Topic: Workflow / Color Crashing

The Color program worked for one day, I loaded a project from FCP, did a little bit of work and
then closed the program. The next day it started crashing. The computer has an ATI Radeon 9600
card. Thanks for your previous response!

Topic: Workflow / Color Crashing

What graphic card is installed? ‘it might be that your graphic card is not supported by Color.

Morten

Topic: Workflow / Color Crashing

Hi:

I’ve just inherited at a new place of employment a G5 Mac with
4 gigs of RAM. When I try to open Color, the first pane comes
up and then it just quits. I’ve reinstalled FCP2 with updates, but
still the same problem. Anyone out there encounter this before
or have any suggestions? Thanks for your help.

Best,
Stephen

Topic: Tips, Tricks and Tutorials / Tips! Alternative to a control surface

Could you email me also?

Thanks.

cgadigital@gmail.com

Topic: Showroom / "Mr Glasses"

Thank you, Chuck.

No, they don’t. I know the director personally (relationship has developed since I first met him last year for the very first colorist job) and I’m quite sure he likes the american style of telling a story – and the use of vintage props. For instance, the two soldiers shooting a salute into the air – never gonna happen in Norway, except for very, very special (and military!?) occasions.

Topic: Showroom / "Mr Glasses"

Very nice work, Ola. It was a nicely conceived & shot piece, and you gave it great feeling. But I have one burning question – do ministers in Norway really wear those 16th century neck ruffles?

Topic: The art of Color / Skin Tones / Green bits

Hi Bryan,

Have you considered approaching the problem from a slightly different direction? Steve Hullfish has a nice tutorial on using the advanced tab & the RGB parade to balance a shot. See it here:

http://provideocoalition.com/index.php/shullfish/video/color_correction_video_tutorial5/

Chuck

Topic: Workflow / color n00b - questions about curves, secondaries and LUTs...

hi all. i’m relatively new at Color as i’ve been mainly using a Scratch or a traditional telecine chain (Ursa + Pogle). however, as budgets drop Color is becoming a bigger part of my life, right or wrong.

so i have a few questions that might fill a couple of the more obvious gaps between the TK, scratch, and Color:

- is there a way of adjusting overall brightness with curves? the “Luma” curve is grossly unnatural, and i’ve no idea why Apple consider this a “feature” that it works on luma rather than linked RGB (and what luma coefficients does it use? 601? 709? something else?). it’s a huge pain to have to re-draw a curve as close to identically as possible for the red green and blue channels separately, and there appears to be no way to cpoy and paste between the curves.

- is there a way to do a hue shift in a secondary without using the curves? (which though useful for a lot of things are nowhere near as simple as a vector adjustment that even my very antique Pogle can do). there seems to be a lack of a simple hue adjust control within a chroma key or vignette. sometimes all one wants to do is twist the yellows a little, which can be accomplished in 2 moves on a TK.

- is there some kind of published spec for the LUTs used in Color? i’ve found a couple of log-to-print luts on the Praxis site, but color sort of balks at these and gives me a very dark, very blue picture instead of a print emulation look. on examining these files they appear at least superficially to be the same format as a lut generated in Color, so i guess there’s some kind of ordering problem with the cube node-y things.

- when conforming from dpx files in separate directories (our arriscan is set to output “resolution\reelnumber\reel_event\%06d.dpx”), is there an elegant way to replace a shot that color has missed, or grabbed from the wrong place? it’s not as good with conforming as the Scratch is, though i anticipate doing a lot more jobs off dpx files in the future as budgets get lower.

- is it just my system or is defocusing a bit whack? it looks very different between internal bit depths, and seems to zoom the picture in a bit (rather like lens breathing). the same appears to happen with any effect that uses a defocus – key blurring, edge detection, de-graining, etc.

- is it also just my system, or are adjustments in the blacks way too coarse? i can move the ball ever so slightly on my JLCooper and nothing happens, but move it a slight bit further and it makes a big jump, with nothing in between. almost like adjustments are quantized to 8 bits though the actual processing happens in what you set (float being the good one, but slightly buggier). running the scratch on the same balls does not exhibit this strangeness. this is not a gearing setting btw – i’ve adjusted them already. it’s more a sort of “steppyness”.

anywho, that’s all my questions for now. i look forward to making my peace with color, as i expect to be seeing a lot more of it in future. right now i’d rather use the pogle for ergonomics and layout.

Topic: Workflow / Parameters of Keyframes

Ok, thanks for the answer.

But you must know as I know that tracking never works properly !

And if color cannot modify all key at a time, I will immediately go to on another calibration software.
I don’t understand why this so practical and powerfull software have this big lacunas that make the work very difficult (and impossible in my case). It’s like the “undo” action that cannot go more than one action ! I can’t believe it !!!

Excuse my message, it is quite out of the point, but this little things in color really frustruate me, because othewise it is for me a very powerfull tool.

Have a good evening

Topic: Workflow / Parameters of Keyframes

Unfortunately, this is not possible. The correct way to do it (or workaround, if you prefer..) would be to make a tracker and attach the vignette to the tracker.

Topic: Workflow / Parameters of Keyframes

Hello,

I just worked on a short movie with color. And I had one major problem :
I made a correction inside a vignette on a face (to change only a person’s face), and make it follows the head’s movements with keyframes. Later on, I decided that I wanted to change the color correction inside the vignette. But I could not change anything when I wasn’t on a keyframe, and when I was on a keyframe, it changed only the color of the vignette in that particular keyframe.

My question is : in this case, is there a way to select all my keyframes (wich, as I said, control the movement of the vignette), and make change a color’s parameter so that it affect all of my keyframes ?

