Color correction

[Joseph W. bourke]

I would suggest using the Fast Color Corrector filter:

https://larryjordan.com/articles/ppro6-fast-color-correction/

Once you start playing with the FCC, you’ll find it pretty intuitive. You can bring the whites down a bit, and hope to get some detail back in them (if they’re truly blown out, you won’t get any detail back), plus you can adjust the color wheel to get the amount of orange you’re looking for.

In the future, you might want to think about matching your cameras so you won’t have to go through this. That said, though, I think it’s always a good idea to do some color correction, often for creative purposes.

Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com

[James Strawn]

I agree with Joseph. Fast Color effect is probably best for now. There way color corrector may give you some help too. You might also have to use procamp, or perhaps levels, to just bring down the whites, but be careful, too much correction can do more harm than good.

In the next version of CC (release date TBA) there are a ton of excellent Lumetri Color tools which will help you do some real color grading work on it if needed.
https://www.youtube.com/watch?v=5nN4wVzGu8Y

Software Quality Assurance – Digital Video at Adobe Systems

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[Oliver Smith]

Thanks guys

I think playing with the color correction tools might be the right way too. Both camera’s were on auto so will have to keep better eye on them!

[Matthew Hoecker]

I don’t know if the comment about the lighting guy was sarcasm, but if your other camera captured it correctly, it wasn’t his fault. =)

For future reference, what likely happened is that being on auto, the camera often looks at the brightness/dimness of the whole frame. A lot of cameras have different modes for exposure control. Some consumer cameras (and others) have a spotlight setting.

Being that it was a wide shot, you likely had the whole stage, but also a lot of surrounding blackness. The camera took into account all the black and tried to bring the brightness up.

Manual exposure is the way to go, or a spotlight setting (but that can still be unreliable at times). At the very least, setting it on auto and using exposure adjustment to bring the brightness down would have saved your highlights, but again, anything on auto is taking control and giving it to the camera. If you really know your camera, you know how it will likely react to different situations, but you’re always running a bit of risk.

Unfortunately, depending on how blown out your highlights are, it may be difficult to get a good image from what you recorded. Fast color corrector, or the shadow/highlight effect is a good place for a beginner in color correcting to start, but shadow/highlight is not an accelerated effect unfortunately.

I hope this helps. Cheers.

[Jeff Pulera]

What Matthew said about manual exposure is a must for any stage event! Something else I do is set the white balance preset to “Incandescent” for stage events (plays, recitals, etc.)I don’t bother attempting a manual WB setting since the lighting is constantly changing, sometimes even being red or blue to set a mood for a certain scene. So using the incandescent setting provides a good baseline to work with and both cameras will be consistent at least if I do need to color correct in post.

Thanks

Jeff Pulera
Safe Harbor Computers

[Oliver Smith]

Thanks guys, handy to know all that about auto 🙂 least I know for next time.

🙂