Nevertheless, it’s terminology we seem to be comfortable with. As you can see from the earlier explanations, there’s really no reason to do that, since we are no longer controlling the pick-up devices within a camera or telecine.
#COLOR FINALE DESATURATE SHADOWS SOFTWARE#
Quantel and Avid led the way by being first to incorporate these features into their nonlinear editing software.Ĭolor correction software tends to break up its control into primary and secondary functions. Thanks to scene detection or an EDL, color correction could be shot-to-shot and frame-accurate, when played back in real-time for its re-encoded, corrected output back to a second videotape master.Įventually the tools used in hardware-based, tape-to-tape color correction systems became standard. This enabled “tape-to-tape” color correction of edited masters. The addition of a signal decoder board in a DaVinci unit split the input signal into RGB parts and enabled the colorist to enhance the correction of an already-edited master using the “secondary” signal electronics of the system. The ability of color correction systems to decode a composite or component analog (and later digital) signal through added hardware, shifted color correction from camera shading and film transfer to being another general post production tool at a post facility. This was important for the real-time transfer of edited content, including film prints, cut negative and eventually videotape programs. Early systems did this via the operator manually marking an edit point (called “notching”), via an EDL (edit decision list) or through automatic scene detection circuitry. Film transfer systems had to play in real-time to be recorded to videotape, which meant that shot changes had to trigger the change from one color correction setting to the next. The addition of this technology was the basis for a seminal patent lawsuit, known as the Rainbow patent suit, as the battle ranged over who first developed this technology. Or you could create several looks and preview those for the client. Once you could store and recall color correction settings, then it was easy to go back and forth between camera angles or shots and apply a different setting to each. Modern color correction for post production came to be, because of these three key advances: memory storage, scene detection and signal decoding. They were part machine control and part color corrector. The “primary” controls manipulated the actual pick-up devices, while the “secondary” controls were downstream in the signal chain and let you further fine tune the color according to this simple, six-vector division.Įarly color correction system were built to transfer color film to air or to videotape. Early color correction modules for film-to-tape transfer systems adopted this same circuity. For instance, you could desaturate the reds within the image. The chroma proc let the operator shift the saturation and/or hue of each one of these six slices. RCA added circuitry onto their cameras called a chroma proc, which divided the color spectrum according to the six divisions of the vectorscope – red, blue, green, cyan, magenta and yellow. He or she would adjust the signal of the pick-up systems, including tubes, CCDs and photoelectric cells.
![color finale desaturate shadows color finale desaturate shadows](https://fixthephoto.com/images/content/color-finale-luts-121612879828.jpg)
These were based on red/blue/green color systems, where the video engineer (or “video shader”) would balance out the three components, along with exposure and black level (shadows). Alexis Van Hurkman also covers it in his “Color Correction Handbook”.Įlectronic video color correction started with early color cameras and telecine (film-to-tape transfer or “film chain”) devices. The Dale Grahn Color iPad application will give you a good understanding of this process. Once the industry figured out to manipulate color in the negative-to-positive printing process, the “color timer” was the person who controlled the color analyzer and who dialed in degrees of density and red/blue/green coloration. Originally this described the person who knew how long to leave the negative in the chemical bath to achieve the desired result (the “timer”). )Īll of our concepts stem from the film lab process known as color timing. ( Click on any of the images in this article for an expanded and more descriptive view. Grading tends to be a more European way of naming the process, but it is the same as color correction.
![color finale desaturate shadows color finale desaturate shadows](https://onlandscape-pullzone-heyqa02xvhohdyshyl51qdqk.netdna-ssl.com/wp-content/uploads/2013/10/Screen-Shot-2013-10-13-at-13.06.50-small.jpg)
I do this too, but the truth of the matter is that they are the same and are interchangeable.
![color finale desaturate shadows color finale desaturate shadows](https://digitalfilms.files.wordpress.com/2015/03/df1115_cf_7.jpg)
Many use these terms to identify different processes, such as technical shot matching versus giving a shot a subjective “look”. First of all – color grading versus color correction. It’s time to dive into some of the terms and concept that brought you modern color correction software.