The manual does not explain that, and I don’t see how I can do.

Thanks

Topic: Workflow / Support for r3d in Color

Any update on the gamma shift issues? I hoped this is something they would have worked out by now.

Topic: Workflow / Support for r3d in Color

AWESOME!! Downloading a few r3d-files now to test..
I checked the Software Update now – there’s a Color 1.0.3 there.. ;)

Topic: Workflow / Support for r3d in Color

It seems Apple dropped the bomb today and finally released an installer for Final Cut Studio to enable native support for r3d in Color.

Provides native RECODE media (R3D) support for Final Cut Pro and Color. Includes: RED QuickTime Codec (v3.7.0), Log and Transfer (v1.0.0), REDCODE plugin for Color (v2.7.0), and Final Cut Studio RED workflow whitepaper.

Get the installer at Red’s support page

Topic: The art of Color / Skin Tones / Green bits

Hi Guys,
Nice to meet you all.

I’m having an odd issue with my skin tones. (ST)

Most of the footage I’ve received lately has the ST more towards the red (shot on RED, EX1, HVX200a), so I try and pull the midtones more to peachy, and things go green. I correct the blacks, and highlights back to where they should be, and still.. green.
My goal is the I line, but once it’s there, blotchy parts of their face are green, and they look sick.

I’m attempting this in the Primary room, using only the midtone wheel. I can pull a secondary key for the ST and do things there, but it still seems a bit green. So I then use a 2nd tab, and correct the green bits back to normal.

My usual method is as follows.
1. make blacks black, usually using the advanced tab
2. make whites white, usually using the advanced tab
3. Adjust gamma with the mid tone wheel
4. Attack ST with the mid tone wheel
5. Fix what I screwed up in Secondaries.

Of course, sometimes I use Secondaries to work with ST.

(gosh, I just read that, and I think i confused myself… i’ll post it anyway, and correct things as I go)

I’ll try and do screenshot later when I’m not rushing around.

Here is some background for me.

-FCP user since it was released.
-Color user since Apple grabbed it.
-Color training includes;
-NED Color 101
-Peachpit’s Color book
-Steve Hullfish’s “The art of color corrction” (or something like that)
-Completed 20 odd projects that I used color correction on. (clients liked’em, awards were won)
– JVC DTV20L1u for monitoring with Black Magic HD Link Pro for converting HDSDI for the monitor. •I know the monitor isn’t the best for CC, but it works ok for what I do now, and so much better than the Cinema Display. eCinema display is up next..once funds arrive. heh

Topic: The art of Color / Technicolor look

Do you have a still from the movie?
Upload to an imagehost and paste the URL inside exclamation points…

Like this:!http://hobix.com/sample.jpg!

Topic: The art of Color / Technicolor look

I just got done watching “Mogambo”, a 1953 technicolor film. The outdoor scenes had a great look, with diffused highlights, sort of a smudge or edgeblur on the shadows and subtle saturation increase. I realise this “look” is a combination of many factors, but how would I even start to mimic this?

Topic: Showroom / "Mr Glasses"

Thank you! :)

Actually, the text is a text-layer the client has created within FCP – so it’s just applied on top of the other video – sadly nothing I can do about that, and besides it wasn’t mentioned in the deal. :)

The reason I’m learning Shake is to get a better chance to get a job within a studio in Norway which I had an interview with recently, mainly as a colorist, but also as a compositor when there’s more need for that and to do simple things like sky replacement (whenever I get to learn that) and roto of things like the hand in this ad without bothering other compositors doing far more advanced stuff.

Topic: Showroom / "Mr Glasses"

Awesome job, Ola-Haldor… There’s only one teeny-weeny thing. The Roto for the last shot with the text is cropping the “T” in “Trondheim”.
Or is it one of those mistakes you let the client find for you to make them look good? :)

It’s nice to learn Shake isn’t it? Even if it hasn’t been developed for years it’s still the best tool for many jobs.

Topic: Showroom / "Mr Glasses"

Project: Herr Brille (english title: Mr Glasses)
Client: Spætt Media/Magnus Skatvold, for Trondheim øyelegesenter
Format: 1080p
Produced: 2008
Link: ClickMe

I was asked to do a warm and soft late autumn-ish grade – and as I went through the clips I found a disturbing element on one of the clips which I used Shake to remove – finally some good reasons to learn how to handle Shake.

Topic: Tips, Tricks and Tutorials / Hullfish, The Art and Technique Of Digital Color Correction

What I appreciated most about the book was a good mix of technical and subjective content. Where as the Peach Pit book was more of a “this button does this” book.

Another thing was the conversations with the colorists on the DVD. It’s just in Text form, but what a great resource to have. It was money well spent for me, and I reference it often.

Topic: The art of Color / Installing Color Grade Presets

A brief tutorial can be found here

Topic: The art of Color / Installing Color Grade Presets

I am completely new to Color and have recently downloaded the bundle of presets available on this site. How do I install or use them?

Thanks,

Kidmanga

Topic: Tips, Tricks and Tutorials / Old, old film

Thank You OlaHaldor,
I was searching for some complex solutions with the color FX room, but I think the vignettes are a simple and good suggestion.

Nattress advanced plugin for Color is a serie of nodes dedicated to the Color FX room. And they are excellent.
http://www.nattress.com/Products/FinalTouch/FinalTouch.htm

Topic: Tips, Tricks and Tutorials / Old, old film

My first thought (especially as I don’t own Natress – yet..) is to use Secondaries and create a large square vignette with soft edges, and place it over this color cast to reverse the bizarre colors.

Off-topic, but interesting: how is Natress? Is it a “must” ?