- Best color correction settings after effects how to#
- Best color correction settings after effects pro#
With the clip still selected, click the Effect Controls tab to display the Fast Color Corrector controls…. Yes, this looks scary, but, to get started, there are only a very few settings you need to adjust. Go to the Effects panel, twirl down Video Effects, twirl down Color Correction and either double-click Fast Color Corrector to apply it to all selected clips in the Timeline, or drag it on top of a clip that needs correction.
Best color correction settings after effects how to#
Once you learn how to read them, you can use that knowledge in any program. Video scopes are interpreted the same between different applications. NOTE: For a quick tutorial on how to read video scopes, read this. Not only does it look green to the eye, but the vectorscope also shows a strong shift (called a “color cast”) toward yellow/green.
Best color correction settings after effects pro#
Start Premiere Pro CS6, open the project and sequence containing the clip(s) you want to fix, and select the clip with a color problem. It sounds complex, but this filter is designed to fix problems quickly. At which point, both the object and the clip will look “normal.” It then adjusts the color of the entire clip by adding or removing colors until that gray object is restored to equal amounts of red, green, and blue.
The Fast Color Correction filter measures the amount of red, green, and blue in an object that is supposed to be gray. If an object in the frame that is supposed to be gray has more red (or yellow, or blue, or any other combination of colors), it is said to have a color cast. There is no necessary relation between the gray-scale value of a color (how light or dark it is) and the color value of a color. Equal amounts of red, green, and blue equal gray. However, the gray on the right has a color cast, it has more red and green, which creates yellow, than it has blue. In fact, much of color correction hinges on a restatement of this: “If something is supposed to be gray, it must contain equal amounts of red, green, and blue.” If it doesn’t, it has a color cast.įor instance, in this screen shot, both the left and right side are equally “bright,” they are both 50% gray.
In an ideal world, you’d finish editing the project and take it to SpeedGrade or DaVinci and make it look glorious. Well, I guess that’s the answer – the filmmakers didn’t have the time or money to craft their images. Why is it that the footage that looks the worst always has the shortest deadline and the lowest budget?