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Color Correction – Camera was on AWB (doh!)
Sigh . . .
Camera operator comes back from the field with a series of interviews all shot with automatic white balance turned on.
Normally this wouldn’t be -too- horrible, except he was shooting interviews in front of a large video projection wall. Second by second as the video on the wall changes, so does the white of the foreground subjects. The host and interview subjects color varies wildly from blue to red.
Is there anyway to take the values of an auto color correction and somehow reverse them so that the colors become stablized (if that concept made any sense whatsoever).
The ONLY saving grace that I can see in any off the footage is that the host was wearing a white shirt (although it was under a jacket and tie). Is there any way I could use THAT as the basis for stabilizing the colors?
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1 Reply
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My solution would be to ignore it for now. Get the cut done and locked so you’re only dealing with the shots you are actually using. Then keyframe color corrections throughout the shot (if they hold long enough to warrant keyframes). After the cut, you may be able to do static color corrections to balance it back out.
In film color correction, it’s done this way. For example when we shoot car footage , the car will go into direct sunlight, then under shadows, etc while burning a full mag doing a car chase run. So the exposure and the average color change throughout. So for the dailies , Colorists just lay down keyframes and interpolate between them. Or ignore them altogether, wait for the final cut then only color the hand ful of seconds you actually use.
Chris Smith
https://www.sugarfilmproduction.com
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