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dealing with dark underexposed footage
So I’ve got some dark HD footage that was shot with a Canon 7D that I’m stuck working with and I need to pull out the image. When using the Levels Filter I can bring out the images alright but its got a lot of video noise etc.
Does anybody have any recommended filter techniques etc? I know there’s not that much you can really do but it’s a fairly common problem and I’d be interested in any advice.
Thanks.
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9 Replies
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Might give Color a whirl at this. Better results I’ll wager.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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I gave new life to some horrifically dark footage from that very same camera recently using Color. It’s really worth taking the time to at least learn basic corrections with Color. It’s a very powerful program.
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Yes to Color. Use the master gain in the primary room first and then play with luma curve to pull up detail. Although Color has a denoiser in the Color FX room, I prefer to use Video Purifier to denoise later. Bit of a two step but good noise reduction is worth the effort
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Can I purchase Color as a plug-in for Final Cut Pro 6.0.1?
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You don’t need to. It came with Studio 2… which you have, right? Can’t buy FCP by itself… FCP 6 was part of Studio 2 only.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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I’ve got a follow-up to the same question. How should I bring dark 5D/7D footage in to FCP/Color? I typically use L&T, but should I transcode to 422, 444 or 5DtoRGB?
thanks,
Brett
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Hey Brett!
Are you asking if you should transcode (as in Compressor) rather than use Log & Transfer because you’re thinking about bumping up the luminance on the way in?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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Hey David!
I’m wondering about what transcode will give me the greatest latitude in Color for lightening underexposed footage? I am mostly asking about ProRes 422 v 444 transcoded via L&T. I was thinking about 5DtoRGB, but heard you lose half a stop on transcode.Brett
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[Brett Nelson] “I’m wondering about what transcode will give me the greatest latitude in Color for lightening underexposed footage?”
You know, this is the first I’ve heard anyone ask directly about that.
Since ProRes is a 10-bit codec, I’d imagine that both ProRes 422 and HQ have got to keep about as much color information as there is when coming from an h.264 file.
Of course, I get only perfectly exposed footage at my place… 🙂 🙂 🙂
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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