta. | | | | |
| | | | final cut help tutorials podcast Saturation Curves in Color In this tutorial, Richard Harrington along with Robbie Carman use Apple Color to create the stylized Pleasantville effect where one thing in the image is in color and everything else is desaturated. | | | | |
| | | | photoshop for video tutorials podcast Color Range Command In this Adobe Photoshop video tutorial podcast, Richard Harrington looks at the color range command used to select a user defined color range of an image in a Photoshop project. | | | | |
| | | | adobe premiere pro tutorials podcast Basics of Color Correction In this video tutorial, Aanarav Sareen takes a look at how to utilize the basic functionality of the Fast Color Corrector effect that ships with Adobe Premiere Pro 2.0. | | | | |
| | | | adobe after effects tutorials podcast Broadcast-Safe Colors in After Effects In this video tutorial, Creative Cow Leader Aharon Rabinowitz shows you a simple method of ensuring Broadcast-Safe Colors in your final output. | | | | |
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